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The Rembetiko Music

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The Rembetiko Music The Rembetiko Music Rembetiko music is a very popular genre of Greek Folk music. It is often called the Greek form of blues music, because it was merely formed in the same social background. Although it is not played that much anymore, its melodies, harmonies and scales have been a big influence for Greek music since. That is why I chose to do a popular, not only in Greece, but around the world too. research on its history and on its particular musical characteristics, that made it so Definition of Rembetiko Rembetiko is the music played by the mbe Although musicologists are not logy, they describe there so-tes. as vagrant, tainted, marginalsure about thepeople, terms oretymo people from the underworld.called Theyrembetes were mostly people who gathered in small cafes and tekes to smoke hashish, drink alcohol and play songs, in order to ex The ensembles occurring from those cafes would look somethingpress theirlike the lifes picture suffering. on the right (Photo ). The most significant rempetologist was Elias Petropoulos. of the Rembetes of Karaiskaki taken in Peiraious 19 History and evolution of Rembetiko Rembetiko started in the so-called aman-cafis and the tekedes (places where people gathered to smoke hashish) in Greece but mainly in Asia Minor. Those were cafes, that started appearing in 1873 and in which there was live music. The main form amanedes , which were turkish, often improvised and highly melismatic songs, in which or something (usually about hashish, narghiles andof music love-stories) were is expressed. Ensembles, consisting of a combination of the folowing instruments : santouris,the singers ouds, suffering laouds, flutesf or violins, were accompanying the singers. Those instruments were chosen, because they supported non-tempered notes, so they could play the Arab scales without approximations. People there smoked hashish in narghiles, while playing, singing or dancing to the music. In the late 19th, early 20th century the café amans and tekes decreased in popularity. The Greek government prohibited hashish in Greece, in 1890. This led to the people, who used to pass time in those cafés, being criminalised and marginalised gradually from Greek society. Another cause was the apparition of the Athenian revue. This theatrical genre had music, which consisted of copied western melodies (of that time). The genre got very popular and became mainstream in the 1900-1920, supplanting every other form of entertainment, including the aman-cafis. Meanwhile in America, Greek musicians were expanding and recording new songs. The first rempetiko-form apeared in a recorded album in 1896 in the studios of he rembetiko, or what is now considered rembetiko, appeared later, when Markos Vamvakaris started growing in popularity in the 1930s and recordingBerliner somein America. of his work. T Another very important event was the catastrophe in Asia Minor in 1922. The catastrophe triggered a massive migration wave of minor Asians to Greece. The minor Asian refugees immigrated in boats and accumulated in the ports that the arrived. The port with the most refugees was in Piraeus, in Athens. The refugees changed 2 big things : 1. They arrived in a country, that was recovering from the destructions of the first world war poor. In consequence, the arrival of nearly 1 million refugees made things for the lower class. evenGreece worse, wasnt and prepared social disparities nor ready in Greekfor that, society and greekgrew. society was 2. They brought their culture with them, which includes their music, which was highly influenced by the Arab culture. The refugees the Greek folk music all over Greece is what gave birth to the rembetiko. The rembetiko was born in this athmosphere of social problems,s songs in in combination the big harbour with cities in Greece, in Athens (Piraeus), but also in other cities like Volos or Thessaloniki. People had the urge to express their suffering from the social problems, by making songs. At the time of the Asia Minor catastrophe, the Greek opereta was the mainstream musical style, although in the lower social classes the rempetiko was growing. European recording companies setteled in Greece after 1924 and many of the musicians among the refugees became the companies chose the music that was going to be recorded and produced, so they chose people they knew, that played , which was still instrumenteds directors. They in the way they did in the aman cafis, and used the same arabic scales, to make recordings. Albums were releasedthis in Greecefirst form and ofspread rembetiko through the radio. Gradually the rembetiko evolved into an independent music genre. The main instruments became the bouzouki and the baglamas. In 1931, etiko. This huge production of rembetiko music made it grow in popularity. recording factory columbia started producing remb Many of the rembetiko composers in the 1920s-1930s were inspired by the ensemble of Markos Vamvakaris, the (foto on the left) which translates to the Piraeus quartetΤρς ο(meaning Πραώς that the ensemble consisted of 4 musicians) The 3 other players were Anestis Delias (right side), Stratos Pagioumtzis (left side) and Giorgos Mpatis (bottom middle). Markos Vamvakaris (in the middle, standing) is often reffered to as the He was the one establishing the Piraeus style rempetiko, and was also the most famous and popular rempetiko musician. He was also the one popularisingfather of rempetika. the idea of an ensemble consisting of a bouzouki, a baglama and a guitar. I will tell you a bit about him later. production. Melodies consisting of Arab scales were prohibited because Metaxas wantedIn to 19 set an Greeces end to the dictator tukish-arabic Ioannis rootsMetaxas in the imposed Greek culture.a censorship In addition in the to music that, lyrics that made any propaganda for the kommunist ideologies were censored too. In addition to that rempetiko songs were stigmatised as the music of the underworld. Many rempetiko musicians stopped recording as a result, and the rempetiko production became smaller. However a new wave of composers (Vasilis Tsitsanis along with Marika Ninou, Manolis Hiotis, Giorgos Mitsakis, Giannis Papaioannou) became active from 1938 and produced again in 1946 after the censorship. The old rembetiko players at that time were either dead, or (like Markos Vamvakaris) having a hard time to survive the huge concurrence of the new rembetiko composers. With the appearance of new singers and interpreters, the rempetiko grows in popularity, which results in expanding its topics (arhontorembetika appear) and changing the places it was heard. This leads later to a revival of rempetiko music, in which Markos Vamvakaris also plays a significant role. In the 70s this great demand for new rembetiko leads to the industrialisation of rembetiko. This leads to less elaborated songs being produced, until at some point it etiko anymore. Most of the researchers conclude that rebetiko died in the mid 1950s. wasnt remb The rembetiko instrumentation Although the first rempetico was played by ensembles consisting of santouris, violins, ouds or clarinets, the most common instruments were tempered instruments with frets, such as the bouzouki, the baglamas and the guitar. Ensembles with such The kompanies were sometimes accompanied by some percussion. Usually they usedinstruments alternative were percussion. called kompanies. There were 4 big alternative percussion instruments: the spoons, the kompoloi, the zilia and the glasses. The spoons were wooden and the would be played usually by the dancer, by holding in each hand two spoons with the grooved side out, and hitting one another by opening and closing his fingers. The kompoloi (which was something like a rosary) was held hanging tightly from the vest or shirt button with the left hand while the right hand rhythmically rubed the beads with the rim of a small, thick wineglass. The zilia were metal cymbals with a hole in the middle. The glasses (usually wine-, or ouzo glasses)were placed on the fingers, 2 on each hand, and then hit together with the fingers. Another form of alternative percussion was the hitting on the body of the instruments. Of course one of the most common instruments was the singer, because with no singer, there are no songs. There is some instrumental rempetiko pieces, such as ο Characteristicsόρ ο , and by Ioannis form of Chalikias, the rembetiko but they are not so common. Rembetiko songs often start with an intro to the actual song. The improvisation is based on the dromos of the song, the tempo is free, and the melody is highly ornate. The taksimicalled is taksimi, sometimes an improvisedaccompanied intro by rithmical arpeggios of chords, that impose a tempo, from which the bouzouki player is n Ad Libitum tempo, unsteady, everchanging and expressive. escaping,Most byof Markosplaying Vamvakariswith in a are characteristic for the rembetiko. The song talks about a beautiful brunete. In a recording he did in 1938, there is a sbouzouki, songs a baglamas and a guitar accompanying a singer.called The songΜα talks όορ about αχρ, love, and uses f. ex. rempetiko scales. The structure is typical: taksimi, a highly ornamented bouzouki solo break, and then an alternation of verse and bouzouki-break, and a bouzouki finish. These are all rembetiko characteristics. Other which he wrote for his homeland, the Fragki, featured in a recording from 1932 a second voice, singing the main melody in parallel 6ths or 3rds.songs, This like featurethe Φραοσρα influenced a big, part of Greek songwriting until nowadays. The rembetiko modes and scales The rembetiko has a system of modes and scales, which is a bit different from the one in western classical mu The scales in the rembetikosic. Thewere scales basically in the arab rempetiko scales. areHowever called afterρόο the rembetikowhich means peiraiotiko roads. (the rempetiko that developed in the 1930s), the scales changed.
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