The dougkiach1 (ντουγκιάχ) element is constructed on the model of the soft diatonic scale starting from the dougkiach position [D], which serves as its theoretical basis, although it is also transposed to other positions. Dougkiach finds its counterpart in the Ottoman hüseynî element and takes its name from the position of its basis on dougkiach [D].
It is common practice to refer to all instances of dougkiach as a tetrachord under the name ousak (ουσάκ). Ousak finds its counterpart in the Ottoman uşşâk element and takes its name from its use of the ousak position [E 1 comma flat]: it is notated on the staff like a standard segkiach [E 1 comma flat], although its pitch actually falls between dik kiourdi [E 4 commas flat] and segkiach [E 1 comma flat].
In staff notation, a theoretical intervallic structure of 8·5·9·9 commas for dougkiach and 8·5·9 commas for ousak is defined, classifying them as soft diatonic elements. The sub-basis lies 9 commas below the basis.
The II degree of dougkiach and ousak functions as a fluctuating degree: its pitch is not fixed, but varies according to the mode, the position of the element, and the characteristics of the phrases. It is also commonly subjected to descending attraction in descending phrases and/or in phrases gravitating around its basis.
The adjustment of dougkiach and ousak to equal temperament is referred to, respectively, as the equal-tempered dougkiach element (or dougkiach*) and the equal-tempered ousak element (or ousak*), and occurs as illustrated in the following figure.
Begiati (μπεγιατί), chouseini (χουσεϊνί), or ousak (ουσάκ) in Mavroidis 1999; dougkiach in Tsiamoulis 2010; chouseini in Voulgaris & Vantarakis 2007. ↩︎
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.
