Dromoi, makami: the roads

In her introduction to Vamvakaris’ autobiography, Angeliki Kail cites the following question posed to Markos by a reporter: “Why don’t the young composers write good songs?”  Markos’ answer, “Because they haven’t held on to the makami.”

The makami Markos referred to are the dromous (literally “roads” in Greek):  descendants of Byzantine church modes, cousins of the Turkish makamlar.  A dromos is not merely a scale (though its notes can be represented as one, as I have done below); it is also characterized by distinct phrases, motifs, progressions, and stops or rests.  In Turkish art music there are hundreds of makamlar; just over a dozen dromous are used in the Greek urban musics.  It is important to realize that there are significant inconsistencies surrounding the Greek dromous.  Some of the dromoi are recognized by multiple names, one name may represent two entirely different dromous, and those dromoi that share names with Turkish makamlar often do not match their Turkish counterparts.

Following are some of the more frequently used dromoi as I have learned them, as well as others taken from various sources. Due to the inconsistencies mentioned above, and my incomplete knowledge, I would not treat these as “gospel,” but they are a place to start.  The modes below are written chromatically (no intervals smaller than a half step), as I am assuming most readers have instruments that cannot play intervals smaller a half step.   Where possible, I’ve included some songs for reference.  I have not included  the Major or the Harmonic and Melodic Minors.

* I have used the American system of note-naming, just because it was quicker to type in.  For anyone not at ease with this, I apologize and provide the following “Cheat chart”: d=re e=mi f=fa g=sol a=la b=si c=do

Hitzaz

D Eb F# G A Bb C D’

Songs:  Preza (Ouzo) otan peis, Penta chronia dikasmenos, To sfisto fanari.

Hitzazkiar

D Eb F# G A Bb C# D’

Songs:  O Memetis, I atakti, Me zournades kai daoulia, Enas leventis esfise.

Pireaiotikos

D Eb F# G# A Bb C D’

Houzam

D E# F# G A B C# D’

Songs:  Thelo na se do,   

Senga

D E# F# G A Bb C# D’

Songs: Varitera ap’ ta sidhera

Rast

D Eb (E#) F# G(G#) A Bb C D’     (Ascending)

D’ C B A G(G#) F# E (E#) D         (Descending)

Souzinak

D E F G# A B C D’

Niavent

D E F G# A Bb C# D’

Songs:  Frangosyrianni, Ta matokladha sou lamboun, Ta ziliarika sou matia

Kiourti  (also called Karczigiar)

D E F G Ab B C D’         (Ascending)

D’ C Bb A G F E D         (Descending)

Songs:  Omorfi Pireaiotissa, Me to vouno tha gino filos, Tha spaso koupes, Stous apano maxaladhes

Sampak
D E F Gb A Bb C D’

Songs:  Manes mevlane

Ousak

D Eb F G A Bb C D’

Songs:  Mes tis Pendelis ta vouna, Ase me, Fovomai mi se haso

It is often stated that the first six dromoi as listed above are major, while the last five are minor; this is based upon the raised or lowered 3rd of each dromos.  However, we must remember that “major” and “minor” are terms implying the western harmonic system;  harmony was not a factor in early rembetika and cafe aman music as they were originally monodic musics.