Contents

Introduction - Music of the Greeks

My initiation to Greek music
A Deviation from Greek music
Capturing the spirit of Greek music on guitar
The Aegean city of Smyrna
The great fire of Smyrna
Population exchange
The birth of rebetiko
The father of rebetiko
The Greek bouzouki and baglamas
The evolution of Greek music
Greek music re-imagined for guitar
Copyright notice
Spirit of the Greeks
Xekina Mia Psaropoula
Pou Nai Tha Chronia
Frangosyriani
Misirlou
Bouzouki Mou Diplochordo
To Zeibekiko Tis Evdokias
Siko Horepse Sirtaki
Never on Sunday
Kaimos
Zorba's Dance
 About this book

As the numerous genres of music throughout the world radiate

further from their roots, so too does the instrumentation and
technique that govern their execution. Purists, dedicated to authentic
preservation of their chosen styles often overlook its development
and sometimes show disregard for its adaptation and evolution.
Traditional Greek music has been no exception yet inevitably it has
still managed to evolve in numerous directions against strong
resistance. In recent decades the normalisation and spread of a more
simplistic western popular culture throughout the world has had a
significant impact on Greek music. However, from its earliest years,
the music played in Greece by immigrant populations had been
subjected to change via censorship from the authorities and later by
fusion with a number of native genres to what can today be broadly
identified as Greek music.

The Mediterranean remains a region with a rich history of string

playing musicians. Laying somewhere between the ‘oud’ players of
the east and the flamenco guitarists of Spain are the bouzouki
players of Greece and Cyprus, whose music is heavily influenced by
the tragedy of Greeks fleeing persecution in 1923 from Turkey. Many
of these refugees came from the major port city of Smyrna, now Izmir.
This publication pays tribute to the music that radiated from this
period through to modern times via an interpretation on classical
guitar. A brief account of the history of Greek music and its
development precede numerous classical / flamenco guitar
arrangements of songs that have become deeply embedded in Greek
culture.
 About the author

Mark Hussey emigrated from the UK to Cyprus as a teenager,

where he began an apprenticeship in Greek music under the wing of
his cousin, a bouzouki player. Two decades later, after completing his
doctoral studies in virology at the University of Oxford, Mark pursued
an alternative career to become an internationally acclaimed solo
guitarist, producer and songwriter. With several albums to his name,
his musical interests span a wide range of genres. Marks passion for
the tradition and evolution of Greek music is evident in his beautiful
and virtuosic arrangements carefully crafted for this study.

Vinzenz Benjamin
 Spirit of the Greeks
Greek music for classical guitar
 Introduction - Music of the Greeks

In the 1930s Piraeus had been the settling place of musicians

responsible for the development and popularisation of a music form
that had previously been alien to the majority of mainland Greeks.
This music came to be known as ‘rebetiko’ and is believed to have
originated from Greek communities residing in the coastal cities of
Asia Minor, most notably Smyrna. The settlers continued to develop
their music with sociopolitical factors being one of the most important
driving forces in its evolution. A number of other factors also played a
role in the development of rebetiko, including an expansion of
instrumentation, fusion with other native genres and censorship.
Greek music has retained many of the key characteristics of the early
years and is often easily identifiable not only by the language but
through its earthy vocals, unusual rhythms, instrumentation and
lament style melodies.
◆◆◆
 My initiation to Greek music

I was born in 1978 to a British father and Greek Cypriot mother

living in the UK, with a large extended family who held many of their
homeland traditions strong. Greek music, in combination with western
popular music of the time, was largely the soundtrack of my formative
years. That said, I was for the most part unaware of the origins of
Greek music, but had witnessed an arousal of spirit in all who listened
when it was played by live musicians at the numerous weddings and
christenings of our Anglo-Greek Cypriot community. In the early
1990s, my immediate family emigrated to Cyprus where I enrolled in
the Nicosia Grammar School. Largely un-academic I was placed in
classes one year below my age. Not fully getting to grips with the
language, I found myself turning to music for escapism and possibly
acceptance. Despite rudimentary guitar skills that I had developed
through some initial lessons on classical guitar, I sought auditions for
the local cabaret bands of the time and recall being given cassette
tapes to learn the guitar lines from a number of traditional songs. I
found the music exceptionally difficult, both rhythmically and
harmonically. In honesty, my first attempts to play Greek music of the
day quickly failed. A year or so into my time in Cyprus, my cousin
Andreas had also temporarily emigrated, with a view to something
more permanent. He was trialling a new career playing music in
hotels, bars and restaurants. Alongside his backing tracks, recorded
on a Fostex multitrack machine, he played a combination of well-
known European and American music as well as western
expectations of Greek music such as the famous ‘Zorba the Greek’.
Andreas knew that I could play a little guitar and had also once taught
me a few lessons on bouzouki. Presumably looking for company on
the road, he asked me to join him, working as a duo with my role
being to add an extra layer of guitar to his existing backing. Thrown
into the mix, Andreas and I would perform a number of familiar and
traditional tunes, many of which I had heard during childhood.
Included in our performances, were the seemingly asymmetrical
styles known as Zeibekiko and Karsilamas that always captured
excitement from the natives, while tourists would dance to our fun
renditions of up tempo Hasapikos made popular in the west by artists
such as Nana Mouskouri and composer Mikis Theodorakis. For the
first time, I was being coached in Greek music as a backing guitarist,
learning on the road, playing the music I had once heard at our many
family celebrations. To me, much of the music had a soul, a mystical
and magical energy I still find hard to put to words. I had now turned
my hand to the music of Greece and Cyprus. Andreas and I
performed for many months together, where I also watched and
learned the art of negotiating and securing performances in additional
venues. We had many great times travelling and working together.

Mark with cousin Andreas and his son Christos making music
in London 1998
 Andreas, eventually returned to the UK as I continued to secure
gigs and perform in several venues in Limassol, Ayia Napa and
Paphos. At this time, I found myself playing almost exclusively British
and American music, having not fully got to grips with the Greek
language and its vast repertoire. My apprenticeship in Greek music
had proved to be incomplete and I was now was in a partnership with
a friend and musician even less experience than myself.
◆◆◆
 A Deviation from Greek music

I returned to the UK in 1997 and soon found myself in university

studying biological sciences. My musical interests had largely shifted
to electric blues, although I was occasionally still performing in Greek
restaurants alone on the guitar, playing along to the old backing
tracks I had once used with my cousin. Musically, it was a less
authentic experience than I had been used to working with Andreas
and I believe that my audiences could hear and sense my rather
amateur level of musicianship. I was also playing the music on guitar
rather than on bouzouki. My interest in other music forms was
growing and I formed an electric blues band which played the local
venues of Oxford covering music from artists including BB King, Eric
Clapton, Muddy Waters and Stevie Ray Vaughan. Musically there
seemed to be few if any parallels to the Greek music I had once
played in the tourist regions of Cyprus. I toyed with playing the blues
for many years but eventually found that it rhythmically and musically
no longer satisfied my musical ambitions. It was to be a decade later
after the rise and fall of many bands that I was to revisit the classical
guitar, drawing upon the year or so of lessons I took as a young boy.
At this time I found myself in pursuit of sufficient skills to compete for
work as a solo guitarist after walking out of a secure but somewhat
thankless job as a laboratory scientist. I dedicated an enormous
amount of time to guitar practice and committed to memory numerous
tunes from the classical guitar repertoire, but soon discovered a
greater degree of freedom as well as harmonic, technical and
rhythmical complexity in the flamenco guitar music originating from
Spain. This new find evoked an excitement in myself that I had
witnessed and felt with traditional Greek music. The exclusivity and
stuffiness of the classical community was also quite off-putting, with
many musicians being musically stiff. Pushing me further away from
classical music was the fact that other styles seemed to embrace a
more progressive approach. That is not to say that there aren’t
sensational classical guitarists, as there are many. In focussing my
efforts heavily on flamenco guitar I was able to learn a number of
techniques that I found could be employed to mimic some of the
instrumentation in Greek music. My rhythmic appreciation was also
now expanding and although unaware, I was step closer to revisiting
Greek music at some stage.
◆◆◆

In my early efforts to play Greek music, as well as being musically

inadequate, I had also not been able to appreciate its lyrical content. I
began to educate myself in the roots of rebetiko only to find that
although worlds apart, there were parallels with the American blues
which I had enjoyed as a student. Parallels which also extended to
Andalusian flamenco that I was now dedicated to studying. These
three genres all radiate from the suffering of people who had been
marginalised and mistreated in society.

Hitzaz is one of the commonly heard scales played in Greek

musi

◆◆◆
 Capturing the spirit of Greek music on guitar

With a broader appreciation of the historical and musical aspects

of Greek music, coupled to a greater degree of technical proficiency, I
decided to try to improvise a number of tunes I had learned the
melodies of in Cyprus. I soon realised that with practice I was able to
mimic and pay tribute to this wonderful music as a solo
instrumentalist. Moving between the techniques employed by the
different genres that I had studied, I tried to capture the spirit of the
different instrumentation. It was the fruits of this improvisation that led
me to write down and record the arrangements within this book and
the album such that they can be enjoyed by both Greek music
enthusiasts and guitarists alike. My hope is that through these
interpretations and recordings I will broaden the genres appeal and
bring a new audience to the rich music of Greece and Cyprus while
maintaining its earthy spirit.
◆◆◆

As a musician, I believe that to fully appreciate any genre of

music, one needs to immerse themselves in its history and culture
until the music has been assimilated. The soul of the music is then
evident in the performance. Coupled to the necessary technical
proficiency, one may then be able to freely express themselves in that
given genre. Despite this, more often than not, the lay listener of
Greek music neither possesses the technical abilities or a
comprehensive knowledge in the history of Greek music, yet are able
to assimilate the music and fully enjoy it. This is usually due to having
been raised within a Greek community with regular exposure to these
native sounds. You can witness this in the joy experienced through
both song and spontaneous dance so common that it is seemingly
almost a reflex-type response to many Greeks.
◆◆◆
 For the benefit of guitarists who choose to undertake a study of
the notation included in this publication, the following sections provide
a brief account of the history and development of modern Greek
music from what is widely considered its birth in Smyrna, now in
Turkey, to its popularisation throughout Greece and the world. I do
not profess to be an expert in the history of Greek music and I am
therefore simply sharing my own understanding based upon
independent research. There is a significant body of academic
literature for further reading should the information summarised here
spark a desire for a more detailed academic account of the
information provided.
 The Aegean city of Smyrna

At the conclusion of World War One, Smyrna, an Aegean coastal

city on the Turkish mainland, had a diverse community of around
400,000 individuals. Its population was made up of mainly Turks,
Greeks, Armenians and Jews with smaller but significant numbers of
Italian, British and American citizens. Although the city had been
founded by the Greeks, it was now part of an almost entirely eroded
Ottoman empire that had reigned since the 15th century. The music
that existed in the area was diverse, with musicians from all
communities being active. Historical records show the presence of
both violin and piano teachers in the area alongside musicians who
practiced a freely timed vocal lament in the Asia minor style known as
the ‘amanedes’ which were performed in venues known as ‘Cafe-
aman’. There had been clubs of different sizes housing small
orchestras of varied instrumentation known as Estoudiantina
consisting of up to 10 musicians, and smaller outfits performing in the
hashish dens of the area. The importance of live music at a time in
history of significantly fewer distractions than found in modern day
times is easy to imagine.
◆◆◆

In May 1919 the Greek army occupied Smyrna following a

promise of this land from allied forces who had been reassigning
territories following the demise of the Ottoman empire. This political
and military move greatly upset the Italians who had also been
promised the same region, and had been a dominant force in the
south of Turkey. As Greek naval ships arrived at the city port, they
were met with Greeks waving flags elated at the prospect of being
under Greek rule and protection. Ethnic violence soon erupted, the
Greek army and population began to fan out occupying more land,
looting and committing other all too familiar wartime atrocities.
Naturally, this angered the Turks and hitherto contributed to a rise in
Turkish nationalism.
◆◆◆
 The great fire of Smyrna

Smyrna and its population was subjected to a catastrophic nine

day fire which started on 13th September 1922. Widely known as the
‘Great fire of Smyrna’ it is believed to have begun only days after the
Turkish military had re-captured the city previously annexed by the
Greek army. In the days between the arrival of the Turkish army and
the fire, both Greeks and Armenians had been kept under harsh
conditions and were the victims of numerous alleged atrocities. As
the fire which is thought to have been caused by Turkish soldiers
committing arson gained strength, the effective prisoners were forced
to the waterfront for safety. Estimates of the numbers who perished in
the fire vary considerably ranging from tens of thousands to as many
as one hundred thousand. George Horton, the U.S Consul General of
Smyrna documented that he witnessed the fire to have been started
on 11th September by the army of Mustafa ‘Kemal’ Atatürk. This
carefully orchestrated attack involved the torching of houses by
Turkish soldiers carrying tins of petroleum into houses before igniting
them with devastating effect. It has been said that the soldiers waited
for the wind direction to blow away from the Muslim population before
igniting the fires. Notably, the city’s Muslim and Jewish quarters had
been spared of damage resulting from the flames.
◆◆◆

An American humanitarian Asa Jennings initiated dialogue

between Turkish and Greek authorities for a flotilla of Greek ships to
enter the harbour and rescue Greek survivors. Access to the ships
was fraught with difficulties as Turkish soldiers robbed and beat many
of the fleeing Greeks. In total, between 150,000 - 200,000 Greek
refugees were evacuated by sea.
◆◆◆
 Population exchange

Presumably primed by the disastrous fire, the Greek Prime

Minister Eleftherios Venizelos submitted a letter to the League of
Nations on 16th October 1922 proposing an exchange of Greek and
Turkish populations. The exchange was based on religious identity
alone, with Turkey seeing this as a viable way forward in the removal
of its large Orthodox population. The exchange was compulsory and
citizens of both sides had no access to representation. People were
uprooted and moved from their homes. An estimated 900,000 Greeks
from Turkey had newly arrived in Greece by the end of that year.
Following a formal peace agreement with Greece on July 24th 1923,
the allied forces of World War 1 turned over Istanbul to the Turkish
nationalists prompting fear and further fleeing of Greeks to Greece
and Cyprus. Amongst the individuals who fled Turkey was my own
great grandmother, a widow with four children. She is thought to have
fled the populous city of Konya to Cyprus. Despite many of her
relatives moving to Greece she fled to Cyprus for the support of her
brother who was living there.
Great grandmother Alexandra who feld Turkey during the
population echange to Cyprus

◆◆◆
 The birth of rebetiko

The mass fleeing of Greeks resulted in overcrowded refugee

camps around the large cities of Greece. Some of the farming
refugees were rehoused in Macedonia where Muslims had been
uprooted in the population exchange and moved to Turkey. In general
the refugees were impoverished and largely marginalised by the
society in which they had arrived. There were some groups of Greeks
exempt from the transfer, including those who had previously fled to
Constantinople (now Istanbul) and a few of the Aegean islands.
Within these now refugee populations were numerous musicians who
brought with them their unique style of music. With songs of the
homeland, hardship, suffering and love, the genre rebetiko was born.
They began to perform in their homes and venues ranging from
hashish dens to cafes and later in the nightclubs of Athens. They
performed on a mixture of both European and Anatolian
instrumentation including mandolin, violin, guitar and piano. By the
1930s the early Anatolian styles known as Smyrneika had already
been fused with local urban music with the introduction of the
bouzouki and the demise of mandolin. The marriage of styles created
a musical form which was slowly popularised over the coming
decades but with recordings being under the censorship of the Greek
government. Lyrics that were considered unacceptable, with
references to drugs and criminal activities, were re-written and
submitted for approval before being recorded. Radio stations were
banned from playing any music that sounded too Anatolian. There
had also been moves to close the hashish dens. The government
censorship of rebetiko was a response to rumours that Kehmal’s
government had banned orient sounding songs in Turkey in order to
modernise and align Turkey more closely with Europe. Greece did not
want to be seen as less European than Turkey and imposed the
censorship. With the Greek perception of the ‘cafe-aman’ style of
music and lament sounding more eastern than western, they
embraced the more modern sound of the bouzouki as the culturally
symbolic instrument.
◆◆◆
 The father of rebetiko

Born on the Island of Syros in 1905, Markos Vamvakaris was part

of the Roman Catholic community called the Francosyrians, or the
Franks. Legend has it that Vamvakaris, known by some as ‘the
Frank’, believed that he was wanted by the police and at the young
age of twelve is said to have fled to Piraeus. Surviving on numerous
jobs including a stint as a pit-coal miner, butcher and shoe polisher,
he eventually picked up the bouzouki and vowed to learn to play it
within 6 months. With a deep passion for the music of the area,
Markos developed his skills and soon began playing in the ‘takés’
(the term used for the hashish dens). He later formed a band that
played in legitimate clubs and tavernas. By his side were musicians
including Giorgos Batis (bouzouki, baglamas), Anestis Delias (guitar,
bouzouki, baglamas) and Stratos Pagioumtzis (bouzouki, vocals).
Their popularity coupled to persuasion by musician, manager and
orchestral leader Spyros Peristeris resulted in Vamvakaris making his
first rebetiko recordings in 1933 including perhaps his most famous
song ‘Frankosyriani’. Despite his initial hesitation, all of the songs
recorded were sang by Markos himself. His music was melodically,
structurally and lyrically simple. He did however make use of various
rhythmical patterns more commonly associated with eastern than
western music. The songs were honest and thought to be
autobiographical following the infidelity of his first wife and
subsequent divorce. However, he adhered to the Metaxas
dictatorship’s censorship and subsequently adapted many of his
lyrics. Health issues and financial difficulties took their toll on
Vamvakaris over the following years, while two of his colleagues,
Delias and Pagioumtzis, were convicted of drug related offences and
expelled to the island of Los and Sifanos. Delias lived a short life and
died of a heroin overdose on July 31st, 1944.
◆◆◆
 For many years during the Greco-Italian war, Markos was largely
considered obsolete by those musicians who he had helped in their
first steps. Returning to Syros in 1954, he found that he was still
admired by the locals and before the turn of the decade a record
company released an album of new and old songs from Vamvakaris
recorded by various now famous singers. With his older songs
revived and as further years passed his contribution to the heritage of
Greek music came to be considered as pivotal. He is now widely
accepted by many Greeks to be the father of rebetiko. Markos was
also the father of three children, two of which continued his musical
legacy following is passing.

Markos Vamvakaris passing his craft to son Stelios playing

bouzouki

◆◆◆
 The Greek bouzouki and baglamas

The bouzouki as played in Greece and Cyprus is a descendent of

the ancient pandoura that had existed since the third century BC via
numerous intermediaries with a more recent precursor being the
tambouras. Like the pandoura, the bouzouki that was played in the
early years of rebetiko was an undecorated trichordon instrument.
The relatively modern instrument as played by the rembetes was
adapted to be played with 3 pairs of strings rather than a single set of
3 as was the pandoura. The baglamas, which plays an octave higher
than its parent bouzouki, is a smaller instrument which the rembetes
are thought to have adopted while music was outlawed to ease
escape from incoming authorities. The two instruments were often
played together. The bowl of this more inconspicuous instrument had
been constructed from wood, pumpkin fruit and even turtle shells. At
the end of the 1950s when Manolis Chiotis had made the tetrachordal
bouzouki a popular alternative, it also became heavily decorated with
customised mother-of-pearl on its cedar soundboard. The bouzouki
also has a rounded wooden hollow body that has been made from
various woods including apricot, cherry, acacia and chestnut. Early
bouzouki players would strike the strings with plectrums made from
the feathers of raptors such as vultures or eagles, animal horn or
tortoise shell. The resulting sound is loud and bright, with a light
reverberation emanating from the sound hole. Today it is usually
played with a flexible plastic plectrum.
◆◆◆
 The evolution of Greek music

Between 1941 and 1946, recording activities of music in Greece

ceased. It was the time of the Axis occupation of Greece following the
Second World War. After the easing of restrictions, a composer and
bouzouki player by the name of Vassilis Tsitsanis, whose career had
started in the second half of the 1930s, helped to re-popularise
rebetiko. He worked with numerous female vocalists including Marika
Ninou and Sotiria Bellou. A prolific songwriter, his approach was to
further westernise the music and wrote lyrics with a wider appeal
throughout Greece. Rebetiko was now set to undergo a
transformation to a genre known today as laiko. The progressive
approach from Tsitsanis was continued by Manolis Chiotis having
incorporated an additional pair of strings to the bouzouki and adjusted
the relative tuning to be in line with that of the guitar. These
alterations added a further degree of flexibility to chords and chord
progressions encouraging guitarists to also pick up the instrument.
◆◆◆

It is perhaps a little unfair to simplify and postulate that rebetiko

alone was the sole parent in the transformation of rebetiko to Laiko,
as urban Greek folk music known as Demotiká and vocal groups of
the day were also popular. Their inevitable influence could therefore
not be ignored. The music of Greece was becoming a fusion of
internal ethnic and international styles contributing to what is today
perceived as the classical laiko period of 1960-1970s. As a purist,
one could also re-imagine laiko as the dilution of rebetiko. Further
diversification of Greek music to a form known as entekhno music
was also taking place in the 1950s as greek folk music was coupled
to the work of famous Greek poets backed by beautiful orchestration.
Perhaps the key figure in this genre was Mikis Theodorakis who
initiated the incorporation of bouzouki to great effect. Entekhno was
to make a huge and international impact through film.
 ◆◆◆

From the 1970s through to todays era of relative economic

prosperity and political stability alongside the effects of globalisation,
the dominance of western music has challenged the popularity of
many minority music forms. These challenges have in all probability
been more significant to genres with lyrics in minority languages.
Whereas minority music is often seen as exotic, and nostalgic, the
language barrier poses a challenge to a deeper connection with the
music. Naturally, for many listeners, the lyrics of a song hold much of
its appeal.
◆◆◆

As rock and pop world dominance crossed the borders to Greece

and Cyprus, interest in native music forms and expertise in the
musicianship of ethnic instruments suffered. Ageing cultural lyrics of
the past had less of an impact on the population and Greek music
was becoming almost entirely westernised. That said, the
incorporation of native instruments into modern popular music is still
prevalent, but this music is often criticised for its lack of lyrical depth,
creativity and musical mediocrity. It is perhaps understandable that
the fame hungry individuals, privileged writers and musicians of today
lack the passion of those who sang and played in escapism of their
sufferings in the early years of rebetiko.
◆◆◆

With all of the above taken into consideration, and with modern
technology providing a multitude of platforms for all music genres to
be enjoyed, many individuals and musicians continue to enjoy the
soundtracks of both current and past eras. Despite the advent and
great potential of media streaming, the digitisation and monopolies
within the music business has caused signifiant damage to upholding
the rights and the generation of income for roots musicians.
◆◆◆
 Greek music re-imagined for guitar
As an Anglo-Greek Cypriot, I have been able to identify Greek music
by its unmistakable hallmarks from a young age, despite its many
forms and transformations. Only much later did I make a conscious
effort to appreciate its roots through an understanding of its modern
history. As part of my contribution to the preservation of Greek music,
using the skills I have developed on guitar, I have revisited and re-
imagined several loved songs of the various Greek genres. Making
use of alternate tunings, rhythms and techniques from several styles
of guitar playing, my arrangements offer the acoustic, classical and
flamenco guitarist a new challenge and an insight into the spirit of
Greek music.

Each of the following arrangements can be played as a solo

performance or supported with additional guitars and palmas. This is
demonstrated in my own recordings on the album entitled ‘Spirit of
the Greeks’. Where alternative guitar tunings have been used, this
has been indicated on the score. As Greek music often uses unusual
rhythms, note groupings are also shown to help further appreciate
and master the feel. Guitar tablature is also included offering support
for non readers. I sincerely hope you enjoy playing through all of the
following music to master the Spirit of the Greeks.
 Copyright notice

For each of the songs that I have arranged, the appropriate

copyright has been obtained and / or permission has been granted
directly from the estates of the writers. It is strictly prohibited to copy,
reproduce or print this publication or any extract from it without the
express permission of the arranger and copyright holders.

www.markhussey.com
www.spiritofthegreeks.com
 Spirit of the Greeks

Greek music for classical guitar

Sheet music and tablature
Xekina Mia Psaropoula
Pou Nai Tha Chronia
Frangosyriani
Misirlou
Bouzouki Mou Diplochordo
To Zeibekiko Tis Evdokias
Siko Horepse Sirtaki
Never on Sunday
Kaimos
Zorba's Dance
 Special thanks

I would like to thank the following individuals for their help, advice,
support and encouragement. Without your valuable input it would
have proved near impossible to publish and share this work.

Tilemachos Athanasiadis, Kristina Jovic, Evelina Agelou, Marie-

Nicole Arbelias, Christos Apostolou, Clair Blakeway, Andreas
Liondaris, Michael Zambetas Jr, Ivan Gomez, Alex Klokkaris, Vinzenz
Benjamin, Dimitris Kougioumtzis, Justyna Janik &
Major Axis Productions
 Credits

Author and arranger - Mark Hussey

Book cover and art - Justyna Janik & Dimitris Kougioumtzis

First edition 01/06/2021

Edited by Clair Blakeway

© Mark Hussey 2021

www.markhussey.com
www.spiritofthegreeks.com