The Ousak (Ουσάκ) mode has its theoretical basis and final on dougkiach [D], where the fundamental element 4x-ousak is based, giving the mode its name. This mode is not characterized by any specific incipit, which usually occurs on dougkiach [D]. The elemental structure is completed with a 5x-bouselik on neva [G]. The extension is possible with a 5x-rast on gegkiach [low G], making rast [C] the sub-final of the mode.
The modal dominant is neva [G]. The following attractions may occur:
segkiach –> kiourdi [E 1 comma flat –> Eb], though rare, in descending phrases and/or in phrases gravitating around dougkiach [D];
atzem –> evits [Bb –> B 1 comma flat], though rare, in ascending phrases leading to mouchagier [high D] and/or in phrases gravitating around gkerdanie [high C].
Dromos Ousak
The adjustment to equal temperament is referred to as dromos Ousak or equal-tempered Ousak mode (or Ousak*) and occurs as illustrated in the following figure. All the characteristics of the corresponding microtonal mode are preserved, with the attraction E –> Eb occurring more frequently in the dromos than in the mode.
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.
