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AHMHTPHE I. KOYTHT MTOOAOT

TIA TPIXOPAO MIIOYZOYKI

DIMTIRISJ. KOUilS
KAI MIIAIAAMA

METHOD FOR
THE THREE STRING BOUZOUKI
AND BAGTAMA

@lmJmmou
MOYIIKOI OIKOI
MEPO> NPOTO PART ONE
Oeolpfo Mouorxrig Music Theory
H pouorxfi yp6Qerol Kol 6ro66zeror (6rq oe
6ho rov x6o1ro Kor onorehefrot on6 eQrd
00oW6onpo 6 v6rc9. Au6g efvor
NTO.PE.MI.OA.ZOA.AA.ZI..
To Q0o14r6onpo ourd ro ypdQoupe p6oo
oe n6vre nopdhhnhes Vpopp6g or ono(eE on6-
xouv foo peto[6 roug. Or ypopp6g our6s ono-
reho6v ro newdypqppo.
Music is written and read in the same way all
over the world, and it consists of seven notes.
These are: DO, RE, MI, FA, SOL, IA, SI.
These notes are written in five parallel lines
which abstain from each other the same di-
stance. These lines make the staff.

NENTATPAMMO

H flp<irm Vpoppfi h6yeror MI Thenote which called

is written on the first line is MI
H Ae6repn ypqrpf h6yetor ZOA The note which is written on the second line is called SOL
H Tpirn ypoppfi h6yetor ZI The note which is written on the third line is called SI
H T6ropm Vpqppf h6yetor PE The note which is written on the fourth line is called RE
H ll6pmn VpqUpfi h6yeror OA The note which is written on the fifth line is called FA

MI EON EI PE OA MI SOL SI RE FA

Av6peoo onE n6vre ypopp6g undpxouv Kol Among the five lines, there are also four
r6ooepo 6roor6poro. spaces.

To [Ipc0ro 8rdornpo h6yuror OA The note which is written in the first space is called FA
To Ae6repo 6rdornpo heyeror AA The note which is written in the second space is called LA
To Tpiro 6rdornpo h6yuror NTO The note which is written in the third space is called DO
To T6ropro 6rdornpo heneror MI The note which is written in the fourth space is called MI
 OA /\A NTO MI
Erc6S 6HcoS on6 roug rixoug rou nrvrovpdp-
pou undpxouv xor 6hhor 6xor o(6repol Kcu xo-
pnh5tepor. I-ro vo ypdqouFe ouroriE roug ri-
xous xpnolponoro6pe uE Bon0nux6g Vpopp6s
xdro xor endvo on6 to nevtdypoppo.
KATO ANO TO NENTAI-PAMMO EXOYME
T 7te
=
NTO PE MI OA ZON NA ZI NTO PE
ENANCI ANO TO NENTAI-"AMMO EXOYME
t2
EON NA EI NTO PE
Eup6ou?tri
t' 6vo np6xelpo rcTpd6ro rng pouorxriE vo
ypor1lsre noll6g 0op6s roug Q06wous ro>v
ypotrp6v, 8roornpdrcov xot endvo xor xdror
rou nevroypdppou, <irore vq rous 6rq86zete
or-r6x 6ro8ozere pfo eQnpepf6ir.
KNEIAI 6 FNOMON
To xlrer6i vpdQerol ornv opxti xd0e ntvtcr-
'o.sopllou xor 6fver ro 6vopo oro S06yyo qn6
:r,\.' onofo apxizer An6 out6v rov $06yyo
r:Epvouv Kcu ol un6hornor ro 6vopd rouE.
It-o x,),er6f nou xpnoponorofpe Vlo ro lrrou-
zo['rc Kor rov prnoyhopd ('i qtf undpxouv xot
l;',o x.her6rq) efvor ro xlel6i rou EOA.
lo xlsrSi rou IOA opxiza on6 m 6eurepn
\'-Jolipfl rou nlroypdppou Kql n ypoppf ou-
= i,s"srcl EOA
FA I.A DO MI
Except from the notes of the staff, there-are
some other notes which sound sharper (a-
bove the staff) or softer (below the stafO. In
order to write these sounds we use the ledger
lines above and below the staff.
BELOW THE STAFF THERE ARE
ac
=-
== =u
DO RE MI FA SOL I.A SI DO RE
ABOVE THE STAFF THERE ARE
-i. g
MI SOL I..A SI DO RE MI
Advice
In a copy note book of music, please write
the notes of the lines, the notes of the spaces
and the notes above and below the staff-
stave.
Write them for many times in order to read
them quickly as if you read a news-paper.
CLEFS
The clef fixes the pitch to the lines and spa-
ces of the staff. The clef is written at the be-
ginning of each staff and it gives the name to
the note from which it begins. From this note
all the other notes obtain their name.
The clef we use for the bouzouki and the ba-
glama (because there are other ,, )is treble
clef.
The clef of SOL begins from the second line
of the staff and this line is called G or treble
clef.
 ASIEZ OOOTTOZHMON
Ee er.ro pouorx6 xoppdu 6hor or Q061ryor
6xouv mv i6ro 6r6pxero. Ee 6Moug eivor pr-
xp6rcpn Kol oe 6Moug peyoiOrepn. Tn 6rdp-
xero qurf mv ovolrdzoupe oio.
VALUES OF NOTES
6w In a musical piece all the notes do not have
the same duration. Others are longer and o-
thers are shorter. We call this duration - val-
ue.

NINAKAE ME TIE ASIEE TON OOOITOTHMCIN TABLE WITH THE VALUES OF NOTES.

O16rilnpo (o whole note

Mro6 J half

T5ropro quarter
)
'Oy6oo h eighth
)
A6xoro 6xro N sixteenth
/
Tproxoor6 6e6repo N thirty-second
a
E$nxoor6 r6ropro sixty-fourth.
,R

To ol6xlnpo ro xdvoupe 4 xrvfoerE The whole note is counted in four beats:

To pro6 ro xdvoupe 2 xrvnoerE The half note is counted in two beats
To drogo ro xdvoupe 1x(vnon The quarter note is counted in one beat
ro 6y6oo ro xdvoupe proi xfvnon The eigth note is counted in half beats
ro 66xoro 6xro ro xdvoupe 1/4 rnE xfvnqnS The sixteenth note is counted in a quarter of beat
To rproxoor6 6e6repo ro xdvoupe 1/8 mE xivnonE The thirty second note is counted a eigh of beat
To e(nxoor6 r&opro ro rdvoupe 1/16 ms xivnonE. One beat is something like this
H pro xfvnon e(vor 6ror = ', t 6nlo6ri xore8ozou- movement: (down and then up) *t that is our foot goes down then
Ue xot ove8ozoupe up leaning on the heel
ro n66r Uos nou
ornpfzutor om 0r6pvo

10

(
 NAYZEIE
llo6oerg undpxouv r6oeg 6oes Kol or qies
rcov Q0o1ryoo61rcov xor 6xouv mv i6to 6rdp-
Kelq pe ro ovr(otorxo Q0o1ry6onpo. Trg xpnor-
ponoro6pe 6rov 06houpe o' our6 to pftpo
nou undpxouv, vo pnv oxouotef xoppfo v6tq.
PAUSES (Rest sings)
Rests are as many as the values of the notes
having the same duration with the colrespon-
ding notes. We use them when we don't
want another note to be heard on this mea-
sure.

tl
a

lIo6on lIo6on lIo6on fIo6on fIo6on llo6on [Io6on

Olonl[6pou Mroo6 Ter6prou Oy66ou Aex. 6rrrou Tprox.6eur6pou e$. ter6Ptou

AIAZTONE> METPO BAR-LINE / MEASURE

Aroorol\6g h6yovrol ol Kdeeres Vpopu6s nou Bar lines are called the vertical lines that are
Bpfoxovror p6oo o' 6vo pouorx6 6pVo. on the staff of apiece of music.
Mftpo h6yetor o x<irpog nou undpxer ;reto(6 Measure is the equal part which is between
rov 6uo 6roorohcilv. two bar lines.

Aroorohf Bar-line

&o r6hos undpxer 6rnhri 6roorohf nou onlrof- At the end there is a double Bar-line that
ver 6u rehercirva ro pouolK6 xoppdn. means the end of the musical piece.

11
 METPA
'Orov opxfzer 6vo pouorx6 6pyo npcino
Vpd-
Qoupe ro r<her6(. oxolou0o6v to onpefo oh-
hoicoong edv undpxouv -6ncoE 0o 6o0pe no-
poxdrco- xot 6nerro oxohou0ef 6vq xhdopo
nou h6yeror M6rpo ri xp6vog, ri pu0p6g.
Merpo 6xoupe nohhd 6ncoE
414fi C,314, 214, 918, 719, 514 x.?r.n.
O opl0pnrris rou xldopotog Qovepcirvu or
n6oo F6pn np6ner vo xopfooupe ro p6tpo KCU o
ropovopootrig tnv otfo xd0e p6poug rou p6-
rpou n.x.
EAAEIIIEE METPO
Le 6vo pouorx6 xoppdu nolh6s Qop6g to
npcirro F6tpo 6ev efvor ohoxhnpoip6vo, to p6-
rpo our6 h6yetor eMern6g, edv xotrd(oupe
6prs oro r6ilog tou r6fou pouorxof repoxfou
0o 6o6pe 6n undpxouv t6oor Q06yyot 6oot
he(nouv qn6 to npciro p6tpo, <6ote xot to 6uo
pozf vo poE xdvouv rnv otfo tou xloqrotos nou
efvor pnpootd oro xher6i.
12
MEASURES
In the beginning of a musical piece we first
write the key then the alteration signs (acci-
dentals) if these exist-as we will see further
down and then follows a fraction that is cal-
led measure of time or time signature or
rhythm. There are a lot of measures like 4/4
or C 314, 214, 9/8, 7 /8, 514, e.t.c.
The numerator of the fraction declares in
how many parts we must divide the measure,
and the dividor declares the value of each
part of the measure, for exampler
, a
-
I
a
H. tll r! t
INCOMPLETE MEASURE
In a piece of music the first part is intergated.
This measure, is called incomplete. But if
we take a look at the end of the musical piece
we will notice that there are as many notes
as the ones that miss from the first measure
so that both of them will give us the value of
the fraction that is after the key.
 OE>H KAI AP>H DOWNDBEAT.UPBEAT
Ie 6ho to p6rpo n npcirn xfvnon nou yfveror In all the measures, the first movement that is
npos rq xdto h6yeror 06on Kol n reheuoio made downnards is calld thesis and the last
npos to ndvco h6yeror 6pon. one, upwards is called arsis.

NAPEETITMENA
'Orov oro 6e(rd ev6g QOoyyociripou undpxer
pto rchefo ro Q0oyy6onpo h6yetor noptmly'
p6vo Kor n rehe(o ouypri 6roPxeiog.
H ouypf 6ropxefoE nopotefver rn 6rdpxelo rou
Q0oyyoo6pou xqrd ro pro6 mg npoypouxrig
rou o[(og.
DOTTED
When there is a dot note on the right of a
note, this note is called dotted.
The dot lengthens the note's duration at the
half of its real value.

'Evo oh6xhnpo nopeonyp6vo eivor ioo pe 6vo A dotted whole is equal to a whole plus a
oil6rtrnpo ouv 6vo pto6 half

(D.r o+J
'Evo pro6 nopouvp6vo eivor ioo pe 6vo pr-
o.r o+ J
A dotted half is equal to a half plus a quarter
o6 ouv 6vo r6ropro

J.=J+J J'=J+J
'Evq tftopro noptouyp6vo eivor foo pe 6vo A dotted quarter is equal to a quarter plus an
t6ropro ouv 6vo 6y6oo eighth
lt\ )+)
J.= J*
'Evo 6y6oo nqpeouyp6vo eivot foo pe
),=
6vo A dotted eighth is equal to an eighth plus a
6y6oo ouv 6vo 66xoto 6xro sixteenth h
f.' f'F
j--- a L J J.- JI ,F
'Evq 66xoro 6xro eivor foo pe 6vo 66xoto 6r<ro
A sixteenth is equal to a sixteenth plus a thir-
ouv 6vq rproxoor6 6e6tepo
LYrvvvrrs
fu-second

F FR
o.= a +
I
a A thirty-second
F F F
j'= i #o
is equal to thirty-second plus
'Evo rproxoor6 6e6tepo efvo (oo pe 6vo rpto- a sixty-fourth
xoor6 6e6repo ouv 6vo e(nxoor6 r6topto

13
 AINNA IAPEZTIIMENA
'Orqv ro Q0oyy6onpo pnpootd 6xer 6uo ony-
p6g 6ropxefog h6yeror 619 nopeouyp6vo.'H
6erlrepn orrypri nopotefver ox6po neproo6tepo
m 6rdpxelo rou Q0oyy6onpou xord ro pro6 mg
npcirng onypfg, <irore Kol ol 6uo orryp6g pozf
nopotefvouv rn 6rdpxero tou Q0o.,n76onpou xo-
td ro tpfo r6topro ms npovpcruruig toug o[fog.
'Evo ohox),npo 619 nopeonyp6vo
efvqr foo pe
6vo oh6xhnpo orjv evo pro6 ouv 6vo t6ropro.
(O..=(O
I
I
ttO r I
Or nofoels pe ouvpri 6ropxeiqs exouv mv f6ro
o(fo pe ro ovrfororxo Q0oyyoonpo.
TPIHXA
To tpfnxo qnorehefrqr on6 tpefg Q0oWous f-
6roug ornv o[fo pero(6 rous. Ener6f 6vog
on6 ourotig toug $06youE efvor nle6voopo
rou xp5vou, rov ouyxoveOoupe orous dhhoug
6uo xor rov xpovo nou xdvoupr vo nof(oupe
tq 6uo Q0oyy6onpo, orov i6ro xp6vo,0o nof-
(oupe xor ro tpfo.
14
DOUBLE DOTTED
In case that two full stops follow a note, this
note is called double dotted. The second
full stop prolongs even more the duration of
the note, halftime of the first full stop, so that
both full stops prolong the duration of the
note in 3/4 of its real value.
A double dotted whole note is equal to a
whole note plus a half note plus a quarter of
note
I
(o)..=(o+o +,
Rest Signs with a full stop have the same val-
ue with the corresponding notes
TRIPLETS
Triplet is a group of three notes equal in value.
The one of them is being a surplus of tme
so we merge it with the other two.
So, the time we need to play the two notes, is
the same for playing the three notes.

TONO> HMITONIO
Hprr6vro h6yetor n prxp,5tepn 6uvorn ono-
otoon peto$i 6uo S0olryooripov nou ovope-
od roug 6ev undpxer ohhn Qr,rn (Q0oWod
A6o efvor ro Quorxd nprr6vro ro MI-<DA-
6 EI-NTO.
Autd h6yovror BAtlKA.
T6vog h6yetor n p6on 6uvotf on6otoon perq-
eO 6uo 00owoo6pov nou ovdpeod rous u-
ndpxet pfo xor p6vo Q<ov6 (006wos). O to-
voE efvor ro 6rnhdoro rou npttovfou.
ZHMEIA ANNOIOZH>
Lnpefo ohho(oonE 6xoupe 3
1) Aieon 2)'Yrfteon ri pnep6h 3) Avoipe-
on.
H Ar6on ove8dzer m Qcovf (006wo) xord 6vq
npnovro.
H YQeon 6 pnep6h xote86zer m Qotvri
(Q061ryo) xot6 6vo npn6vro.
H Avofpeon enovo$6per rnv ohhotcoOefoo
Qrovri (00oWo) orn Quotxf mg xotdoroon.
Ar6oerg 6xoupe 7:
YQ6oerg rfl pnelr6ll 6xoupe 7:
Ol urf6oels 8]6noupe 6rr eivor to ov6no-
6o rorv 6r6oeorv.
Kor uE 6r6oerE Kol nS uQ6oerg np6ner vo uS
pdOoupe Fe m oerp6 nou eivor ypopp6veE
yrod 6ror p6vo xpnorpe6ouv 6ncos 0o 6o6pe
oto xeQdhoro xlipqKes.
TYXAIA ZHMEIA A/V\OIOEHZ
To tuxofo onpefo olllofarong roxOouv p6-
vo Vro ro p6tpo els To onoio eupfoxovror,6rov
6nhq66 p6oo oe 6vo pouorx6 xopdu ouvov-
mooupe 6vo onpefo olhofcoons nou 6ev o-
vfixa orov onholr6 (6ev eivor ypopp6vo
pnpoord oro xher6i) r6re our6 e(vor tuxo(o on-
pefo o?thofcoong, xor rox6a yro 6ho ro Q0oy-
WHOLE TONE (or step)
SEMITONE (or half step)
Tone is the movement of a melody from one
note to its neighbor (whole step) between the
two notes there is only one sound.
Semitone is the least space between two
notes. (Between them there isn't another
sound). The natural semitones are two: MI-
FA and SI-DO. These are called BASIC SE-
MITONES.
The tone is double than the semitone (whole
steP:1*o half stePs)
ACCIDENTALS
Chromatic alteration not found in the key si-
gnature. There are three accidentals in music.
1) ltre sharps 2) The flats (or bemo'
le) 3) The naturals
The sharp raises the sound a semitone hi-
gher.
The flat lowers the sound a semitone lower,
and the natural retums the sound a semitone
lower, and the natural returns the alterated
sound to its natural sound.
There ane 7 sharps:
There are 7 flats:
SI MI IA RE SOL DO FA
The flats are contrary of the sharps.
We must learn both, sharps and flats, in the
place where they are written on the staff-
stave, because in this way only are they
useful as we will see later in the chapter of
scales (PART FOUR).
ACCIDENTALLY
ALTERATION SIGNS
The accidentally alteration signs are in
force only for the measure in which they exi-
st. That is, when we meet on alteration sign
in a piece of music, which sign does n't be-
longs to the key signature (it isn't written in
the front of the key), then this is an acciden-
tally alteration sign which is valid for all the
notes that exist in the same measure and ha-
ve the same name with the alterated note.
 y6onpo nou 8pfoxovtol oro f6ro p6rpo xor
6xouv ro f6ro 6vopo Ue rov o?tlorof6vrq
$06yyo xor 6tov efvot per6 on6 qur6v.
'Orov p6oo oro i6ro p&po un6pxa ovofpeon,
ro Q0o1ry6onpo nou e(vor perd on6 ouulv e-
nov6pxovrol orn Quou<ri roug xordoroon.
Iro nopondvo nopd6erypo Bh6noupe
1) Ou oro 6e6tepo p6tpo ro II eivor ruxq(o on_
peio olhoioong.
2) Lto rpfro p6rpo Kol ro 6uo IOA efvor ru-
xoio onpe(o oMofcoonE 6r6u n 6feon eivor
oro np<irto IOA.
3) Ito tSropro p6rpo ro npcirro M efvor Quor-
x6 ev<ir to 6efrepo ohhorcbprvo, 6r6u n 6Qeon
efvqr oro 6e6repo AA.
4) &o n6pmo pftpo ro npcirro PE eivor oh-
lorop6vo. Ev<ir ro 6e6repo efvo $uorx6 6r6u
undpxer n ovofpeon.
5) Iro 6rco p6rpo roxrier 6,n xor oro tpfto.
To ruxofo onpefo ohhofcoong roxUer oro en6-
pevo prirpo, 6rov undpxer o6zeu(n 6ropxeiog.
llop66erypo
O Q05yyos MI tou r6roprou p6rpou nofze-
ror olhorop6vog.
16
same measure and have the same name with
the alterated note, even when it is after it.
When there is a Natural in the same measure,
the notes that are after it, retum to the their
natural state.
In the example above we have
1) In the second measure, SI has an acciden-
tally alteration sign (flat).
2) In the third measure both two SOL'S have
acciddentally alteration signs (sharp) because
the sharp is in the front first SOL.
3) In the fourth measure the first LA is natural
while the second one is alterated because of
the flat sign which is in the front of it.
4) In the fifth measure the first RE is alterated
while the seconds is nafural, because there is
a natural sign in front of it.
5) In the sixth measure both DO are alterated
The accidentally alteration signs are in force
in the next measure when there is a tie be-
tween them.
Example.
The note MI of the fourth measure is played
alterated as MI
 ENAPMONTOI OOOTTOI HARMONIOUS NOTES
Evopp6uor O06wor tr6yovro 6uo QOfiaror 6tov Harmonious notes are two notes that have the
6r<ouv ro f6p 6xouolro o?tld &o0opmx6 6vo1ro. same hearing but different name.
NTo*fl *o pb b
MIfi and FA I
n.x.
Ml
example: DOil arrd RE
I xor eA

AIAZTHMATA INTERVALS
Ar6ompo efvor n qn6oroon perotO 66o Q061ryov Intenral is the difference in pitch between two to-
cos npos to 6qroE. To 6rootdporo nofpvouv ro 6vo- nes. The intervals take their names from the
p6 toug on6 rov qprep6 trov Q061ryov nou nepr6- number of the notes that they contain. So we have
xouv, xor 6xoupe 2* 3* 4* x.h.n. 2"0,3^, 4tn e.t.c.
Ar6ornpo 2* h6yaor to 6r6ornpo nou nepr6xer 6uo Interval 2'o is the one that has two continualno-
Q061ryoug ouvex6pwous n.x. NTO PE tes as DO-RE e.t.c.
Ar6ompo 3" h6yeror to 6rdornpo nou nepr6xer rpefg
Interval 3'is the one that has three continual no-
006wous 3 006Wous ouvex6pwoug n.x.
tes as DO RE MI e.t.c.
NTO-PE-MI x.?r.n.

Eup0ouhf Advice
'Ooo neproo6tepo 6rq6ozere m Oecopfo t6oo nepto- The more you study the theory of music the more
o6repo npoerotpdzeore vlo to 6pyovo. you prepare to play your instrument.

ZYZEYEH 6
ZYZEYEH AIAPKEIAZ NOTES WITH TIE
H o6zeu$n 6roprefog efvor pro xopn6iln VpoUFf Tie notes are joined by a curve line

nou ouv66a 6uo 6poro ors npos ro r3rpoE Q0oyty6- that ties together two same notes at their height of
onpo 6uo xotrovrirv p6rpcov. Me mv ofv6eon outf the two close measures.
o 6xog tou npcitou Q0olnloofpou evcivetol pe rov By this connection, the sound of the first note be-
6e6repo oov vo efvor pro otfo. comes one with the second, as if it was one value.

Or 6e6tepor Q061ryor nou efvor evcop6vor pe o6zeu- The second note which is connected by a tie is not
(n 6ropxefos 6ev enovohopB6vowor, ohld nofzov- repeated, but is played tied with the first one.
tor 6ep6vol Ue rous npcirtoug.

>YZEYSH NPOZOAIAZ LEGATO LINE

(AETKATO)
The legato line, is a big curve line
H o6zeu$n npooor6iog eivor pro peydln xo1rn6-
ln ypoppf

nou er,rcirva ov6poro Q0o1ry6onpo neprlopBd. that connects two dissimilar notes, indifferent not
vovros noMd U6rpo. ln sequence, measures.

E6<6 ro 00oW6onpo nofzovror neproo6tepo 6e1r6- Notes connected with legato line are played mo-
vo Kor 6x r<nrnnrd. stlv tied and not beated.

17
 ZTAKATO
O opog out6g onperriveror pe tehe(eE ndvco 6 x6tco
ono to Q0owoonpo Kol onpofvq6n np6net vo nql-
x0ouv xcoptor6, oxe66v oro pro6 mg o(ioE touE,
6nh. to 66rru)r6 FoS Fpr6,to m6nnpo mE xop66g,
np6na vo onxroOoriv qy6o<os.
QEPMATA 6 KOPONA /i
To onpefo qut6 to ouvowdpe ouv60<os oto t6hos
x60e pouorxo6 6pyou endv<o on6 tov Q06yyo.
H Kop<ivo nopote(ver m 6rdpKelq rou 006wou
hiyo neproo6tepo on6 mv npqvpouxf tou olfo.
ZHMEIA ENANfu\HVHZ
[o onpefo mg enovdinpns ro xpnolyonoro6pe 6-
rov 06houpe vo enovoi68ouge 6vo p6pog 6 6ho to
pouorx6 6pvo, xcopfg vo ro ypdtpoupe n6ir. Enpefo
enovdilngnE efvot 6uo 6rooroil6g
n Ulo nro $op6r6 on6 mv 6Mn xo oro p6oo p6pos
6uo teheieE. 'Orov 6o6pe out6 to onpefo enovq-
ilop86vouUe ro F6tpo nou efvot p6oo o' out6.
[h6 x6tco 6vo noP66erYPo.
'Orov Qt6ooupe oto t6hog yupfzoupe n6lt xot eno-
vohoyB6vouye ro p6pos nou e(vot xlerop6vo p6oo
omv enovdhnPn.
'AMo onpe(g enovdlnrpng efvor rc aflvno $.
6 x6vro
+
Eup6oul\6
No tovq&oBdoere 6hn m 0ecopfo. Aut6 0o oos
6reuxol6vet 6tov 0o rndoeri to pnouzoOxr'
18
STACCATO
If a note (or some notes) is marked with dots a-
bove or below the notes, this means that they ha-
ve to be played separately, almost in their half val-
ue. That is, our fingers after the beat of the strings
must come up immediatelY.
HOLD or FERMATA /i
This sign is met very often, at the end of each
musical piece above of the last note. The hold
extends the duration of the note, a little bit more
than its real value.
/i
REPETITION SIGNS
We use the repetition signs when we want to re-
peat one part or all the musical piece, without wri-
ting, it again. The repetition signs are two vertical
lines: the one is wider than the other, with two
dots in the interior. When we see this work, we te-
peat all the measures which arebetv,teen the repe-
tition signs. Here is an examPle:
When we reach to the end, we rcpeat the part
which is enclosed in the repetition signs. Other re-
petition signs are the segno$.
and the Coda
$
Advice
You must study again all the music theory from the
beginning. This will help you when you take in
your hands the bouzouki.
MEPO> AEYTEPON PARTTWO
Tootr6po Mnouzouxroti The finger board
of Bouzouki
lu TPIXOPAO MNOYZOYKI THREE STRING BOUZOUKI
o & BAGLAMA
KAI MNATAAIVIAZ
1) Sounding board
1) Appovrx6 enfne6o
2) Sounding hole
2) Tp6nq oppovrxoU entn66ou
3) Guard plate
3) Xehcivn
4) Bridge
4l Zw6s (Kq8qh6pns)
5) Tail piece
5) A6pq xop6oordtnE
6) Tfpnovo 6) Drum or lide frame
7) Aroordlrotq (tdorq) 7) Finger board.
8) Ke0qh6 xtrer6rd xoP6folrotoE 8) Head with clefs.

PE
AA
PS

\8

tI<'rS xoP6fzerol ro Pnouzo6xr Tuning of the Bouzouki

Or 615o npci>teg xop66E xop6fzovror PE The first two strings are tuned RE
Or 615o 8eftepeE xop66s xop6fzovtqr nA The second two strings are tuned LA
Or 6rio tpfteE xop66s xop6fzovtor PE The third two strings are tuned RE
(qh d pro 6y6on xoprnhcirtePo) An eighth one is tuned lower.
 H EKTAEE ONH: THE TAETIEPA> THE WHO LE FINGER BOARD
KAI TA AIAETHMATA (TA>TA) AND THE TNTERVALS (FRETS)

Or opl0pof pog 6efxvouv ro 6loorfporo (rtioro) The numbers show the inten als (frets)
). 2- 3 + 5 6 1 g I l0 ll tL 13 l+ t5 16 t7 tg t9 20 2t L2 23 2+ L5
Avorxtf.g xop66g lPE
Open strings.
2.AA

3PE

J J J IJJ I

- ,*,2*2

at+

2gcl2:fl:
'Eror yprirfier<rr
writing.
n= 3frlr +
F; = f=
==
'Erol oxotiyaror
N Hearing
MEPOZ TPITON PARTTHREE
Mouorr6 E6ornpo Musical System
 TPEMONO TREMOLO
Tpepoilo h6yetor ro ove8oxore6oopo ms nevvos Tremolo is the pick down and upwards of the pick.
npos ro xdrco xqr npos ro ndvco. Irnv opxri yfveror At the beginning it is a slow striking of the pickwith
pe opyri xpouon rng nevvog l.ls us xop6eE rrou the strings, that eventually becomes quicker. The
6o0pn65v enrroxuveror. H n6vvo nprna vo sfvor pick must be flexible and should be held by the
eufujyrorn xor xporefrol Fr rov ovr(xerpo Kor ;re rov thumb and the forefinger t hand.
6efxm rou 6e(rou xsprou. To tpepolo pe rnv nvvo The tremolo with the pick likethis: /vw
onpercirvetor eror /W The strike of the pick dow e this: A
H nevvro npos ro xoro onper<overor eror n .H The strike of the pick upwards like this: V
nevvtO npos IO novc.l onptlovtlot etot V

T^IETPHMA (O^IEOHMA) SLIDE

To yl\iorpnpo (ollioOnpo) rolv 6qrc6ilcov rou qpr-
orepor5 xepro6 ro xdvoupe pe 6vo 66rnulo on6 rov
npcirto Q06yyo xor o 6e6tepos oKo6verol lre ro yhi-
orpnpcr rou 6omihou.
To yhforpnpo (olfo0npo) 6xer 6v6er(n pro Vpotr-
pf on6 rov npcirro Q061ryo orov 6e6repo 6n<og to
nopoxdro nopd6erypo.
The slide of the left han!'s fingers is done by one
finger from the first note to the second one.
That is, we beat only the first note and the second
one is heard by the slide of the finger. The slide
has a line from the first note to the second one as
an indication.
Example:

Eup8ouil6 Advice
O oyxrbvos rou oprorepo6 xepro6 vo 6l6ner npog The left hand's elbow should look downwards.
rq xdr6).

Aefypo peprx<6v po0np6rorv ylo rnv e$6ornon Demonstration of some lessons for the exer-
rng nSwog Fs ro 6e$f x6pr, Kor yro rnv e$6oxn- cise of the pick witlr the right hand, and for
on ro)v 6orc6?rorv rou oprorepo6 xepro6. dre exercise of the left hand's fingers.

Or opr0poi en6vor on6 roug r[06yyoug eivor ro The numbers above the notes are tihe fingers
66rculo rou oplorepo6 xeprou ror onper<i- numbering of the left hand and are marked
vornor 6ror: as:

0 Xop6ri ovorxrri 0 open string

I Aeirrng I Fore finger
2 M6oog 2 Middle finger
3 llop6peoog 3 Ring finger
4 Mrxp6
4 Little finger -

z3
 Iro ohoxAnpo xore8ozoupre Kql .qyqqgzoupe ro n66r pog At the whole note our foot goes up and down counting four
0op6s o = l![LtlJ tro pre to 6e(f pgg
pretpcouroE reooeprs times o
=J?Itltlt while with our right hand the
x6pr n n6wq oveBoxoteBoiver pe rp6yoho. plectrum g*t und down with tremolo
"p
Time 4/4
xp6voE 4/4 Adxruho.

Ito pro5 xote66zouut Kol ove6dzoupe ro n66r poE petpcbv- At the half our foot goes up and down counting twice
roE 6uo 0op6s P{tlt nofzovroE pe to 6e(f pog x6pr tp61ro- P and playing with our right hand tremolo.
=!tJt
ho. I I

ll
Xp6vog 4/4 d + d - to Auo puo6 x6vouv 6vq oh6xhnpo J * J = 6r Two halves give a whole'

Iro reropro perpdpe xotd rov i6ro rpr6no 1 oopo J Jt ,u,,, At the quarter we count in the same way once J.lt ,unil"
to 6ef pog x6pr nofzet nore tpeprolo, n6re nrwlrs ovdhoyo our right hand plays tremolo or strikes with the plectrum
pe rnv 6v6sr(n. accordingly to the indication.

J * J=J Auo t6topto uqs xdvouv 6vo pro6. J* J - J rwoquartersgiveahalf'

24
 Iro 6y6oo perpdpe pro6 xdto xor prori end- At the eights we count half time downwards,
vo:. To 6ef Uos x6pr nofuer newr6g. halftrne upwards. Our right hand plays with
the ptgctrum

Auo 6y6oo pos xdvouv 6vo r6topto Two eighths give a quarter
[1= ) [7 = )

Auo 66xoro 6xr pos xdvouv 6vq Oy6ooJl=) Two sixteenths give an eighth n=l Thus
Enop6v<os,pe prcr
oepo 66xqro 6xro.
xfvnon
J t t. xdvoupe 16o- with one movement I f we'll make four si-
xteenths.
A6o xftco 6t1o en6vo. Two downwards two upwards.

oE xdva 6uo rproxoord One sixteenth equals two thirty-seconds j =fr

6vo tproxoot6 6e6repo
oro retopro F '-fr
'Evog emeheorriE Vlo vo nof[er tptoxoord
6e6repo xor elnxoord t6ropro, np6ner vo nr-
pdoer opxer6 xpovrx6 6rdornpo,cirore vo 6xer
onoxrfloel plo oxeuxri nefpo xor xdnoro rox6-
tnlo.
and one*thirh/ second equals two sixty-fo-
urths. =.f E
After a quite long time you will be capable to
play thirty-seconds and sixty-fourths. During
all that time you must be training to obtain
the relative expeience and speed in playing
32nd and 64th.

Eup6ou?tf Advice
No pnv npoxcopefre oro en6pevo pdOnpo, edv Do not proceed to the next lesson if you have
6ev p60ere ro nponyo6pevo. not leamed the previous one.

25
 METPATE MIA KINHEH NA KAOE TETAPTO KAI MIA KI- COUNT ONE MOVEMENT FOR EACH QUARTER AND ONE
NHEH TIA TA AYO OTAOA EYMOONA ME THN ENAEI- MOVEMENT FOR THE TWO EIGHTHS ACCORDING TO
3H. THE INDICANON.

NAYEEIE REST SrGNS (PAUSE)

llo6on olord[flpou Whole Rest Sign.

no6on proo6 Half Rest Sign.

no6on rer6prou Quarter Rest sign.

Eup6ouhri Advice
Ilpoo6fte ro pu0p5, 6vo pouorx6 xoprpdn oKouverol Ko- Notice the rhythm. A piece of music is heard well
ld 6rqv perpr6ror xohd. when it is counted well too!

26
flo6on oy66ou Eigth Rest Sign

J T II

AdQopeg no6oerg Various rest signs.

TIAPEZTITMENA DOTTED NOTES.

Mlo6 nopeonyp6vo Half dotted.

rtlttt lt

?rreJo-r-
OTAOO NAPEETITMENO KAI AEKATO EKTO EIGHTH DOTTED AND SIXTEENTH DOTTED
To nopeonyp6vo 6y6oq nqfzovror ye rpelroho The dotted eighths are played with tremolo.

TPIHXA THREE.SOUNDS

Eup0oufui Advice
No enrp6vere oro 66oxolo p6pn nou ouvovrdre. Insist on the difficult parts you encounter.

t,
MEPO> TETAPTO
Kl\fpoKrs (Ap6por)
PART FOUR
Scales
 KNIMAKEE
Morz6pe rd\fporeg
Or potz6pe r<ifpoxeg nepr6xouv 6uo npn6uo Kql
n6vre r6voug. Exnpotfzovror 6nh. pe r6vo, p6vo,
nprr6vro, r6vo, r6vo, r6vo, nprr6vro.
SCALES
Major Scales
Major scales have two semitones and five tones.
They are formed in the following way: tone, to.
ne, semitone, tone, tone, tone, semitone.

Moz6pe rltfpoKo rou NTO Maior scale DO

H porz6pe xhfpoxo rou NTO l6yetor xor Quorxri The major scale of DO is also called natural scale
xlfpoxo, yrod oxnporfzeto xr,rpig xov6vq onpeio because it is formed without any alteration sign.
ohlofoons.

Mou6pe n?rfpoKes Fe 6lSoerg Maior scales with sharps and flats

K(rr Fe urfi5oers With sharps
Me 6lSoerg
Me 1 6r6on efvor n IOA pclTzope Withl sharp it is SOL maJor
, 2 6r6oerE ) nPE ) " 2sharps ,,> RE major
,3 ) > nnA ) ,3))>)) LA major
"4> ) nMI MI major
,5 ) ) nII "5>))) SI maJor
"6) ) nOA il > ,6)))) FAf, major
"7)) ) nNTO fi ) "7>>> ,ofi major

Eup6oufui Advice
Edv to oprorep6 ooE x6pr n6Qrer oro0epd endvo) You must press down firmly the string with the fin-
ong xop66E, r6re our6E 6ev rpfzouv. gers of your left hand.
So the string do not crackle after striking.

*
 Klfpoxo NTO poz6pe (Quoxn r<lfpoxo)
Scale of DO major (natural scale )

Klfpoxo EOA poz6pe pe pro 6feon

Scale of SOL major with one sharp

Khfpoxo PE poz6pe ye 6uo 6r6oerg

Scale of RE major with two sharps

Khfpoxo AA poz6pe pe rpefg 6r6oerE

Scale of tA major with three sharps

Kl(poxo MI porz6pe pe 4 6r6oerg

Scale of MI major with four sharps

Klfpoxo EI poz6pe pe n6vre 6r6ocrE

Scale of SI major with five sharps

poz6pe pe 6[n 6r6oerg

major with six sharps

Klfporo NTO flpozOpe pe ern6 6r6oerE

Scale of DO major with seven sharps.
{

30
 ME YOEZEIZ WITH FLATS
6Qeon efvor n OA
Me 1 With 1flat major
, 2u06oers D n EI , 2 flats major
,3)DnMI "3D major
n4DDnAA ,4) maJor
,5)DnPE ,5) major
16 D DnEOA ,6D major
"7 ) ,nNTO "7D major

Klfpoxo <DA poz6pe Ue Uio 6$eon

Scale of FA major with one flat

f
Klipoxo EI h ll.roz6pe ue 6uo uQ6oag
Scale of SI D major with two flats

I
Klfpoxo MI DI lroz6pe pe rpefs uQ6oerE
Scale of MI p major with three flats

Klfpoxo AA Q polz6pe pe r6ooeprs u06oers

Scale of LA h major with four flats

Khfpoxo PE D lVou6pe pe 5 uQ6oerE

Scale of RE pmajor with five flats

I
Klfpoxo EOA D 1uiorz6pe pe 6tn uQ6oers
Scale of SOL D major with six flats

Klfporo NTO
Scale of DO

31
 MINOPE KAIMAKEE
MINOPE KAIMAKA TOY AA
H AA Mrv6pe l6yeror xor $uorxri xhfpoxo 6r6n otov
onhrop6 6ev undpxer xov6vo onpefo ohlofoong. Mr-
v6pe xhfpoxeE undpxow 2 er6<irv, ol oppovlK6g xor or
pehro6rx6E. Or oppovrx6E onotehodvtor on6 3 r6vouE
3 nprr6vro xor 6vo rprnprr6vro. Ave8o(vouv xotd 16-
vo, nprr6vlo, r6vo, r6vo, nprr6vro, tprnpnr6vro.
Kqre8ofvouv xord nprr6vro, tprnpnt6vro, nprr6-
ulo, f6vo, t6vo, npn6vro, rtivo.
Or pelofrx6E onotelo6vror on6 5 r6woug, xor 6uo
npnovro. Ave6ofvouv xord r6vo, npn6vro, rrivo,
r6vo, r6vo, r6vo, nprr6vro.
Kor xffeBofvouv xord t6vo, r6vo, nprr6vro, 16-
vo, r6vo, nprr6vro, r6vo.
Me ng nopondvo oxnpodzoupe Kor uE prv6pe xlf-
UoKeS 6ncog oxnpodoope Kcu nE poz6pe.
MINOR SCALES
MINOR SCALE OF I.A
The IA minor scale is also called natural because
in the key signature there isn't any alteration sign.
There are two kinds of minor scales: The harmo-
nic and the melodic.
The harmonic ones consist of three tones, three
semitones and a three-semitone.
They ascend in the following sequence: tone, se-
mitone, tone, tone, semitone, three-semito-
ne.
They descend as semitone, three-semitone,
semitone, tone, tone, semitone. The melodic
ones consist of five tones and two semitones. They
ascend in the following sequence: tone, semito-
ne, tone, tone, tone, tone, semitone.
They descend as tone, tone, semitone, tone,
tone, eemitone, tone.
With the above instructions, we form the minor
scales toe, as we formed the major ones.

}IINOPE T(^IMAKEZ ME AIEEEIZ MINOR SCALES WITH SHARPS

With l sharp it is MI minor
t 2 sharps
,3)
,5)
,6D
"7)

MINOPE KAIMAIGE ME YOEZEIE MINOR SCALES WITH FI.ATS

Me 1 riQeon n PE
efvor prv6pe With 1flat it is mmor
",3
2 u06oers )nEOAD , 2 flats )) minor
D )nNTOD ,3) )D minor
"4) )nOArD
,5 D n EI I "4) DD minor
) Dt ) )) minor
"6 ) ) n MI rD, "6) )) minor
o7 D DnAAD) "7D )> minor

Eup0ouM
Aro8dore npooexuxd 6leE nE xlfpoxeg. Oo ooE
xpnorpeOoouv opy6repo, 6rov 06here vo oM6[ere
r6vo oe 6vo pouox6 xoppdu.
Advice
Study the scales carefully! They will help you later
when you want to change the tone of a song.

32
 ENAPMONIE> KAIMAKE>
An6 rov oxnpouolr6 tco potz6pe xor
1uv6pe xhpd-
Ko)v oupnepofvoupe 6u:
Or porz6pe xi(poxeE efv r666er<oyrorf tpeiE on6 uE
6exon6we xiipoxeE nou 6xoupe voQ6per (pozf pe
tnv $uorxf xhfpoxo tou NTO) e(vor f6reg pe dMeg
rpefE.
HARMONIOUS SCALES
From the construction of the major and minor sca-
les we conclude that:
The major scales are twelve because three of the
fifteen scales that we have mentioned (with the
natural scale of DO) are the same with three o-
thers.

Aur6s efvq: These are: ,

Hr{io-fl pemvPE b, il""f"-*ith RE b

FA H " with SOL, h
,

HIDA I Fernv EOA I b t with DO I r

H >I [rE rnv NTO D Sr-

Aut6g or xlipoxeE 6xouv ro i6ro dxouoyo olhd 6ro- These scales have the same hearing but different
Qopeux6 6vopo xor tr6yo'vror evopp6vr g xlfpo- name and are called Harmonious scales.
r(s.

Kot ot prv6pe xlipoxeE efvor 6ci6ero yrorf xor e6rir The minor scales are also twelve because,here al-
or rpefE on6 nE 6exon6vre xlipoxeE pozi re mv Qu- so the three from the fifteen scales with the natural
orx6 xlfpoKcr rc u M nou 6xoupe ovoQ6per efvor scale of LA that we have mentioned are the same.
f6reE.

Aut6E efvo:
H/vi-fr,, pemvEI b, with SI b,
HPE '' f, pemv MI , h with MI
HzOAil " pemv AA b- with I-A bb

Kor our6g or r<lfproxeg 6 .ouv to f6ro dxouolro qh d These also have the same hearing but different na-
6roQopenx6 6v< po xor h6yovrol evopF vreg xif- me and are called Harmonious scales.
FOrsES.

Eup0oufui Advice
'Orov 6roBdzete 0eopfo pnv o$6vets to 6pyovo. When you study theory, do not leave the in-
No nofzere x60e prepo. stument. Play every day.
 K?riporeg yorz6pe Kor Fr- Major scales and minor o-
v6pe endv<o oro pnouzo6m nes on the bouzouki from
on6 6ror$opeux6 6roorr[- different intervals.
por(r.

t-
Khfpoxcr NTO poz6pe DO major scale
(Quorxri xlfpoxo) (natural scale)

An6 ro 3" ro 6rdornpo ms 2" xop66E From 3'o interval of the 2'o sting
Adrrulo Fingers

t2?f *ql r rl xo$i l3E xceSr I

th.5ruig t3t sfung ltr strthg 2r. rirlng

An6 to 10" 6r6otnpo ms 3" xop66E From the 10'h interval of 3'd string

lslxcrrt lghrorar I ttlfr,crel I lll rcrrr l2l rcett | ,W!)

s+stzirlg z* slzing 13r slzing tlr sldng 2r. string 3rl stung
An6 to 15" 6rdornpo ms 2*'xop66E From the 15'n interval of 2"o string

I I l3 ra rrr
l2P rore I I lE roarl
MATZOPE KAIMAKEZ MAJOR SCALES
ME AIE>--E-I-> WITH SHARPS
Klfpoxo ZOA poz6pe SOL major scale
An6 to 5" 6rdompo ms 3". xop66E From the 5'n interval of 3'o string
Sotaol
,-=
=-r
r3B r r2I.ro?t$ I rlPxo?Ltr r rl3xonr r r1?xoarrr r*x.t
An6 to 10" 6r6ompo mS 2o^ xop6riE From the 10* interval of 2"o string.

18!rorAt tfB ro?a{ ! tA! ro?a{ I rllxotr

An6 to 17" 6rdornpo ms 3.. xop66g From 17" interval of the 3'ostring

rcn. I
-=
I 3? I lE rror I t!? xcrettl r8l ror, | 'l,rar

35
 Khfpoxo PE porz6pe RE maior Scale

An6 ro 5'" 6rdornpo rng 2o". xop6fE From the 5'n interval of.2"o string.

18
Tora,J r 4ll rcrlu , t lE Xolru , tSEr.rr
2"stzhg gr s+aing 1.+ stzing 2s slzing
An6 rnv 3" xop66 ovorxrri From the 3" open string

I t? rorrrr I | 8? xorrrr r till rorAx I LI rorrf I

An6 to 12'" 6rdornpo rns 3". xop6nE From the l2'ninterval of 3'o string

t]3prot t 33xcor r ttE rogAr t r 13 xostr I t 3I roerrl t tlEf r4l

K?tfpoxo AA p.orrz6pe Il\ maior Scale -

An6 m 2o" xop6ri qvorxrd From the 2"o open string

e1-
t 2l rootll t t /19 xo?Ltt , I fl ro?l{

An6 ro 7," 6rdornpo rns 3". xop6fE From the 7" interval of 3'o string

r9t xcrl, t 2!l xollttl ll? xotax I f 13 rerer ,J r.t! 'na?ax r EllilJ
An6 ro 12'" 6rdornpo rns 2oo. xop66E From the L2'n interval of 2"o string.

o.e
=T
,21 rar?l.r I tB to?all I I l3 ra PAil
=
I t8l ra0r.1
 Kilfporo MI yotz6pe MI major Scale

An6 ro 2o" 6rdornpo rns 1" xop66g. From the 2"o interval of 1" string.

I l?rorr I L 4I xcPAr I

l'{ sttiqg L1+ Sltttrg

An6 ro 7"" 6rdornlro rnE 2n"' xopSfig. From the 7'n interval of 2"o string.

t?3 x.rarf I rlE rorre I l tl rcorrr I lt];c'^.l

Ano ro 14"'SrdornUo mS 3"'xop6ng. from the 14'n interval of 3'o string

r33 xoPa t r 2l xoeaq I I l! xoPan I t !,3 *o?A r t t 2l x oear I te?'<o?A. I

Khfpoxo >I porz6ps SI major Scale

An6 to 20" 6rdornpq rns 2'"'xop66E. From the 2"o interval of 2"o shing.

r8,! rorA.. I r !B xo"Atr I I .l[E *oeatl tt! -otat

An6 to 9'" 6rdornpo rng 30" xop66g. From the 9* interval of 3'o shing.
-

| ]l xora. | | 83 roertl ! ltl xotr{ | | !? *arA{ | rtl >roea.l t)! r.?r.t

An6 ro 14'" 6tdornpo mS 2*'xop6riE. I r,,ril llrr' I 1 rrl, r, r -l'

t! rorr.l t t! ro?Arl I ll xoer u lt 8t xrt.l

-
37
 Khfpoxo QA il porz6pe FA fl maior Scale

An6 to 4'6rdompo rns 3" xop6riE. []rom the 4' rnten,al of .3 strirrg

:)! r:r r t93 ro?l{ r rc?rh

t r,3 I lli! xcoarr I t8l:arax t Ltr""*J
3r. rttrlg l.t str,tng 1H Str.i19 l!+ Sititlg 2h' stdhg trr stUlg
An6 to 9'" 6rdornpo mS 2". xop6riE. From the 9* interval of 2"0 string.

183 x.r. I I 1l! xarr I I t! ,oQ)'t t2? *o?.1

An6 ro 16'" 6r6ornpo rns 3'. xop66E. From the 16 interval of 3 ' strinq

lD! xar | | 33 rorrr I I {l! ro? x I lll;oPaq t rtlroPar t E!ro?.l

Khipoxo NTO fr porz6ps DO il maior Scale

An6 ro 4'" 6rdornpo tnE'fo"s xop6rig. From the 4* interval of 2"o shing.

tl! xorel I I l! xo?arl L3 ro?^H l?lsrr. t

An6 ro 11'" 6rdornlrq ms 3o"' xop66g. From the 11'n interval of 3'o sting.

t3Srprt ti2f ro"arr I lt?xcoe.e I ll? rorar I r2? ro?ttt I ttt.rct.l

An6 ro 16'" 6rdornpo ms 2*. xop6rig. []r,,ln iit., 1{r utlen,al of 2 slrrnr;

lil ,cP^tt rl-J t, .-etA{ ,

38
 MATZOPE KNIMAKEZ MAJOR SCALES
ME YOE:EI> WITH FLATS.
I(ltfporo <DA porz6pe FA maior Scale
An6 to 3'6rdornpo ms 3.. xop6fig. From the 3'o interval of 3'd shing.

t!! ror I t?l ,o)LA t lL? ro;al I 19: ro?A* I rl? ro? I
3'' Stllhg 2{ Staiqg ls+ string 2r.Slzing 3"rs+Ling
An6 ro 8" Erdornpn rnE 3'. xop66E. From the 8" interval of 3'o string.

r rllrril.l
El roer r t?;o?Ltt I I tt rc?alt
-1
L#

An6 ro 15'" 6rdornpo rns 3" xop66E. From the 15'n interval of 3'o string

[]3 rror.l I 2? rorer I llB rarel I t 8l xorlr 1 l$ rc?.|

Khfpoxo EI b pqrz6pe
I

D maior Scale
An6 to 1'" 6rdompo rng fo.s xop6ric. 1" interval of 2"u string.

7 e,
18E rnl I lI rc ?rn I ll!.,clr.. , l,!rc. l

An6 ro 8" 6rdorngo ms 3'. xop66E. From the 8" interval of 3'o string.

llBrrrl l2? to?r{ t I l! :crarr I lll te 'AI | 1 2E xctar I I tE rofr{

An6 ro 13'" 6rdornpo mS 2o". xop66E. from the 13* interval of 2"0 shing

t 2l r.tl. I ll ,rolrlr I I tB ,oQD" tll r,clsLul

39
 Kltipoxo MI I poz6pe MI b maior Scale
An6 16 6'" 6rdornpq ms 2o*xop6riE From the 6'' interval of 2"o string.

t13 xort r t! xoga* t ll! xocaq t r2!p?r

An6 16 13 6rdornpo rns 3"'xop6riE From the 13" interval of the 3'o string

r* rorr r !! rolrt t r lt ro?A,il r I lI rolrrr , r !! rortr r r$ntrll

An6 16 1'" 6rdornpo ms 1"'xop66E From the 1" interval of the 1" string

r lt xo?Ail

LA D major Scale
I
Kilipoxo nA b porz6pe
An6 to 6'" 6rdornpo ms 3". xop66g From the 6" interval of 3'o string

+
r8! xatrn I r tE -ornn r r tE rorerl r l3B ra?rs r

An6 to 11'" 6r6ornpo ms 20"'xop66g From the 11'n interval of.2"o string

T+ e
- rot xoeror
r,2E I LII xolar - ,- . t
t tl I

An6 ro 6'" 6rdornpo ms 1" xop66g From the 6'n interval of 1" string
t

-lG u ''' '+-:

tlB xo"Al{ I L_{,1 xoPAtl t

40
 Imv en6pevn xhfpoxo PE b porz6pe nou In the next scale RE major. which has a ke_r.
b
6xer onhop6 n6vre uQ6oerg nopfinpofpe 6u signature with five flats, we can see thar u,e
zo6- have the.same positions on the bouzouki as
6xer the DO fl ma;or scale which has a key si-
i6ro gnature with seven flats. So we have for the
xhfpoxo pe 66o 6roQopeux6E ovopoofeE, xor
same scale two different names with different
. I-1.x. n xhfuoxo notes.
NTo ,# pE #
xo PE b prorz6pe
x.h.n.
Av xdvoupe plo o6yxpron rov nopondvco
Q0oyyooripov.rcov 6uo xhrpdxov 0o Qoripe
6u rq NTO fr eivor f6ro pe ro PE I ro
PE
^f efvor ici_ro pe ro MI, xor ro MI fr ef-
vqr f6ro pr ro QA x.h.n.
r us xlfpoxeE
6Cn u06ous, pe
6 6r6oerg, KCu
ernd uQ6oas pe
EI porz6pe pe onhro;r6 n6vre 6r6oerg.
O[ xhipoxeg our6g nou 6xouv ro f6ro dxouolro
ohld 6roQopenx6 6vopo h6yovror evopp6-
ues.

41
 K?tfporo AA prv6pe LA minor Scale
natural Scale (Minore)
An6 m 20" xop6ri ovorxrri From the 2"o string open

C.J-
t 22 xoetut l4l xotttt t42 xoesa - J l22xoptul
An6 ro 7'" 6rdornpo ms 3". xop66g From the 7'n interval of 3'o strino
4

=T+ T=
t3il xoPttt t tZ\ soeset fl\ xot.t | 21 xottu I
3d ttLilg 1,'r sh,iurg fr sizirlg 13r steitg ztr stci'rg
r\no ro l2 orrlr;rn1-rcr rnq 2 xoptiriq From the t2'n inte.rval

4,t

eT=
tlE xo?at{ ttt xoPlrr t | 2t xo?r[ t

pr StLi\g 1g{ stLiqg re stUng

APMONIKEZ MINOPE KNIMAKEZ HARMONIOUS MINOR SCALES

ME AIEZEIU WITH SHARPS
Klfpoxo MI prv6pe MI minor Scale.

An6 ro 2," 6r6,ornpo mS 1'. xop66g From the 2"o interval of 1" strino

lLL xo?*A t | 42 xoe;q I

An6 ro 7u" 6rdornllo ms 2o"' xop66g From the 7'n interval of 2"o string
,t4

t21 xoet,l l r{ xoppr{ I t LL xoglrl

Ano ro 14 SrcirrurIr{r n)i I rr,[rfjn,. From the 14'n intervasl of 3'o string
t7 2t1

I 31 xopA. I t ?! ^oea.l lLl xos.l 1.14 xoP, I t 22 xoqt. I l*2 rat;u I

4?
 Kilfpoxo EI prv6pe SI minor Scale
An6 ro 20" 6rdompo ms 2o'. xop6rig From the 2"o interval of. 2.. stnng

TO eT
t22 xo PAt t t aL xoPAr r22 -oext I

2(' stztlX Irl Stzi u19 rr. stti \e

An6 ro 9'" 6rdornpo From the 9'h interval of 3'd str.

l5l xoetq t | 2l xoe st t t4.? xoe t.t il *ae t t-4{ xopa( r r A[ xopar{ r

An6 ro 14'" 6rdornlro ms 2o". xop66g. From the 14" interval of 2"0 string

-Ue
t2! xoz*a t l4L xoPLa t I 4L- so ?bA t2t *oers I

KifporoQ4. * prv6pr FA * minbr Scale

An6 ro 4'" 6rdornpo ms 3'" xop66E From the 4'ninterval of 3'o string
47t13

t?! *oltx I l2( xoeox | )4txoer.l ill s<opL,t L2l xresx I | ?l xcoptt I

An6 ro 9'" 6rdornuo ms 2o.. xop6riE From the 9" interval of 2"o sting

t2'!. xoeail t t 4! xo PaH t 41 xo ear I I 21 xoeau t

An6 ro 4'" 6rdornpo rns 1". xop6rig From the 4'n interval of 1" string

t t! xo ea,A
t Ll. x.-Prv A t

43
 Kifpoxo NTO fl prv6pe DO + minor Scale
An5 ro 4 6rdornpo rns 2o". xop6flg From the 4'n interval of 2.ostrinq.

t l4 xoeb4 I LL sta e t* t I 21 rroeAn t

Itr s+u1! lr+x+urg 2$ stufng

An6 to 11'" 6rdompo rnE 3"'xop66E From the 11'n interval of 3'o string.

+ e
t1t xocstt t t21 xoote ,, iL xot t tll ,ro.t tZLsot-o+t I lSgxopar t

Kltfporo >On fl urv6oe SOL { minor Scale

An6 ro 6" 6rdornpo ms 3"'xop6fig From the 6" interval of 3'o string.

eT==
2!- yo?ttl I t LLwtol
t t LL xoo . I tZL toe^l t tll xqel;u t

tng 2" xop66g From the 11'n interval of 2'o string.

e ,==
-=-+
xolstt
122 t t L2 xo"sq I lL2 xoobH I t 22 ;.o ?^H I

Kltfpoxq PE il Frv6pe Arnhf 6(eon RE f minor Scale

An6 ro 6'" Erdornpq rns 2o". xop66g Double sharp From the 6*.interval of 2"o string.

tll 70?LH l2 rdCAH

tng 1" xop6rig From the 1" interval of 1"

t 4L xo?rtt I Ll to?rrt -j
An6 ro 13. 6rdornpq ms 3" xop66g From the 13* interval of 3'o string.
lt44,V

lllxoesu
L-i-# 1 l2!>,oeatr t l?L{xoeaq tl**oro., t2!*aps* t t}l.'oesu t
 Khfpor" AAI prv6pe LA d minor Scale

An6 ro 1'" 6rdornUq ms 2o"'xop66E From the 1" interval of 2"'string.

+T=
122 xoeaa I t 42 xo et+ I t L2 xopAH t 22- ra PLH )

An6 ro 8" 6r6ornpo ms 3"'xop6rig. From the 8* interval of 3'o string.

t32 xo?-^tt r t22 xoetx t 174 xo?. t t!2xuot.lt?2roesLt I3:1 roP6N t

An6 ro 13 6rdornpo rns 2" xop6riE. From the 13* interval of.2"o string.

t22 xoetH. t r1? xoPlrt ,Ilxo P.o rt t t 2? xoerH r

APMONIKEE KNIMAKE', HARMONIOUS MINOR

MINOPE ME YOEZEIE SCALES WITH FLATS
Klfpoxo PE prv5pe RE minor scale
An6 ro 5'" 6rdornpo rns 2o" xop66g From the 5* interval of 2"o string.

t21 xoes t t42 xoPLtt , t42 xae.x+t , t22 xo ?\,.t

An6 ro 12" 6r6ornpo rns 3" xop6rig From the 72'n interval of 3'o string.

t32 xo eta I t 2\ *optu I t 42 xc.r, I tl2 xot'l 2L roet' t t 7A >'oeb.l

An6 mv 1" xop66 ovotxtti From the 1" open string.

,lL xcPLH I I a" *oe'q I

45
 Khfporo EOA prv6pe soL minor Scale
An6 ro 5' Erdotnpo mS 3"' xop6fig From the 5" interval of 3'o string.

+-T==
tl.trap,r t[ -xoltt l2\vopril I t3!.<cpas I

l'aS+Li.t, t'. sttirlg 2\'stuilX I'J g{ui'tt

From the 10* interval of 2"o string.

+ e-=-
r 3! xo PaH rll xoern lr8! roPlq r

rng 1"'xop6rig From the 5" interval of 1'' string.

7=
,Ll
T+
YEPLH |. -
'-L'1- ,o?brl |

Khfporo NTO prv6pt DO minor Scale

An6 to 10'" 6rdornFo rns 3"'xop66g From the 10" interval of 3'o string.

r3E xopA( r t 2l xoctx t ,LL xoo, , rlB roo. r t 2l tot*t t bl to?r tt

An5 ro 3'" 6rdornpo mS 2"'xop66g. From the 3'o interval of.2"o string.

t22 xott A , r l! xarlx , rtL xoPAil t 21, >o ?srl t

An6 ro 15'" 6rdornpo rns 2" xop66g From the 15'n interval of 2"o string.

+
,2! ya'r* , ,t!yorlrr r tlLxofrrt ,,2t xolrt{ ,

46
 Kllfpoxo QA prv6pe FA Minor Scale
An6 ro 8" 6rdornUq ms 2*s xop66s. From the 8" interval of 2"o sbing,

L1! ro e>4 tLL xogstl , tZL xoest ,

lt+ S{"in? rs stdng 2d sitin2

An6 to 3-" 6rdornpo mS 3". xop6rig. From the 3'o interval of 3'o string.

a* ;otttt , tLl '.o?Ltt t l!*oe .l y'lr!, xo?. t t?l xoesx I lrl xor.au t

An6 to 15'" 8rdornpo ms 3". xop66g. From the 15'n interval of 3'o string.

f 5! xoerH , t}l xoetq t aLL xo?. t tll xoe.t tZ! toetrl t t)! xottu t

'Oncog Kol ous you6pe

xhfpoxeE, 6ror xor o.nE Like the major scales the same at the minor o-
plvope nopornpo6pe, 5u ornv en6pevn xlfpoxo nes we can see that in the next scale SI
D ! Hrvope nou 5xer onhrop6 n5vre u$6oerE, [l mi-
nor (five flats), we have the same positions on
6xoupe ro f6ro nouipoto endvo oro pnouzorjxr the bouzouki as the LA minor scale (seven
$
ue rnv xlfpoxo AAf,urvopr, nou 6xer onhrop6 sharps). So, for the same scale we have two dif-
enrd 6r5oerE. Anho6ri efvor n f6ro xhfpoxo pe
ferent names and notes.
6uo 6roQopeux6g ovopoofeg, xor 6roQopeuxd
llTiDOLf f, minor
SI
scale begins with LA
fl
f, but the. SI minor scale
f,e,t.c. I be-
gins with SI b, DO RE le.t.c.
Now if we compare the notes of the two sca-
les we will see that LA is the same with
fl
SI b SI fi is the same with Do, oo fl t,
the same with RE I e.t.c. ".J
The same happens,with the MI h minor scale
(six flats) and RE minor scale (six Sharps).
f,
and with the LA I minor scale (seven flat)
and SOL fl minor'scale (five sharps). These
nhrop6 enrd uQ6oers Ue IOAflUrv6pe pe onh- scales are also called Harmoni us.
op6 n6vre 6r6oerg. Kor e6o or xlfpoxeg our6g Note: [n every scale for all the intenCls p,**-
h5yowor evopp6vreg. tions the same octave is used. Thrl-. ha:cers
because in this way we can r2r
=.:*:;_.. :,,,?r-.
EnF. Ie xd0e xh(poxo Vrq 6hes ug 06oerE rov scale and we should i': -:.:-: r_ :-i *r:ni.r_s
6roornpdr@v xpnoponoreftor n f6ro orcd8o which are above or be,.c'* -c iii, trrr: ,rllrn-
xot our6 Vlo vo eivor euxoho6rdBooreg 6heg or ch are not so Lrsea
xhfpoxeE Kol vo pn rp6xoupe o $061ryouE e-
ndvo rou nevroypdppou nou 6ev efvor t6oo
efxpnoror.
 TPOIOZ ME TON ONOIO
BPIEKOYME THN KNIMAKA
OTAN EEPOYME TON ONAIUMO THE
,H
BPIZKOYME TON ONNIEMO THE
OTAN EEPOYME THN KNIMAKA
I-ro vo Bpo6pe pro xhipoxo poz6pe pe 616-
oerg, 6tov (6poupe tov onho1r6, oveBofvoupe
on6 mv reheuro(o 6ieon 6vo Q061ryo xor
xouUe rnv i6ro mv xlfpoxo.
Av n.x. 6xoupe onluop6 6Uo 6r6oers OA, NTO
ove8oivoupe on6 ro NTO (releurofo 6ieon)
6vo Q06yyo oro PE, ro PE pouz6ps efvor n
xhfpoxo nou znrdpe.
Av 6xoupe onhop6 rpefE 6r6oerE OA-NTO-
IOA. Ave8ofvoupe on6 to IOA 6vo Q05yyo
oto AA. To AA eivo n xhfpoxo nou znrdpe
x.h.n.
n xifpoxo) oro IOA. To IOA efvor n teheurofq
6feon rou onhropori mg xhfpoxog OA_NTO_
>OA. Apo n AA powz5peE 6xer onfuo1r6 3 616_
oerE <DA-NTO-IOA.
'Orov 6xo-upe pro,porzope xlfpoKo
lre uQe_
oas, Kol (6poupe rov onhrop6 ohho 6ev tg_
poupe mv xhfpoKo, Vlo vo rnv Bporjpe xorro_
tov onhop6 tng, ove8ofvoupe pfo riseon e-
ndvo on6 ro 6vopo mg xlfpoKos, Kql to o6-
volo rov u$6oecov efvor o onhropoE mE xhf-
poKo.S n.x. edv n xhfpoxo nou 6xoupe efvor n
AA h poz6pe ove8ofvoupe pro 6$eon e-
ndv<,rono tl-MI-nA-
PE. Apo
hrop6 16o-
oeperg uQ Vlo rq no-
pondvor,vo [6poupe pe rn oerpd uq 6r6oerc xor
ug uQ6oers nou efvor:
Ar6oerE: OA-NTO-ZOA-PE-AA-MI-ZI.
YQ6oers: EI-MI-AA-PE- ZOA-NTO-OA
48
METHOD FOR FINDING THE SCALE
WHEN WE I(NOW THE KEY
SIGNATURE OF FINDING THE KEY
SIGNATURE WHEN WE KNOW THE
SCALE.
In order to find a major scale with sharps when
we know the key signature we ascend from the
6_ last sharp one note and we have the corre-
sponding scale. Example:
1. If we have in the key signature two sharps in
FA and DO, we ascend from DO (last sharp)
one note to RE which is the RE major scale that
we are looking for.
2. lf we have in the key signature three sharps
FA-DO-SOL we ascend from SOL (last sharp)
one note to LA. So LA is the major scale we
are looking for e.t.c.
When we know the scale and we want to find
the key signature, we descend one note from
the first note of the scale (which gives the name
of the scale) and we have the last sharp of the
scale's key signature Example:
We want to find the key signature of the I-A
maJor scale. We descend one note from LA
(which gives the name of the scale) to the no-
te SOL which is the last sharp of the key si-
gnature of the scale FA-DO-SOL. So the
LA major scale has key signature with three
sharps (FA-DO-SOL).
If we have a major scale with flats and we
know only the key signature then in order to
find the scale we look with how many flats is
it written. The flat before the last one give us
the scale's name. Example:
If it is written with three flats SI-MI-LA, then it
is the MI major scale, if it is written with four
flats SI-MI-LA-RE then it is the LA
h major
scale.
When we know the scale and we do not
know the key signature we ascend ofie flat
upwards from the scale's name note and then
all the flats we met going this way are the
flats of the scale.
Example: If we have the scale of LA malor
f,
and we want to find the key signature of this
scale then we ascend one flat upwards from
the IA to RE*. So we have flats in the posi-
tion of SI-MI-IA-RE notes. So the LA ma-
jor key has key signature with four flats.I
Before we can apply this rule we must know
the following sequence of flats and sharps:
Sharps : FA-DO-SOL-RE-LA-MI-SOL
Flats : SI-MI-I-A-RE-SOL-DO-FA
AIAOOPE> BYZANTINEU KAIMAKE:,
BYZANTINE SCALES
PE b EAMnAX-sABAH

PE #- on # NIABENT-NIAVED

MI V- AAh KAPTZITAP.CARJIYAR

ZIV OYZAK. OSSAC

eA # rroYPNTrN- YrouRDrN
 AA fr PAzr - RAST PAZT - RAST fi AA

PE fr XOYZAM - HOUZANT RE fi

PE fl nA b >ErKAx - cENGAH RE il LA b

pE b- AA [->r b xtrzuz-HuAz RE b -LA b -sr b

50
 MEPOZ TIEMNTO PART FIVE
'Oilo ro oKKoprrovlop6vro List of all the accompani-
-Forz6pe Kor prv6pe- Vro ments maior and minor for
ro rpfxo6po Fr.ouzo6rr Kor the three string-bouzouki
rov pnoyilopd Fe nporrrr6 and baglama in various po-
rp6no oe 6r6QopeS 06oerg. sitions.
 AKOAOYOOYN OAA TA AKKOMNA.
NIAMENTA TIA TO TPIXOPAO MNOY.
ZOYKI KAI TON MNATNAMA.
Aro86ore pe rpoooxf rrs nopor6ror
oupSou169
1) I-lohld qn6 ro oKKopnovrop6vro efvor
ypopp6vo pe 66o 6 neproo6rcpous rp6nouE.
O emeheor6g 0o 6roh6[er p6vog rou nor6E
rp6noE tou rorpr6zer xord rnv 6rdpxelo rou
nor(fpotog. Anh. 0o mdoer ro oKKopnovrop6v-
ro rou Bpioxeror nr5 xovrd oro 6dxruld tou
exeivn rn onyp6, ovdhoyo pe ro xoppou nou
noizet.
2) Meprxd on6 To oKKolrnqvrop6wo efvor
ypopp6vo Vlo pnouzor5xl Kol Vlo pnoylo-
Kcu
pd. Autd nou efvo ypopp6vo yro pnouzo6xr
6ev nqizovror oro pnoyhopd 6r6u ro pnou-
zo(sxr 6xer peydlq 6rqouiporo Kcu ro 6dxrulo
6ev xopdve orov pnoyhopd nou efvor prxpd
to 6roouipctrct (6rqv nofzoupe oe xopnh6S 06-
oers). To (6ro oup8ofver xor qvdorpoQo.
Evo oKKopnovrop6vro yto pnoylopd 6ev
pnopef vo noxref oro pnouzo6xr 6r6u to
pnouzoOra -6noE efnope- 6xer peydlo 6ro-
orriporo xor 6ev Qrdvouv ro Edrcuho (6rov
nofzoupe oug np<6res 06oers).
O eraeheorfE horn6v 0o 6roh6(er nor6 oKKoH-
novrop6vro rou rorprdza ov6hoyo pe to 6d_
muho nou 6rq0&er.
Eup6oul6
I-lp6ner vo p60ere vo xop6fzere p6vol ocrs To
pnouzoUrc Kol rov pnoyhopd.
52
THERE ARE ALL THE ACCOMPANI.
MENTS FOR THE THREE STRING BOU.
ZOUKI AND BAGIAMA.
Study carefully the following advices:
1) Many of the accompaniments are written
in two or more ways.
The player should select the way which is
best for him. This means that he will select
the accompaniment which is closest to his
fingers at that moment according to the piece
he is playing.
2) Some of the accompaniments are written
for the bouzouki and for the baglama too.
Those that are written for the bouzouki can-
not be played on the baglama because the
bouzouki has a bigger distance than the ba-
glama which has much more smaller distance
between frets, (when we play on the lower
positions of the fingerboard). The same hap-
pens inversely. An accompaniment for the
baglama cannot be played on the bouzouki
because the bouzouki has big distance be-
tween frets. (When we play on the first posi-
tions of the fingerboard) So the player has to
choose the acccompaniment which suits best
to his fingers.
Advice
You have to learn the way of self tuning your
bouzouki and baglama.
 NTO 14 AILO PC
C l-,lAJoR

NTO 1,4ATZO Pe
G I1 AJ OR

5oL

o t.l A|LO Pe
nUT
C HqJOR

MlO UATZO PC
o H A.,/oR

|
,tl O tt 4tLO Pe
G U A.loR

Do Do

m
Nlo l.lAtLope
c L4tqJOR

I
5oL

NTo AATLo p e
C l.tnurOR

Oo 3oL

[on [4Atzop
G I.IAJOR,

Eon F.tATzope
G UAJOR,

I
SOL

{oa pl ArzoPe
G A,,A{O R

.1,

$OL R,E

*
1OA M{lLOPE
e MAr.yoR,

PC U ATLO P.
0 fi,l A{oR

Fa*
I
f,E LA

Pe l,4ATzo?e
0 f.l ,1uoR

Fot R[

p H4TzoPe
0 An,/O R

Pe, ptATzope
D 14t1,/oR

s a* R.e
I
LA

55
AA U ATLOP E
A MAvo n

AA Pc
A ^4ATzo
O R,
^.lArt
+
LA LA

AA HmLoPe
A MA*lOR

AA taArzoPe
A tt-i 4.a, O R

oot'

14t Mqtzo pe
E llA\/OR
,[
sor,f,

56
HT uA-lLo Pe
e tn4v o n

l,t I 14Arzope
E t4AvoR

l-t t UAlZOPQ
E ttAvot?

Ht HR-TZo p e
E UALlOR

t4t tll ATZO Pe

E H AvoR
f,r H hTzo pe.
9 l.tAvOR

zt H ATLO ?C
b UA'tOR
,[
Rr[ 5t FAK

:t 14 ATLO Pe
o l1 etoR

1t MNTLOPC
B ta+t o R

In

6a* MArzoPe
Ff HA.toR

oqint L^r

58
Oet H A-tLo pe
F# l.t n./o R

6n# uArzoPe
Fl ttAroR

rafi o"*

Uo# HAttoPe
c# f-la,roR

pto I untlope
c* HLq,/oR

tA Dot so4

wo{ t4AlLoPe
c# l,tA\/oR

I
nl sol+

59
6a MltTzOPe
F l,lA.lOR

uA-tLOPe
l,lA./OR

Oa ll4Tzo Pe
F uArlOR

Oa fr,tATzope
f UA,/OR
,l
AA

QA I{ ATzo P
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