The Begiati (Μπεγιατί) mode has its theoretical basis and final on dougkiach [D], where the fundamental element 4x-ousak is based. The incipit on neva [G] characterizes the mode and defines its triphonic nature. The elemental structure is completed with a 5x-bouselik on neva [G]. The extension is possible with a 5x-rast on gegkiach [low G], making rast [C] the sub-final of the mode. The name Begiati is derived from the makamBayâti.
The modal dominant coincides with the incipit neva [g]. The following attractions may occur:
segkiach –> kiourdi [E 1 comma flat –> Eb], though rare, in descending phrases and/or in phrases gravitating around dougkiach [D];
atzem –> evits [Bb –> B 1 comma flat], though rare, in ascending phrases leading to mouchagier [high D] and/or in phrases gravitating around gkerdanie [high C].
Dromos Begiati
The adjustment to equal temperament is referred to as dromos Begiati or equal-tempered Begiati mode (or Begiati*) and occurs as illustrated in the following figure. All the characteristics of the corresponding microtonal mode are preserved, with the attraction E –> Eb occurring more frequently in the dromos than in the mode.
Examples
Begiati rarely appears as an independent mode; however, its description remains significant, as it can emerge during improvisations or in interactions with other modes.
This excerpt is from my book The Theory of Rebetiko, where I delve into the modal system of Greek music as it relates to the rebetiko genre. To access the complete text—including detailed discussions, tables, illustrations, and musical transcriptions of the examples—visit this page and explore the rich world of Greek modal music.
