Chitzaz Mode
Basis / Final: D
Incipit: D or G (tetrachordal form); D, F#, or A (pentachordal form)
Elemental structure: 4x-chitzaz on D + 5x-rast on G (tetrachordal form); 5x-chitzaz on D + 4x-ousak on A (pentachordal form)
Extension: 5x-rast on low G
Sub-final: C
Dominants: G (tetrachordal form); A (primary), F# (secondary) (pentachordal form)
Attractions:
- G↝G#, in phrases gravitating around the dominant A;
- B 1 comma flat↝Bb, nearly systematic in descending phrases, in phrases that do not extend over high C, and in phrases gravitating around the dominant A; less commonly, this attraction can be permanent and also occur in ascending phrases leading to high D: this phenomenon can be described as Chitzaz with atzem [Bb].
Dromos Chitzaz
The adjustment to equal temperament is referred to as dromos Chitzaz or equal-tempered Chitzaz mode (or Chitzaz*) and occurs as illustrated in the following figure. All the characteristics of the corresponding microtonal mode are preserved.
Examples
- Argiles (verse)
- Baglamades (coda)
- Ego ime i bolsevika
- Feretzes
- Ferte preza na prezaro
- Gia na xeris (verse)
- I pentamorfi
- Manolis o chasiklis
- Mastouria (instrumental)
- Mes ston teke tis Marigos
- Mia Smirnia stin Kokkinia (instrumental)
- O prezakias
- Pali mou kanis ton vari (verse)
- Thelo apopse na glentiso (verse)
- Ximeroni ke vradiazi
This excerpt is taken from my book The Theory of Rebetiko, in which I explore the modal system of Greek music as it pertains to the rebetiko genre. To access the full text—including in-depth discussions, tables, illustrations, and musical transcriptions of the examples—visit this page and immerse yourself in the rich world of Greek modal music.
