In the manes form, which in the majority of the recordings remains exactly the same (Introduction - A verse - Intermediate theme - B verse - Shift), the last part consists of the “shift”, an ambiance change that involves new melodies with new rhythmic features. The rhythms that are usually performed in the shift are horas, waltzes and sirbas.

In the case of "Tampachaniotiko mane", which was recorded in Constantinople on February 9, 1911 by Lefteris Menemenlis (whose real name was Beslemedakis), the musical theme of the song “Nina” is included in the “shift” (from 2′ 36″), as the final part of the recording. This is one of the most interesting cases of “wandering” tunes, appropriated by various ethno-cultural groups, over a wide geographical arc, and appearing in a variety of versions, areas, periods and contexts.

Regarding the Greek-speaking repertoire, we come across this song under the titles:

– “Kassapiko”, Harmonica and guitar, Constantinople (Istanbul), March 20, 1909 (Gramophone 12577b – 18123).
– “Nina”, Elliniki Estudiantina (Greek Estudiantina), Smyrna (Izmir), December 15, 1911 (Gramophone 2316y – 3-14704).
– “Nina”, [Giannis] Tsanakas and Leftheris [Menemenlis], Smyrna (Izmir), June 7, 1912 (Favorite 7049t – 1-59074).
– “I Nina”, Ka Koula, New York, 1919 (Constantinople Record 451-1 - 4009-A).
- “I Nina”, Marika Papagkika, Chicago, 1924 (Greek Record Company 591-1-2 - 519-B).
– “Nina”, K. Papagkikas (cimbalom), P. Mamakos (clarinet), M. Sifnios (cello), New York, July 1928 (Columbia W-205952-2 – 56125-F).
– “Ta tria chasapika", Kostas Gkantinis (clarinet) and Orchestra, Giannis Giannaros (accordion), USA, around 1947 (Metropolitan C-V-164-B – 164-B). It is a instrumental potpourri in which the tune in question entitled "Gyftopoula" and from around 01′ 48″ can be heard.
– “Nina”, Titos Pandelis, New York, 1948–1949 (Standard 10-923 – F-9100-B).

During the 1940s, the musical score was published in Athens, on the cover of which Nikolaos Kokkinos appeared as the author.

This tune can be found on several occasions in the klezmer/Yiddish repertoire’s historical discography, that is, that of the Ashkenazi Jews in Eastern Europe. It was first encountered in 1905–1906, both in song and instrumental versions:

– see Itzik Gottesman’s extremely interesting blog about the "An-sky Jewish Folklore Research Project”.
– the song “Kleftico vlachiko”, by Orchestra Goldberg (Constantinople 1908, Odeon XC2051 – 54701), from Martin Schwartz’s collection "Klezmer Music, Early Yiddish Instrumental Music".
– the song “Aschre Ajin”, by S. Podzamcze [or Podzansze] (Lemberg, 1908, Gramophone 4715r – X-2-102860 & 562228 [1226] & Victor 67551-B), from the Florida Atlantic University Libraries’ collection “The Recorded Sound Archives”.
– the website “Tous aux Balkans”.

The recording by Paul Godwin (born as Pinchas Goldfein), a jewish polish from Sossnowitz, then Russian Empire today Poland, presents special interest. Godwin, who lived and acted in Berlin until the 1930s, recorded the orchestral fox-trot titled "Hallo, Rumänia" (Polydor 3017 BR II – 23521 – C 40186).

We should mention another particularly interesting recording made around 1953 in Buenos Aires by Orquesta Popular Israeli Feidman. This is the orchestral "Sirba - Danza Rumana" (RCA Victor 63-0134-A).

Moreover, the song can be found in the Romanian repertoire: “Colea in gradinizza”, recorded in New York, ca September 1916, by A. Mănescu (Columbia 44595 – E3154). According to our information, the song was recorded earlier in Constantinople (Istanbul) by Giagkos Psamatianos for Orfeon, using the Romanian title.

A sheet music of the song for voice and piano entitled "Colea'n grădiniţă" published in Bucharest by Z. Dimitrescu and dated 1920 can be found on the website of the National Library of Romania (Biblioteca Nationala a Romaniei).

The tune, however, is also known in the Serbian repertoire (for example):
– "S Ulice U Baštice", recorded probably in Europe between 1911 and 1913 by Joca Mlinko-Mimika & Tamburitza Društ. "Lira" (Columbia 66771 – E-1209).

The song can also be found in the Croatian repertoire (for example):
– "Jedna cura mala poljubac mi dala", recorded in Zagreb in August 1911 by Zvonko Strmac (Gramophone 187 ak – 212013).

It is also known in the Hungarian repertoire (for example):
– "A házaló", redorded around 1912 in Europe by Császári és Királyi VI. gyalogezred zenekara (Diadal 58517 – D 1122).
– "Marcsa induló", recorded around 1913 in Budapest by Aurél Göndör (Columbia 66666 – E1116).

As well as in the Russian repertoire (for example):
– "Lopni, no derźi fasson" (Лопни, Но Держи Фасон), recorded in October 1922 ina New York by Tokaroff's Vocal Trio (Columbia USA 88771 – E7814).

Moreover, it can be found in Polish discography, too (for example):
– "Jojne Naprzód", recorded in August 1923 in New York by Władysław Ochrymowicz (Odeon USA S-71800 – 11128-A) and in Warsaw in 1932 by Bolesław Norski‑Nożyca (Syrena Electro 22969 - 3902).

But also in the Slovakian one:
– "Marina Polka", recorded in January 1930 in New York, by John Sitar and his orchestra (Columbia 111477 – 24132-F).

As well as in the Armenian discography:
– "Kassab-bar", recorded in the 1950s in the USA, by Reuben Sarkisian (violin) and his orchestra [Garbis (qanun), J. Berberian (oud), K. Apgarian (dumbeg)] for Sarkisian (Sarkisian Record No. 040).