{"id":7030,"date":"2025-06-23T21:45:13","date_gmt":"2025-06-23T18:45:13","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=7030"},"modified":"2025-08-14T13:38:12","modified_gmt":"2025-08-14T10:38:12","slug":"hicaz-ailesi-makamlari","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/hicaz-ailesi-makamlari\/","title":{"rendered":"Hicaz Family Makams"},"content":{"rendered":"
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\u0130\u015fte verdi\u011fin metnin \u0130ngilizce terc\u00fcmesi, Fethi:\n\u201cHicaz 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.<\/p>

All of them follow an ascending-descending progression. They all resolve with a Hicaz flavor on the D\u00fcg\u00e2h 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.<\/p>

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.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Hum\u00e2y\u00fbn Makam (a mode in Turkish Classical Music)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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This mode is also referred to as the Hicaz H\u00fcm\u00e2y\u00fbn mode.<\/p>

Hum\u00e2y\u00fbn Taksim – Ney: B\u00fclent \u00d6zbek<\/a> Tambur: \u00d6zata Ayan<\/a>\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tFinal note<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The final note is D\u00fcg\u00e2h (A).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tMelodic progression<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The mode generally follows an ascending-descending melodic contour, though in certain instances it may be treated with an ascending emphasis.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tScale<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The mode is formed by combining a Hicaz tetrachord on the tonic with a Buselik pentachord on the fourth degree (Neva).<\/p>

\"\"<\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDominant note<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

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.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tSecondary tonic notes<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

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 K\u00fcrd\u00ee and N\u00eem Hicaz pitches\u2014these two are especially important, as they contribute significantly to the mode\u2019s character and identity. However, such suspensions cannot be made during the mode\u2019s own semi-cadences.<\/p>

\"\"<\/p>

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 H\u00fcseyn\u00ee, and Hicaz-flavored ones also on H\u00fcseyn\u00ee. These cadences serve as expressive pivots that enrich the character of the mode.<\/p>

\"\"<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tStructure<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

A bakiye flat for B and a bakiye sharp for C are written in the key signature.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tNames of the makam notes<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

D\u00fcg\u00e2h (D \u2013 approx. D minor), Dik K\u00fcrd\u00ee (D\u266f \u2013 approx. D\u266f minor \/ E\u266d minor), N\u00eem Hicaz (E\u266d \u2013 approx. E\u266d Phrygian dominant), Nev\u00e2 (E \u2013 approx. E minor), H\u00fcseyn\u00ee (F \u2013 approx. F major\/minor), Acem (F\u266f \u2013 approx. F\u266f major\/minor), Gerd\u00e2niye (G \u2013 approx. G minor), Muhayyer (A \u2013 approx. A minor).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tThe yeden note<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

It is the R\u00e2st pitch. Sometimes the sol with a bakiye sharp (N\u00eem Z\u00eerg\u00fble) is also used.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tExpansion<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

It has generally expanded from the high register. There are two cases for this expansion:<\/p>