Suzinak makamı was first used during the reign of Sultan Selim III. Although the exact creator of the makam is unknown, there are records of songs composed in the Suzinak makam by contemporary composers Seyit Ahmet Ağa, Abdülhalim Ağa, and Küçük Mehmet Ağa. However, these composers did not use the zirgüle fret in the Suzinak makam. The zirgüle fret was first introduced in the Suzinak makam by Hammamizade İsmail Dede Efendi. The makam has two variations: Basit (Simple) and Zirgüleli (with zirgüle).
Zirgüle’li Sûzînak Ney Taksimi – Niyazi Sayın
It is the G (Sol) pitch on the second line (Râst).
It follows a descending–ascending melodic trajectory.
Zîrgûle’li Hicaz Makam is characterized by the sharp note (şed) on the Râst fret. In other words, on the Râst fret, it is formed by adding a Hicaz tetrachord on the Nevâ (5th degree) fret to a Hicaz pentachord.
The scale is formed by the joining of a pentachord and a tetrachord at the 5th degree, which is the Nevâ fret. A half pause (yarım karar) is made on this note with the Hicaz flavor.
As a result of the strong half pause with the Hicaz flavor on the Nevâ fret, a hanging pause (asma karar) is made on the Çârgâh fret with the Nikrîz flavor. Besides this, a very characteristic hanging pause for this makam is on the Segâh fret, where a hanging pause with the Hüzzâm flavor is performed.
A comma flat (koma bemolü) is notated for Si (B), a residual flat (bakiye bemolü) for Mi (E) and Lâ (A), and a residual sharp (bakiye diyez) for Fa (F) in the notation system.
They are Râst, Zîrgûle, Segâh, Çârgâh, Nevâ, Hisar, Eviç, and Gerdâniye.
It is the Fa (F) fret with a residual sharp (bakiye diyez) at the interval of a minor second (1st interval).
The Zîrgûle’li Sûzînak makam expands towards the higher (tîz) side. This expansion is done in two ways:
The Hicaz pentachord on the Râst fret is symmetrically transposed onto the higher tone Gerdâniye fret.
- The strong Hicaz tetrachord is extended into the Hümâyûn scale on Nevâ by placing a Bûselik pentachord on the higher tone Gerdâniye.
The melody begins around the strong Nevâ (5th degree). After wandering variably on both sides of the scale, a half pause with the Hicaz flavor is made on the strong Nevâ fret. Meanwhile, the necessary hanging pauses are also indicated where appropriate. After optionally exploring the expanded part of the scale, a full pause with the Hicaz flavor is performed on the Râst fret.
