Reharmonising rebetiko modes in a contemporary context скачать в хорошем качестве

Reharmonising rebetiko modes in a contemporary context

Reharmonising rebetiko modes in a contemporary context Nassos Polyzoidis Bath Spa University Abstract: Rebetiko is a style of folk music that originated at the end of the nineteenth century by marginal people in prisons and ports of Greece and has been slowly disappearing since the middle of the twentieth century. One of its fundamental elements is the use of characteristic Eastern scales or modes. Despite having their roots in Turkish makam and Byzantine echos, dromoi (rebetiko modes) have been played on fretted instruments and therefore transformed to twelve-tone equal-tempered variations. Folk guitar was mainly used for accompaniment purposes and musicians would mostly play major and minor triads and diminished seventh chords. Rebetiko was banned for several decades, and only became accessible after 1974. Having historically been passed from one generation of musicians to the next in the form of an oral tradition, there are many inconsistencies in onomatology and disputes between author/musicians. For example, although dromoi have been well documented, their number and construction are not agreed upon. Dromoi with the same name may even differ in pitch content or chord construction from one author to another. From fourteen available books and methods published within the last two decades, this paper compares the harmonic discrepancies between five Greek authors who discuss both the dromoi and their corresponding chords. There is also disagreement about the categorisation of chords as primary or secondary. In response to these inconsistencies, I will propose a contemporary reharmonisation of each dromos with the aim of introducing extended chords to songwriters and contemporary composers.