I wrote it years ago in a modal idiom utilizing the makam Saba in A whose main characteristic (well, one of many) is that it does not have a perfect 4th but a diminished one as its 4th degree, ie A-B-C-Db.
My main aim was to use this modal/tonal centre as a spring board in order to explore various possibilities for modulation in related tonalities and modalities on a rhythmic platform provided by characteristic rhythmic figurations and mannerisms found in dances of Greek urban "Rebetiko" style.
The pieces are quite difficult to play and left hand fingerings are not given as the guitarists to whom this suite is aimed at would rather like to provide their own.
