Dromos Hijazkiar	Scale Notes: 1100110110011 Passing Notes: 1100111111111
Is considered a Major Scale. – D Hijazkiar = G Nihavent – D Hijazkiar ~ B Sabah ~ D Pireotikos – D Hijazkiar ~ D Ussak ~ Bb Major ~ G Minor ~ C Dorian

Triads:

M

M

m

m

Mb5^th

Aug

sus2^ndb5^th

Sevenths:

M7^th(no 3^rd)

M7^th(no 3^rd)

6^th(no 3^rd)

M7^th(no 3^rd)

7th b5^th(no 3^rd)

M7^th #5^th (no 3^rd)

6^thb5^th(no 3^rd)

M7^th (no 5^th)

M7^th (no 5^th)

Dim7^th (no 5^th)

m/M7^th(no 5^th)

7^th(no 5^th)

M7^th (no 5^th)

Dim7^thSus2^nd(no 5^th)

M7^thSus4^th(no 5^th)

M7^thb5^th(no 3^rd)

6^th (no 5^th)

M7^thb5^th (no 3^rd)

7^thSus4^th (no 5^th)

M7^thSus4^th (no 5^th)

Sus4^th 6^th (no 5^th)

Ninths:

M7^thb9^th(no 3^rd and 5^th)

m/M7^th(no 5^th)

Dim7^thSusb2^nd(no 5^th)

M9^th(no 3^rd and 5^th)

7^thSusb2^nd(no 5^th)

m/M7^th(no 5^th)

Dim7^thSusb2^nd(no 5^th)

Fourths:

Sus4^th

Sus#4^th

M

Sus#4^th

Susb2^nd

Sus4^th#5^th

Sus4^thb5^th

Add4^th(no 5^th)

Mb5^th

mAddb4^th(no 5^th)

Dim

Add4^th(no 5^th)

mAdd4^th(no 5^th)

mAdd4^th(no 5^th)

Seconds:

Sus2^nd

Susb2^nd

Susb2^nd

Sus2^nd

Susb2^ndb5^th

mb6^th(no 5^th)

Susb2^ndb5^th

Addb2^nd(no 5^th)

mAddb4^th(no 5^th)

m9^thb2^nd(no 5^th and b7^th)

m9^thb2^nd(no 5^th and b7^th)

Addb2^nd(no 5^th)

mAddb4^th(no 5^th)

b9^thAdd2^nd(no 3^rd, 5^th and 7^th)

Sixths:

b6^th(no 3^rd)

m7^th(no 3^rd)

b6^th(no 3^rd)

b6^th(no 3^rd)

Dim7^th(no 3^rd)

6^th#5^th(no 3^rd)

b6^thb5^th(no 3^rd)

Aug

6^th(no 5^th)

mb6^th(no 5^th)

mb6^th(no 5^th)

6^th(no 5^th)

6^th b5^th(no 3^rd)

Sus2^nd#5^th

>Root Note

C

C#

E

F

G

Ab

B

C#

D

F

F#

Ab

A

C

D

Eb

F#

G

A

Bb

C#

Eb

E

G

Ab

Bb

B

D

E

F

Ab

A

B

C

Eb

F

F#

A

Bb

C

C#

E

F#

G

Bb

B

C#

D

F

G

Ab

B

C

D

Eb

F#

Ab

A

C

Db

Eb

E

G

A

Bb

C#

D

E

F

Ab

Bb

B

D

Eb

F

F#

A

B

C

Eb

E

F#

G

Bb

Dromos Hijazkiar

Scale Notes: 1100110110011 Passing Notes: 1100111111111

Is a mode of Niavent and is considered a Major Scale; Also called Byzantine, Double Harmonic, Hijaz Kar (C), Shadd Araban (G), Shahnaz (Shehnaz) (D), Suzidil (A). – D Hijazkiar = G Niavent – If you start 3 scale degrees forward you get Niavent Is Similar to Pireotikos and is contained within a version of Sabah – D Hijazkiar ~ D Pireotikos ~ B Sabah – If you give it a #4^th you get Pireotikos – If you give it a #6^th below the octave and start 3 semitones back you get a version of Sabah. Is similar to Hijaz, Roumaniko, & Harmonic Minor – D Hijazkiar ~ D Hijaz ~ C Roumaniko ~ G Harmonic Minor – If you give it a b7^th you get Hijaz – If you give it a b7^th and start 1 scale degree back you get Roumaniko – If you give it a b7^th and start 3 scale degrees forward you get Harmonic Minor To Modulate to Ussak, Major, Minor, Dorian Scales – D Hijazkiar ~ D Ussak ~ Bb Major ~ G Minor ~ C Dorian – If you give it a b7^th and a b3^rd you get Ussak – If you give it a b7^th and a b3^rd and then start 2 scale degrees back you get a Major scale – If you give it a b7^th and a b3^rd and then start 1 scale degree back you get a Dorian scale – If you give it a b7^th and a b3^rd and then start 3 scale degrees forward you get a Minor scale

Modulation Possibilities; D Hijazkiar ð G Niavent D Hijazkiar ð B Sabah D Hijazkiar ð D Pireotikos
D Hijazkiar ð D Ussak ð Bb Major ð G Minor ð C Dorian D Hijazkiar ð D Hijaz ð C Roumaniko ð G Harmonic Minor D Hijaz ð D Hijazkiar ð G Nihavent ð D Pireotikos

Chord Scale Info:

Triads: Root + 3^rd + 5^th
Sevenths: Root + 7^th + 5^th and Root + 7^th + 3^rd and Root + 7^th + 4^th
Ninths: Root + 2^nd + 7^th
Fourths: Root + 4^th + 5^th and Root + 4^th + 3^rd
Seconds: Root + 2^nd + 5^th and Root + 2^nd + 3^rd
Sixths: Root + 6^th + 5^th and Root + 6^th + 3^rd

Hijaz Family - 110011
Dominant note is usually the 4^th note. The tonic is often also the beginning note.

Makam:

Pattern:

Dromo

Ajnas:

Info:

Hijaz D

Hijaz-Rast

Asc. 1100110101101
1100110110101

Hijaz-Rast
Hijaz Neva-Like
Hijaz-Like

D Hijaz G Rast B Sikah

Two versions are generaly alternated up and down, but not necessarily. 6^th (B)note is flat by ¼ in Hijaz Rast. The Sikah trichord on the 6th note (in the first form) and the Ajam trichord on the 6th note (in the second form) are seconday ajnas, often used in modulation. A very important peculiarity of the Hijaz tetrachord is a microtonal variation from the Western even-tempered scale, where the 2nd note (E) is tuned slightly higher, and the 3rd note (F#) is tuned slightly lower, so as to narrow down the 1 1/2 tone interval. In Turkish System, If the scale is extended beyond the octave, you use Buselik above and Rast below. Asc.-Desc. Sayir. Called Humayun if you use only ascending form up and down. A.k.a. Usbaein in Tunis and Libya, Zedan in Algeria and Alhijaz al-Kabeer in Morocco.

D Hijaz G Nahawand Bb Ajam

Hijaz-Nahawand

Desc. 1100110110101

Hijaz-Rast
Hijaz

Al-Raml D

Asc. 1100110110101

Hijaz-Like

Al-Raml

D Hijaz

G Nahawand
Bb Ajam

Stress the notes E and G ascending the scale, and avoid the fourth note (G) descending.

Desc. 1100100110101

Hijaz-Buselik D

1100110110101

1100110100101

Hijaz-like

Hijaz-Buselik

D Hijaz
G Buselik

This is an Alternate Hijaz.

The 3^rd Buselik note, 6^th scale note (Bb) is tuned slightly (1/9) lower in Arabic system.

Zanjaran C

1100110101101

Hijaz Neva

C Hijaz
F Ajam

Common to modulate to this makam from regular Hijaz.

Differs from Ascending Hijaz in that the 6^th (B)note is a proper Bb instead of ¼ flat B.

Zangulah C

1100110101101
1100110110101

Hijaz Neva-Like
Hijaz-Like

C Hijaz
G Bayati

6^th (A) note is flat by ¼ tone. This makam is like the regular ascending Hijaz, but without changing when descending.

Hijaz Kar C

1100110110011

Hijazkiar

C Hijaz
G Hijaz

Common to modulate to this makam from regular Hijaz.

Called Shadd Araban in G, and Shahnaz in D, Suzidil in A.