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AHMHTPHE I. KOYTHT MTOOAOT
METHOD FOR
THE THREE STRING BOUZOUKI
AND BAGTAMA
@lmJmmou
MOYIIKOI OIKOI
MEPO> NPOTO PART ONE
Oeolpfo Mouorxrig Music Theory
H pouorxfi yp6Qerol Kol 6ro66zeror (6rq oe Music is written and read in the same way all
6ho rov x6o1ro Kor onorehefrot on6 eQrd over the world, and it consists of seven notes.
00oW6onpo 6 v6rc9. Au6g efvor These are: DO, RE, MI, FA, SOL, IA, SI.
NTO.PE.MI.OA.ZOA.AA.ZI.. These notes are written in five parallel lines
To Q0o14r6onpo ourd ro ypdQoupe p6oo which abstain from each other the same di-
oe n6vre nopdhhnhes Vpopp6g or ono(eE on6- stance. These lines make the staff.
xouv foo peto[6 roug. Or ypopp6g our6s ono-
reho6v ro newdypqppo.
NENTATPAMMO
MI EON EI PE OA MI SOL SI RE FA
Av6peoo onE n6vre ypopp6g undpxouv Kol Among the five lines, there are also four
r6ooepo 6roor6poro. spaces.
To [Ipc0ro 8rdornpo h6yuror OA The note which is written in the first space is called FA
To Ae6repo 6rdornpo heyeror AA The note which is written in the second space is called LA
To Tpiro 6rdornpo h6yuror NTO The note which is written in the third space is called DO
To T6ropro 6rdornpo heneror MI The note which is written in the fourth space is called MI
OA /\A NTO MI FA I.A DO MI
Erc6S 6HcoS on6 roug rixoug rou nrvrovpdp- Except from the notes of the staff, there-are
pou undpxouv xor 6hhor 6xor o(6repol Kcu xo-
some other notes which sound sharper (a-
pnh5tepor. I-ro vo ypdqouFe ouroriE roug ri-
bove the staff) or softer (below the stafO. In
xous xpnolponoro6pe uE Bon0nux6g Vpopp6s
order to write these sounds we use the ledger
xdro xor endvo on6 to nevtdypoppo.
lines above and below the staff.
T 7te ac
=
NTO PE MI OA ZON NA ZI NTO PE
=-
== =u
DO RE MI FA SOL I.A SI DO RE
t2 -i. g
Eup6ou?tri Advice
t' 6vo np6xelpo rcTpd6ro rng pouorxriE vo In a copy note book of music, please write
ypor1lsre noll6g 0op6s roug Q06wous ro>v the notes of the lines, the notes of the spaces
ypotrp6v, 8roornpdrcov xot endvo xor xdror and the notes above and below the staff-
rou nevroypdppou, <irore vq rous 6rq86zete stave.
or-r6x 6ro8ozere pfo eQnpepf6ir. Write them for many times in order to read
them quickly as if you read a news-paper.
NINAKAE ME TIE ASIEE TON OOOITOTHMCIN TABLE WITH THE VALUES OF NOTES.
Mro6 J half
T5ropro quarter
)
'Oy6oo h eighth
)
A6xoro 6xro N sixteenth
/
Tproxoor6 6e6repo N thirty-second
a
E$nxoor6 r6ropro sixty-fourth.
,R
10
(
NAYZEIE PAUSES (Rest sings)
llo6oerg undpxouv r6oeg 6oes Kol or qies Rests are as many as the values of the notes
rcov Q0o1ryoo61rcov xor 6xouv mv i6to 6rdp- having the same duration with the colrespon-
Kelq pe ro ovr(otorxo Q0o1ry6onpo. Trg xpnor- ding notes. We use them when we don't
ponoro6pe 6rov 06houpe o' our6 to pftpo want another note to be heard on this mea-
nou undpxouv, vo pnv oxouotef xoppfo v6tq. sure.
tl
a
Aroorohf Bar-line
&o r6hos undpxer 6rnhri 6roorohf nou onlrof- At the end there is a double Bar-line that
ver 6u rehercirva ro pouolK6 xoppdn. means the end of the musical piece.
11
METPA MEASURES
'Orov opxfzer 6vo pouorx6 6pyo npcino In the beginning of a musical piece we first
Vpd-
Qoupe ro r<her6(. oxolou0o6v to onpefo oh- write the key then the alteration signs (acci-
hoicoong edv undpxouv -6ncoE 0o 6o0pe no- dentals) if these exist-as we will see further
poxdrco- xot 6nerro oxohou0ef 6vq xhdopo down and then follows a fraction that is cal-
nou h6yeror M6rpo ri xp6vog, ri pu0p6g. led measure of time or time signature or
Merpo 6xoupe nohhd 6ncoE rhythm. There are a lot of measures like 4/4
414fi C,314, 214, 918, 719, 514 x.?r.n. or C 314, 214, 9/8, 7 /8, 514, e.t.c.
O opl0pnrris rou xldopotog Qovepcirvu or The numerator of the fraction declares in
n6oo F6pn np6ner vo xopfooupe ro p6tpo KCU o how many parts we must divide the measure,
ropovopootrig tnv otfo xd0e p6poug rou p6- and the dividor declares the value of each
rpou n.x. part of the measure, for exampler
, a
-
I
a
H. tll r! t
12
OE>H KAI AP>H DOWNDBEAT.UPBEAT
Ie 6ho to p6rpo n npcirn xfvnon nou yfveror In all the measures, the first movement that is
npos rq xdto h6yeror 06on Kol n reheuoio made downnards is calld thesis and the last
npos to ndvco h6yeror 6pon. one, upwards is called arsis.
NAPEETITMENA DOTTED
'Orov oro 6e(rd ev6g QOoyyociripou undpxer When there is a dot note on the right of a
pto rchefo ro Q0oyy6onpo h6yetor noptmly' note, this note is called dotted.
p6vo Kor n rehe(o ouypri 6roPxeiog. The dot lengthens the note's duration at the
H ouypf 6ropxefoE nopotefver rn 6rdpxelo rou half of its real value.
Q0oyyoo6pou xqrd ro pro6 mg npoypouxrig
rou o[(og.
'Evo oh6xhnpo nopeonyp6vo eivor ioo pe 6vo A dotted whole is equal to a whole plus a
oil6rtrnpo ouv 6vo pto6 half
(D.r o+J
'Evo pro6 nopouvp6vo eivor ioo pe 6vo pr-
o.r o+ J
A dotted half is equal to a half plus a quarter
o6 ouv 6vo r6ropro
J.=J+J J'=J+J
'Evq tftopro noptouyp6vo eivor foo pe 6vo A dotted quarter is equal to a quarter plus an
t6ropro ouv 6vo 6y6oo eighth
lt\ )+)
J.= J*
'Evo 6y6oo nqpeouyp6vo eivot foo pe
),=
6vo A dotted eighth is equal to an eighth plus a
6y6oo ouv 6vo 66xoto 6xro sixteenth h
f.' f'F
j--- a L J J.- JI ,F
'Evq 66xoro 6xro eivor foo pe 6vo 66xoto 6r<ro
A sixteenth is equal to a sixteenth plus a thir-
ouv 6vq rproxoor6 6e6tepo
LYrvvvrrs
fu-second
F FR
o.= a +
I
a A thirty-second
F F F
j'= i #o
is equal to thirty-second plus
'Evo rproxoor6 6e6tepo efvo (oo pe 6vo rpto- a sixty-fourth
xoor6 6e6repo ouv 6vo e(nxoor6 r6topto
13
AINNA IAPEZTIIMENA DOUBLE DOTTED
'Orqv ro Q0oyy6onpo pnpootd 6xer 6uo ony- In case that two full stops follow a note, this
p6g 6ropxefog h6yeror 619 nopeouyp6vo.'H note is called double dotted. The second
6erlrepn orrypri nopotefver ox6po neproo6tepo full stop prolongs even more the duration of
m 6rdpxelo rou Q0oyy6onpou xord ro pro6 mg the note, halftime of the first full stop, so that
npcirng onypfg, <irore Kol ol 6uo orryp6g pozf both full stops prolong the duration of the
nopotefvouv rn 6rdpxero tou Q0o.,n76onpou xo- note in 3/4 of its real value.
td ro tpfo r6topro ms npovpcruruig toug o[fog. A double dotted whole note is equal to a
'Evo ohox),npo 619 nopeonyp6vo whole note plus a half note plus a quarter of
efvqr foo pe
6vo oh6xhnpo orjv evo pro6 ouv 6vo t6ropro. note
I
(O..=(O
I
I
(o)..=(o+o +,
ttO r I
Rest Signs with a full stop have the same val-
Or nofoels pe ouvpri 6ropxeiqs exouv mv f6ro
ue with the corresponding notes
o(fo pe ro ovrfororxo Q0oyyoonpo.
TPIHXA TRIPLETS
To tpfnxo qnorehefrqr on6 tpefg Q0oWous f- Triplet is a group of three notes equal in value.
6roug ornv o[fo pero(6 rous. Ener6f 6vog The one of them is being a surplus of tme
on6 ourotig toug $06youE efvor nle6voopo so we merge it with the other two.
rou xp5vou, rov ouyxoveOoupe orous dhhoug So, the time we need to play the two notes, is
6uo xor rov xpovo nou xdvoupr vo nof(oupe the same for playing the three notes.
tq 6uo Q0oyy6onpo, orov i6ro xp6vo,0o nof-
(oupe xor ro tpfo.
14
WHOLE TONE (or step)
TONO> HMITONIO SEMITONE (or half step)
Hprr6vro h6yetor n prxp,5tepn 6uvorn ono- Tone is the movement of a melody from one
otoon peto$i 6uo S0olryooripov nou ovope- note to its neighbor (whole step) between the
od roug 6ev undpxer ohhn Qr,rn (Q0oWod two notes there is only one sound.
A6o efvor ro Quorxd nprr6vro ro MI-<DA- Semitone is the least space between two
6 EI-NTO. notes. (Between them there isn't another
Autd h6yovror BAtlKA. sound). The natural semitones are two: MI-
T6vog h6yetor n p6on 6uvotf on6otoon perq- FA and SI-DO. These are called BASIC SE-
eO 6uo 00owoo6pov nou ovdpeod rous u- MITONES.
ndpxet pfo xor p6vo Q<ov6 (006wos). O to- The tone is double than the semitone (whole
voE efvor ro 6rnhdoro rou npttovfou. steP:1*o half stePs)
SI MI IA RE SOL DO FA
Ol urf6oels 8]6noupe 6rr eivor to ov6no- The flats are contrary of the sharps.
6o rorv 6r6oeorv. We must learn both, sharps and flats, in the
Kor uE 6r6oerE Kol nS uQ6oerg np6ner vo uS place where they are written on the staff-
pdOoupe Fe m oerp6 nou eivor ypopp6veE stave, because in this way only are they
yrod 6ror p6vo xpnorpe6ouv 6ncos 0o 6o6pe useful as we will see later in the chapter of
oto xeQdhoro xlipqKes. scales (PART FOUR).
ACCIDENTALLY
TYXAIA ZHMEIA A/V\OIOEHZ ALTERATION SIGNS
To tuxofo onpefo olllofarong roxOouv p6- The accidentally alteration signs are in
vo Vro ro p6tpo els To onoio eupfoxovror,6rov force only for the measure in which they exi-
6nhq66 p6oo oe 6vo pouorx6 xopdu ouvov- st. That is, when we meet on alteration sign
mooupe 6vo onpefo olhofcoons nou 6ev o- in a piece of music, which sign does n't be-
vfixa orov onholr6 (6ev eivor ypopp6vo longs to the key signature (it isn't written in
pnpoord oro xher6i) r6re our6 e(vor tuxo(o on- the front of the key), then this is an acciden-
pefo o?thofcoong, xor rox6a yro 6ho ro Q0oy- tally alteration sign which is valid for all the
notes that exist in the same measure and ha-
ve the same name with the alterated note.
y6onpo nou 8pfoxovtol oro f6ro p6rpo xor same measure and have the same name with
6xouv ro f6ro 6vopo Ue rov o?tlorof6vrq the alterated note, even when it is after it.
$06yyo xor 6tov efvot per6 on6 qur6v. When there is a Natural in the same measure,
'Orov p6oo oro i6ro p&po un6pxa ovofpeon,
the notes that are after it, retum to the their
ro Q0o1ry6onpo nou e(vor perd on6 ouulv e- natural state.
nov6pxovrol orn Quou<ri roug xordoroon.
llop66erypo Example.
O Q05yyos MI tou r6roprou p6rpou nofze- The note MI of the fourth measure is played
ror olhorop6vog. alterated as MI
16
ENAPMONTOI OOOTTOI HARMONIOUS NOTES
Evopp6uor O06wor tr6yovro 6uo QOfiaror 6tov Harmonious notes are two notes that have the
6r<ouv ro f6p 6xouolro o?tld &o0opmx6 6vo1ro. same hearing but different name.
NTo*fl *o pb b
MIfi and FA I
n.x.
Ml
example: DOil arrd RE
I xor eA
AIAZTHMATA INTERVALS
Ar6ompo efvor n qn6oroon perotO 66o Q061ryov Intenral is the difference in pitch between two to-
cos npos to 6qroE. To 6rootdporo nofpvouv ro 6vo- nes. The intervals take their names from the
p6 toug on6 rov qprep6 trov Q061ryov nou nepr6- number of the notes that they contain. So we have
xouv, xor 6xoupe 2* 3* 4* x.h.n. 2"0,3^, 4tn e.t.c.
Ar6ornpo 2* h6yaor to 6r6ornpo nou nepr6xer 6uo Interval 2'o is the one that has two continualno-
Q061ryoug ouvex6pwous n.x. NTO PE tes as DO-RE e.t.c.
Ar6ompo 3" h6yeror to 6rdornpo nou nepr6xer rpefg
Interval 3'is the one that has three continual no-
006wous 3 006Wous ouvex6pwoug n.x.
tes as DO RE MI e.t.c.
NTO-PE-MI x.?r.n.
Eup0ouhf Advice
'Ooo neproo6tepo 6rq6ozere m Oecopfo t6oo nepto- The more you study the theory of music the more
o6repo npoerotpdzeore vlo to 6pyovo. you prepare to play your instrument.
ZYZEYEH 6
ZYZEYEH AIAPKEIAZ NOTES WITH TIE
H o6zeu$n 6roprefog efvor pro xopn6iln VpoUFf Tie notes are joined by a curve line
nou ouv66a 6uo 6poro ors npos ro r3rpoE Q0oyty6- that ties together two same notes at their height of
onpo 6uo xotrovrirv p6rpcov. Me mv ofv6eon outf the two close measures.
o 6xog tou npcitou Q0olnloofpou evcivetol pe rov By this connection, the sound of the first note be-
6e6repo oov vo efvor pro otfo. comes one with the second, as if it was one value.
Or 6e6tepor Q061ryor nou efvor evcop6vor pe o6zeu- The second note which is connected by a tie is not
(n 6ropxefos 6ev enovohopB6vowor, ohld nofzov- repeated, but is played tied with the first one.
tor 6ep6vol Ue rous npcirtoug.
nou er,rcirva ov6poro Q0o1ry6onpo neprlopBd. that connects two dissimilar notes, indifferent not
vovros noMd U6rpo. ln sequence, measures.
E6<6 ro 00oW6onpo nofzovror neproo6tepo 6e1r6- Notes connected with legato line are played mo-
vo Kor 6x r<nrnnrd. stlv tied and not beated.
17
ZTAKATO STACCATO
O opog out6g onperriveror pe tehe(eE ndvco 6 x6tco If a note (or some notes) is marked with dots a-
ono to Q0owoonpo Kol onpofvq6n np6net vo nql- bove or below the notes, this means that they ha-
x0ouv xcoptor6, oxe66v oro pro6 mg o(ioE touE, ve to be played separately, almost in their half val-
6nh. to 66rru)r6 FoS Fpr6,to m6nnpo mE xop66g, ue. That is, our fingers after the beat of the strings
np6na vo onxroOoriv qy6o<os. must come up immediatelY.
n Ulo nro $op6r6 on6 mv 6Mn xo oro p6oo p6pos lines: the one is wider than the other, with two
6uo teheieE. 'Orov 6o6pe out6 to onpefo enovq- dots in the interior. When we see this work, we te-
ilop86vouUe ro F6tpo nou efvot p6oo o' out6. peat all the measures which arebetv,teen the repe-
[h6 x6tco 6vo noP66erYPo. tition signs. Here is an examPle:
'Orov Qt6ooupe oto t6hog yupfzoupe n6lt xot eno- When we reach to the end, we rcpeat the part
vohoyB6vouye ro p6pos nou e(vot xlerop6vo p6oo which is enclosed in the repetition signs. Other re-
omv enovdhnPn. petition signs are the segno$.
'AMo onpe(g enovdlnrpng efvor rc aflvno $. and the Coda
6 x6vro $
+
Eup6oul\6 Advice
No tovq&oBdoere 6hn m 0ecopfo. Aut6 0o oos You must study again all the music theory from the
6reuxol6vet 6tov 0o rndoeri to pnouzoOxr' beginning. This will help you when you take in
your hands the bouzouki.
18
MEPO> AEYTEPON PARTTWO
Tootr6po Mnouzouxroti The finger board
of Bouzouki
lu TPIXOPAO MNOYZOYKI THREE STRING BOUZOUKI
o & BAGLAMA
KAI MNATAAIVIAZ
1) Sounding board
1) Appovrx6 enfne6o
2) Sounding hole
2) Tp6nq oppovrxoU entn66ou
3) Guard plate
3) Xehcivn
4) Bridge
4l Zw6s (Kq8qh6pns)
5) Tail piece
5) A6pq xop6oordtnE
6) Tfpnovo 6) Drum or lide frame
7) Aroordlrotq (tdorq) 7) Finger board.
8) Ke0qh6 xtrer6rd xoP6folrotoE 8) Head with clefs.
PE
AA
PS
\8
Or opl0pof pog 6efxvouv ro 6loorfporo (rtioro) The numbers show the inten als (frets)
). 2- 3 + 5 6 1 g I l0 ll tL 13 l+ t5 16 t7 tg t9 20 2t L2 23 2+ L5
Avorxtf.g xop66g lPE
Open strings.
2.AA
3PE
J J J IJJ I
- ,*,2*2
at+
2gcl2:fl:
'Eror yprirfier<rr
writing.
n= 3frlr +
F; = f=
==
'Erol oxotiyaror
N Hearing
MEPOZ TPITON PARTTHREE
Mouorr6 E6ornpo Musical System
TPEMONO TREMOLO
Tpepoilo h6yetor ro ove8oxore6oopo ms nevvos Tremolo is the pick down and upwards of the pick.
npos ro xdrco xqr npos ro ndvco. Irnv opxri yfveror At the beginning it is a slow striking of the pickwith
pe opyri xpouon rng nevvog l.ls us xop6eE rrou the strings, that eventually becomes quicker. The
6o0pn65v enrroxuveror. H n6vvo nprna vo sfvor pick must be flexible and should be held by the
eufujyrorn xor xporefrol Fr rov ovr(xerpo Kor ;re rov thumb and the forefinger t hand.
6efxm rou 6e(rou xsprou. To tpepolo pe rnv nvvo The tremolo with the pick likethis: /vw
onpercirvetor eror /W The strike of the pick dow e this: A
H nevvro npos ro xoro onper<overor eror n .H The strike of the pick upwards like this: V
nevvtO npos IO novc.l onptlovtlot etot V
Eup8ouil6 Advice
O oyxrbvos rou oprorepo6 xepro6 vo 6l6ner npog The left hand's elbow should look downwards.
rq xdr6).
Aefypo peprx<6v po0np6rorv ylo rnv e$6ornon Demonstration of some lessons for the exer-
rng nSwog Fs ro 6e$f x6pr, Kor yro rnv e$6oxn- cise of the pick witlr the right hand, and for
on ro)v 6orc6?rorv rou oprorepo6 xepro6. dre exercise of the left hand's fingers.
Or opr0poi en6vor on6 roug r[06yyoug eivor ro The numbers above the notes are tihe fingers
66rculo rou oplorepo6 xeprou ror onper<i- numbering of the left hand and are marked
vornor 6ror: as:
z3
Iro ohoxAnpo xore8ozoupre Kql .qyqqgzoupe ro n66r pog At the whole note our foot goes up and down counting four
0op6s o = l![LtlJ tro pre to 6e(f pgg
pretpcouroE reooeprs times o
=J?Itltlt while with our right hand the
x6pr n n6wq oveBoxoteBoiver pe rp6yoho. plectrum g*t und down with tremolo
"p
Time 4/4
xp6voE 4/4 Adxruho.
Ito pro5 xote66zouut Kol ove6dzoupe ro n66r poE petpcbv- At the half our foot goes up and down counting twice
roE 6uo 0op6s P{tlt nofzovroE pe to 6e(f pog x6pr tp61ro- P and playing with our right hand tremolo.
=!tJt
ho. I I
ll
Xp6vog 4/4 d + d - to Auo puo6 x6vouv 6vq oh6xhnpo J * J = 6r Two halves give a whole'
Iro reropro perpdpe xotd rov i6ro rpr6no 1 oopo J Jt ,u,,, At the quarter we count in the same way once J.lt ,unil"
to 6ef pog x6pr nofzet nore tpeprolo, n6re nrwlrs ovdhoyo our right hand plays tremolo or strikes with the plectrum
pe rnv 6v6sr(n. accordingly to the indication.
24
Iro 6y6oo perpdpe pro6 xdto xor prori end- At the eights we count half time downwards,
vo:. To 6ef Uos x6pr nofuer newr6g. halftrne upwards. Our right hand plays with
the ptgctrum
Auo 6y6oo pos xdvouv 6vo r6topto Two eighths give a quarter
[1= ) [7 = )
Auo 66xoro 6xr pos xdvouv 6vq Oy6ooJl=) Two sixteenths give an eighth n=l Thus
Enop6v<os,pe prcr
oepo 66xqro 6xro.
xfvnon
J t t. xdvoupe 16o- with one movement I f we'll make four si-
xteenths.
A6o xftco 6t1o en6vo. Two downwards two upwards.
Eup6ou?tf Advice
No pnv npoxcopefre oro en6pevo pdOnpo, edv Do not proceed to the next lesson if you have
6ev p60ere ro nponyo6pevo. not leamed the previous one.
25
METPATE MIA KINHEH NA KAOE TETAPTO KAI MIA KI- COUNT ONE MOVEMENT FOR EACH QUARTER AND ONE
NHEH TIA TA AYO OTAOA EYMOONA ME THN ENAEI- MOVEMENT FOR THE TWO EIGHTHS ACCORDING TO
3H. THE INDICANON.
Eup6ouhri Advice
Ilpoo6fte ro pu0p5, 6vo pouorx6 xoprpdn oKouverol Ko- Notice the rhythm. A piece of music is heard well
ld 6rqv perpr6ror xohd. when it is counted well too!
26
flo6on oy66ou Eigth Rest Sign
J T II
rtlttt lt
?rreJo-r-
OTAOO NAPEETITMENO KAI AEKATO EKTO EIGHTH DOTTED AND SIXTEENTH DOTTED
To nopeonyp6vo 6y6oq nqfzovror ye rpelroho The dotted eighths are played with tremolo.
TPIHXA THREE.SOUNDS
Eup0oufui Advice
No enrp6vere oro 66oxolo p6pn nou ouvovrdre. Insist on the difficult parts you encounter.
t,
MEPO> TETAPTO
Kl\fpoKrs (Ap6por)
PART FOUR
Scales
KNIMAKEE SCALES
Morz6pe rd\fporeg Major Scales
Or potz6pe r<ifpoxeg nepr6xouv 6uo npn6uo Kql Major scales have two semitones and five tones.
n6vre r6voug. Exnpotfzovror 6nh. pe r6vo, p6vo,
They are formed in the following way: tone, to.
nprr6vro, r6vo, r6vo, r6vo, nprr6vro.
ne, semitone, tone, tone, tone, semitone.
Eup6oufui Advice
Edv to oprorep6 ooE x6pr n6Qrer oro0epd endvo) You must press down firmly the string with the fin-
ong xop66E, r6re our6E 6ev rpfzouv. gers of your left hand.
So the string do not crackle after striking.
*
Klfpoxo NTO poz6pe (Quoxn r<lfpoxo)
Scale of DO major (natural scale )
30
ME YOEZEIZ WITH FLATS
6Qeon efvor n OA
Me 1 With 1flat major
, 2u06oers D n EI , 2 flats major
,3)DnMI "3D major
n4DDnAA ,4) maJor
,5)DnPE ,5) major
16 D DnEOA ,6D major
"7 ) ,nNTO "7D major
f
Klipoxo EI h ll.roz6pe ue 6uo uQ6oag
Scale of SI D major with two flats
I
Klfpoxo MI DI lroz6pe pe rpefs uQ6oerE
Scale of MI p major with three flats
I
Klfpoxo EOA D 1uiorz6pe pe 6tn uQ6oers
Scale of SOL D major with six flats
Klfporo NTO
Scale of DO
31
MINOPE KAIMAKEE MINOR SCALES
MINOPE KAIMAKA TOY AA MINOR SCALE OF I.A
H AA Mrv6pe l6yeror xor $uorxri xhfpoxo 6r6n otov The IA minor scale is also called natural because
onhrop6 6ev undpxer xov6vo onpefo ohlofoong. Mr- in the key signature there isn't any alteration sign.
v6pe xhfpoxeE undpxow 2 er6<irv, ol oppovlK6g xor or There are two kinds of minor scales: The harmo-
pehro6rx6E. Or oppovrx6E onotehodvtor on6 3 r6vouE nic and the melodic.
3 nprr6vro xor 6vo rprnprr6vro. Ave8o(vouv xotd 16- The harmonic ones consist of three tones, three
vo, nprr6vlo, r6vo, r6vo, nprr6vro, tprnpnr6vro. semitones and a three-semitone.
Kqre8ofvouv xord nprr6vro, tprnpnt6vro, nprr6- They ascend in the following sequence: tone, se-
ulo, f6vo, t6vo, npn6vro, rtivo. mitone, tone, tone, semitone, three-semito-
Or pelofrx6E onotelo6vror on6 5 r6woug, xor 6uo ne.
npnovro. Ave6ofvouv xord r6vo, npn6vro, rrivo, They descend as semitone, three-semitone,
r6vo, r6vo, r6vo, nprr6vro. semitone, tone, tone, semitone. The melodic
Kor xffeBofvouv xord t6vo, r6vo, nprr6vro, 16- ones consist of five tones and two semitones. They
vo, r6vo, nprr6vro, r6vo.
ascend in the following sequence: tone, semito-
Me ng nopondvo oxnpodzoupe Kor uE prv6pe xlf- ne, tone, tone, tone, tone, semitone.
UoKeS 6ncog oxnpodoope Kcu nE poz6pe.
They descend as tone, tone, semitone, tone,
tone, eemitone, tone.
With the above instructions, we form the minor
scales toe, as we formed the major ones.
Eup0ouM Advice
Aro8dore npooexuxd 6leE nE xlfpoxeg. Oo ooE Study the scales carefully! They will help you later
xpnorpeOoouv opy6repo, 6rov 06here vo oM6[ere
when you want to change the tone of a song.
r6vo oe 6vo pouox6 xoppdu.
32
ENAPMONIE> KAIMAKE> HARMONIOUS SCALES
An6 rov oxnpouolr6 tco potz6pe xor From the construction of the major and minor sca-
1uv6pe xhpd-
Ko)v oupnepofvoupe 6u: les we conclude that:
Or porz6pe xi(poxeE efv r666er<oyrorf tpeiE on6 uE The major scales are twelve because three of the
6exon6we xiipoxeE nou 6xoupe voQ6per (pozf pe fifteen scales that we have mentioned (with the
tnv $uorxf xhfpoxo tou NTO) e(vor f6reg pe dMeg natural scale of DO) are the same with three o-
rpefE. thers.
Aut6g or xlipoxeE 6xouv ro i6ro dxouoyo olhd 6ro- These scales have the same hearing but different
Qopeux6 6vopo xor tr6yo'vror evopp6vr g xlfpo- name and are called Harmonious scales.
r(s.
Kot ot prv6pe xlipoxeE efvor 6ci6ero yrorf xor e6rir The minor scales are also twelve because,here al-
or rpefE on6 nE 6exon6vre xlipoxeE pozi re mv Qu- so the three from the fifteen scales with the natural
orx6 xlfpoKcr rc u M nou 6xoupe ovoQ6per efvor scale of LA that we have mentioned are the same.
f6reE.
Aut6E efvo:
H/vi-fr,, pemvEI b, with SI b,
HPE '' f, pemv MI , h with MI
HzOAil " pemv AA b- with I-A bb
Kor our6g or r<lfproxeg 6 .ouv to f6ro dxouolro qh d These also have the same hearing but different na-
6roQopenx6 6v< po xor h6yovrol evopF vreg xif- me and are called Harmonious scales.
FOrsES.
Eup0oufui Advice
'Orov 6roBdzete 0eopfo pnv o$6vets to 6pyovo. When you study theory, do not leave the in-
No nofzere x60e prepo. stument. Play every day.
K?riporeg yorz6pe Kor Fr- Major scales and minor o-
v6pe endv<o oro pnouzo6m nes on the bouzouki from
on6 6ror$opeux6 6roorr[- different intervals.
por(r.
t-
Khfpoxcr NTO poz6pe DO major scale
(Quorxri xlfpoxo) (natural scale)
An6 ro 3" ro 6rdornpo ms 2" xop66E From 3'o interval of the 2'o sting
Adrrulo Fingers
I I l3 ra rrr
l2P rore I I lE roarl
MATZOPE KAIMAKEZ MAJOR SCALES
ME AIE>--E-I-> WITH SHARPS
Klfpoxo ZOA poz6pe SOL major scale
An6 to 5" 6rdompo ms 3". xop66E From the 5'n interval of 3'o string
Sotaol
,-=
=-r
r3B r r2I.ro?t$ I rlPxo?Ltr r rl3xonr r r1?xoarrr r*x.t
An6 to 10" 6r6ompo mS 2o^ xop6riE From the 10* interval of 2"o string.
rcn. I
-=
I 3? I lE rror I t!? xcrettl r8l ror, | 'l,rar
35
Khfpoxo PE porz6pe RE maior Scale
An6 ro 5'" 6rdornpo rng 2o". xop6fE From the 5'n interval of.2"o string.
18
Tora,J r 4ll rcrlu , t lE Xolru , tSEr.rr
2"stzhg gr s+aing 1.+ stzing 2s slzing
An6 rnv 3" xop66 ovorxrri From the 3" open string
An6 to 12'" 6rdornpo rns 3". xop6nE From the l2'ninterval of 3'o string
e1-
t 2l rootll t t /19 xo?Ltt , I fl ro?l{
An6 ro 7," 6rdornpo rns 3". xop6fE From the 7" interval of 3'o string
r9t xcrl, t 2!l xollttl ll? xotax I f 13 rerer ,J r.t! 'na?ax r EllilJ
An6 ro 12'" 6rdornpo rns 2oo. xop66E From the L2'n interval of 2"o string.
o.e
=T
,21 rar?l.r I tB to?all I I l3 ra PAil
=
I t8l ra0r.1
Kilfporo MI yotz6pe MI major Scale
An6 ro 2o" 6rdornpo rns 1" xop66g. From the 2"o interval of 1" string.
I l?rorr I L 4I xcPAr I
An6 to 9'" 6rdornpo rng 30" xop66g. From the 9* interval of 3'o shing.
-
-
37
Khfpoxo QA il porz6pe FA fl maior Scale
An6 to 4'6rdompo rns 3" xop6riE. []rom the 4' rnten,al of .3 strirrg
An6 ro 16'" 6r6ornpo rns 3'. xop66E. From the 16 interval of 3 ' strinq
An6 ro 11'" 6rdornlrq ms 3o"' xop66g. From the 11'n interval of 3'o sting.
An6 ro 16'" 6rdornpo ms 2*. xop6rig. []r,,ln iit., 1{r utlen,al of 2 slrrnr;
38
MATZOPE KNIMAKEZ MAJOR SCALES
ME YOE:EI> WITH FLATS.
I(ltfporo <DA porz6pe FA maior Scale
An6 to 3'6rdornpo ms 3.. xop6fig. From the 3'o interval of 3'd shing.
t!! ror I t?l ,o)LA t lL? ro;al I 19: ro?A* I rl? ro? I
3'' Stllhg 2{ Staiqg ls+ string 2r.Slzing 3"rs+Ling
An6 ro 8" Erdornpn rnE 3'. xop66E. From the 8" interval of 3'o string.
r rllrril.l
El roer r t?;o?Ltt I I tt rc?alt
-1
L#
An6 ro 15'" 6rdornpo rns 3" xop66E. From the 15'n interval of 3'o string
Khfpoxo EI b pqrz6pe
I
D maior Scale
An6 to 1'" 6rdompo rng fo.s xop6ric. 1" interval of 2"u string.
7 e,
18E rnl I lI rc ?rn I ll!.,clr.. , l,!rc. l
An6 ro 8" 6rdorngo ms 3'. xop66E. From the 8" interval of 3'o string.
An6 ro 13'" 6rdornpo mS 2o". xop66E. from the 13* interval of 2"0 shing
39
Kltipoxo MI I poz6pe MI b maior Scale
An6 16 6'" 6rdornpq ms 2o*xop6riE From the 6'' interval of 2"o string.
An6 16 13 6rdornpo rns 3"'xop6riE From the 13" interval of the 3'o string
An6 16 1'" 6rdornpo ms 1"'xop66E From the 1" interval of the 1" string
r lt xo?Ail
LA D major Scale
I
Kilipoxo nA b porz6pe
An6 to 6'" 6rdornpo ms 3". xop66g From the 6" interval of 3'o string
+
r8! xatrn I r tE -ornn r r tE rorerl r l3B ra?rs r
An6 to 11'" 6r6ornpo ms 20"'xop66g From the 11'n interval of.2"o string
T+ e
- rot xoeror
r,2E I LII xolar - ,- . t
t tl I
An6 ro 6'" 6rdornpo ms 1" xop66g From the 6'n interval of 1" string
t
40
Imv en6pevn xhfpoxo PE b porz6pe nou In the next scale RE major. which has a ke_r.
b
6xer onhop6 n6vre uQ6oerg nopfinpofpe 6u signature with five flats, we can see thar u,e
zo6- have the.same positions on the bouzouki as
6xer the DO fl ma;or scale which has a key si-
i6ro gnature with seven flats. So we have for the
xhfpoxo pe 66o 6roQopeux6E ovopoofeE, xor
same scale two different names with different
. I-1.x. n xhfuoxo notes.
NTo ,# pE #
xo PE b prorz6pe
x.h.n.
Av xdvoupe plo o6yxpron rov nopondvco
Q0oyyooripov.rcov 6uo xhrpdxov 0o Qoripe
6u rq NTO fr eivor f6ro pe ro PE I ro
PE
^f efvor ici_ro pe ro MI, xor ro MI fr ef-
vqr f6ro pr ro QA x.h.n.
r us xlfpoxeE
6Cn u06ous, pe
6 6r6oerg, KCu
ernd uQ6oas pe
EI porz6pe pe onhro;r6 n6vre 6r6oerg.
O[ xhipoxeg our6g nou 6xouv ro f6ro dxouolro
ohld 6roQopenx6 6vopo h6yovror evopp6-
ues.
41
K?tfporo AA prv6pe LA minor Scale
natural Scale (Minore)
An6 m 20" xop6ri ovorxrri From the 2"o string open
C.J-
t 22 xoetut l4l xotttt t42 xoesa - J l22xoptul
An6 ro 7'" 6rdornpo ms 3". xop66g From the 7'n interval of 3'o strino
4
=T+ T=
t3il xoPttt t tZ\ soeset fl\ xot.t | 21 xottu I
3d ttLilg 1,'r sh,iurg fr sizirlg 13r steitg ztr stci'rg
r\no ro l2 orrlr;rn1-rcr rnq 2 xoptiriq From the t2'n inte.rval
4,t
eT=
tlE xo?at{ ttt xoPlrr t | 2t xo?r[ t
An6 ro 2," 6r6,ornpo mS 1'. xop66g From the 2"o interval of 1" strino
An6 ro 7u" 6rdornllo ms 2o"' xop66g From the 7'n interval of 2"o string
,t4
4?
Kilfpoxo EI prv6pe SI minor Scale
An6 ro 20" 6rdompo ms 2o'. xop6rig From the 2"o interval of. 2.. stnng
TO eT
t22 xo PAt t t aL xoPAr r22 -oext I
l5l xoetq t | 2l xoe st t t4.? xoe t.t il *ae t t-4{ xopa( r r A[ xopar{ r
An6 ro 14'" 6rdornlro ms 2o". xop66g. From the 14" interval of 2"0 string
-Ue
t2! xoz*a t l4L xoPLa t I 4L- so ?bA t2t *oers I
t?! *oltx I l2( xoeox | )4txoer.l ill s<opL,t L2l xresx I | ?l xcoptt I
An6 ro 9'" 6rdornuo ms 2o.. xop6riE From the 9" interval of 2"o sting
An6 ro 4'" 6rdornpo rns 1". xop6rig From the 4'n interval of 1" string
t t! xo ea,A
t Ll. x.-Prv A t
43
Kifpoxo NTO fl prv6pe DO + minor Scale
An5 ro 4 6rdornpo rns 2o". xop6flg From the 4'n interval of 2.ostrinq.
+ e
t1t xocstt t t21 xoote ,, iL xot t tll ,ro.t tZLsot-o+t I lSgxopar t
eT==
2!- yo?ttl I t LLwtol
t t LL xoo . I tZL toe^l t tll xqel;u t
e ,==
-=-+
xolstt
122 t t L2 xo"sq I lL2 xoobH I t 22 ;.o ?^H I
t 4L xo?rtt I Ll to?rrt -j
An6 ro 13. 6rdornpq ms 3" xop66g From the 13* interval of 3'o string.
lt44,V
lllxoesu
L-i-# 1 l2!>,oeatr t l?L{xoeaq tl**oro., t2!*aps* t t}l.'oesu t
Khfpor" AAI prv6pe LA d minor Scale
+T=
122 xoeaa I t 42 xo et+ I t L2 xopAH t 22- ra PLH )
An6 ro 13 6rdornpo rns 2" xop6riE. From the 13* interval of.2"o string.
An6 ro 12" 6r6ornpo rns 3" xop6rig From the 72'n interval of 3'o string.
45
Khfporo EOA prv6pe soL minor Scale
An6 ro 5' Erdotnpo mS 3"' xop6fig From the 5" interval of 3'o string.
+-T==
tl.trap,r t[ -xoltt l2\vopril I t3!.<cpas I
+ e-=-
r 3! xo PaH rll xoern lr8! roPlq r
7=
,Ll
T+
YEPLH |. -
'-L'1- ,o?brl |
An5 ro 3'" 6rdornpo mS 2"'xop66g. From the 3'o interval of.2"o string.
An6 ro 15'" 6rdornpo rns 2" xop66g From the 15'n interval of 2"o string.
+
,2! ya'r* , ,t!yorlrr r tlLxofrrt ,,2t xolrt{ ,
46
Kllfpoxo QA prv6pe FA Minor Scale
An6 ro 8" 6rdornUq ms 2*s xop66s. From the 8" interval of 2"o sbing,
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
I-ro vo Bpo6pe pro xhipoxo poz6pe pe 616- In order to find a major scale with sharps when
oerg, 6tov (6poupe tov onho1r6, oveBofvoupe we know the key signature we ascend from the
on6 mv reheuro(o 6ieon 6vo Q061ryo xor 6_ last sharp one note and we have the corre-
xouUe rnv i6ro mv xlfpoxo. sponding scale. Example:
Av n.x. 6xoupe onluop6 6Uo 6r6oers OA, NTO 1. If we have in the key signature two sharps in
ove8oivoupe on6 ro NTO (releurofo 6ieon) FA and DO, we ascend from DO (last sharp)
6vo Q06yyo oro PE, ro PE pouz6ps efvor n one note to RE which is the RE major scale that
xhfpoxo nou znrdpe. we are looking for.
Av 6xoupe onhop6 rpefE 6r6oerE OA-NTO- 2. lf we have in the key signature three sharps
IOA. Ave8ofvoupe on6 to IOA 6vo Q05yyo FA-DO-SOL we ascend from SOL (last sharp)
oto AA. To AA eivo n xhfpoxo nou znrdpe one note to LA. So LA is the major scale we
x.h.n.
are looking for e.t.c.
When we know the scale and we want to find
the key signature, we descend one note from
the first note of the scale (which gives the name
of the scale) and we have the last sharp of the
scale's key signature Example:
n xifpoxo) oro IOA. To IOA efvor n teheurofq
We want to find the key signature of the I-A
6feon rou onhropori mg xhfpoxog OA_NTO_
maJor scale. We descend one note from LA
>OA. Apo n AA powz5peE 6xer onfuo1r6 3 616_
(which gives the name of the scale) to the no-
oerE <DA-NTO-IOA.
'Orov 6xo-upe pro,porzope xlfpoKo te SOL which is the last sharp of the key si-
lre uQe_ gnature of the scale FA-DO-SOL. So the
oas, Kol (6poupe rov onhrop6 ohho 6ev tg_
poupe mv xhfpoKo, Vlo vo rnv Bporjpe xorro_ LA major scale has key signature with three
sharps (FA-DO-SOL).
If we have a major scale with flats and we
know only the key signature then in order to
find the scale we look with how many flats is
it written. The flat before the last one give us
the scale's name. Example:
tov onhop6 tng, ove8ofvoupe pfo riseon e- If it is written with three flats SI-MI-LA, then it
ndvo on6 ro 6vopo mg xlfpoKos, Kql to o6- is the MI major scale, if it is written with four
volo rov u$6oecov efvor o onhropoE mE xhf- flats SI-MI-LA-RE then it is the LA
poKo.S n.x. edv n xhfpoxo nou 6xoupe efvor n h major
scale.
AA h poz6pe ove8ofvoupe pro 6$eon e- When we know the scale and we do not
ndv<,rono tl-MI-nA-
PE. Apo know the key signature we ascend ofie flat
hrop6 16o-
oeperg uQ Vlo rq no-
upwards from the scale's name note and then
pondvor,vo [6poupe pe rn oerpd uq 6r6oerc xor all the flats we met going this way are the
ug uQ6oers nou efvor: flats of the scale.
Ar6oerE: OA-NTO-ZOA-PE-AA-MI-ZI. Example: If we have the scale of LA malor
f,
YQ6oers: EI-MI-AA-PE- ZOA-NTO-OA and we want to find the key signature of this
scale then we ascend one flat upwards from
the IA to RE*. So we have flats in the posi-
tion of SI-MI-IA-RE notes. So the LA ma-
jor key has key signature with four flats.I
Before we can apply this rule we must know
the following sequence of flats and sharps:
Sharps : FA-DO-SOL-RE-LA-MI-SOL
Flats : SI-MI-I-A-RE-SOL-DO-FA
48
AIAOOPE> BYZANTINEU KAIMAKE:,
BYZANTINE SCALES
PE b EAMnAX-sABAH
PE #- on # NIABENT-NIAVED
MI V- AAh KAPTZITAP.CARJIYAR
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
50
MEPOZ TIEMNTO PART FIVE
'Oilo ro oKKoprrovlop6vro List of all the accompani-
-Forz6pe Kor prv6pe- Vro ments maior and minor for
ro rpfxo6po Fr.ouzo6rr Kor the three string-bouzouki
rov pnoyilopd Fe nporrrr6 and baglama in various po-
rp6no oe 6r6QopeS 06oerg. sitions.
AKOAOYOOYN OAA TA AKKOMNA. THERE ARE ALL THE ACCOMPANI.
NIAMENTA TIA TO TPIXOPAO MNOY. MENTS FOR THE THREE STRING BOU.
ZOYKI KAI TON MNATNAMA. ZOUKI AND BAGIAMA.
Aro86ore pe rpoooxf rrs nopor6ror Study carefully the following advices:
oupSou169
1) I-lohld qn6 ro oKKopnovrop6vro efvor 1) Many of the accompaniments are written
ypopp6vo pe 66o 6 neproo6rcpous rp6nouE. in two or more ways.
O emeheor6g 0o 6roh6[er p6vog rou nor6E The player should select the way which is
rp6noE tou rorpr6zer xord rnv 6rdpxelo rou
nor(fpotog. Anh. 0o mdoer ro oKKopnovrop6v- best for him. This means that he will select
ro rou Bpioxeror nr5 xovrd oro 6dxruld tou the accompaniment which is closest to his
exeivn rn onyp6, ovdhoyo pe ro xoppou nou fingers at that moment according to the piece
noizet. he is playing.
2) Meprxd on6 To oKKolrnqvrop6wo efvor 2) Some of the accompaniments are written
ypopp6vo Vlo pnouzor5xl Kol Vlo pnoylo-
Kcu
pd. Autd nou efvo ypopp6vo yro pnouzo6xr for the bouzouki and for the baglama too.
6ev nqizovror oro pnoyhopd 6r6u ro pnou- Those that are written for the bouzouki can-
zo(sxr 6xer peydlq 6rqouiporo Kcu ro 6dxrulo not be played on the baglama because the
6ev xopdve orov pnoyhopd nou efvor prxpd bouzouki has a bigger distance than the ba-
to 6roouipctrct (6rqv nofzoupe oe xopnh6S 06- glama which has much more smaller distance
oers). To (6ro oup8ofver xor qvdorpoQo.
between frets, (when we play on the lower
Evo oKKopnovrop6vro yto pnoylopd 6ev positions of the fingerboard). The same hap-
pnopef vo noxref oro pnouzo6xr 6r6u to
pens inversely. An accompaniment for the
pnouzoOra -6noE efnope- 6xer peydlo 6ro-
baglama cannot be played on the bouzouki
orriporo xor 6ev Qrdvouv ro Edrcuho (6rov
because the bouzouki has big distance be-
nofzoupe oug np<6res 06oers).
tween frets. (When we play on the first posi-
O eraeheorfE horn6v 0o 6roh6(er nor6 oKKoH- tions of the fingerboard) So the player has to
novrop6vro rou rorprdza ov6hoyo pe to 6d_ choose the acccompaniment which suits best
muho nou 6rq0&er. to his fingers.
Eup6oul6 Advice
I-lp6ner vo p60ere vo xop6fzere p6vol ocrs To You have to learn the way of self tuning your
pnouzoUrc Kol rov pnoyhopd.
bouzouki and baglama.
52
NTO 14 AILO PC
C l-,lAJoR
NTO 1,4ATZO Pe
G I1 AJ OR
5oL
o t.l A|LO Pe
nUT
C HqJOR
MlO UATZO PC
o H A.,/oR
|
,tl O tt 4tLO Pe
G U A.loR
Do Do
m
Nlo l.lAtLope
c L4tqJOR
I
5oL
NTo AATLo p e
C l.tnurOR
Oo 3oL
[on [4Atzop
G I.IAJOR,
Eon F.tATzope
G UAJOR,
I
SOL
{oa pl ArzoPe
G A,,A{O R
.1,
$OL R,E
*
1OA M{lLOPE
e MAr.yoR,
PC U ATLO P.
0 fi,l A{oR
Fa*
I
f,E LA
Pe l,4ATzo?e
0 f.l ,1uoR
Fot R[
p H4TzoPe
0 An,/O R
Pe, ptATzope
D 14t1,/oR
s a* R.e
I
LA
55
AA U ATLOP E
A MAvo n
AA Pc
A ^4ATzo
O R,
^.lArt
+
LA LA
AA HmLoPe
A MA*lOR
AA taArzoPe
A tt-i 4.a, O R
oot'
14t Mqtzo pe
E llA\/OR
,[
sor,f,
56
HT uA-lLo Pe
e tn4v o n
l,t I 14Arzope
E t4AvoR
l-t t UAlZOPQ
E ttAvot?
Ht HR-TZo p e
E UALlOR
zt H ATLO ?C
b UA'tOR
,[
Rr[ 5t FAK
:t 14 ATLO Pe
o l1 etoR
1t MNTLOPC
B ta+t o R
In
6a* MArzoPe
Ff HA.toR
oqint L^r
58
Oet H A-tLo pe
F# l.t n./o R
6n# uArzoPe
Fl ttAroR
rafi o"*
Uo# HAttoPe
c# f-la,roR
pto I untlope
c* HLq,/oR
tA Dot so4
wo{ t4AlLoPe
c# l,tA\/oR
I
nl sol+
59
6a MltTzOPe
F l,lA.lOR
uA-tLOPe
l,lA./OR
Oa ll4Tzo Pe
F uArlOR
Oa fr,tATzope
f UA,/OR
,l
AA
QA I{ ATzo P
F llr4./ o R
.t
fA A vorrrq xcpS;r LA
60
Oa tt Al zo Pe
f tl4v oR
Oa ATzo p e
F ^4uA',loR
I
LA FA DO
ltb M Alzo ?e
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