İşte verdiğin metnin İngilizce tercümesi, Fethi: “Hicaz is both the name of a mode and the name given to a family of four related modes. The reason these four modes are grouped as a family is that they share significant similarities. In other words, we can say that there are no major differences among the four modes that make up the Hicaz family. Two of them feature a Hicaz tetrachord in the lower (pest) part of the scale, while the other two have a Hicaz pentachord in the same region. What differs are the dominant pitches and the flavors above those dominants.
All of them follow an ascending-descending progression. They all resolve with a Hicaz flavor on the Dügâh pitch. The four modes in this family frequently modulate into one another. After performing any of the modes in this family, if a cadence is made on the tonic using the Buselik flavor, the Hicaz Buselik mode is formed.
The melodic progressions and the flavors above the tonic in the four modes that make up the Hicaz family are consistently either pentachords or tetrachords. To distinguish the modes within this family, one must examine their dominant pitches and the flavors above those dominants. Furthermore, these four modes frequently modulate into one another, and when they do, they remain on the semi-cadence pitches of the Hicaz flavor they transition into, using those as cadential suspensions. However, they cannot do this during their own semi-cadences.
Humâyûn Makam (a mode in Turkish Classical Music)
This mode is also referred to as the Hicaz Hümâyûn mode.
Humâyûn Taksim – Ney: Bülent Özbek Tambur: Özata Ayan
The final note is Dügâh (A).
The mode generally follows an ascending-descending melodic contour, though in certain instances it may be treated with an ascending emphasis.
The mode is formed by combining a Hicaz tetrachord on the tonic with a Buselik pentachord on the fourth degree (Neva).
The junction point between the Hicaz tetrachord and the Buselik pentachord is the Neva (D) pitch, where a semi-cadence is made using the Buselik flavor.
A Nikriz-flavored cadential suspension is made on the Rast pitch, which serves as the leading tone. Additionally, flavorless cadential suspensions are performed on the Dik Kürdî and Nîm Hicaz pitches—these two are especially important, as they contribute significantly to the mode’s character and identity. However, such suspensions cannot be made during the mode’s own semi-cadences.
The semi-cadences of other Hicaz modes are used as cadential suspensions in the Humayun mode. These include Rast-flavored suspensions on Neva, Ushshaq-flavored ones on Hüseynî, and Hicaz-flavored ones also on Hüseynî. These cadences serve as expressive pivots that enrich the character of the mode.
A bakiye flat for B and a bakiye sharp for C are written in the key signature.
Dügâh (D – approx. D minor), Dik Kürdî (D♯ – approx. D♯ minor / E♭ minor), Nîm Hicaz (E♭ – approx. E♭ Phrygian dominant), Nevâ (E – approx. E minor), Hüseynî (F – approx. F major/minor), Acem (F♯ – approx. F♯ major/minor), Gerdâniye (G – approx. G minor), Muhayyer (A – approx. A minor).
It is the Râst pitch. Sometimes the sol with a bakiye sharp (Nîm Zîrgûle) is also used.
It has generally expanded from the high register. There are two cases for this expansion:
- The Hicaz tetrachord on the tonic is transposed symmetrically onto the high tonic. In this symmetrical expansion, since a Hicaz tetrachord is added to the Buselik pentachord on the Neva pitch, the second scale of the Buselik makam is also formed. Thus, the expansion is both symmetrical and creates a new scale.
- By adding a Kürdî tetrachord on the Muhayyer pitch to the Buselik pentachord on the Neva pitch, the first scale of the Buselik makam is formed, and again, the expansion occurs by creating a new scale.
Note: In some classical works, there are examples showing that the Hümâyûn makam also expands from the low register. In this expansion, by using the tones of the Rast pentachord on the Yegâh pitch—borrowed from the Rast makam as in the Uşşak makam—a Basit Sûzinak scale is formed on Yegâh. Additionally, with a Nikriz pentachord on Yegâh, a Neveser scale is also created.
The melodic progression begins around the tonic or the dominant. Both sides of the scale are explored freely, and a Buselik-style half cadence is made on the dominant pitch, Neva. After further exploration of other sections of the scale, a full Hicaz-style cadence is finally made on Dügâh.
Note: In the Hicaz Humâyûn makam, one must carefully avoid using the Eviç pitch. This is because the most important distinction between the Hicaz and Hicaz Humâyûn makams lies in the use of this pitch. If Eviç, which is a main scale degree in the Hicaz makam, is used in Humâyûn, the makam shifts toward Hicaz.
Hicaz Makam (a mode in Turkish Classical Music)
Hicaz Ney Taksimi – Niyazi Sayın
The final note is Dügâh (A).
The mode generally follows an ascending-descending melodic contour, though in certain instances it may be treated with an ascending emphasis.
It is formed by adding a Râst pentachord on Nevâ to the Hicaz tetrachord on Yegâh (Hicaz tetrachord + Râst pentachord on the 4th degree).
The fifth degree, Neva pitch, is the junction point between the Hicaz tetrachord and the Rast pentachord. A half cadence is made on it using the Rast flavor.
In the original register, flavorless passing cadences are made on the Nikriz-colored Nîm Hicaz and Dik Kürdî pitches. It also makes passing cadences on the dominants of other Hicaz family makams: Buselik-flavored on Neva, Uşşak-flavored on Hüseynî, and Hicaz-flavored on Hicaz. (This applies to all makams in the Hicaz family.)
“A bakiye flat for B, and bakiye sharps for F and C are written in the key signature.
Dügâh (D – approx. D minor), Dik Kürdî (D♯ – approx. D♯ minor / E♭ minor), Nîm Hicaz (E♭ – approx. E♭ Phrygian dominant), Nevâ (E – approx. E minor), Hüseynî (F – approx. F major/minor), Eviç (F♯ – approx. F♯ minor), Gerdâniye (G – approx. G minor), Muhayyer (A – approx. A minor).
It is the G (Sol) pitch on the second line (Râst).
The Hicaz makam can expand both from the high register and from the low register, that is, below the tonic.
- Low register expansion: The Rast pentachord on the dominant is transposed symmetrically below the tonic, onto the Yegâh pitch. This creates a Basit Suzînak scale on Yegâh. (Occasionally, as in the Hümâyûn makam, a Nikriz-style expansion is also observed on Yegâh.)
- High register expansion: By adding a Buselik tetrachord on the Muhayyer pitch to the Rast pentachord on the Neva pitch, an Acem-colored Rast scale is formed on Neva. A distinct pause (passing cadence) on Muhayyer should be carefully avoided. (Sometimes, a Hicaz tetrachord in the original register is symmetrically transposed onto the high tonic for expansion.)
The melodic progression begins around the tonic or the dominant. The tetrachords and pentachords forming the scale are explored freely, and a Rast-flavored half cadence is made on the Neva pitch. Necessary passing cadences are also made while navigating the tones, and finally, a full Hicaz-style cadence is made on Dügâh.
Uzzâl Makam (a mode in Turkish Classical Music)
Uzzâl Ney Taksimi – Süleyman Yardım
The final note is Dügâh (A).
The mode generally follows an ascending-descending melodic contour, though in certain instances it may be treated with an ascending emphasis.
It is formed by adding an Ushshaq tetrachord on Hüseynî to a Hicaz pentachord in the original register (Hicaz pentachord + Ushshaq tetrachord on the 5th degree).
The Hüseynî (E) pitch is the junction point between the Hicaz pentachord and the Ushshaq tetrachord. A half cadence with Ushshaq flavor is performed on it.
As in other Hicaz types, flavorless suspended cadences are performed on Rast with Nikriz, Dik Kürdî, and Nîm Hicaz. Likewise, suspended cadences are also made on the half-cadence pitches of other Hicaz types: Rast-flavored on Nevâ, Bûselik-flavored on Nevâ, and Hicaz-flavored on Hüseynî.
The key signature includes a bakiye flat for B, and bakiye sharps for F and C.
Dügâh (D – approx. D minor), Dik Kürdî (D♯ – approx. D♯ minor / E♭ minor), Nîm Hicaz (E♭ – approx. E♭ Phrygian dominant), Nevâ (E – approx. E minor), Hüseynî (F – approx. F major/minor), Eviç (F♯ – approx. F♯ minor), Gerdâniye (G – approx. G minor), Muhayyer (A – approx. A minor).
The G on the second line is the Râst pitch. (In some classical pieces, the Nîm Zîrgûle pitch is also used.)
The makam expands toward the higher (tiz) register. The expansion is achieved by adding a Bûselik pentachord on Muhayyer to the Uşşak tetrachord on the strong degree, Hüseynî. As a result of this expansion, the scale of the Uşşak makam appears within Hüseynî. (No temporary cadence is made on Muhayyer.)
Additionally, the Hicaz pentachord on its original position is transposed symmetrically onto the high tonic, Muhayyer. Through this expansion, a Karcığar makam scale is formed on the Hüseynî pitch.
If the Uzzâl makam also expands toward the lower (pest) register, as in Hicaz and Humâyûn, it expands with a Nikriz pentachord on Yegâh.
The melodic progression begins around the strong (güçlü) or tonic (karar) pitches. The pentachords and tetrachords (çesni) that form the scale are explored in a mixed manner, leading to a half cadence with Uşşak flavor on the Hüseynî pitch. Temporary cadences can also be made on other secondary cadence pitches. Modulations to other Hicaz-related makams are possible. The piece concludes with a full cadence featuring the Hicaz flavor on the Dügâh pitch.
Note: Especially in descending phrases of the Uzzâl and Hicaz makams, the sharp on the Eviç (F♯) pitch is often omitted and replaced with the Acem (F) pitch. A similar feature can also be observed in the Rast, Hüseynî and sometimes Hüzzam makams.
Zirgüle'li Hicaz Makam (a mode in Turkish Classical Music)
Zirgüle’li Hicaz Ney Taksimi – Fazıl Aşıkkutlu
The final note is Dügâh (A).
Melodically, it follows a descending–ascending contour, which should be noted as a defining feature.
It is formed by adding the Hicaz tetrachord on the 5th degree to the Hicaz pentachord on its original position (Hicaz pentachord + Hicaz tetrachord on the 5th degree in Hüseynî).
It is the Hüseynî (E) pitch. A half cadence with Hicaz flavor is performed on it.
In Râst, Nikriz, Dik Kürdî, and Nîm Hicaz, non-ornamented temporary cadences are made. Additionally, temporary cadences with Nikriz, Râst, and Bûselik occur on Nevâ, and with Uşşak on Hüseynî (on the strong degrees of other Hicaz makams).
Note: The Hicaz Makam with Zirgüle has been used sparingly in its original position. However, the makamlar with shreds—Şedd-i Araban, Sûz-i Dil, Evcârâ, Sûzînak, and Hicazkâr—have been used more frequently.
In the works we have in the Zirgüle'li Hicaz makam, especially when approaching the cadence, it is observed that the Hicaz flavor on the strong degree changes, making the cadence sound as if it is moving toward the Humâyûn makam. The same situation is seen in the şedds as well (particularly in the Şedd-i Arabân, Sûz-i Dil, and Evcârâ makams).
A bakiye flat is written for B, a comma sharp for F, and bakiye sharps for C and G in the key signature.
Dügâh (D – approx. D minor), Dik Kürdî (D♯ – approx. D♯ minor / E♭ minor), Nîm Hicaz (E♭ – approx. E♭ Phrygian dominant), Nevâ (E – approx. E minor), Hüseynî (F – approx. F major/minor), Dik Acem (F♯ – approx. F♯ major/minor), Nîm Şehnâz (G♯ – approx. G♯ minor), Muhayyer (A – approx. A minor).
It is the G with a bakiye sharp (Nîm Zîrgûle) on the second line.
- The Hicaz pentachord on the tonic is symmetrically transposed onto the high tonic. (Symmetrical expansion)
- By adding a Bûselik pentachord on the Muhayyer pitch to the Hicaz tetrachord on the strong Hüseynî pitch, it is expanded into a Humâyûn scale on Nevâ.
- In the lower register, it is expanded either symmetrically with Hicaz on the Hüseynî Aşiran pitch or with a Râst pentachord on the Yegâh pitch. (Simple Sûzînak)
The melodic progression begins around the strong Hüseynî pitch. By exploring the various flavors (çeşniler) that make up the scale, a half cadence is made on Hüseynî. Afterwards, other temporary cadences may be indicated, or modulations to other Hicaz makams can occur. Finally, a full cadence is performed on Dügâh with the Zirgüle’li Hicaz flavor. During the cadence, the secondary note (#G, Nim Zirgüle pitch) should be presented. Also, near the cadence, the Hicaz notes on Hüseynî are altered.
