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Balkan Music - Balkan Music Theory (And More)
Balkan Music - Balkan Music Theory (And More)
com/
II.1.1 Beat 5
II.1.2 Pulse 6
II.1.3 Rhythm 6
II.1.5 Time-signature 6
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II.5.1 “2+3/8” 12
II.5.2 “3+2/8” 13
II.7.1 “3+2+2/8” 16
II.7.2 “2+2+3/8” 18
II.9.1 “2+2+2+3/8” 22
II.9.2 “3+2+2+2/8” 27
II.10 References: 27
II.10.1 Internet 27
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II.10.1.b.ii. Websites 28
II.10.1.b.iii. Videos 28
II.10.2 TO DO 28
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I. INTRODUCTION
T his short book is intended for musicians who have some knowledge in Music Theory and
want to expand it with understanding of what makes the Balkan music tick.
Balkan music theory is not a separate entity – it's rather a link between the music of Western
Europe and Near East.
T he proper name for this booklet might be: Balkan Rhythm & Blue s Music T he o ry:
Re fe re nce Guid e . Because, although based in Classical music theory, elements from
Blues, Rock and Jazz theory will be included as well. T he reason for that is that the aim is
not only to reflect on the theory created so far, but to look forward in using this theory
knowledge in creating new music.
N am e s o f rhythms and scale s are usually Greek and Arabic. The reason is that Greek
music has been influenced by the oriental music in the last five centuries. In turn, the Greek
names of scales and rhythms are now commonly used between most musicians who
perform music from (or influenced by) the Balkans.
Intervals
Scales
Chords
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of the global music treasury, some of them may be considered unique (the T samiko &
Paydouska rhythms, the 11/8 time-signature, etc).
T he uneven time-signatures are ingrained into the soul of Balkan musicians so deeply, so
that a 7/8 based rhythm in Macedonia is called the 'straight' rhythm (правото).
But Balkan time-signatures are not an intellectual entity separated from everyday life
(waiting for researchers to classify them).
When talking about Balkan time-signatures, one must never separate them from d ance s.
An average person living in some of the Balkan countries would not know what on earth is
5/8 or 2+3/8, or how it works. But tell them Paydushka / Baiduska, or Tsamiko, and they can
clap its pulse or even dance to it.
So, to understand Balkan uneven rhythms, one should dance them (it at all possible). Or at
least watch the dances.
But even if one is not too keen to go to youtube, one can make it's own further research
using the original names and their English transliterations.
We don't know what's first: the dances or time-signatures. We know that there are advanced
dance movements perfected over history in many combinations of rhythms and pulses.
And they make great basis for composing music that sounds fresh, interesting, authentic
and beautiful.
II.2 NOTATION.
T he notation of rhythms is done in two ways in this booklet.
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T he notes above the line represent a higher pitched, and those below the lines a lower
pitched percussion instrument. In the case of compound rhythms, the pulses are given in a
graphical presentation above the staff.
But this can be seen in another way as well: the notes under the line are the strong (Arsis),
and notes above are the weak (Theses) beats.
T he numbers below represent the beats, which is useful especially in uneven rhythms.
Examples of how the rhythms could be played on drums will be given using a drum
notation as in the example above. A cymbal, cowbel or tom may be occasioanlly added.
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Basic definitions
2/4
3/4
5/8
6/8
7/8
8/8
9/8
11/8
T he whole purpose of the definitions below is to establish the terms and the way they will
be used in this booklet.
II.3.1 BEAT
Beat is the basic unit of time.
Used for mathematical purposes in music notation, to establish the number of beats
in a time-signature.
II.3.2 PULSE
Pulse is the overall feel of regular patterns in a composition.
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II.3.3 RHYTHM
Rhythm is a combination of short and long notes.
T he foundation of the rhythm is in the pulse, and the most simple rhythms are simply
pulses.
II.3.5 TIME-SIGNATURE
T ime-signature is the sign that informs us about the length off the bar, thus
establishing the Me tre :
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In 6/8, the 6 beats are divided into two groups of three beats, thus one bar contains
two evenly spaced p ulse s.
T hose pulses feel slightly longer than the ones in simple time-signatures
In the compound 9/8, the 9 beats are divided into three groups of three beats, so
there are three even pulses in a bar.
T he grouping of notes (and thus the pulse) consists of combinations of 2 (short) and 3
(long) notes.
T his creates a flow of uneven pulses, which is the essence of Balkan rhythms.
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So usta (http s://e n.w ikip e d ia.o rg /w iki/So usta) (Σούστα), Greece
Listening example:
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T he Cho che k (see 8/8 time-signature) is sometimes written in 2/4 (implying a secondary,
even pulse):
But most of its melodic lines fit perfectly in 6/8 or 12/8, avoiding the need of repetitive triplet
signs.
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The popular 3/4 Waltz time-signature is used to some extent across the
Balkans (nicknamed Valcer (https://en.wiktionary.org/wiki/valcer)).
In Serbian music it's performed as three straight beats, often the first one
only slightly accented:
A drummer would play the 1/4 or 1/2 notes on the hi-hat/cymbal and the rhythm variation on
the kick/snare:
Vallja E Katjushkes
- Albanian traditional song
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Again a simple time-signature where the beats and pulse are the same. Most common
metre in Western music, hence the letter C (from Common) instead of a numeric time-
signature sign.
In the Balkans, many rhythmic variations of 4/4 are used, with influences from Near East
and India, to the Caribbean and Latin America. We won't discuss these rhythms here, as
they nicely described in numerous books and websites.
T he most popular form of the common metre used in the Balkans is Tsifteteli
(https://en.wikipedia.org/wiki/T sifteteli) (Τσιφτετέλι):
T here is also a variation, known among musicians as the 'Turkish T sifteteli' or 'T urkish
Chochek' (Турски Чочек):
A rhythm pattern that's often used in Bulgarian and Macedonian music is the following
(nameless):
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T here are five beats in a bar, and they are most oftenwritten as 5/8, 5/16 and rarely 5/4. 16
note would indicate a faster, and a quarter note a slower tempo.
But now there are 2 pulses per bar, and they can either be:
2+3/8 (short-long)
3+2/8 (long-short)
II.7.1 “2+3/8”
Let's look at the 2+3/8 time-signature first, with a short-long pulse:
T his variation of the 5/8 time-signature is most often found in Macedonia, Bulgaria, Albania
and northern Greece.
A point needs to be clarified here: while the Greeks give names to the rhythms
independently of their songs/dances, the rest of the Balkan musicians seem to associate a
particular time-signature or its variation with its most popular dance.
In this case, there's a very popular instrumental dance called Payd ushko (h)Oro
(Пајдушко Оро/Хоро) in 2+3/8.
So among most Balkan musicians, all 2+3/8 rhythms are simply called Paydushka.
T hey are usually in moderate/faster tempo, and the actual performance looks like this:
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A drummer would play the 1/8th beats with a hi-hat/cymbal and the pulse with kick/snare.
Occasionally a 1/4 note hi-hat/cymbal is used over two bars, adding a contemporary feel:
Listening Examples:
Bayduska ( (https://www.youtube.com
/results?search_query=Μπαϊντ ούσκα)Μπαϊντ ούσκα (https://www.youtube.com
/results?search_query=Μπαϊντ ούσκα), Greece) (https://www.youtube.com
/results?search_query=Μπαϊντ ούσκα)
II.7.2 “3+2/8”
Let's now consider 3+2/8:
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T he pulse is long-short.
Used mainly in Greece, and it's usually performed slower and as written above.
T he most popular rendition of this variation of 5/8 is used in David Brubecks's “T ake Five”
play the 1/8 beats on hi-hat/cymbal as well as on kick/snare; the pulse is either implied or
played with a kick/bass:
In contemporary renditions, playing quarter note beats with the hi-hat/cymbal would make
the rhythm more interesting:
Listening examples:
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3+2+2 (long-short-short)
2+2+3 (short-long-long)
2+3+2 (short-long-short)
II.9.1 “3+2+2/8”
Music example:
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3+2+2 is the variation of the 7/8 time-signature called the 'straight' (Pravo to
(https://en.wikipedia.org/wiki/Lesnoto)) or recently the 'easy' dance (правото, лесното) in
Macedonia. The reason is that at least a third of all Macedonian traditional songs and
dances are composed in this metre. Often these are mellow, lyrical pieces. Below are
some examples:
Examples:
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II.9.2 “2+2+3/8”
This variation of 7/8 consists of short-short-long pulse:
At a slower tempo, this variation would be performed on percussion as the example above.
A drummer would play the beats with a hi-hat/cymbal and the pulses with a kick/snare:
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Of course, many variations are possible and do exist. Here are some:
It gets a wide use in Bulgarian folk songs and dances under the name “R
(https://bg.wikipedia.org/wiki/Ръченица)a (https://bg.wikipedia.org
/wiki/Ръченица)chenica (https://bg.wikipedia.org/wiki/Ръченица)” (Ръченица,
sentence).
Listening examples:
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It contains three pulses: long-long-short and it's usually performed like this:
A drummer would perform the beats on a hi-hat and the pulses on kick/snare:
T here's also a secondary, even pulse associated with this variation of 8/8. This is the
reason why it's sometimes written in 2/4. T his implied pulse is often played on a cow bell
or tambourine in recordings or live performances.
In the example below, a kick/snare plays the three uneven pulses, hi-hat the beats and a
cow bell the secondary, even pulse:
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T his rhythm often used in weddings across all Balkan regions, and the songs are usually
jolly and uplifting.
Listening examples:
Hajde (https://www.youtube.com/results?lclk=video&
search_query=%22hajde+shoto+mashalah%22&filters=video)S
(https://www.youtube.com/results?lclk=video&
search_query=%22hajde+shoto+mashalah%22&filters=video)hoto
(https://www.youtube.com/results?lclk=video&
search_query=%22hajde+shoto+mashalah%22&filters=video)M
(https://www.youtube.com/results?lclk=video&
search_query=%22hajde+shoto+mashalah%22&filters=video)ashallah
(https://www.youtube.com/results?lclk=video&
search_query=%22hajde+shoto+mashalah%22&filters=video)
- popular Albania folk song
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2+2+2+3 (short-short-short-long)
3+2+2+2 (long-short-short-short)
2+3+2+2 (short-long-short-short)
But first of all, lets take a look at the Western classical and Jazz music, where it's divided
As with the other compound time-signatures, the beats would be played by hi-hat and
pulses by kick/snare:
Listening examples:
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II.11.1 “2+2+2+3/8”
T his is definitely the most popular variation in Balkan music. So popular, that we will have
to divide this variation into further chapters for a clearer understanding.
T his is by far the most popular rendition of 2+2+2+3 and it's found in all Balkan regions. It's
usually played at a fast tempo. In Greece it's know as Karislamas (Καρσιλ αμάς)
(https://en.wikipedia.org/wiki/Karsilamas)
When tempo is slow, percussionist would sometimes perform it in way written above. At
faster speeds, only the pulses are played:
In contemporary renditions, the cymbal would play 1/4 notes over two bars:
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For wedding songs and dances, a rendition that makes it sound like a Tsifteteli is
commonly played, with a stress on the 3rd and 7th beat:
In the above rendition, the rhythm gets a two-pulses-in-a-bar feeling and it's usually
performed on a ride cymbal.
Listening examples:
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search_query=%22a+kane+uje+ato+burime%22&filters=video)
- Albanian traditional song
A similar rendition is known under the name Kam ilie riko (Καμηλιέρικο Ζεϊμπέκικο):
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While the percussionists may play this rendition as above, once the Drum Kit entered the
Greek music podiums, the typical way to perform New Zeimbekiko became the unison
playing of kick/snare and hi-hat playing the beats:
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27/09/15?
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II.11.2 “3+2+2+2/8”
T he long pulse from the end of the classical Balkan 9/8 (2+2+2+3) is moved to the
beginning of the metre: long-short-short-short.
Does it make a difference? Of course it does – every bar now starts with a long and heavy
dragging.
T his variation is found almost exclusively in Greece and is known as Ap taliko (Απτάλικο).
Being in essence a form of the Zeimbekiko, the short pulses can be played in the old or
new style:
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II.11.3 “2+3+2+2/8”
T he pulses in this variant of the 9/8 time-signature are short-long-short-short:
T his variant is 'connected' to the classic 9/8 and would be perfromed in a similar fashion: in
slower tempo as the example above, and in faster tempo the pulses would be performed:
Similarly, in drum the kick/snare would play the pulses while the hi-hat the beats:
T his variation of the 9/8 opens endless combinations and these have not been explored
much by contemporary drummers; here are some – including a 1/4-cymbal cymbal ride in
the last two bars:
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But no.
T here's only one 11/8 variation actively in use, and the 2+2+3+2+2:
In folk songs and dances, this time-signature is performed quite fast, so the actual pulses
are obvious:
Drummers would play the beats on a hi-hat and the pulses on kick/snare; many
combinations are possible, this is just one:
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/results?search_query=%22скопско+оро%22&lclk=video&filters=video)
- Macedonian folk dance
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II.14 REFERENCES:
II.14.1 INTERNET
II.14.1.B.II. WEBSITES
Dunav.org.il (http://dunav.org.il/index.html)
- Balkan folk dances and videos
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BabaYagaMusic.com (http://babayagamusic.com/Music/bulgarian-music.htm)
Oddmetermix (https://oddmetermix.wordpress.com/)
- music examples in uneven time-signatures
II.14.1.B.III. VIDEOS
Ensemble BULGARE The musical rhythms of Bulgarian folklore*
(https://www.youtube.com/watch?v=O1ZYJo8OfY8)
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II.14.2 TO DO
Check bulgarian rhythms:
5/8 22/9
rhythms 23/9
(/rss.xml)
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