Two Hicaz tetrachords stacked — the most 'eastern', most intense Hicaz colour.
Zirgüleli Hicaz stacks two Hicaz tetrachords — the most intense, most 'eastern' member of the Hicaz family. A Hicaz pentachord on the karar plus a Hicaz tetrachord on Hüseyni, resolving on perde Dügâh (A). It is a favourite of the şarkı song form.
From perde Dügâh, the Zirgüleli Hicaz 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. 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.
Zirgüleli Hicaz makam is assembled from the Hicaz pentachord below and the Hicaz 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 (ascending-descending).
Zirgüleli Hicaz has a mixed seyir around the güçlü Hüseyni. Because there is an augmented second in both the lower and the upper tetrachord, the makam's dramatic leap is heard twice as the melody climbs the octave.
Two augmented seconds in one octave — one low, one high.
Two Hicaz tetrachords stacked — the most 'eastern', most intense Hicaz colour.
Heard in: a favourite of the şarkı form.
Makams from the same family — they share material and are told apart by seyir and güçlü:
Zirgüleli Hicaz stacks two Hicaz tetrachords — the most intense, most 'eastern' member of the Hicaz family. A Hicaz pentachord on the karar plus a Hicaz tetrachord on Hüseyni, resolving on perde Dügâh (A). It is a favourite of the şarkı song form.
In the Arel-Ezgi-Uzdilek system the koma steps are 5 + 12 + 5 + 9 + 5 + 12 + 5 — 53 koma in all, one full octave. Named: S – A – S – T – S – A – S.
Zirgüleli Hicaz makam resolves on perde Dügâh; its secondary centre of gravity (güçlü) is perde Hüseynî. Its seyir (melodic path) is ascending-descending.
Two augmented seconds in one octave — one low, one high.
Zirgüleli Hicaz is grouped here under "The Hicaz family", and shares material with Hicaz, Hümâyun, Uzzâl. 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.