The same scale as Hicaz, a different seyir — it descends from the top and leans on Hüseyni.
Uzzâl uses the same scale as Hicaz but is a different makam: it descends from the top, leans on perde Hüseyni as its güçlü rather than Neva, and is described as a Hicaz pentachord joined to an Uşşak tetrachord on Hüseyni. It resolves on perde Dügâh (A).
From perde Dügâh, the Uzzâl 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: Dügâh, Nevâ, Hüseynî, 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.
Uzzâl makam is assembled from the Hicaz pentachord below and the Uşşak tetrachord on Hüseyni above, meeting on one shared perde. What defines the makam is not only the scale but its karar (Dügâh), its güçlü (Hüseynî), and its seyir (descending).
Uzzâl has a descending seyir: melodies begin high, around the octave or the güçlü Hüseyni, and work down through the Hicaz pentachord to the karar. This top-down motion, and the Hüseyni güçlü, are the whole difference from Hicaz.
It is Hicaz — the same notes — heard from the top down, with perde Hüseyni as the resting point on the way.
The same scale as Hicaz, a different seyir — it descends from the top and leans on Hüseyni.
Heard in: the classical Hicaz-family repertoire.
Makams from the same family — they share material and are told apart by seyir and güçlü:
Uzzâl uses the same scale as Hicaz but is a different makam: it descends from the top, leans on perde Hüseyni as its güçlü rather than Neva, and is described as a Hicaz pentachord joined to an Uşşak tetrachord on Hüseyni. It resolves on perde Dügâh (A).
In the Arel-Ezgi-Uzdilek system the koma steps are 5 + 12 + 5 + 9 + 8 + 5 + 9 — 53 koma in all, one full octave. Named: S – A – S – T – K – S – T.
Uzzâl makam resolves on perde Dügâh; its secondary centre of gravity (güçlü) is perde Hüseynî. Its seyir (melodic path) is descending.
It is Hicaz — the same notes — heard from the top down, with perde Hüseyni as the resting point on the way.
Uzzâl is grouped here under "The Hicaz family", and shares material with Hicaz, Hümâyun, Zirgüleli Hicaz. 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.