Zorba The Greek - Song Only - Version from Lock Stock - YouTube Zorba The Greek - Song Only - Version from Lock Stock Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Mar 16, 2010 zorba the greek version from Lock Stock Category Greek music - Zorba the Greek - YouTube Greek music - Zorba the Greek Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Dec 10, 2007 Zorba the Greek Bouzouki - the famous Greek bouzouki Greek bouzouki The famous Greek bouzouki The bouzouki is by far the most recognizable and distinctive Greek music instrument.

Bouzouki is written as mpouzouki (μπουζούκι) in Greek, but the true sound of the word is closer to bouzouki than mpouzouki. Bouzouki is a stringed instrument, which belongs to the family of the long-necked lutes. Instruments of a similar shape can be found in Pre-Hellenic civilizations (Egypt, Assyria, China, India). In ancient Greece, an instrument similar to bouzouki was known under the name "pandouris", and from Byzantium onwards, it became known as the "tambouras". On display in the National Archaeological Museum of Greece is the tambouras of General Makriyiannis, hero of the 1821 Greek revolution. This tambouras bears the main morphological characteristics of the bouzouki used by the rebetes playing rebetika songs . Greek Bouzouki The bouzouki has a pear-shaped sound-box and a fretboard of about 60-70cm in length, populated with metallic frets. It has three double metallic strings (each pair tuned in unison).

Its basic tuning is D-A-Doct. There are variations such as the G-A-D or A-E-Aoct., which is not currently used. At some point in the 1960s, a fourth string was adopted into the bouzouki's configuration. Regarding the intervals, the new D-A-F-C tuning became identical to the first four strings of the traditional guitar. The bouzouki is played with a plectrum (pena or pick), which, in older times, would have been made from a bird's feather, a horn or the bark of a cherry tree. Greek bouzouki is different from the Irish bouzouki that looks like a mandolin. Bouzouki History The history of bouzouki is actually intertwined with the rebetika songs, which is among the most distinctive Greek music sounds. The culture of rebetika songs started blooming in the hashish venues and prisons of the port towns in Asia Minor and the Aegean Sea islands at the early years of the 20th century, and reached its peak later during and between the main World Wars.

In the first years the assembly would include the singer, two players of bouzouki that played simple chords at first, and of course the baglama, which is a small version of the bouzouki. Its sound and rhythm is little different than bouzouki, being more of a staccato rhythm. At first, though, it was always accompanying the bouzouki. These rebetika songs had lyrics about hookers and pimps, drugs, love, money, death and everything that could be associated with everyday life. The chords of the songs were based on a wide range of rhythms and ancient modes, and stood out due to the improvisation of their introductions known as taxims. The bouzouki was reintroduced and brought to Greece by immigrants from Asia Minor and Turkey in the early 1900’s. In the early part of the 20th century the “Rebetes” played the Bouzouki and the baglamas, later they added the guitar for chords. The baglamas is a smaller version of the bouzouki. The baglamas is tuned (re,la,re) exactly like the (trichordo) bouzouki.

The baglamas was an easy instrument to carry because of its small size. Today the baglamas is used to add color and to give a precise, distinct, vibrato sound to the composition. Influential bouzouki players Some of the most known early bouzouki players also called rebetes, were Ioannis Papaioannou and Márkos Vamvakáris. The somewhat harsh reputation of rebetika songs finally softened a few years later, allowing bouzouki to enter the mainstream Greek music. Greece had the chance to introduce its most important player, who was both a master player and a prolific composer of music, the famous Vasilis Tsitsanis. It was Tsitsanis the one who enhanced the known rhythms with a more elaborate and modern chord progression adding a a western sound and music sensibility, writing lyrics that touched the hearts of his audience more, having a greater appeal to the Greeks compared to the heavy and roughneck lyrics and tales created by former composers and lyric writers. Tsitsanis made bouzouki more recognizable and more acceptable to the Greek society. Speaking on modern words we could say that he was the first star of the bouzouki in Greece.

Later on, when he died in 1983, more than 200 thousand people went to his funerals, most of them holding baglamas and bouzoukis in the streets of the city. There were, though, many bouzouki virtuosos who took over Tsitsanis' legacy. One of them was Manolis Hiotis, who made a rather impressive addition to bouzouki: he added a 4th course of strings to the instrument, making a huge change to its sound and tuning to CFAD. This was a more modern arrangement that allowed bouzouki to produce a different, more appealing sound, giving the composers the chance to compose in a more flexible and diverse way as well. The bouzouki has been persecuted by the authorities in the past century and part of this century as they had associated it to the criminal society of Greece, (unfairly and wrongly). It is purely a "sole" instrument and even though various qualified teachers have written many books, it may never be learned by just anyone.

By this statement we mean that even though everyone may have the ability with proper training, to make music with a bouzouki, few of us posses the ability to be able to perform with it and to relay through the instrument our most inner feelings, thoughts, and emotions, which change from moment to moment. In a nutshell it is the "mirror" of our soul. A good bouzouki player must be able to produce clean notes at a higher speed than other stringed instruments. It takes years of studying and countless hours of constant practicing on a daily basis. Once a player commits to playing the instrument he may not be able to slack off and ignore daily practice time, as this will result in a decline in his dexterity and agility. From the bouzouki with 3-strings to 4-strings The 3-chords (trichordo) bouzouki, has three pairs of strings, each pair tuned the same. It is tuned to “re”, “la”, “re”, (d,a,d,) The (re) string is the basis for the melody, while the A and second D strings are used for playing chords. The first bottom (D) string is known as "Kantini".

The sound of the top (D) string is known as "Bourgana". In the olden days, the bouzouki was tuned to accompany the different modes (styles of songs) being played. This type of tuning is called "Ntouzeni" (Du-zeni), and is essential to preparation to playing. The bouzouki is played with a pick, but in the past it was played with a feather or a piece of wood carved from a cherry tree. This helps to create the distinctive sound of bouzouki music. In the 1950’s the bouzouki with four pairs of strings was introduced. The three strings limited the musician to playing the rebetika songs only. The four strings gave a new dimension to the capabilities of the instrument. The new bouzouki that was developed in the fifties is named "tetrachordo" and has four pairs of strings that are tuned (c,f,a,d). The chords played on the bouzouki are the same as a guitar. A distinct characteristic of the bouzouki is the taxim.

Bouzouki and Bouzoukia in Greece This music instrument has been combined with the history of the Balkan Peninsula, and particularly Greece, for many years and is part of its traditional music. The music and the clubs that play it, are referred to as bouzoukia (deriving from the plural of the word bouzouki – in Greek bouzoukia, μπουζούκια), after the primary instrument involved. For sure, one would wonder how come the Greeks ended up calling the clubs that play a particular type of music with an instrument's name. Accidental fact? Bouzoukia are the main entertainment for Greeks because they represent a need impressed in the lyrics of a famous laiko song: “mia zoi tin ehoume ki an den tin glentisoume...” meaning “We have only one life, so we have to celebrate it…” This is how & why bouzoukia are born. From the need of Athenians to let themselves go, nibble, drink and dance while listening to their favorite music live from their favorite artists.

This is how the most famous and distinctive Greek music instrument actually gave its name to the most common and popular way of going out at night to have fun with friends. However, since Greeks tend to combine music with all aspects of their life, you can hear people going to bouzoukia to forget - even temporarily- the loss of a big love, a divorce, anything related to love and personal feelings. OPA! The world of Greek dance - News - Greek Gateway OPA! The world of Greek dance Tweet FACT: Greeks love to (Greek) dance. Whether itâs fast, slow, or medium paced, we canât help ourselves but get off our seats and join a circle of friends to the sound of Greek music. It doesnât matter if we know the steps or not. Weâll learn. Oftentimes, when somebody doesnât know how a dance goes, they learn by mimicking the person in front of them in the circle. Other times, theyâre in too euphoric a state to care. All they want to do is move to the sound of a high-pitched bouzouki. And how can you blame them?

Once youâve learned the steps â either by taking classes or by practicing on your own â youâre pretty much hooked. The reason being, these are the dances that bring Greeks together socially. At weddings, engagement, baptisms, and certain religious holidays, we celebrate by eating, drinking, and dancing. Greek dance has been around for a very long time. The styles and meanings of each dance vary depending on what island or mainland village (area) youâre from. There are over 4,000 traditional dances that come from all around Greece, as well as what are called Pan Hellenic dances which have been adopted by Greeks worldwide (e.g. Kalamatiano, Tsamiko, etc.). I will make mention of these Pan Hellenic dances in the paragraphs and videos that follow, but what I would also like to focus on are the dances you may not know much about. Iâm talking about dances like Pentozali and Tik. Heard ofâem? So without giving away too much, let us now delve into yet another arbitrary list compiled by yours truly.

Ladies and gentlemen, I bring to you, a mix of six popular and not-so-well-known Greek dances. Let us beginâ¦ KALAMATIANO The Kalamatiano is by far the most popular dance in all of Greece and is commonly used at festive gatherings by Greeks worldwide. It got its name in the 19th century from the town of Kalamata in southern Greece, and was originally called Syrtos O Peloponisos. The dance is performed in a circle going in a counter-clockwise direction and consists of twelve steps. Take a lookâ¦ TSAMIKO The tsamiko is an ancient warrior dance which was very prominent in the 1821 era of Greek history during the countryâs war of independence. The pace of the dance follows a slow tempo and focuses mostly on style and attitude, rather than steps. During the tsamiko the leader of the line (moving in a counter-clockwise direction) commonly performs spirited leaps near the end of the song. This requires strong arms by the person dancing beside him, as the two are holding hands throughout the performance. The video below of dudes in dresses will show you how itâs done.

ZORBA The Zorba has got to be one of my favourite Greek dances of all time because of the sequence of moves involved at the beginning of the song. The skill level required to execute this dance is very high, but once you get the hang of it, youâre flying. Without getting too complicated, let me just say the best way to describe this dance is to compare it to a five-speed car. It starts off nice and slow, and before you know it youâre cutting up a rug. The dance was choreographed in 1964 for a performance in the famous movie Zorba the Greek, which tells the story of a young Greek man who is looking to break away from the normalcy of his everyday life with the aid of the mysterious Alexis Zorba. Hereâs a look at a clip from the movie where the two men get their dance on. OPA! And if that didnât impress you, then this will. Hereâs footage of a Greek flash mob pulling off one of the largest Zorba dances ever, at the Ottawa Greek Festival in Canada. This is the definition of pure awesomeness!

PENTOZALI If youâre looking for a workout, then the Pentozali is for you. This dance was originally designed to keep Cretan soldiers in shape, and pretty much consists of two speeds: fast and faster. As a matter of fact, half the dance is performed in midair because of the amount of hopping involved. In order to execute a perfect rendition of the Pentozali, you must make sure that you are holding on to your neighbouring dance partnerâs shoulders, which can sometimes be strenuous. The dancers traditionally wear breeches, which are worn tight around the waist and thighs, and baggy around the hips. Hereâs a video of six palikaria showing us how itâs done! And the good news is, if it doesnât work out for these guys down the road, Iâm sure they will have just as successful a dancing career as members of Riverdance. Take it away, boys! ZEIBEKIKO The Zeibekiko is another very popular Greek dance, and is commonly referred to as the dance that washes all of your sorrows away.

The name of it derives from the Zeibek warriors of Anatolia, and is danced by one person at a time with absolutely no choreography. In other words, youâre free to make it your own, which is basically why it never gets old! Originality during a Zeibekiko ranges from dancing around a glass of wine during a song, to getting on a table and having onlookers raise it (and you) to the air. In the olden days, if a second dancer got up to dance while somebody else was performing, it was viewed as a sign of disrespect. However, nowadays it is considered proper Zeibekiko etiquette to stop dancing midway through a song to allow somebody else a turn to show off their moves. Hereâs a clip of perhaps one of the best Zeibekika Iâve ever seen. Iâve featured it before on the Morning Frappe blog, but thatâs because I just love it so much! Here we go! TIK (DIPLO) Tik is a dance which originated from the Pontic Greeks who lived near the Black Sea. Like many of the other dances, Tik was almost always performed in order to motivate soldiers before going into battle.

The dance is complimented by the sounds of the Pontic Lyra , and is performed in six different styles, all of which consist of lots of stutter-stepping. Hereâs a look a one style known as Tik Diplo. Try and keep upâ¦ Hope you enjoyed that! Tell us which dances you know, which dances you want to learn, and which dances we may have missed (we know there are many). By Staff Writer â Jonathan Bliangas Follow Jonathan on Twitter @jbliangas Greek music, Sounds of Greece Some Greek Dances Some Greek Dances Part of the Sounds of Greece experience is sharing with and teaching guests the basics of several Greek dances. The origins of many traditional dances are as ancient as Greek civilisation itself. The ancient Greeks’ love for the dance was such that they believed it had divine origins. Something so beautiful was surely sent by the gods, they reasoned. There are very many Greek dances still performed today, some having become “national” dances while many others are popular regionally or locally. Greek dances may be divided into two categories: traditional folk and popular folk dances.

Traditional Folk Dances Traditional folk dances come in many varieties, but can be subdivided into two basic types: (a) the trailing dances, and (b) the leaping dances. They are proud, stalwart dances, performed in a semi-circle. When danced in ethnic costumes they are very colourful and inspiring. The best known of these dances are the kalamatianos and the tsamikos. Kalamatianos The kalamatianos, said to be of ancient origin, is undoubtedly one of the most popular dances in Greece and is danced throughout the country by both men and women. As its name indicates, the dance originated from the province of Kalamata in Southern Greece, where the world-famous kalamata olives come from. The kalamatianos is danced in a trailing semi-circle to the unfamiliar rhythm of 7/8. It consists of twelve basic steps upon which all the variations are based. The variations are usually performed only by the first, or lead, dancer, who is at the head of the line on the extreme right, facing into the semi-circle. Tsamikos The tsamikos is an imposing dance whose rhythm is one of grandeur.

Its variations consist of both smooth and leaping steps, which give the dance a triumphant air. In earlier times, the tsamikos was danced in the mountainous areas of Epirus, in Northern Greece, only by men. Today, it is enjoyed throughout Greece by both men and women. The tsamikos also became the favourite dance of the mountain fighters and rebels (Klephts) of the Greek Revolution of 1821 against the Ottoman Turks. It is danced in a semi-circle, with the leader performing variations while the others follow the basic steps. The deliberate, grandiose nature of this dance stirs considerable excitement in the individual, especially the leader. The peak of the dance exhorts the leader to perform outstanding gymnastic and acrobatic feats. Popular Folk Dances Popular folk dances include the hassapikos, hassaposervikos, and the zembekikos. While they are called popular folk dances they actually have little to do with the folk dances of the past. Before World War II, they were performed in rowdy taverns by a tough breed of men called manges. They were grim, unsmiling individuals who were often outside the law.

With the passage of time these dances have become fashionable, and are now danced everywhere by all classes of Greeks and visitors - both in Greece and overseas. The syrtaki is another dance that has also become popular over the last 30 years. Hassapikos The hassapikos is performed by two or more dancers who execute identical steps. It is danced in a straight line, with each dancer holding the shoulders of their partners. It has many variations and is a stunning dance when performed well. We know very little of the origin of the hassapikos except that it was an ancient dance performed by the Greek butchers of old Byzantium. (The Greek word for butcher is hassapis, hence the name). Before World War II the dance was performed only by men, mostly on the islands and ports. But today, with bouzouki music so popular, the hassapikos is also danced by women and has become an international dance. Hassaposervikos The hassaposervikos is a continuation of the hassapikos in a more intensive and vivid rhythm. Though its history and origin are little known today, it is believed to be a blend of the hassapikos and a Serbian folk dance.

The dancers stand in a straight line, holding shoulders as in the hassapikos. When space is limited and there are many dancers, they often form a circle and dance facing inwards. The hassaposervikos is a relatively easy dance to learn. It is also fast, frenetic and fantastic fun! Zembekikos The zembekikos is believed to be an ancient dance of the Thracean Greeks who emigrated to Asia Minor from Thrace. The zembekikos was originally danced only by men, but today it is also danced by women. It is a very free dance, usually performed by a single dancer or by a couple facing each other. Dancers improvise according to their imagination and feelings, following the distinctive, irregular, driving rhythm of the music as best they can. In performing the zembekikos the dancer dances only for himself, as though no one exists around him. It is recognised as a "heavy" dance, full of emotion and self-expression.

The zembekikos is often known in tavernas as "the ouzo dance" - this derives from the feat performed by the dancer who picks up off the floor, with his mouth, a shot glass of ouzo and knocks it back without any hands being placed on the ground or the glass! Syrtakis (“Zorba’s Dance”) The syrtakis is a dance form made popular by the sensationally-successful Mikis Theodorakis soundtrack to the classic film Zorba the Greek. It starts with the steady rhythm of the hassapikos and speeds up into a fast and intense hassaposervikos. You simply cannot leave any Greek function without having joined in Zorba's dance - just as the hero of the film danced on a far, far away beach on the sunny island of Crete! Greek Music in Movies | Greek songs in films Return to Content Greek Music in Movies Greek Music in movies has been more popular abroad than most Greeks believe; in fact, many foreign movies have enhanced their story with Greek music and songs that have gained international recognition. Movies have been the perfect vehicle to make Greek Music known worldwide.

Up to a point, most foreigners believed that Greek music was a blend of Eastern sounds with heavy Byzantine notes and rhythms. This is not far from the truth, since the traditional Greek music has a long history and consists of many genres, however, it would be unfair to limit Greek music that much. Instrumental Greek Music in Movies Greek music has been heard in many movies abroad recently. Foreign directors have chosen popular instrumental themes and new compositions for their films. Numerous Greek Composers were catapulted into fame, composing music for movies, which made Greece and the Greek spirit known worldwide. Vangelis, the famous Greek Composer in the movies You will probably remember the film 1492: Conquest of Paradise, and its score that became a huge success. The music was composed by Vangelis, one of the most famous Greek Composers abroad. Imposing and mighty, the main musical theme of 1492, known as Conquest of Paradise, remained as a classic theme, even though the movie itself was a box office failure. Vangelis has composed the main theme for another foreign movie, the Chariots of Fire .

The main theme of the British Film won the Oscar for Best Original Music Score and became one of the biggest hits in International Charts, staying on the top for five months in 1982. The chariots of fire made Vangelis and the Greek Music known, since many critics attributed the romantic piano and synthesizer washes of the theme to the Greek spirit of the composer. Blade Runner and Missing were two films made in 1982, with the Music by Vangelis: the Greek composer managed to enhance the film with the proper themes, dressing the melancholy and isolation of the movie's subject. Missing was also a film with instrumental Greek Music, with the homonym theme being the most famous one. Mikis Theodorakis in the movies - Zorba The Greek Mikis Theodorakis, one of the most renowned and respected Greek Composers, has dressed numerous foreign movies with his music. The most evident and characteristic Greek Music theme composed by Mikis Theodorakis is of course the theme in Zorba the Greek . Obviously the syrtaki dance by Antony Quinn along with the vibrant music by Theodorakis became the quintessential Greek Music symbols.

The theme from Zorba is still the most popular Greek music theme played in Greece and abroad, and is always welcomed when played and danced live. Many people still think that Greeks dance syrtaki every day, but there is no reason to deny that Greeks love dancing anyway! Mikis Theodorakis composed many more music themes for movies; one of the best known themes is heard in the movie Honeymoon. Known in Greece as "An thimitheis t' oneiro mou", the song "Honeymoon" was recorded by the Beatles and became a hit in Europe. For the lovers of Greek tragedies, Theodorakis composed an amazingly powerful music theme in Phaedra, the movie with Melina Mercouri and Anthony Perkins. Theodorakis has associated his name with many more movies; Serpico, with Al Pacino, features a lovely Greek music theme, as well as the movie "Z" by Costas Gavras. In Shirley Valentine, you can hear a lovely typical Greek music theme with bouzouki , called Arrival at Myconos.

Manos Hadjidakis - Another Oscar for the Greek Music Manos Hadjdakis is by default one of the most beloved Greek Composers in Greece and abroad; he became internationally known when in 1960 he won the Oscar for Best Song with the song " Ta paidia tou Pirea " by Melina Mercouri. Featured in the movie Never On Sunday, the song Ta paidia tou Pirea became the ticket of Greek Music to travel worldwide, giving a boost to the perception of Greece and the Greek soul. Both Manos Hadjidakis and Melina Mercouri became known abroad almost instantly and they presented an edited version of the motion picture on stage in the US and Europe, with the name Ilya Darling. Hadjidakis' music and Greek music in general became popular and foreigners started buying Greek albums when visiting Greece, seeking for the elements that make Greek music so unique. Other Greek Songs in Films One of the most recognizable Greek songs included in a big Hollywood hit was " Misirlou ", heard in the film Pulp Fiction. Even Greeks were surprised to hear the new version of this song Misirlou, which was completely transformed, with a more electronic and new age sound.

Later on, in Mightly Aphrodite, Woody Allen used a very known song composed by Giorgos Zambetas, the song "Horos Tou Sakena", and a song by Vassilis Tsitsanis, the song "Neo Minore". Hadjidakis’s song “Piraeus’ Children”was used in Jonathan Nossiter’s film “Sunday” in 1997. Recently, Martin Scorcese took over the production of the Film Nyfes (Brides) along with Pantelis Voulgaris. Except for a lovely story and filmaking, the movie has an excellent OST, composed by Stamatis Spanoudakis. Truly representative of the Greek music of the 20s, "Nyfes" score is an absolute must - hear if you are a true Greek music lover. 2 Responses to Greek Music in Movies Latosha Bilazzo November 30, 2010 at 16:32 # Hey, just discovered this site about Greek music and I have to admit that it seems great.

Greek Instruments ~ Greek Folk Music and Dance ~ John Pappas ~ Ioannis Pappayiorgas ~ Greek Dance Greek Music Klarino Bouzouki Greek Instruments Greek Clarinet Lyra Pontos Pontian Lyra from Thessaloniki, 1970. The LYRA of the Greeks of Pontos (Black Sea region of Asia Minor) is also known as the Kementse. It is played like a violin (violi) with a primitive style bow, but the musicians hold the lyra in an upright position. Sometimes they rest the instrument on their knee when they are sitting, and sometimes it is held out in front of them. They sometimes even dance in front of the dancers while holding the lyra in that way. The lyra usually has three strings. There are several tunings. Common tunings include: a-a-d, e-a-d, and many others. Since the instrument was often played alone, the tuning was often done according to the preference of the musician and his voice's range. Sometimes percussion instruments like a defi or daouli might be played to accompany the lyra.

The musicians usually play two or all three strings at the same time, utilizing the open string(s) as a sort of drone to the melody. Sometimes they play the melody on two strings at once, giving a primitive harmony in fourths. They tend to play with many trills and embellishments, and with the unusual harmonies, the Pontian music has a very unique sound. Lyra Crete Cretan Lyra by M. Stagakis, 1981. Carved Swallow; Back of Cretan Lyra by M. Stagakis, 1981. The Cretan lyra is the most popular melody instrument on the island of Crete (Kriti). It is a bowed instrument similar to the violin (violi), and it usually has three strings which are tuned in fifths. The lyra players play the lyra in an upright position. They sometimes rest it on the kneee, or, if they are standing, they will put one foot up on a chair and rest the lyra on the thigh. They have an unusual way of fingering the strings.

Instead of pressing the strings with the finger tips (like violinists or guitarists do), they press against the sides of the strings with the tops of their finger nails. Sometimes the lyra players play unaccompanied, and it was not uncommon for the bow to have small bells attached to lend a rhythmic accompaniment to the melodies as the lyratzis played his lyra. The most common instrument used to accompany the lyra is the Cretan laouto, which is typically larger than the mainland laouto and tuned lower. The Cretan laouto players often play melodies with the lyra rather then just chords and rhythm. Sometimes two laoutos accompany the lyra, with one playing melody and the other playing rhythm and chords. Outi Outi. The outi (ud) is a stringed, lute type instrument that is used throughout the Arabic world. It originated with the Arabs. The Greek outi has mainly been used by the Greeks from Thrace and Asia Minor, which is now part of Turkey.

When the Greek population was forcibly moved from their homelands in Asia Minor such as Smyrni (Izmir), Konstantinoupoli (Istanbul), and Kappadokia, musicians brought these instruments into mainland Greece. It is very popular in the music of Smyrna and the Poli, and is often played along with a violi (violin), a kanoni, and a hand drum like the toumbeleki. Sometimes it is played along with a klarino and a santouri also. Baglamas Baglamas; Peiraieus, circa 1950. Made by Kyriakos Lazaridis, once owned by Papaioannou. The baglamas was often favored in the early part of the 20th century as a solo instrument for men in jail or for a small group of "rebetes" to play for singing and dancing. It is a smaller version of the bouzouki and is tuned re, la, re (D, A, D), but an octave higher than the bouzouki's tuning.

The baglamas can be used as a melody instrument and can be easily made from wood or other material for the back (including tortoise shells, gourds, or carved solid wood). A saying that the old "rebetes" used to quote was: "Eho to baglamadaki, kato ap' to sakaki." "I have my baglamadaki under my coat." This refers to the fact that they would carry the small instrument tucked into the back of their belt, under the back of their coat tail so that it did not show. If they found the occasion to play for their own expression, or for some friends, they could take the baglama out. However, if the situation was not appropriate for a good "kefi" (mood), they could keep it out of sight. It also has been used as a chord and rhythm instrument in small "bouzouki" bands. In this role, it is often played with a simple, driving rhythm giving a high pitched, insistent beat to back up the lead bouzouki. It thus rounds out the sound of the bouzouki band. Tzouras New Tzouras.

The tzouras is a long necked string instrument which is in the bouzouki family of instruments. The tzouras is also called a tambouras, and is similar to the ancient and Byzantine forms of the long necked stringed instruments. The body of the tzouras is smaller than that of a bouzouki. In the past, the body of the tzouras was carved from a solid piece of wood, often mulberry wood, and they are still made this way today, although the body of the instrument is often made of separate staves (called "douyies" in Greek) just as the bouzouki is made. Like the bouzouki and the baglamas, the tzouras (tambouras) was a favorite instrument of the rebetes in rebetiko music. For several years it was not as popular, but it has had a renaissance in the past few years. Almost all bouzouki luthiers now are making tzourades, and it is a very popular instrument today. It is tuned exactly like the bouzouki, with three pairs of strings tuned D, A, D.

It has a twangier sound than a bouzouki, but the style of playing is like old style bouzouki and lagouto playing, in that the musician periodically picks all the strings as a sort of drone as he plays the melody on the higher D string. Another similar instrument popular in Crete today is the boulgari, which is in the same tambouras family of instruments. It is played and tuned in the same way as the tzouras. And like the old lagouto and bouzouki/tambouras style of playing, old timers often used an eagle feather as a pick. Finally, the tzouras and the baglamas make a great pair of instruments for old traditional rebetika songs. Bouzouki Bouzouki by Zozef, created for Papaioannou ca. 1940. The bouzouki is the main or lead folk instrument found in the taverna style or rebetiki music of the seaports and urban areas of Greece. The bouzouki is the descendent of ancient Greek and eastern instruments.

In ancient times the name of this long-necked string instrument was the "trichordo" or "three stringed instrument." During the Byzantine period, it had many names including "tambouras," "yiongari," "pantouri," and others. It has three pairs of strings tuned re, la, re (D, A, D). In the 1950's, a bouzouki with four pairs of strings tuned to the intervals of the high four strings of the guitar was developed. It is tuned down one key from the guitar's tuning to (C, F, A, D). The make up of the typical bouzouki musical group has varied and changed over the years and has included many types of instrument groupings. A very common musical group might be one or two bouzoukia, a baglamas, and a kithara (guitar). Sometimes a violin, or an accordion, a piano, or other instruments would be played as well.

Similar instruments that are played like the bouzouki in this style of music are the tzouras (long necked, like the bouzouki, but with a smaller body), and the baglamas (a very small bouzouki). Santouri Santouri by A. Garavelis; Athens, 1981. The Santouri is a type of hammered dulcimer. It probably evolved from harp-like instruments such as the lyra of the ancient Greeks. It is a form of the psalterion of Byzantine times, and some ethnomusicologists attribute the name, santouri, to the word psalterion. It is played with two "hammer-like" sticks whose ends are wrapped in cotten. These hammers are similar in function to the small hammers which strike the strings of a piano. The piano probably evolved from these early hammered dulcimer type instruments. The santouri tuning tends to be chromatic, and this works will with the Greek modes. Another tuning used is the "tsimbalon" tuning which was popularized in Hungarian and Romanian hammered dulcimers.

The Santouri is popular with both the mainland "koumbania" which might include klarino, violi, lavouto and santouri, and the island folk group which might include a violi, lavouto, and santouri. The percussive sound of the Santouri lends a strong, rhythmic element to the group, but it also plays the melodies and chordal accompaniments. Lavouto Lavouto by Kopeliadis, ca. 1930. The lavouto (laouto, lagouto) is a stringed instrument in the lute family. It is related to the Arabic ud or the Greek outi, as well as to the European lutes. In Greek folk music, it is the largest plucked string instrument, followed by the tambouras/bouzouki, the tzouras, and the baglamas, from largest to smallest. This instrument has 4 courses of strings, or four double strings. It is tuned (from lowest to highest strings) C, G, D, A. The lower three pairs of strings consist of one wound, heavy metal string, and one unwound string.

The highest strings, the A, consists of a pair of unwound strings of the same diameter. There are three sizes of lavouta. The largest is found on the island of Crete, and it is often tuned lower than the tuning found in other parts of Greece. The medium size is the most common and is found all over Greece. There is also a slightly smaller size which is not as common. It is very good for playing melody along with the lead melody instruments. The lavouto is used in most regions of Greece, including the mainland and the islands. It can be used as a melody instrument or as a chord, rhythm instrument to accompany a melody instrument such as the klarino or violi. Sometimes the lavouto players will strum the rhythm by striking all of the strings while playing the melody on the higher strings. This gives a melody, as well as a drone harmony and a dance rhythm. Today, in the folk music of mainland Greece, most lavouto players play chords and rhythm, while on the island of Crete, the lavouto players play melodies as they accompany the lead instrument, the lyra. Wind Instruments (Aerophones) Floyera made by John in Kyparissia.

Tzamara Metsovon. The floyera is the Greek shepherd's flute. It is not a "whistle" type flute where the musician puts the flute into his mouth and blows like blowing a whistle. Instead, the musican blows across the open end or rim of the upper part of the floyera. In most areas of mainland Greece including Roumeli and Peloponnisos, the instrument is called the floyera. It can vary in length, but commonly the flolyera is about 12 inches long, more or less. In northern Greece they also have longer floyeres. In Epiros, northwestern Greece, these longer flutes are called tzamara. In Greek Thrace, northeastern Greece, they are sometimes called gavali (similar to the Bulgarian kaval). These longer flutes are usually around thirty (30) inches or so in length. The longer tzamara or gavali flutes have a different fingering and allow for playing half tones more easily that on the shorter floyera. Shepherds often play these, as they are fairly easily made by the musician himself.

They can be made from bamboo, or from a straight branch from a tree which has a pithy center that can be poked out easily. Sometimes, the shepherds would make the floyera from the bone of a large bird's wing (like the eagle's wing bone). These floyeres were said to have magical properties. The finger holes, usually six (6) on the top and one (on the bottom), but sometimes seven (7) on the top, could be burned into the bamboo or wood or bone body of the floyera. A piece of wire or metal the proper diameter would be heated to red hot in a fire and then the finger hole would be burned through. Sometimes, pieces of metal pipe would be used, and the shepherd would have a metal worker drill the finger holes to his satisfaction. I have even made floyeres myself from pvc or plastic pipe, and they play quite well. If you are interested in purchasing a handmade floyera or tzamara, please visit my "For Sale" page . Karamoudza Karamoudzes.

Before the klarino arrived in Greece (approximately 1830), the main instruments in the mainland of Greece were the double reed Karamoudzes and the Daouli drums. Variations of these instruments could be found in most regions from the north all the way to the south, and even on some of the islands. The Karamoudza is similar to the ancient Greek Avlos, which was also a double reed instrument. Drawings from ancient Greek vases show that musicians usually used some sort of a "lip guard" which helped them keep their lips from losing air as they played. Today, karamoudza players use the "kareli" or small wooden disk for the same purpose. Other names for the Karamoudza include: pipiza, zournadi, and zournas. They range in size from the small, approximately 5 or 6 inch zournadi to the large approximately 20 inch long zournas common in Greek Makedonia. In Peloponnisos and Roumeli, the pipizes or karamoudzes are usually about 12 inches long. Very old "flutes": Bone avloi (or auloi).

Avloi were double-piped reed instruments played in ancient times. An ancient statue featuring an avlos player. Avlos players would play to help athletes keep time while competing in the halma (or "long jump") event in the ancient panhellenic games. Thiambioli Crete A Cretan Thiambioli. The thiambioli is a very primitive clarinet type instrument. It is a single reed wind instrument played by shepherds, especially in Crete (Kriti). It is made from a piece of cane (like bamboo). One end is left closed, where the joint would be, and then a slice is made so that a thin "reed" is formed which can vibrate when that end is blown. (One can see how similar this is to the reed which is attached to a mouthpiece on a clarinet.) Then some holes are cut or burned into the instrument as finger holes. The bottom end is open. The thiambioli would seem to be a forerunner of the bagpipes and the early clarinets like the chalumeau. Tsabouna Crete A Cretan Tsabouna.

The tsabouna is the same as the bagpipe tsabouna from the Greek islands (see below), and similar to the Pontian bagpipe, askavlos. Sometimes the bagpipe type instrument is called askomantoura. However, sometimes the part that the player plays with his fingers is not attached to a bag, as is the case with this example. This "chanter" can be placed directly in the mouth and blown this way. Sometimes there is a bulbous mouthpiece place between the reed part. It acts as a sort of air reservoir. We can see that the reeds are made the same as the reed of the thiambioli, but the cylinder with the finger holes is made separately and can be much more sophisticated than the thiambioli. In fact, the reeds for the mainland gaida (bagpipe) are made in the same way. Tsabouna Kythnos Tsabouna from Kythnos; circa 1976. The Tsabouna is a type of bagpipe which is very popular on many of the Greek islands. It differs from the mainland bagpipe (or gaida) in that it does not have a separate, low-toned drone pipe.

Instead, the Tsabouna has double pipes that are fingered at the same time. In other words, the musician plays two pipes at the same time. On some islands one of the pipes has 5 holes, while the other one has only two. This gives a simple "moving drone" sound. On this bagpipe from Kythnos, both pipes have the same number of holes, and the result is a melody which is played in unison on two pipes at the same time. The interesting thing is that the two pipes are usually somewhat out of tune with one another, and this gives a very interesting sound. The Tsabouna on Kythnos is usually played by shepherds and it is accompanied by the small drum, the toumbi. Sometimes a laouto will play a simple open chord, rhythmic accompaniment to the Tsabouna. Gaida Kavala Gaida from Kavala; circa 1975. John plays a Thracian gaida at San Joaquin Delta College's 1977 campus dedication event. The Delta Hellenic Dancers perform to the music. The Greek gaida is similar to other bagpipes found in Balkan countries.

According to Anthony Baines, the bagpipe has been used by the Greeks since ancient times. The gaida has a single chanter pipe and one drone pipe. The reeds are single (like a clarinet reed). Gaides like this one can be found today mostly in northern Greece, including Greek Macedonia and Thrace. At one time it was found even in southern Greece. According to my grandmother, Kaliopi Petimeza Pappayiorga, she remembers the gaida when she was young (circa 1890's) in Arkadia (Peloponnisos). She pronounced the name as "gazhda." The gaida can be played unaccompanied, but percussion instruments are played when another musician is available. The favorite accompaniment for the gaida varies. In Greek Macedonia the daouli or toumbano (large drum) accompanies the gaida. In Greek Thrace, the defi or daires (small hand drum like a tambourine) accompanies the gaida. Klarino Five Albert System klarina: Keys of G, A, B flat, C, E flat.

Klarino is what the Greeks call the Greek clarinet, and it is the most popular lead melody instrument in the mainland regions of Greece. It is an Albert (or simple) system clarinet which is an older, more primitive version of the clarinet now common in classical and popular music in most of Europe and America. The Albert system klarino has fewer keys and has a different tone than the modern clarinet. The Greek "klaritzides" also play the klarino with a different style and sound than that used by classical musicians in Europe and America. The klarino in the key of "C" ("do") is a favorite of the old folk klaritzides (clarinet players), although the Albert Bb has become the most popular clarinet in recent years. They also use the A and G clarinets, which are lower pitched instruments, for some music. Drum Instruments (Membranophones) Daouli Daouli (shown with Karamoudza) from Zevgolateio, Korinthias. The Daouli is the two headed drum. The daouli player usually hangs the drum from a belt or strap over his left shoulder.

The right side of the drum has a lower pitched skin, while the left side has a higher pitched skin. Goatskins are Usually used for the drumheads. In my family's village of Kandyla, the tradition in the old days was to use wolf skin for the heads of the daouli. A friend from Epiros told me they used to use wolf skins for the defi (hand drum similar to a large tuned tambourine), and today they still favor dog skin. The right or lower side is struck with the "daouloxylo" or daouli stick, and the left or higher pitched side is struck with the "daouloverga" or daouli switch. The main dance beats are played with the heavier stick on the right side, while the decorative and "in between" beats are played with the light stick. Other names for the daouli, depending on the area, include toumpano, tymbano, or toumbi. This is from the ancient Greek word tympano which exists in English in the word "tympani" for the drum section in the modern classical orchestra, and the tympanic membrane for the ear drum.

These drums vary in size from the small 12 to 14 inch diameter toumbi, to the 3 to 4 foot diameter daouli in the north of Greece. The most common size in Peloponnisos and Roumeli tends to be about 20 to 30 inches in diameter. Defi Defi from Epiros. The defi (sometimes called daire in other areas) is a fairly large hand drum with metal bangles. It is similar to a tambourine in construction, however the defi is made with a metal screw system so that the head can be tightened and tuned. It is popular in many forms all over Greece, expecially in the mainland klarino music. The defi is particularly popular in Epiros in northwestern Greece, where they are still handmade today. They have a beautiful low tone, and the bangles are low pitched as well. A virtuoso defi player can decorate the rhythm of the songs in many exciting ways. Toumbi Toumbi Kythnos. The toumbi is a very small drum made in a similar way to the daouli. It is mainly used on the Aegean islands like Kythnos.

The toumbi is held usually under the left arm, and the head of the drum is struck with two drum sticks. It is often used to accompany the island tsabouna (bagpipe). This page was last updated on 8/4/2011. Bouzouki - Wikipedia, Photos and Videos Bouzouki NEXT GO TO RESULTS [51 .. 100] WIKIPEDIA ARTICLE The bouzouki (also buzuki) ( Greek : μπουζούκι pronounced [buˈzuci] ; plural : μπουζούκια) is a Greek musical instrument that was brought to Greece in the 1900s by Greek immigrants from Asia Minor , and quickly became the central instrument to the rebetika genre and its music branches. [1] A mainstay of modern Greek music , the front of the body is flat and is usually heavily inlaid with mother-of-pearl . The instrument is played with a plectrum and has a sharp metallic sound, reminiscent of a mandolin but pitched lower. There are two main types of bouzouki.

The trichordo (three-course) has three pairs of strings (known as courses), and the tetrachordo (four-course) has four pairs of strings. Contents Name[ edit ] The name "bouzouki" comes from the Turkish word "bozuk," meaning "broken" or "modified", [2] and comes from a particular re-entrant tuning called "bozuk düzen", which was commonly used on its Turkish counterpart, the "saz-bozuk". It is in the same instrumental family as the mandolin and the lute . Originally the body was carved from a solid block of wood, similar to the saz , but upon its arrival in Greece in the early 1910s it was modified by the addition of a staved back borrowed from the Neapolitan mandola, and the top angled in the manner of a Neapolitan mandolins so as to increase the strength of the body to withstand thicker steel strings. The type of the instrument used in Rembetika music was a three-stringed instrument, but in the 1950s a four-string variety by Manolis Chiotis was introduced.

[3] Bouzouki in the Museum of Greek Folk Musical Instruments in Athens The Greek bouzouki is a plucked musical instrument of the lute family, called the thabouras or tambouras family. The tambouras has existed in ancient Greece as pandoura , and can be found in various sizes, shapes, depths of body, lengths of neck and number of strings. The bouzouki and the baglamas are the direct descendants. The Greek marble relief, known as the Mantineia Base (now exhibited at the National Archaeological Museum of Athens ), dating from 330-320 BC, shows a muse playing a variant of the pandoura. [4] [5] the tambouras of Yannis Makriyannis in the National Historical Museum, Athens Other sizes have appeared and include the Greek instrument tzouras , an instrument smaller in size than standard bouzouki. Following the 1919–1922 war in Asia Minor and the subsequent exchange of populations between Greece and Turkey, the ethnic Greeks fled to Greece.

The early bouzoukia were mostly three-string (trichordo), with three courses (six strings in three pairs) and were tuned in different ways, as to the scale one wanted to play. At the end of the 1950s, four-course (tetrachordo) bouzoukia started to gain popularity. The four-course bouzouki was made popular by Manolis Chiotis , who also used a tuning akin to standard guitar tuning, which made it easier for guitarists to play bouzouki, even as it angered purists. However it allowed for greater virtuosity and helped elevate the bouzouki into a truly popular instrument capable of a wide range of musical expression. Recently the 3 course bouzouki has gained in popularity. The first recording with the 4-course instrument was made in 1956.

[7] [8] The Irish bouzouki , with four courses, a flatter back, and differently tuned from the Greek bouzouki, is a more recent development, stemming from the introduction of the Greek instrument into Irish music by Johnny Moynihan around 1965, and its subsequent adoption by Andy Irvine , Alec Finn , Dónal Lunny , and many others. [9] The three-course bouzouki (trichordo)[ edit ] Greek trichordo bouzouki A close up of the headstock of a trichordo bouzouki. Two of these eight tuners are not strung. This is the classic style of bouzouki, introduced around 1900, that was the mainstay of most Rebetiko music. It has fixed frets and 6 strings in three pairs. In the lower-pitched (bass) course, the pair consists of a thick wound string and a thin string, tuned an octave apart. The conventional modern tuning of the trichordo bouzouki is D3 D4•A3 A3•D4 D4.

This tuning was called the "European tuning" by Markos Vamvakaris , who mentioned (but failed to describe) several other tunings, or douzenia, in his autobiography. [10] The illustrated bouzouki was made by Karolos Tsakirian of Athens, and is a replica of a trichordo bouzouki made by his grandfather for Markos Vamvakaris . The absence of the heavy mother-of-pearl ornamentation often seen on modern bouzoukia is typical of bouzoukia of the period. It has tuners for eight strings, but has only six strings, the neck being too narrow for eight. The luthiers of the time often used sets of four tuners on trichordo instruments, as these were more easily available, being also used on mandolins.

[11] The four-course bouzouki (tetrachordo)[ edit ] This type of bouzouki has 8 metal strings, which are arranged in 4 pairs, known as courses, typically tuned C3 C4•F3 F4•A3 A3•D4 D4 (i.e., one whole step below the four high strings of a guitar). In the two higher-pitched ( treble ) courses, the two strings of the pair are tuned to the same note. In the two lower-pitched ( bass ) courses, the pair consists of a thick wound string and a thin string tuned an octave apart. On the bouzouki the lower-pitched string comes first in these courses, the reverse of most other instruments with octave-paired courses (e.g., 12-string guitar ; charango ; bajo sexto ; et al) These 'octave strings' add to the fullness of the sound and are used in chords and bass drones (continuous low notes that are played throughout the music). The guitar-like tuning was introduced by composer and soloist Manolis Hiotis , who found it better suited to the kind of virtuoso playing he was famous for.

Today, the tetrachordo is the most common bouzouki used in Greek music, though a few traditionalists still prefer the trichordo, particularly for the older rebetika style of playing. [12] Amplification[ edit ] In addition to developing the modern tetrachordo bouzouki, Manolis Hiotis was a pioneer the use of amplification for the instrument, which he may have been using as early as 1945. [13] However, the earliest documented use of amplification for the bouzouki comes from a 1952 photograph, showing Vasilis Tsitsanis and Yiannis Papaioannou playing bouzoukis, each with an electric guitar-style pick-up attached in the soundhole. There are also numerous photographs between 1953 and 1959 showing bands in which both vocalists and bouzouki players are using microphones for amplification. [14] By 1960 special bouzouki pickups (such as the German "Ideal") were being produced and permanently mounted in the instruments.

[14] [15] [16] Similar pickups are widely used by several Greek artists today and come in active and passive versions. Main article: Baglamas The Greek baglamas (Greek μπαγλαμάς) or baglamadaki (Greek μπαγλαμαδάκι), is very different from the Turkish bağlama . The treble baglamas is pitched an octave higher (nominally D-A-D), with unison pairs on the four highest strings and an octave pair on the lower D. Musically, the baglamas is most often found supporting the bouzouki in the Piraeus style of rembetika . Greek Traditional, Royalty Free Music, independent music, music for tv, business music ZEIBEKIKO TOU DAVIDAKI - (by David M Brown ) Year: 2010 Our Big Fat Greek Nightclub song, with wailing clarinet, funky oriental organ and blazing bouzouki, over pulsing bass and drums in the low down zeibekiko dance. Have a glass of ouzo with Zorba, watch the macho guys show off as they dance.

fresh, funky yet mysterious, ancient, unusual but catchy, Instrumental, European , Greek Traditional Type

Question: The famous bazouki instrumental dance music which speeds up is called Zorba the?
Answer: Greek