Kiourdi Mode
Basis / Final: D
Incipit: D or A
Elemental structure: 4x-kiourdi on D, 5x-rast on G (tetrachordal form); 5x-kiourdi on D, 4x-ousak on A (pentachordal form)
Extension: 5x-rast on low G
Sub-final: C
Dominants: G (tetrachordal form) or A (pentachordal form)
Attractions:
· 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 Kiourdi with atzem [Bb].
Dromos Kiourdi
The adjustment to equal temperament is referred to as dromos Kiourdi or equal-tempered Kiourdi mode (or Kiourdi*) and occurs as illustrated in the following figure. All the characteristics of the corresponding microtonal mode are preserved.
Examples
- Apo kato ap’ tis domates
- Argile mou giati svinis (verse)
- Baglamades (instrumental, verse)
- De me toubaris
- Dodeka chrono koritsi
- I dio seretes
- Mas kinigoun ton argile
- O xemialismenos (instrumental)
- Psila ti chtizis ti folia
- Se mia mikroula (verse)
- Thelo na pinis na methas (verse)
- Tora pou ‘chis paradakia
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.
