Μέθοδος για τρίχορδο μπουζούκι και μπαγλαμά δημήτρης...
89
&F{ft4E{TPF{H E. KffiVT er : ..t: lr. :: ,-),:; -: :;,. ti. r') NIMMRIS J. KOL-TIS qr1\lli]]oI . =- . 17 \ - \ \,i '.) r-\, l-l \;1 - - -:
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Transcript of Μέθοδος για τρίχορδο μπουζούκι και μπαγλαμά δημήτρης...
&F{ft4E{TPF{H E. KffiVT er
: ..t: lr. ::,-),:; -:
:;,. ti. r')
NIMMRIS J. KOL-TIS
qr1\lli]]oI . =- . 17 \ -\ \,i '.)
r-\, l-l \;1 -- -:
AHMHTPHE I. KOYTHT
DIMTIRISJ. KOUilS
@lmJmmouMOYIIKOI OIKOI
MTOOAOT
TIA TPIXOPAO MIIOYZOYKI
KAI MIIAIAAMA
METHOD FOR
THE THREE STRING BOUZOUKI
AND BAGTAMA
MEPO> NPOTOOeolpfo Mouorxrig
PART ONEMusic 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.
NENTATPAMMO
H flp<irm Vpoppfi h6yeror
H Ae6repn ypqrpf h6yetor
H Tpirn ypoppfi h6yetor
H T6ropm Vpqppf h6yetor
H ll6pmn VpqUpfi h6yeror
MI EON EI PE OA
Av6peoo onE n6vre ypopp6g undpxouv Kol
r6ooepo 6roor6poro.
To [Ipc0ro 8rdornpo h6yuror
To Ae6repo 6rdornpo heyeror
To Tpiro 6rdornpo h6yuror
To T6ropro 6rdornpo heneror
Music is written and read in the same way allover the world, and it consists of seven notes.
These are: DO, RE, MI, FA, SOL, IA, SI.These notes are written in five parallel lineswhich abstain from each other the same di-stance. These lines make the staff.
MI Thenote which is written on the first line is called MIZOA The note which is written on the second line is called SOLZI The note which is written on the third line is called SIPE The note which is written on the fourth line is called RE
OA The note which is written on the fifth line is called FA
A
MI SOL SI RE FA
Among the five lines, there are also fourspaces.
The note which is written in the first space is called FAThe note which is written in the second space is called LAThe note which is written in the third space is called DOThe note which is written in the fourth space is called MI
OAAANTOMI
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 Vpopp6sxdro xor endvo on6 to nevtdypoppo.
KATO ANO TO NENTAI-PAMMO EXOYME
PE MI OA ZON NA ZI NTO PE
ENANCI ANO TO NENTAI-"AMMO EXOYME
EON NA EI NTO PE MI
Eup6ou?trit' 6vo np6xelpo rcTpd6ro rng pouorxriE voypor1lsre noll6g 0op6s roug Q06wous ro>v
ypotrp6v, 8roornpdrcov xot endvo xor xdror
rou nevroypdppou, <irore vq rous 6rq86zeteor-r6x 6ro8ozere pfo eQnpepf6ir.
KNEIAI 6 FNOMONTo xlrer6i vpdQerol ornv opxti xd0e ntvtcr-
'o.sopllou xor 6fver ro 6vopo oro S06yyo qn6:r,\.' onofo apxizer An6 out6v rov $06yyor:Epvouv Kcu ol un6hornor ro 6vopd rouE.
It-o x,),er6f nou xpnoponorofpe Vlo ro lrrou-zo['rc Kor rov prnoyhopd ('i qtf undpxouv xot
l;',o x.her6rq) efvor ro xlel6i rou EOA.
lo xlsrSi rou IOA opxiza on6 m 6eurepn
\'-Jolipfl rou nlroypdppou Kql n ypoppf ou-
= i,s"srcl EOA
FA I.A DO MI
Except from the notes of the staff, there-aresome other notes which sound sharper (a-
bove the staff) or softer (below the stafO. Inorder to write these sounds we use the ledgerlines above and below the staff.
BELOW THE STAFF THERE ARE
acFA SOL I.A SI DO RE
ABOVE THE STAFF THERE ARE
SOL I..A SI DO RE MI
AdviceIn a copy note book of music, please writethe notes of the lines, the notes of the spacesand the notes above and below the staff-stave.
Write them for many times in order to readthem quickly as if you read a news-paper.
CLEFSThe clef fixes the pitch to the lines and spa-
ces of the staff. The clef is written at the be-ginning of each staff and it gives the name tothe note from which it begins. From this note
all the other notes obtain their name.
The clef we use for the bouzouki and the ba-
glama (because there are other ,, )is trebleclef.The clef of SOL begins from the second lineof the staff and this line is called G or trebleclef.
=-DO
= 7teT
NTO == =u
-i. gt2
RE MI
ASIEZ OOOTTOZHMONEe er.ro pouorx6 xoppdu 6hor or Q061ryor 6w6xouv mv i6ro 6r6pxero. Ee 6Moug eivor pr-
xp6rcpn Kol oe 6Moug peyoiOrepn. Tn 6rdp-xero qurf mv ovolrdzoupe o€io.
VALUES OF NOTESIn a musical piece all the notes do not havethe same duration. Others are longer and o-thers are shorter. We call this duration - val-ue.
NINAKAE ME TIE ASIEE TON OOOITOTHMCIN TABLE WITH THE VALUES OF NOTES.
(o
J)h
)N
/N
a
,R
To ol6xlnpo ro xdvoupe 4 xrvfoerE
O16rilnpo
Mro6
T5ropro
'Oy6oo
A6xoro 6xro
Tproxoor6 6e6repo
E$nxoor6 r6ropro
2 xrvnoerE
1x(vnon
proi xfvnon
whole note
half
quarter
eighth
sixteenth
thirty-second
sixty-fourth.
The whole note is counted
The half note is counted
The quarter note is counted
The eigth note is counted
The sixteenth note is counted
The thirty second note
One beat is something like this
movement: (down and then up) *t
in four beats:
in two beats
in one beat
in half beats
in a quarter of beat
is counted a eigh of beat
that is our foot goes down then
up leaning on the heel
To pro6 ro xdvoupe
To drogo ro xdvoupe
ro 6y6oo ro xdvoupe
ro 66xoro 6xro ro xdvoupe 1/4 rnE xfvnqnS
To rproxoor6 6e6repo ro xdvoupe 1/8 mE xivnonE
To e(nxoor6 r&opro ro rdvoupe 1/16 ms xivnonE.
H pro xfvnon e(vor 6ror = ', t 6nlo6ri xore8ozou-
Ue xot ove8ozoupe
ro n66r Uos nou
ornpfzutor om 0r6pvo
(10
NAYZEIEllo6oerg undpxouv r6oeg 6oes Kol or q€ies
rcov Q0o1ryoo61rcov xor 6xouv mv i6to 6rdp-
Kelq pe ro ovr(otorxo Q0o1ry6onpo. Trg xpnor-ponoro6pe 6rov 06houpe o' our6 to pftponou 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'twant another note to be heard on this mea-
sure.
tla
lIo6onOlonl[6pou
lIo6onMroo6
lIo6onTer6prou
fIo6onOy66ou
fIo6onAex. 6rrrou
At the end there is
means the end of the
llo6on [Io6onTprox.6eur6pou e$. ter6Ptou
a double Bar-line that
musical piece.
AIAZTONE> METPOAroorol\6g h6yovrol ol Kdeeres Vpopu6s nou
Bpfoxovror p6oo o' 6vo pouorx6 6pVo.
Mftpo h6yetor o x<irpog nou undpxer ;reto(6rov 6uo 6roorohcilv.
&o r6hos undpxer 6rnhri 6roorohf nou onlrof-
ver 6u rehercirva ro pouolK6 xoppdn.
BAR-LINE / MEASUREBar lines are called the vertical lines that are
on the staff of apiece of music.
Measure is the equal part which is betweentwo bar lines.
Aroorohf Bar-line
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 xhdoponou h6yeror M6rpo ri xp6vog, ri pu0p6g.Merpo 6xoupe nohhd 6ncoE
414 fi C,314, 214, 918, 719, 514 x.?r.n.
O opl0pnrris rou xldopotog Qovepcirvu orn6oo F6pn np6ner vo xopfooupe ro p6tpo KCU oropovopootrig tnv otfo xd0e p6poug rou p6-
rpou n.x.
EAAEIIIEE METPO
Le 6vo pouorx6 xoppdu nolh6s Qop6g tonpcirro 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 6oothe(nouv qn6 to npciro p6tpo, <6ote xot to 6uopozf vo poE xdvouv rnv otfo tou xloqrotos nou
efvor pnpootd oro xher6i.
MEASURESIn the beginning of a musical piece we firstwrite the key then the alteration signs (acci-
dentals) if these exist-as we will see furtherdown and then follows a fraction that is cal-led measure of time or time signature orrhythm. There are a lot of measures like 4/4or C 314, 214, 9/8, 7 /8, 514, e.t.c.The numerator of the fraction declares inhow many parts we must divide the measure,
and the dividor declares the value of eachpart of the measure, for exampler
INCOMPLETE MEASUREIn a piece of music the first part is intergated.This measure, is called incomplete. But ifwe 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 ofthe fraction that is after the key.
, a - aI
H. tll r! t
12
OE>H KAI AP>HIe 6ho to p6rpo n npcirn xfvnon nou yfveror
npos rq xdto h6yeror 06on Kol n reheuoionpos to ndvco h6yeror 6pon.
NAPEETITMENA'Orov oro 6e(rd ev6g QOoyyociripou undpxerpto rchefo ro Q0oyy6onpo h6yetor noptmly'p6vo Kor n rehe(o ouypri 6roPxeiog.H ouypf 6ropxefoE nopotefver rn 6rdpxelo rouQ0oyyoo6pou xqrd ro pro6 mg npoypouxrigrou o[(og.
'Evo oh6xhnpo nopeonyp6vo eivor ioo pe 6vooil6rtrnpo ouv 6vo pto6
(D.r o+J'Evo pro6 nop€ouvp6vo eivor ioo pe 6vo pr-
o6 ouv 6vo r6ropro
J.=J+J'Evq tftopro noptouyp6vo eivor foo pe 6vot6ropro ouv 6vo 6y6oo
DOWNDBEAT.UPBEATIn all the measures, the first movement that is
made downnards is calld thesis and the last
one, upwards is called arsis.
DOTTEDWhen there is a dot note on the right of anote, this note is called dotted.The dot lengthens the note's duration at thehalf of its real value.
J.= J*'Evo 6y6oo nqpeouyp6vo eivot foo pe 6vo6y6oo ouv 6vo 66xoto 6xro
f.' f'Fj--- a L J'Evq 66xoro 6xro eivor foo pe 6vo 66xoto 6r<ro
ouv 6vq rproxoor6 6e6tepo
F FRIo.= a + a
'Evo rproxoor6 6e6tepo efvo (oo pe 6vo rpto-
xoor6 6e6repo ouv 6vo e(nxoor6 r6topto
A dotted whole is equal to a whole plus ahalf
o.r o+ JA dotted half is equal to a half plus a quarter
J'=J+JA dotted quarter is equal to a quarter plus aneighth
lt\),= )+)A dotted eighth is equal to an eighth plus asixteenth h
J.- JI ,FA sixteenth is equal to a sixteenth plus a thir-fu-secondLYrvvvrrs
F F Fj'= i # oA thirty-second is equal to thirty-second plusa sixty-fourth
13
AINNA IAPEZTIIMENA'Orqv ro Q0oyy6onpo pnpootd 6xer 6uo ony-p6g 6ropxefog h6yeror 619 nopeouyp6vo.'H6erlrepn orrypri nopotefver ox6po neproo6tepo
m 6rdpxelo rou Q0oyy6onpou xord ro pro6 mgnpcirng 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 pe6vo oh6xhnpo orjv evo pro6 ouv 6vo t6ropro.
I
I(O..=(O ttO r IOr nofoels pe ouvpri 6ropxeiqs exouv mv f6roo(fo pe ro ovrfororxo Q0oyyoonpo.
TPIHXATo tpfnxo qnorehefrqr on6 tpefg Q0oWous f-6roug ornv o[fo pero(6 rous. Ener6f 6vogon6 ourotig toug $06youE efvor nle6vooporou xp5vou, rov ouyxoveOoupe orous dhhoug6uo xor rov xpovo nou xdvoupr vo nof(oupetq 6uo Q0oyy6onpo, orov i6ro xp6vo,0o nof-(oupe xor ro tpfo.
DOUBLE DOTTEDIn case that two full stops follow a note, thisnote is called double dotted. The secondfull stop prolongs even more the duration ofthe note, halftime of the first full stop, so thatboth full stops prolong the duration of thenote in 3/4 of its real value.A double dotted whole note is equal to awhole note plus a half note plus a quarter ofnote
I
(o)..=(o+o +,Rest Signs with a full stop have the same val-ue with the corresponding notes
TRIPLETSTriplet is a group of three notes equal in value.The one of them is being a surplus of tmeso we merge it with the other two.So, the time we need to play the two notes, isthe same for playing the three notes.
14
TONO> HMITONIOHprr6vro h6yetor n prxp,5tepn 6uvorn ono-otoon peto$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.
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 6o6peoto xeQdhoro xlipqKes.
TYXAIA ZHMEIA A/V\OIOEHZTo tuxofo onpefo olllofarong roxOouv p6-vo Vro ro p6tpo els To onoio eupfoxovror,6rov6nhq66 p6oo oe 6vo pouorx6 xopdu ouvov-mooupe 6vo onpefo olhofcoons nou 6ev o-vfixa orov onholr6 (6ev eivor ypopp6vopnpoord 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 twonotes. (Between them there isn't anothersound). 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)
ACCIDENTALSChromatic 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 naturalsThe 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.
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).
ACCIDENTALLYALTERATION SIGNS
The accidentally alteration signs are inforce 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 inthe front of the key), then this is an acciden-tally alteration sign which is valid for all thenotes that exist in the same measure and ha-
ve the same name with the alterated note.
SI
Ar6oerg 6xoupe 7: There ane 7 sharps:
YQ6oerg rfl pnelr6ll 6xoupe 7: There are 7 flats:
y6onpo nou 8pfoxovtol oro f6ro p6rpo xor6xouv 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 Bh6noupe1) 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 eivororo np<irto IOA.3) Ito tSropro p6rpo ro npcirro M efvor Quor-x6 ev<ir to 6efrepo ohhorcbprvo, 6r6u n 6Qeonefvqr oro 6e6repo AA.
4) &o n6pmo pftpo ro npcirro PE eivor oh-lorop6vo. Ev<ir ro 6e6repo efvo $uorx6 6r6uundpxer n ovofpeon.
5) Iro 6rco p6rpo roxrier 6,n xor oro tpfto.To ruxofo onpefo ohhofcoong roxUer oro en6-pevo prirpo, 6rov undpxer o6zeu(n 6ropxeiog.
llop66erypo
O Q05yyos MI tou r6roprou p6rpou nofze-ror olhorop6vog.
same measure and have the same name withthe alterated note, even when it is after it.When there is a Natural in the same measure,the notes that are after it, retum to the theirnatural state.
In the example above we have1) In the second measure, SI has an acciden-tally alteration sign (flat).
2) In the third measure both two SOL'S haveacciddentally alteration signs (sharp) becausethe sharp is in the front first SOL.3) In the fourth measure the first LA is naturalwhile the second one is alterated because ofthe flat sign which is in the front of it.4) In the fifth measure the first RE is alteratedwhile the seconds is nafural, because there isa natural sign in front of it.5) In the sixth measure both DO are alterated
The accidentally alteration signs are in forcein the next measure when there is a tie be-tween them.
Example.
-
The note MI of the fourth measure is playedalterated as MI
16
ENAPMONTOI OOOTTOI
Evopp6uor O06wor tr6yovro 6uo QOfiaror 6tov6r<ouv ro f6p 6xouolro o?tld &o0opmx6 6vo1ro.n.x. NTo*fl *o pb b
Ml I xor eA
AIAZTHMATAAr6ompo efvor n qn6oroon perotO 66o Q061ryovcos npos to 6qroE. To 6rootdporo nofpvouv ro 6vo-p6 toug on6 rov qprep6 trov Q061ryov nou nepr6-
xouv, xor 6xoupe 2* 3* 4* x.h.n.Ar6ornpo 2* h6yaor to 6r6ornpo nou nepr6xer 6uo
Q061ryoug ouvex6pwous n.x. NTO PEAr6ompo 3" h6yeror to 6rdornpo nou nepr6xer rpefg
006wous 3 006Wous ouvex6pwoug n.x.
NTO-PE-MI x.?r.n.
Eup0ouhf'Ooo neproo6tepo 6rq6ozere m Oecopfo t6oo nepto-o6repo npoerotpdzeore vlo to 6pyovo.
ZYZEYEH 6ZYZEYEH AIAPKEIAZ
H o6zeu$n 6roprefog efvor pro xopn6iln VpoUFf
nou ouv66a 6uo 6poro ors npos ro r3rpoE Q0oyty6-onpo 6uo xotrovrirv p6rpcov. Me mv ofv6eon outfo 6xog tou npcitou Q0olnloofpou evcivetol pe rov6e6repo oov vo efvor pro otfo.
HARMONIOUS NOTESHarmonious notes are two notes that have thesame hearing but different name.
example: DO il arrd RE IMIfi and FA
INTERVALS
Intenral is the difference in pitch between two to-nes. The intervals take their names from the
number of the notes that they contain. So we have
2"0,3^, 4tn e.t.c.
Interval 2'o is the one that has two continualno-
tes as DO-RE e.t.c.Interval 3'is the one that has three continual no-
tes as DO RE MI e.t.c.
AdviceThe more you study the theory of music the moreyou prepare to play your instrument.
NOTES WITH TIETie notes are joined by a curve line
that ties together two same notes at their height ofthe two close measures.By this connection, the sound of the first note be-comes one with the second, as if it was one value.
Or 6e6tepor Q061ryor nou efvor evcop6vor pe o6zeu-(n 6ropxefos 6ev enovohopB6vowor, ohld nofzov-tor 6ep6vol Ue rous npcirtoug.
>YZEYSH NPOZOAIAZ(AETKATO)
H o6zeu$n npooor6iog eivor pro peydln xo1rn6-ln ypoppf
nou er,rcirva ov6poro Q0o1ry6onpo neprlopBd.vovros noMd U6rpo.
The second note which is connected by a tie is notrepeated, but is played tied with the first one.
LEGATO LINEThe legato line, is a big curve line
that connects two dissimilar notes, indifferent notln sequence, measures.
E6<6 ro 00oW6onpo nofzovror neproo6tepo 6e1r6-
vo Kor 6x r<nrnnrd.Notes connected with legato line are played mo-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 /iTo onpefo qut6 to ouvowdpe ouv60<os oto t6hos
x60e pouorxo6 6pyou endv<o on6 tov Q06yyo.H Kop<ivo nopote(ver m 6rdpKelq rou 006wouhiyo neproo6tepo on6 mv npqvpouxf tou olfo.
STACCATOIf 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 /iThis sign is met very often, at the end of each
musical piece above of the last note. The holdextends the duration of the note, a little bit more
than its real value. /i
ZHMEIA ENANfu\HVHZ[o onpefo mg enovdinpns ro xpnolyonoro6pe 6-
rov 06houpe vo enovoi68ouge 6vo p6pog 6 6ho topouorx6 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.
REPETITION SIGNSWe 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:
'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 $.6 x6vro +
Eup6oul\6No tovq&oBdoere 6hn m 0ecopfo. Aut6 0o oos
6reuxol6vet 6tov 0o rndoeri to pnouzoOxr'
When we reach to the end, we rcpeat the part
which is enclosed in the repetition signs. Other re-
petition signs are the segno$.and the Coda $
AdviceYou must study again all the music theory from the
beginning. This will help you when you take in
your hands the bouzouki.
18
MEPO> AEYTEPONTootr6po Mnouzouxroti
PARTTWOThe finger board
of Bouzouki
luo TPIXOPAO MNOYZOYKIKAI MNATAAIVIAZ
1) Appovrx6 enfne6o2) Tp6nq oppovrxoU entn66ou
3) Xehcivn4l Zw6s (Kq8qh6pns)5) A6pq xop6oordtnE6) Tfpnovo7) Aroordlrotq (tdorq)
8) Ke0qh6 xtrer6rd xoP6folrotoE
THREE STRING BOUZOUKI& BAGLAMA
1) Sounding board2) Sounding hole3) Guard plate4) Bridge5) Tail piece6) Drum or lide frame7) Finger board.8) Head with clefs.
PEAAPS
\8
tI<'rS xoP6fzerol ro Pnouzo6xrOr 615o npci>teg xop66E xop6fzovror PE
Or 615o 8eftepeE xop66s xop6fzovtqr nAOr 6rio tpfteE xop66s xop6fzovtor PE(qh d pro 6y6on xoprnhcirtePo)
Tuning of the BouzoukiThe first two strings are tuned RE
The second two strings are tuned LAThe third two strings are tuned RE
An eighth one is tuned lower.
Avorxtf.g xop66gOpen strings.
'Eror yprirfier<rrwriting.
'Erol oxotiyarorHearing
H EKTAEE ONH: THE TAETIEPA>KAI TA AIAETHMATA (TA>TA)
Or opl0pof pog 6efxvouv ro 6loorfporo (rtioro)
). 2- 3 + 5 6 1 g I l0 ll
lPE
2.AA
3PE
THE WHO LE FINGER BOARDAND THE TNTERVALS (FRETS)
The numbers show the inten als (frets)
tL 13 l+ t5 16 t7 tg t9 20 2t L2 23 2+ L5
J J IJJ I
,*,2*2
at+
2gcl2:fl:
J-
= = n= = f=NF; 3frlr +
MEPOZ TPITONMouorr6 E6ornpo
PARTTHREEMusical System
TPEMONOTpepoilo h6yetor ro ove8oxore6oopo ms nevvosnpos ro xdrco xqr npos ro ndvco. Irnv opxri yfverorpe opyri xpouon rng nevvog l.ls us xop6eE rrou6o0pn65v enrroxuveror. H n6vvo nprna vo sfvoreufujyrorn xor xporefrol Fr rov ovr(xerpo Kor ;re rov6efxm rou 6e(rou xsprou. To tpepolo pe rnv n€vvoonpercirvetor eror /WH nevvro npos ro xoro onper<overor eror n .HnevvtO npos IO novc.l onptlovtlot etot V
T^IETPHMA (O^IEOHMA)To yl\iorpnpo (ollioOnpo) rolv 6qrc6ilcov rou qpr-
orepor5 xepro6 ro xdvoupe pe 6vo 66rnulo on6 rovnpcirto 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 tonopoxdro nopd6erypo.
Eup8ouil6O oyxrbvos rou oprorepo6 xepro6 vo 6l6ner npogrq xdr6).
Aefypo peprx<6v po0np6rorv ylo rnv e$6ornonrng nSwog Fs ro 6e$f x6pr, Kor yro rnv e$6oxn-on ro)v 6orc6?rorv rou oprorepo6 xepro6.
Or opr0poi en6vor on6 roug r[06yyoug eivor ro66rculo rou oplorepo6 xeprou ror onper<i-vornor 6ror:
0 Xop6ri ovorxrriI Aeirrng2 M6oog3 llop6peoog4 Mrxp6
TREMOLOTremolo is the pick down and upwards of the pick.At the beginning it is a slow striking of the pickwiththe strings, that eventually becomes quicker. Thepick must be flexible and should be held by thethumb and the forefinger t hand.The tremolo with the pick likethis: /vwThe strike of the pick dow e this: AThe strike of the pick upwards like this: V
SLIDEThe slide of the left han!'s fingers is done by onefinger from the first note to the second one.That is, we beat only the first note and the secondone is heard by the slide of the finger. The slidehas a line from the first note to the second one as
an indication.Example:
AdviceThe left hand's elbow should look downwards.
Demonstration of some lessons for the exer-cise of the pick witlr the right hand, and fordre exercise of the left hand's fingers.
The numbers above the notes are tihe fingersnumbering of the left hand and are markedas:
0 open stringI Fore finger2 Middle finger3 Ring finger4 Little finger -
z3
Iro ohoxAnpo xore8ozoupre Kql .qyqqgzoupe ro n66r pog
pretpcouroE reooeprs 0op6s o = l
Iro 6y6oo perpdpe pro6 xdto xor prori end-vo:. To 6e€f Uos x6pr nofuer newr6g.
At the eights we count half time downwards,halftrne upwards. Our right hand plays withthe ptgctrum
[1= ) Auo 6y6oo pos xdvouv 6vo r6topto [7 = ) Two eighths give a quarter
Auo 66xoro 6xr pos xdvouv 6vq Oy6ooJl=)Enop6v<os,pe prcr xfvnon
J t t. xdvoupe 16o-
oepo 66xqro 6xro.
A6o xftco 6t1o en6vo.
oE xdva 6uo rproxoord
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.
Eup6ou?tfNo pnv npoxcopefre oro en6pevo pdOnpo, edv
6ev p60ere ro nponyo6pevo.
Two sixteenths give an eighth n=l Thus
with one movement I f we'll make four si-
xteenths.
Two downwards two upwards.
One sixteenth equals two thirty-seconds j =frand one*thirh/ second equals two sixty-fo-urths. .f = EAfter a quite long time you will be capable toplay thirty-seconds and sixty-fourths. Duringall that time you must be training to obtainthe relative expeience and speed in playing32nd and 64th.
AdviceDo not proceed to the next lesson if you havenot leamed the previous one.
25
METPATE MIA KINHEH NA KAOE TETAPTO KAI MIA KI-NHEH TIA TA AYO OTAOA EYMOONA ME THN ENAEI-3H.
COUNT ONE MOVEMENT FOR EACH QUARTER AND ONEMOVEMENT FOR THE TWO EIGHTHS ACCORDING TOTHE INDICANON.
REST SrGNS (PAUSE)
Whole Rest Sign.
NAYEEIE
llo6on olord[flpou
no6on proo6
no6on rer6prou
Half Rest Sign.
Quarter Rest sign.
Eup6ouhriIlpoo6fte ro pu0p5, 6vo pouorx6 xoprpdn oKouverol Ko-ld 6rqv perpr6ror xohd.
AdviceNotice the rhythm. A piece of musicwhen it is counted well too!
is heard well
26
flo6on oy66ou
J T II
AdQopeg no6oerg
TIAPEZTITMENA
Mlo6 nopeonyp6vo
a
rtlttt lt
TPIHXA
Eup0oufuiNo enrp6vere oro 66oxolo p6pn nou ouvovrdre.
Eigth Rest Sign
Various rest signs.
DOTTED NOTES.
Half dotted.
THREE.SOUNDS
AdviceInsist on the difficult parts you encounter.
?rreJo-r-
OTAOO NAPEETITMENO KAI AEKATO EKTOTo nopeonyp6vo 6y6oq nqfzovror ye rpelroho
EIGHTH DOTTED AND SIXTEENTH DOTTEDThe dotted eighths are played with tremolo.
t,
MEPO> TETAPTO PART FOURKl\fpoKrs (Ap6por) Scales
KNIMAKEEMorz6pe rd\fporeg
Or potz6pe r<ifpoxeg nepr6xouv 6uo npn6uo Kqln6vre r6voug. Exnpotfzovror 6nh. pe r6vo, p6vo,nprr6vro, r6vo, r6vo, r6vo, nprr6vro.
Moz6pe rltfpoKo rou NTOH porz6pe xhfpoxo rou NTO l6yetor xor Quorxrixlfpoxo, yrod oxnporfzeto xr,rpig xov6vq onpeioohlofoons.
Mou6pe n?rfpoKes Fe 6lSoergK(rr Fe urfi5oers
Me 6lSoerg
Me 1 6r6on, 2 6r6oerE
,3 )
"4>,5 )
"6)"7))
efvor n IOA) nPE> nnA) nMI) nII) nOA) nNTO
pclTzope
))
>
)
Eup6oufuiEdv to oprorep6 ooE x6pr n6Qrer oro0epd endvo)ong xop66E, r6re our6E 6ev rpfzouv.
SCALESMajor Scales
Major scales have two semitones and five tones.
They are formed in the following way: tone, to.ne, semitone, tone, tone, tone, semitone.
Maior scale DOThe major scale of DO is also called natural scalebecause it is formed without any alteration sign.
Maior scales with sharps and flatsWith sharps
ilfi
With l sharp it is
" 2sharps ,,>,3))>))
"5>))),6))))"7>>>
SOLRELAMISIFAf,,ofi
maJormajormajormajormaJormajormajor
AdviceYou must press down firmly the string with the fin-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 6feonScale of SOL major with one sharp
Khfpoxo PE poz6pe ye 6uo 6r6oerg
Scale of RE major with two sharps
Khfpoxo AA poz6pe pe rpefg 6r6oerEScale of tA major with three sharps
Kl(poxo MI porz6pe pe 4 6r6oergScale of MI major with four sharps
Klfpoxo EI poz6pe pe n6vre 6r6ocrEScale of SI major with five sharps
poz6pe pe 6[n 6r6oergmajor with six sharps
Klfporo NTO fl pozOpe pe ern6 6r6oerEScale of DO { major with seven sharps.
30
ME YOEZEIZ
Me 1 6Qeon efvor n OA, 2u06oers D n EI,3)DnMIn4DDnAA,5)DnPE16 D DnEOA"7 ) ,nNTO
WITH FLATS
With 1flat, 2 flats
"3D,4),5),6D
"7D
majormajormajormaJormajormajormajor
Klfpoxo <DA poz6pe Ue Uio 6$eonScale of FA major with one flat
fKlipoxo EI h ll.roz6pe ue 6uo uQ6oag
Scale of SI D major with two flats
I
Klfpoxo MI D I lroz6pe pe rpefs uQ6oerE
Scale of MI p major with three flats
I
Klfpoxo AA Q polz6pe pe r6ooeprs u06oersScale of LA h major with four flats
I
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 NTOScale of DO
31
MINOPE KAIMAKEEMINOPE KAIMAKA TOY AA
H AA Mrv6pe l6yeror xor $uorxri xhfpoxo 6r6n otovonhrop6 6ev undpxer xov6vo onpefo ohlofoong. Mr-v6pe xhfpoxeE undpxow 2 er6<irv, ol oppovlK6g xor orpehro6rx6E. Or oppovrx6E onotehodvtor on6 3 r6vouE3 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 6uonpnovro. 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 SCALESMINOR SCALE OF I.A
The IA minor scale is also called natural becausein 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, threesemitones 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 melodicones consist of five tones and two semitones. Theyascend 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 minorscales toe, as we formed the major ones.
MINOR SCALES WITH SHARPS
With l sharp
t 2 sharps,3)
,5),6D
"7)
}IINOPE T(^IMAKEZ ME AIEEEIZ
MINOPE KAIMAIGE ME YOEZEIE
it is MI minor
MINOR SCALES WITH FI.ATSMe 1 riQeon
" 2 u06oers,3 D
"4),5 )
"6 )o7 D
efvor n PE prv6pe)nEOAD)nNTOD)nOArD
ID n EI Dt )) n MI rD,DnAAD)
With 1flat, 2 flats,3)"4)
"6)"7D
mmorminorminorminorminorminorminor
it is)))D
DD
)))))>
Eup0ouMAro8dore npooexuxd 6leE nE xlfpoxeg. Oo ooExpnorpeOoouv opy6repo, 6rov 06here vo oM6[erer6vo oe 6vo pouox6 xoppdu.
AdviceStudy the scales carefully! They will help you laterwhen 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 petnv $uorxf xhfpoxo tou NTO) e(vor f6reg pe dMegrpefE.
Aur6s efvq:Hr{io-fl pemvPE b,HIDA I Fernv EOA I bH >I [rE rnv NTO D
Aut6g or xlipoxeE 6xouv ro i6ro dxouoyo olhd 6ro-
Qopeux6 6vopo xor tr6yo'vror evopp6vr g xlfpo-r(€s.
Kot ot prv6pe xlipoxeE efvor 6ci6ero yrorf xor e6rir
or rpefE on6 nE 6exon6vre xlipoxeE pozi re mv Qu-orx6 xlfpoKcr rc u M nou 6xoupe ovoQ6per efvorf6reE.
Aut6E efvo:H/vi-fr,, pemvEI b,HPE '' f, pemv MI , hHzOAil " pemv AA b-
Kor our6g or r<lfproxeg 6 .ouv to f6ro dxouolro qh d6roQopenx6 6v< po xor h6yovrol evopF vreg xif-FOrsES.
Eup0oufui'Orov 6roBdzete 0eopfo pnv o$6vets to 6pyovo.No nofzere x60e prepo.
HARMONIOUS SCALESFrom the construction of the major and minor sca-
les we conclude that:The major scales are twelve because three of thefifteen scales that we have mentioned (with thenatural scale of DO) are the same with three o-thers.
These are: ,
il""f"-*ith RE b ,
FA H " with SOL, hSr- t with DO I r
These scales have the same hearing but differentname and are called Harmonious scales.
The minor scales are also twelve because,here al-so the three from the fifteen scales with the naturalscale of LA that we have mentioned are the same.
with SIwith MIwith I-A
b,
bb
These also have the same hearing but different na-me and are called Harmonious scales.
AdviceWhen you study theory, do not leave the in-stument. Play every day.
K?riporeg yorz6pe Kor Fr- Major scales and minor o-v6pe endv<o oro pnouzo6m nes on the bouzouki fromon6 6ror$opeux6 6roorr[- different intervals.por(r.
t-
Khfpoxcr NTO poz6pe(Quorxri xlfpoxo)
An6 ro 3" ro 6rdornpo ms 2" xop66E
Adrrulo Fingers
t2?f *qlth.5ruig t3t sfung
An6 to 10" 6r6otnpo ms 3" xop66E
DO major scale(natural scale)
From 3'o interval of the 2'o sting
r rl xo$i l3E xceSr I
ltr strthg 2r. rirlng
From the 10'h interval of 3'd string
lslxcrrt lghrorar I ttlfr,crel I
s+stzirlg z* slzing 13r slzingAn6 to 15" 6rdornpo ms 2*'xop66E
lll rcrrr l2l rcett | ,W!)tlr sldng 2r. string 3rl stung
From the 15'n interval of 2"o string
l2P rore I I l3 ra rrr I
MATZOPE KAIMAKEZME AIE>--E-I->
Klfpoxo ZOA poz6peAn6 to 5" 6rdompo ms 3". xop66E
I lE roarl
MAJOR SCALESWITH SHARPS
SOL major scaleFrom the 5'n interval of 3'o string
Sotaol
=-r,-=
r3B r r2I.ro?t$ 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.
An6 to 17" 6rdornpo ms 3.. xop66g From 17" interval of the 3'ostring
-=
18!rorAt tfB ro?a{ ! tA! ro?a{ I rllxotr
I 3? rcn. I I lE rror I t!? xcrettl r8l ror, | 'l,rar
35
Khfpoxo PE porz6pe
An6 ro 5'" 6rdornpo rng 2o". xop6fE
RE maior Scale
From the 5'n interval of.2"o string.
t lE Xolru , tSEr.rr1.+ stzing
From the 3" open string2s slzing
18 Tora,J r 4ll rcrlu ,2"stzhg gr s+aingAn6 rnv 3" xop66 ovorxrri
I t? rorrrr I | 8? xorrrr r
An6 to 12'" 6rdornpo rns 3". xop6nE
till rorAx I LI rorrf I
From the l2'ninterval of 3'o string
t]3prot t 33xcor r ttE rogAr t
K?tfpoxo AA p.orrz6peAn6 m 2o" xop6ri qvorxrd
r 13 xostr I t 3I roerrl t
Il\ maior ScaleFrom the 2"o open string
tlEf r4l
-
t 2l rootll t t /19 xo?Ltt ,
An6 ro 7," 6rdornpo rns 3". xop6fE
r9t xcrl, t 2!l xollttl ll? xotax I
An6 ro 12'" 6rdornpo rns 2oo. xop66E
e1-I fl ro?l{
From the 7" interval of 3'o string
f 13 rerer ,J r.t! 'na?ax r EllilJFrom the L2'n interval of 2"o string.
=To.e
=,21 rar?l.r I tB to?all I I l3 ra PAil I t8l ra0r.1
Kilfporo MI yotz6pe
An6 ro 2o" 6rdornpo rns 1" xop66g.
MI major Scale
From the 2"o interval of 1" string.
L 4I xcPAr I
L1+ SltttrgFrom the 7'n interval of 2"o string.
I l?rorr I
l'{ sttiqgAn6 ro 7"" 6rdornlro rnE 2n"' xopSfig.
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
Khfpoxo >I porz6psAn6 to 20" 6rdornpq rns 2'"'xop66E.
t !,3 *o?A r t t 2l x oear I te?'<o?A. I
SI major ScaleFrom 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{ |
An6 ro 14'" 6tdornpo mS 2*'xop6riE.
| !? *arA{ | rtl >roea.l t)! r.?r.t
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
An6 to 4'6rdompo rns 3" xop6riE.
FA fl maior Scale
[]rom the 4' rnten,al of .3 strirrg
:)! r:r r t93 ro?l{ r t r,3 rc?rh I
3r. rttrlg l.t str,tng 1H Str.i19An6 to 9'" 6rdornpo mS 2". xop6riE.
lli! xcoarr I t8l:arax t Ltr""*Jl!+ Sititlg 2h' stdhg trr stUlg
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.
lD! xar | | 33 rorrr I I {l! ro? x I
Khipoxo NTO fr porz6psAn6 ro 4'" 6rdornpo tnE'fo"s xop6rig.
From the 16 interval of 3 ' strinq
lll;oPaq t rtlroPar t E!ro?.l
DO il maior ScaleFrom the 4* interval of 2"o shing.
tl! xorel I I l! xo?arl
An6 ro 11'" 6rdornlrq ms 3o"' xop66g.
L3 ro?^H
From the 11'n interval of 3'o sting.
l?lsrr. t
t3Srprt ti2f ro"arr I lt?xcoe.e I
An6 ro 16'" 6rdornpo ms 2*. xop6rig.
ll? rorar I r2? ro?ttt I ttt.rct.l
[]r,,ln iit., 1{r utlen,al of 2 slrrnr;
38
lil ,cP^tt r t, .-etA{ ,l-J
MATZOPE KNIMAKEZME YOE:EI>
I(ltfporo <DA porz6pe
An6 to 3'6rdornpo ms 3.. xop6fig.
t!! ror I t?l ,o)LA t
3'' Stllhg 2{ StaiqgAn6 ro 8" Erdornpn rnE 3'. xop66E.
MAJOR SCALESWITH FLATS.FA maior Scale
From the 3'o interval of 3'd shing.
lL? ro;al I 19: ro?A* I rl? ro? I
ls+ string 2r.Slzing 3"rs+LingFrom the 8" interval of 3'o string.
r t?;o?Ltt I I tt rc?alt r rllrril.l-1
L#
An6 ro 15'" 6rdornpo rns 3" xop66E. From the 15'n interval of 3'o string
El roer
[]3 rror.l I 2? rorer I llB rarel I
Khfpoxo EI b pqrz6peAn6 to 1'" 6rdompo rng fo.s xop6ric.
t 8l xorlr 1 l$ rc?.|
I
D maior Scale1" 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
An6 ro 13'" 6rdornpo mS 2o". xop66E.
lll te 'AI | 1 2E xctar I I tE rofr{
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
An6 16 6'" 6rdornpq ms 2o*xop6riE
t13 xort r t! xoga*
An6 16 13 6rdornpo rns 3"'xop6riE
MI b maior Scale
From the 6'' interval of 2"o string.
t ll! xocaq t r2!p?r
From the 13" interval of the 3'o string
r* rorr r !! rolrt t r lt ro?A,il r
An6 16 1'" 6rdornpo ms 1"'xop66E
I lI rolrrr , r !! rortr r r$ntrll
From the 1" interval of the 1" string
r lt xo?Ail
Kilipoxo nA b porz6peAn6 to 6'" 6rdornpo ms 3". xop66g
ILA D major ScaleFrom 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
r,2E rot I LII xolar - ,- . t t tl xoeror I
An6 ro 6'" 6rdornpo ms 1" xop66g From the 6'n interval of 1" string
t
-lG u ''' '+-:
40
tlB xo"Al{ I L_{,1 xoPAtl t
Imv en6pevn xhfpoxo PE b porz6pe nou6xer onhop6 n6vre uQ6oerg nopfinpofpe 6u
zo6-6xer
i6roxhfpoxo pe 66o 6roQopeux6E ovopoofeE, xor
. I-1.x. n xhfuoxoNTo ,# pE
#xo PE b prorz6pe
x.h.n.Av xdvoupe plo o6yxpron rov nopondvco
Q0oyyooripov.rcov 6uo xhrpdxov 0o Qoripe6u rq NTO fr eivor f6ro pe ro PE I roPE ^f efvor ici_ro pe ro MI, xor ro MI fr ef-vqr f6ro pr ro QA x.h.n.
r us xlfpoxeE6Cn u06ous, pe6 6r6oerg, KCu
ernd uQ6oas peEI porz6pe pe onhro;r6 n6vre 6r6oerg.
O[ xhipoxeg our6g nou 6xouv ro f6ro dxouolroohld 6roQopenx6 6vopo h6yovror evopp6-ues.
In the next scale RE b
major. which has a ke_r.
signature with five flats, we can see thar u,e
have the.same positions on the bouzouki as
the DO fl ma;or scale which has a key si-gnature with seven flats. So we have for thesame scale two different names with differentnotes.
41
K?tfporo AA prv6pe
natural ScaleAn6 m 20" xop6ri ovorxrri
t 22 xoetut l4l xotttt
An6 ro 7'" 6rdornpo ms 3". xop66g
=T+t3il xoPttt t tZ\ soeset fl\ xot.t3d ttLilg 1,'r sh,iurg fr sizirlg
r\no ro l2 orrlr;rn1-rcr rnq 2 xoptiriq
4,t
tlE xo?at{pr StLi\g
APMONIKEZ MINOPE KNIMAKEZME AIEZEIU
Klfpoxo MI prv6pe
An6 ro 2," 6r6,ornpo mS 1'. xop66g
lLL xo?*A t
An6 ro 7u" 6rdornllo ms 2o"' xop66g
t21 xoet,l l r{ xoppr{ I
Ano ro 14 SrcirrurIr{r n)i I rr,[rfjn,.
LA minor Scale(Minore)
From the 2"o string open
C.J-
t42 xoesa - J l22xoptulFrom the 7'n interval of 3'o strino
4
| 21 xottu I
13r steitg ztr stci'rgFrom the t2'n inte.rval
T=
ttt xoPlrr t
1g{ stLiqg
eT=| 2t xo?r[ t
re stUng
HARMONIOUS MINOR SCALESWITH SHARPSMI minor Scale.
From the 2"o interval of 1" strino
| 42 xoe;q I
From the 7'n interval of 2"o string,t4
t LL xoglrl
intervasl of 3'o string
t7 2t1From the 14'n
4?
I 31 xopA. I t ?! ^oea.l lLl xos.l 1.14 xoP, I t 22 xoqt. I l*2 rat;u I
Kilfpoxo EI prv6pe
An6 ro 20" 6rdompo ms 2o'. xop6rig
TO
SI minor ScaleFrom the 2"o interval of. 2.. stnng
t22 xo PAt t
2(' stztlXAn6 ro 9'" 6rdornpo
t aL xoPAreT
r22 -oext I
rr. stti \eIrlFrom
Stzi u19
l5l xoetq t | 2l xoe st t t4.? xoe t.t
An6 ro 14'" 6rdornlro ms 2o". xop66g.
the 9'h interval of 3'd str.
il *ae t t-4{ xopa( r r A[ xopar{ r
From the 14" interval of 2"0 string
-Uet2! xoz*a t l4L xoPLa t
KifporoQ4. * prv6prAn6 ro 4'" 6rdornpo ms 3'" xop66E
t?! *oltx I l2( xoeox | )4txoer.l
An6 ro 9'" 6rdornuo ms 2o.. xop6riE
I 4L- so ?bA t2t *oers I
FA * minbr ScaleFrom the 4'ninterval of 3'o string
ill s<opL,t L2l xresx I | ?l xcoptt I
From the 9" interval of 2"o sting
t 4! xo PaH
An6 ro 4'" 6rdornpo rns 1". xop6rig
t 41 xo ear I I 21 xoeau t
From the 4'n interval of 1" string
47t13
t2'!. xoeail t
t t! xo ea,A t Ll. x.-Prv A t
43
Kifpoxo NTO fl prv6peAn5 ro 4 6rdornpo rns 2o". xop6flg
DO + minor ScaleFrom the 4'n interval of 2.ostrinq.
I LL sta e t* t I 21 rroeAn t
lr+ x+urg 2$ stufngFrom the 11'n interval of 3'o string.
SOL { minor ScaleFrom the 6" interval of 3'o string.
eT==tZL toe^l t tll xqel;u t
the 11'n interval of 2'o string.
t l4 xoeb4
An6 to 11'" 6rdompoItr s+u1!rnE 3"'xop66E
+ et1t xocstt t t21 xoote ,, iL xot t tll ,ro.t tZLsot-o+t I lSgxopar t
Kltfporo >On fl urv6oeAn6 ro 6" 6rdornpo ms 3"'xop6fig
t 2!- yo?ttl I t LLwtol t LL xoo . I
tng 2" xop66g From
-=-+122 xolstt t t L2 xo"sq I lL2 xoobH
,==t 22 ;.o ?^H I
eI
Kltfpoxq PE il Frv6peAn6 ro 6'" Erdornpq rns 2o". xop66g
RE f minor ScaleFrom the 6*.interval of 2"o string.
Arnhf 6(eon
Double sharp
tll 70?LH l2 rdCAH
From the 1" interval of 1"tng 1" xop6rig
t 4L xo?rtt I Ll to?rrt -jAn6 ro 13. 6rdornpq ms 3" xop66g From the 13* interval of 3'o string.
lt44,V
lllxoesu 1 l2!>,oeatr t l?L{xoeaq tl**oro., t2!*aps* t t}l.'oesu tL-i-#
Khfpor" AAI prv6pe
An6 ro 1'" 6rdornUq ms 2o"'xop66E
122 xoeaa I t 42 xo et+ I
An6 ro 8" 6r6ornpo ms 3"'xop6rig.
t32 xo?-^tt r t22 xoetx t 174 xo?. t
An6 ro 13 6rdornpo rns 2" xop6riE.
LA d minor Scale
From the 1" interval of 2"'string.
+T=t 22- ra PLH )t L2 xopAH
From the 8* interval of 3'o string.
t!2xuot.lt?2roesLt I3:1 roP6N t
From the 13* interval of.2"o string.
t22 xoetH. t r1? xoPlrt
APMONIKEE KNIMAKE',MINOPE ME YOEZEIE
Klfpoxo PE prv5peAn6 ro 5'" 6rdornpo rns 2o" xop66g
t21 xoes t t42 xoPLtt ,
An6 ro 12" 6r6ornpo rns 3" xop6rig
,Ilxo P.o rt t t 2? xoerH r
HARMONIOUS MINORSCALES WITH FLATS
RE minor scale
From the 5* interval of 2"o string.
t42 xae.x+t , t22 xo ?\,.t
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
An6 mv 1" xop66 ovotxtti From the 1" open string.
t 7A >'oeb.l
,lL xcPLH I I a" *oe'q I
45
Khfporo EOA prv6pe
An6 ro 5' Erdotnpo mS 3"' xop6fig
soL
From the 5"
minor Scale
interval of 3'o string.
+-T==tl.trap,r t[ -xoltt l2\vopril I t3!.<cpas I
t'. sttirlg 2\'stuilX I'J g{ui'tt
From the 10* interval of 2"o string.
l'aS+Li.t,
+r 3! xo PaH
T+YEPLH
Khfporo NTO prv6ptAn6 to 10'" 6rdornFo rns 3"'xop66g
r3E xopA( r t 2l xoctx t
An5 ro 3'" 6rdornpo mS 2"'xop66g.
t22 xott A , r l! xarlx ,
An6 ro 15'" 6rdornpo rns 2" xop66g
e-=-rll xoern lr8! roPlq r
From the 5" interval of 1'' string.
. L'1- ,o?brl| '- - |
DO minor ScaleFrom the 10" interval of 3'o string.
,LL xoo, , rlB roo. r t 2l tot*t t bl to?r tt
From the 3'o interval of.2"o string.
rtL xoPAil t 21, >o ?srl t
From the 15'n interval of 2"o string.
rng 1"'xop6rig
7=,Ll
+
46
,2! ya'r* , ,t!yorlrr r tlLxofrrt ,,2t xolrt{ ,
Kllfpoxo QA prv6pe
An6 ro 8" 6rdornUq ms 2*s xop66s.
FA Minor Scale
From the 8" interval of 2"o sbing,
tLL xogstl , tZL xoest ,L1! ro e>4
lt+ S{"in? rs stdng 2d sitin2An6 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
plvope nopornpo6pe, 5u ornv en6pevn xlfpoxoD ! Hrvope nou 5xer onhrop6 n5vre u$6oerE,6xoupe ro f6ro nouipoto endvo oro pnouzorjxr
ue rnv xlfpoxo AAf,urvopr, nou 6xer onhrop6enrd 6r5oerE. Anho6ri efvor n f6ro xhfpoxo pe6uo 6roQopeux6g ovopoofeg, xor 6roQopeuxd
nhrop6 enrd uQ6oers Ue IOAflUrv6pe pe onh-op6 n6vre 6r6oerg. Kor e6o or xlfpoxeg our6gh5yowor evopp6vreg.
EnF. Ie xd0e xh(poxo Vrq 6hes ug 06oerE rov6roornpdr@v xpnoponoreftor n f6ro orcd8oxot our6 Vlo vo eivor euxoho6rdBooreg 6heg orxhfpoxeE Kol vo pn rp6xoupe o€ $061ryouE e-ndvo rou nevroypdppou nou 6ev efvor t6ooefxpnoror.
Like the major scales the same at the minor o-nes we can see that in the next scale SI [l mi-nor (five flats), we have the same positions onthe bouzouki as the LA $ minor scale (seven
sharps). So, for the same scale we have two dif-ferent names and notes.
llTi Lf f, minor scale begins with LA flSI f, DO f,e,t.c. but the. SI I minor scale 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 fl is the same withSI b SI fi is the same with Do,
".J oo fl t,the same with RE I e.t.c.The same happens,with the MI h minor scale(six flats) and RE f, minor scale (six Sharps).and with the LA I minor scale (seven flat)and SOL fl minor'scale (five sharps). Thesescales are also called Harmoni us.
Note: [n every scale for all the intenCls p,**-tions the same octave is used. Thrl-. ha:cersbecause in this way we can r€2r =.:*:;_.. :,,,?r-.scale and we should i': -:.:-: r_ :-i *r:ni.r_s
which are above or be,.c'* -c iii, trrr: ,rllrn-
ch are not so Lrsea
TPOIOZ ME TON ONOIOBPIEKOYME THN KNIMAKA
OTAN EEPOYME TON ONAIUMO THE,H BPIZKOYME TON ONNIEMO THEOTAN EEPOYME THN KNIMAKA
I-ro vo Bpo6pe pro xhipoxo poz6pe pe 616-oerg, 6tov (6poupe tov onho1r6, oveBofvoupeon6 mv reheuro(o 6ieon 6vo Q061ryo xor 6_
xouUe rnv i6ro mv xlfpoxo.Av n.x. 6xoupe onluop6 6Uo 6r6oers OA, NTOove8oivoupe on6 ro NTO (releurofo 6ieon)6vo Q06yyo oro PE, ro PE pouz6ps efvor nxhfpoxo nou znrdpe.Av 6xoupe onhop6 rpefE 6r6oerE OA-NTO-IOA. Ave8ofvoupe on6 to IOA 6vo Q05yyooto AA. To AA eivo n xhfpoxo nou znrdpex.h.n.
n xifpoxo) oro IOA. To IOA efvor n teheurofq6feon 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$6oecov efvor o onhropoE mE xhf-poKo.S n.x. edv n xhfpoxo nou 6xoupe efvor nAA h poz6pe ove8ofvoupe pro 6$eon e-ndv<,r ono tl-MI-nA-PE. Apo hrop6 16o-oeperg uQ Vlo rq no-pondvor,vo [6poupe pe rn oerpd uq 6r6oerc xorug uQ6oers nou efvor:Ar6oerE: OA-NTO-ZOA-PE-AA-MI-ZI.YQ6oers: EI-MI-AA-PE- ZOA-NTO-OA
METHOD FOR FINDING THE SCALEWHEN WE I(NOW THE KEY
SIGNATURE OF FINDING THE KEYSIGNATURE WHEN WE KNOW THE
SCALE.
In order to find a major scale with sharps whenwe know the key signature we ascend from thelast sharp one note and we have the corre-sponding scale. Example:1. If we have in the key signature two sharps inFA and DO, we ascend from DO (last sharp)one note to RE which is the RE major scale thatwe are looking for.2. lf we have in the key signature three sharpsFA-DO-SOL we ascend from SOL (last sharp)one note to LA. So LA is the major scale weare looking for e.t.c.When we know the scale and we want to findthe key signature, we descend one note fromthe first note of the scale (which gives the nameof the scale) and we have the last sharp of thescale's key signature Example:
We want to find the key signature of the I-AmaJor 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 theLA major scale has key signature with threesharps (FA-DO-SOL).If we have a major scale with flats and weknow only the key signature then in order tofind the scale we look with how many flats isit written. The flat before the last one give usthe scale's name. Example:If it is written with three flats SI-MI-LA, then itis the MI major scale, if it is written with fourflats SI-MI-LA-RE then it is the LA h majorscale.
When we know the scale and we do notknow the key signature we ascend ofie flatupwards from the scale's name note and thenall the flats we met going this way are theflats of the scale.Example: If we have the scale of LA f, malorand we want to find the key signature of thisscale then we ascend one flat upwards fromthe IA to RE*. So we have flats in the posi-tion of SI-MI-IA-RE notes. So the LA I ma-jor key has key signature with four flats.Before we can apply this rule we must know
the following sequence of flats and sharps:Sharps : FA-DO-SOL-RE-LA-MI-SOLFlats : SI-MI-I-A-RE-SOL-DO-FA
48
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
'Oilo ro oKKoprrovlop6vro-Forz6pe Kor prv6pe- Vroro rpfxo6po Fr.ouzo6rr Korrov pnoyilopd Fe nporrrr6rp6no oe 6r6QopeS 06oerg.
PART FIVE
List of all the accompani-ments maior and minor forthe three string-bouzoukiand baglama in various po-sitions.
AKOAOYOOYN OAA TA AKKOMNA.NIAMENTA TIA TO TPIXOPAO MNOY.
ZOYKI KAI TON MNATNAMA.
Aro86ore pe rpoooxf rrs nopor6roroupSou169
1) I-lohld qn6 ro oKKopnovrop6vro efvorypopp6vo pe 66o 6 neproo6rcpous rp6nouE.O emeheor6g 0o 6roh6[er p6vog rou nor6Erp6noE tou rorpr6zer xord rnv 6rdpxelo rounor(fpotog. Anh. 0o mdoer ro oKKopnovrop6v-ro rou Bpioxeror nr5 xovrd oro 6dxruld touexeivn rn onyp6, ovdhoyo pe ro xoppou nounoizet.2) Meprxd on6 To oKKolrnqvrop6wo efvorypopp6vo Kcu Vlo pnouzor5xl Kol Vlo pnoylo-pd. Autd nou efvo ypopp6vo yro pnouzo6xr6ev nqizovror oro pnoyhopd 6r6u ro pnou-zo(sxr 6xer peydlq 6rqouiporo Kcu ro 6dxrulo6ev xopdve orov pnoyhopd nou efvor prxpdto 6roouipctrct (6rqv nofzoupe oe xopnh6S 06-oers). To (6ro oup8ofver xor qvdorpoQo.Evo oKKopnovrop6vro yto pnoylopd 6evpnopef vo noxref oro pnouzo6xr 6r6u topnouzoOra -6noE efnope- 6xer peydlo 6ro-orriporo xor 6ev Qrdvouv ro Edrcuho (6rovnofzoupe oug np<6res 06oers).
O eraeheorfE horn6v 0o 6roh6(er nor6 oKKoH-novrop6vro rou rorprdza ov6hoyo pe to 6d_muho nou 6rq0&er.
Eup6oul6I-lp6ner vo p60ere vo xop6fzere p6vol ocrs TopnouzoUrc Kol rov pnoyhopd.
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 writtenin two or more ways.The player should select the way which isbest for him. This means that he will selectthe accompaniment which is closest to hisfingers at that moment according to the piecehe is playing.2) Some of the accompaniments are writtenfor the bouzouki and for the baglama too.Those that are written for the bouzouki can-not be played on the baglama because thebouzouki has a bigger distance than the ba-glama which has much more smaller distance
between frets, (when we play on the lowerpositions of the fingerboard). The same hap-pens inversely. An accompaniment for thebaglama cannot be played on the bouzoukibecause the bouzouki has big distance be-tween frets. (When we play on the first posi-tions of the fingerboard) So the player has tochoose the acccompaniment which suits bestto his fingers.
AdviceYou have to learn the way of self tuning yourbouzouki and baglama.
52
NTO 14 AILO PCC l-,lAJoR
NTO 1,4 ATZO PeG I1 AJ OR
nUT o t.l A|LO PeC HqJOR
MlO UATZO PCo H A.,/oR
| ,tl O tt 4tLO PeG U A.loR
5oL
Do Do
m
Nlo l.lAtLopec L4tqJOR
NTo AATLo p eC l.tnurOR
[on [4Atzop€G I.IAJOR,
Eon F.tATzopeG UAJOR,
{oa pl ArzoPeG A,,A{O R
I5oL
Oo 3oL
ISOL
.1,
*
$OL R,E
PC
0
1OA M{lLOPEe MAr.yoR,
U ATLO P€.fi,l A{oR
Pe l,4ATzo?e0 f.l ,1uoR
H4TzoPeAn,/O R
Pe, ptATzopeD 14t1,/oR
ILAf,EFa*
Fot R[
p€0
ILA
I
s a* R.e
55
AA
A
AAA
U ATLOP EMAvo n
^4ATzo Pc
^.lArt O R,
AAA
AAA
14t
E
HmLoPeMA*lOR
taArzoPett-i 4.a, O R
Mqtzo pellA\/OR
LA+
LA
oot'
,[sor,f,
56
HTe
uA-lLo Petn4v o n
l,t IE
l-t tE
HtE
14Arzopet4AvoR
UAlZOPQttAvot?
HR-TZo p eUALlOR
t4tE
tll ATZO PeH AvoR
f,r9
H hTzo pe.l.tAvOR
ztb
H ATLO ?CUA'tOR
,[Rr[ 5t FAK
:to
14 ATLO Pel1 etoR
1tB
MNTLOPCta+t o R
In
6a* MArzoPeFf HA.toR
58
oqint L^r
Oet H A-tLo peF# l.t n./o R
6n# uArzoPeFl ttAroR
pto I untlopec* HLq,/oR
wo{ t4AlLoPec# l,tA\/oR
rafi o"*
Uo# HAttoPec# f-la,roR
tA Dot so4
Isol+nl
59
6aF
OaF
Oaf
MltTzOPel,lA.lOR
uA-tLOPel,lA./OR
ll4Tzo PeuArlOR
fr,tATzopeUA,/OR
QAF
I{ ATzo P€llr4./ o R
,lAA
.tfA A vorrrq xcpS;r LA
60
Oaf
tt Al zo Petl4v o R
Oa ^4
ATzo p eF uA',loR
FALAI
DO
ltbbb
M Alzo ?el,l A.l o R
IfA
Avorr<'?,'l xopSi Re
ilb ^{Ar
zoPebb MAv oR
H4rzo9eI,IAJ OR
srh
Re $tYIFE
t'il DE?
sty htb
lat bunTLop€E b tlA{oR
U t buA rzop€e b HAJoR
t4thh4noPee h 144 J oR.
Htb srF,
.l.tbDO
IMt b
I5ot-$W utD
Iur h Srtr 50L
AAbunrzopeA b HAv o p
A Ab MhTzOP eA, l,tAJoR
Itab
Il.A b
62
AAb MA-TLo?A V MA.toR
i,llNoPeHINOR
4A HtNo?eA Mt trloR.
a 4, r^t N O P cA N{t NoR
AA MlxoPeA HIFt.OR
Ir-ab
AAA
ItA
LA HI
AAA
Mte
n A [^\N0PeA Hr noF.
l,\lHOPeMIXOR
t,(l No PetqlNoR,
F.(\ H O PEutNoR
Httt o?et,ilNoR.
t{Ie
1.1 te
IDo
I
64
r{te
r{re
f,,TI NOP€r.4t NOP.
Hl No PeulNo R.
7t'g
MlNo?Qu I h+oR
2t9
MINoPeI'{lHoR
2tb
prrNppcMINoR
IJI5ol HI
si rnf
ffi
,tltnlopeHtx o R.
9n# L{ rN o p€F+ MtNoR.
<uAf HrNo?h HrNo
QqP ulHoperk i-{tNoR.
1,t
8
b+ t^+ILA
Ioe,*
a^* MrNo pe(li M tNo R
ILA
IFnt
66
f+ D"l
Nlok|^\NoP€ck Mrruop.
r.,fo.[ Mtx oQ ec* MtFtoR
aoa4" M tNop€a{r MlHoR.
Mt N"bp€M\NOR
lon# ulNopeet MlNop.
W sor-S
I5oufr
oofttu* HI
Rep sr
t"rIeI
Rrt st so*
I
JLL-LI _l_l_
efi Sotfr
lon'P Mr no p e.G )li- $-t\h\oR
Peh MIN oP€Db HrfloP.
Peh MrN o?eD+ MrnoB.
AA+ MruoP€it U\NoR
bltuo pe[.\tt-toR
(^k
Rzlsouf
Rei/: !^r
Lqf
Irf oot
Ht+ Doh
68
4{# MrNopeA l4ruoR.
Pe M\hlo?€9 l.{tHoR.
H\ NO PEFlt u o R.
?e F^\No peD. u'l H oR
U\HC)PCt{txoR
Rt$uA
?ev
IuA
QeD
?eD
QCD
H\Hg>P€U\HOR.
HI N O?El.rt u o R.
1orr. MlHoPeG l.AlNOR.
5o n Mruop€e L( t NoR
2o n f\,\ I Nop ec, H ttl o R
'lAe LA IA
REFAILA
SoL RE srh
IRE
I9t?
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