The Bouselik (Μπουσελίκ) mode has its theoretical basis and final on dougkiach [D], where the fundamental element 5x-bouselik is based, giving the mode its name. This mode is not characterized by any specific incipit, which may occur on dougkiach [D], tsargkiach [F], or chouseini [A]. The elemental structure is completed with a 4x-kiourdi on chouseini [A]. The extension is possible with a 4x-chitzaz on chouseini asiran [low A], making nim zirgkioule [C#] the sub-final of the mode.
The interaction of Bouselik with Tsargkiach or Sazkiar transposed on tsargkiach [F] is so frequent that it can be regarded as an intrinsic characteristic of Bouselik, rather than an interaction phenomenon. Tsargkiach or Sazkiar phrases may either precede or follow Bouselik phrases; in any case, the phrases always conclude with Bouselik, and thus with its final dougkiach [D].
The primary modal dominant is tsargkiach [F], and/or chouseini [A] when Tsargkiach or Sazkiar on tsargkiach [F] phrases do not occur; the secondary dominant is gkerdanie [high C] during Tsargkiach or Sazkiar on tsargkiach [F] phrases. In the context of the interaction with Tsargkiach and Sazkiar on tsargkiach [F], the following attractions may occur:
atzem –> evits [Bb –> B 1 comma flat], in phrases gravitating around gkerdanie [high C], dominant of Tsargkiach and Sazkiar on tsargkiach [F];
tiz segkiach –> souboule [high E 1 comma flat –> high Eb], nearly systematic in descending phrases.
Sometimes, Bouselik phrases may be preceded by a 5x-chisar on chouseini [A], where the incipit occurs, and then continue with Bouselik. It is possible to describe this phenomenon as Chisar Bouselik (Χισάρ Μπουσελίκ); the name is derived from the phrases on the 5x-chisar that precede Bouselik.
Dromos Bouselik (& Chisar Bouselik)
The adjustment to equal temperament is referred to as dromos Bouselik or equal-tempered Bouselik mode (or Bouselik*) and occurs as illustrated in the following figure. All the characteristics of the corresponding microtonal mode are preserved. The same applies to Chisar Bouselik as well.
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.
