Rast's brightness with a Hicaz 'burning' colour on top — the name means heart-scorching.
Sûzinâk is Rast with a Hicaz tetrachord on top — the name means 'heart-scorching'. A Rast pentachord on the karar plus a Hicaz tetrachord on Neva, resolving on perde Rast (G). It has Rast's brightness at the bottom and a burning colour above.
From perde Rast, the Sûzinâk 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: Rast, Dügâh, 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.
Sûzinâk makam is assembled from the Rast pentachord below and the Hicaz tetrachord on Neva above, meeting on one shared perde. What defines the makam is not only the scale but its karar (Rast), its güçlü (Nevâ), and its seyir (ascending).
Sûzinâk is ascending and behaves like Rast in its lower half, moving up to the güçlü Neva. From Neva the Hicaz tetrachord takes over, and the augmented second in the upper part is what separates Sûzinâk from plain Rast.
Rast for the first five notes, then a Hicaz augmented second on top.
Rast's brightness with a Hicaz 'burning' colour on top — the name means heart-scorching.
Heard in: classical and popular şarkı repertoire.
Makams from the same family — they share material and are told apart by seyir and güçlü:
Sûzinâk is Rast with a Hicaz tetrachord on top — the name means 'heart-scorching'. A Rast pentachord on the karar plus a Hicaz tetrachord on Neva, resolving on perde Rast (G). It has Rast's brightness at the bottom and a burning colour above.
In the Arel-Ezgi-Uzdilek system the koma steps are 9 + 8 + 5 + 9 + 5 + 12 + 5 — 53 koma in all, one full octave. Named: T – K – S – T – S – A – S.
Sûzinâk makam resolves on perde Rast; its secondary centre of gravity (güçlü) is perde Nevâ. Its seyir (melodic path) is ascending.
Rast for the first five notes, then a Hicaz augmented second on top.
Sûzinâk is grouped here under "Built on Rast", and shares material with Rast, Nihâvend, Nikrîz, Mâhur, Kürdîlihicazkâr. 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.