Sorrowful and burning; reaches from Segâh's microtonal ground to a Hicaz augmented second twice over.
Hüzzam makam resolves on perde Segâh, like makam Segâh itself, but is built from a different pentachord: a full Hüzzam beşli on the karar plus a Hicaz tetrachord on Evc. Its güçlü, perde Nevâ, falls inside the pentachord rather than at its edge, where the melody makes a brief Hicaz-flavoured half-cadence on the way up.
From perde Segâh, the Hüzzam dizi runs through these degrees across one octave. A degree is labelled with a core perde name where it lands exactly on one, and with its degree number otherwise. The letters are the koma value of each interval: T = tanini (9), K = büyük mücennep (8), S = küçük mücennep (5), B = bakiye (4), A = artık ikili (12). Press play the scale — every perde sounds at its true position in the 53-koma octave, microtonally, not rounded to a piano key.
The dizi lands on these named core perdes: Segâh, Çârgâh, Nevâ, Evc, Gerdâniye. The degrees in between carry no core perde name and are shown by number.
Turkish music is written for one reference tuning (Bolâhenk); differently sized instruments transpose it down — Süpürde by a whole tone, Kız by ≈ a fourth, Mansur by ≈ a fifth. The written perdes don't change, only the sounding pitch.
The same seven steps drawn against the core perde lines, so you can see the melodic shape and exactly which degrees sit between the piano keys.
Each dot is a degree's true koma height above the karar. Reddish dots don't sit on a core perde — they fall 'between the keys'. Turkish scores write these with the koma / mücennep accidentals.
Hüzzam makam is assembled from the Hüzzam pentachord below and the Hicaz tetrachord on Evc above, meeting on one shared perde. What defines the makam is not only the scale but its karar (Segâh), its güçlü (Nevâ), and its seyir (descending-ascending).
Hüzzam has a mixed, inici-çıkıcı seyir. It typically opens around the güçlü Nevâ, touches a Hicaz-coloured half-cadence there, continues up through the beşli to Evc, then meets a second augmented second in the Hicaz tetrachord above before returning to rest on the karar Segâh by way of perde Kürdî.
Opens on the same in-between note as Segâh, but touches a Hicaz half-cadence on the way up and a second augmented second near the top — a double dose of Hicaz drama over Segâh's ground.
Sorrowful and burning; reaches from Segâh's microtonal ground to a Hicaz augmented second twice over.
Heard in: the Hüzzam works of the classical and popular şarkı repertoire.
Makams from the same family — they share material and are told apart by seyir and güçlü:
Hüzzam makam resolves on perde Segâh, like makam Segâh itself, but is built from a different pentachord: a full Hüzzam beşli on the karar plus a Hicaz tetrachord on Evc. Its güçlü, perde Nevâ, falls inside the pentachord rather than at its edge, where the melody makes a brief Hicaz-flavoured half-cadence on the way up.
In the Arel-Ezgi-Uzdilek system the koma steps are 5 + 9 + 5 + 12 + 5 + 12 + 5 — 53 koma in all, one full octave. Named: S – T – S – A – S – A – S.
Hüzzam makam resolves on perde Segâh; its secondary centre of gravity (güçlü) is perde Nevâ. Its seyir (melodic path) is descending-ascending.
Opens on the same in-between note as Segâh, but touches a Hicaz half-cadence on the way up and a second augmented second near the top — a double dose of Hicaz drama over Segâh's ground.
Hüzzam is grouped here under "Resolving on Segâh", and shares material with Segâh. These are told apart not by their scale but by their seyir and güçlü.
This scale is given in its standard Arel-Ezgi-Uzdilek / conservatory form and is checked to close the octave at 53 commas. There is always a small gap between what the theory writes and what a performer plays.
Back to the Turkish Makam tool for all seven çeşni, the perde ruler and the 20 makams; for the history of makam and maqam see the Middle Eastern Music lesson; for Western scales, the Scale Library.