Greek Music & Beyond
Kiourdi: mode and dromos
This article is an adaptation from the book The Theory of Rebetiko by Carmelo Siciliano
Kiourdi mode
The Kiourdi mode has its theoretical basis and final on D, where the fundamental element 4x-kiourdi (for the tetrachordal form) or 5x-kiourdi (for the pentachordal form) is based. This mode has no fixed incipit, which may occur within the fundamental element (on D or A). The elemental structure is completed by a 5x-rast on G (for the tetrachordal form) or a 4x-ousak on A (for the pentachordal form). The range can be extended by a 5x-rast on low G, establishing C as the mode’s sub-final.
Kiourdi mode — CarmeloSiciliano.com
The modal dominant is G in the tetrachordal form and A in the pentachordal form. The attraction B 1-comma flat to B flat is 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 (atzem = B flat) or Kiourdi atzem.
Kiourdi mode, dominants and attractions — CarmeloSiciliano.com
Dromos Kiourdi
The adjustment to equal temperament is referred to as dromos Kiourdi and is realized as illustrated in the following figure.
Dromos Kiourdi — CarmeloSiciliano.com
Dromos Kiourdi atzem — CarmeloSiciliano.com
This article is an adaptation from the book The Theory of Rebetiko — a complete study of the Greek modes used in rebetiko, with musical examples and analysis.





