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80Fig. 3. Modulation from G to G# tonal centreThe scale in East Georgian table songs is very consistent – always the samediatonic scale, commonly known as Mixolydian (white keys from “G” to the next “ G”). Ishall specially discuss the scales of Georgian polyphonic songs in a later separate section,as I do not believe this name (“Mixolydian”) adequately expresses the nature of this scalein eastern Georgian table songs.Modulations always occur in the bass part (when the bass moves to another pitch),but it is one of the high melodic voices that prepare this modulation. The most commonway of preparing the modulation is the appearance of the elements of the future scalewithin the initial tonal centre. For example, if we are in “G” Mixolydian (which has noblack keys) and want to move (modulate) into “A” Mixolydian (which has C# and F#),the top melody will sing a melodic phrase, containing F#, and this will give the basssin gers (and listeners as well) a powerful signal that the key must move a major secondup into “A” Mixolydian. In the same way, if we want to modulate from the same “G” (noblack keys) down into“F” (which has two black keys – B flat and E flat) the best way to“prepare” the modulation is to sing the note B flat in one of the high parts and the basswill move down to “F”. This technique of modulation is remarkably similar to themodulation methods of classical European music. For example, if we want to move from“C” major (no black keys) into “F” major (one black key – B flat), the easiest way is tohave the note B flat appearing within the C major chord. When we hear the elements ofthe future scale, our ear is prepared to move there, both in Georgian and Europeanclassical music systems.Long table songs are not the only genres of polyphonic music in East Georgia.There are plenty of other singing genres here as well – from horse-riding to love, healing,working and round dances. Interestingly, none of them are performed in the style of thelong table songs. Although the moderate use of ornaments is encountered in most of theeastern Georgian genres (particularly in the solo, opening sections), the rhythm is usuallyprecise, the songs do not employ the complex system of modulations, pedal drone ismostly replaced by the rhythmic drone, or ostinato, and the verbal text is often renderedby all three parts simultaneously. Here are the two examples of this singing style: