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A3 Omal diplo (lyra, voice) (Γιώργος Στεφανίδης)
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Ομάλ Διπλό
Kemenche [Lira], Voice – Georgios Stephanidis
track A3 from the compilation:
Musik Der Pontos-Griechen: Nordgriechenland
(Music of Pontic Greeks: Northern Greece)
Label: Museum Collection Berlin (West) – MC 5
Released: 1980
Recordings and commentary: Christian Ahrens
The Pontic Greeks were almost totally expelled from Turkey after 1921, and settled primarily in Northern Greece. Like their language and culture, their music is also quite different from that of the rest of the Greeks. It is distinguished by two traits: a strong preference for instrumental music, and polyphonic musical practices. The most important instruments are the lira (three-stringed bowed instrument) and the touloum (bagpipe, without a drone pipe). Besides these, the clarinet (klarino) and drum (daouli) ensemble, frequently supplemented with a violin, occupies and important position, mainly withing wedding ceremonies.
About the track:
A3 Omal diplo
Recorded on 15. September 1972 at Arghiroupolis/Drama, in the musician's home. lira and voice: Georgios Stephanidis, b. 1933, peasant.
Next to tik and serra, omal belongs to the most important and most performed piece of Pontic music. In contrast with serenitsa, omal has no definite melodic pattern, but merely displays a uniformly formal, mainly rhythmic pattern: the structure is mostly bipartite symmetrical, each section generally contains four measures that are repeated each time. Schematically, the musical and textual "basic pattern" can be illustrated as follows: A (+a) + B (b + b).. As with the present case, however, there are numerous deviations from this pattern. The most important musical characteristic is the assymetrical meter (9/16 or 9/8 respectively) which also contains the division 2+2+2+3 characteristic of the Turkish aksak, and which is further emphasized through foot tapping. In contrast with other asymmetrical meters widely found in Greek folk music, 7/16 in sirtos kalamtianos for example, the asymmetry of Pontic meters is generally found at the end of the measure. Because of this, the "limping" (this is the actual Turkish meaning of aksak) is particularly distinct. Omal exists in two different versions - one is characterized by the additive diplo ("doubled") the other by mono ("single"). Both definitions refer to diverse step combinations, which are more complicated in diplo. Musically, an omal diplo is more lively in the melodic line and more rapid in tempo than an omal mono.
Track A3 presents two different pieces that go directly from the one to the other. This practice of intertwining many different pieces (mostly two to four) is found more frequently in Pontic dance music; however there is not a similarly large and complex formation of cycles as, for example, in Turkey. According to the pattern, the first song is absolutely symmetrical in structure, both sections are repeated (this is also true with the text). In the second piece only section B is repeated, however, the musician performs this repetition only instrumentally in the second strophe. Prelude, postlude and interlude by the lira introduce the cycle, close it and connect the two pieces. In the second piece the performer inserts a short interlude in each strophe between the A and B sections (see also the musical transcription A3).
Lyrics:
a)
1. Come, my love, come, from afar,
Come, and I will be happy, I am still young.
2. I think of you and cannot sleep during the night.
The hours are like years and my tears do not cease.
b)
1. When one dies, there is no return,
An old man will not become young again.
2. Come from afar, from abroad,
Look at my soul and see how joyous my heart is.
Kemenche [Lira], Voice – Georgios Stephanidis
track A3 from the compilation:
Musik Der Pontos-Griechen: Nordgriechenland
(Music of Pontic Greeks: Northern Greece)
Label: Museum Collection Berlin (West) – MC 5
Released: 1980
Recordings and commentary: Christian Ahrens
The Pontic Greeks were almost totally expelled from Turkey after 1921, and settled primarily in Northern Greece. Like their language and culture, their music is also quite different from that of the rest of the Greeks. It is distinguished by two traits: a strong preference for instrumental music, and polyphonic musical practices. The most important instruments are the lira (three-stringed bowed instrument) and the touloum (bagpipe, without a drone pipe). Besides these, the clarinet (klarino) and drum (daouli) ensemble, frequently supplemented with a violin, occupies and important position, mainly withing wedding ceremonies.
About the track:
A3 Omal diplo
Recorded on 15. September 1972 at Arghiroupolis/Drama, in the musician's home. lira and voice: Georgios Stephanidis, b. 1933, peasant.
Next to tik and serra, omal belongs to the most important and most performed piece of Pontic music. In contrast with serenitsa, omal has no definite melodic pattern, but merely displays a uniformly formal, mainly rhythmic pattern: the structure is mostly bipartite symmetrical, each section generally contains four measures that are repeated each time. Schematically, the musical and textual "basic pattern" can be illustrated as follows: A (+a) + B (b + b).. As with the present case, however, there are numerous deviations from this pattern. The most important musical characteristic is the assymetrical meter (9/16 or 9/8 respectively) which also contains the division 2+2+2+3 characteristic of the Turkish aksak, and which is further emphasized through foot tapping. In contrast with other asymmetrical meters widely found in Greek folk music, 7/16 in sirtos kalamtianos for example, the asymmetry of Pontic meters is generally found at the end of the measure. Because of this, the "limping" (this is the actual Turkish meaning of aksak) is particularly distinct. Omal exists in two different versions - one is characterized by the additive diplo ("doubled") the other by mono ("single"). Both definitions refer to diverse step combinations, which are more complicated in diplo. Musically, an omal diplo is more lively in the melodic line and more rapid in tempo than an omal mono.
Track A3 presents two different pieces that go directly from the one to the other. This practice of intertwining many different pieces (mostly two to four) is found more frequently in Pontic dance music; however there is not a similarly large and complex formation of cycles as, for example, in Turkey. According to the pattern, the first song is absolutely symmetrical in structure, both sections are repeated (this is also true with the text). In the second piece only section B is repeated, however, the musician performs this repetition only instrumentally in the second strophe. Prelude, postlude and interlude by the lira introduce the cycle, close it and connect the two pieces. In the second piece the performer inserts a short interlude in each strophe between the A and B sections (see also the musical transcription A3).
Lyrics:
a)
1. Come, my love, come, from afar,
Come, and I will be happy, I am still young.
2. I think of you and cannot sleep during the night.
The hours are like years and my tears do not cease.
b)
1. When one dies, there is no return,
An old man will not become young again.
2. Come from afar, from abroad,
Look at my soul and see how joyous my heart is.
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