The Sûzînak mode was first used during the reign of Sultan Selim III. Although the creator of the mode is unknown, compositions in the Sûzînak mode by contemporary composers such as Seyit Ahmet Ağa, Abdülhalim Ağa, and Küçük Mehmet Ağa are recorded. The mode has two variations: the Simple (Basit) and the Zirgüleli Sûzînak .
Basit Sûzînak Peşrev (Neyzen Emin Efendi)
It is the G (Sol) pitch on the second line (Râst).
It follows a descending–ascending melodic trajectory.
It is formed by adding a Hicaz tetrachord on the Neva pitch to a Rast pentachord on the tonic (Yerinde). (Rast pentachord + Hicaz tetrachord on the 5th degree).
Neva (G) is the strong (güçlü) pitch, where a semi-cadence is performed with the Hicaz tetrachord.
As a natural consequence of the Hicaz flavor on the dominant Neva pitch, the melody descends to the Çârgâh pitch with a Nikriz flavor, and a cadential suspension (asma karar) is made on Çârgâh using the Nikriz tetrachord.”
Apart from this, the Segâh pitch is also a highly characteristic cadential suspension pitch, where a suspension is made using the Hüzzâm flavor. (There is a Hüzzâm pentachord on Segâh.)
The cadential suspension on the Dügâh pitch corresponds to the Karcığar makam.
Moreover, since the final pitch of the Simple Sûzînak scale carries a Rast pentachord, it closely resembles the Rast mode. The difference lies in the section above the dominant pitch. Transitions between these two modes are therefore easy. In some Simple Sûzînak compositions, this closeness has been utilized by omitting the Hisâr and Eviç pitches and replacing them with Hüseynî and Acem pitches, leading to a full cadence in the form of an Acem-colored Rast scale.
In the key signature, a koma flat is written for B, a bakiye flat for E, and a bakiye sharp for F.
Râst (G), Dügâh (A), Segâh (B♭ – koma bemol), Çârgâh (C), Nevâ (D), Hisâr (E♭), Eviç (F♯), Gerdâniye (G)
The pitch of fa (F) with a bakiye sharp in the first interval is the Irak pitch. However, almost no Simple Sûzînak composition resolves with the leading tone.
The Hicaz tetrachord on the Neva pitch is extended into a Humayun scale by adding a Buselik pentachord on the Gerdaniye pitch.
If the melodic phrases continuously ascend and descend on the Neva pitch, an average Hicaz scale is used on Neva.
It is observed that while ascending from the Neva pitch, the 6th degree is Tîz Segâh, and while descending, it is Sünbüle. Moreover, when the Muhayyer pitch makes an upper ornamentation, the Sünbüle pitch is also used.
The melodic progression begins around the Neva pitch. After wandering through the tetrachords on both sides of the scale, a Hicaz-flavored semi-cadence is made on Neva. Following the mentioned cadential suspensions, if desired, the extended section is also explored, and ultimately a full cadence is made on the Rast pitch—usually without the leading tone—either through the Simple Sûzînak scale or via the Acem-colored Rast scale.
