The uses and analysis of Hicaz Zirgüle based on compositions in form of "beste" on XVIII. and XIX. centuries

This study reflects on ten maqams (bayâti arabân, hisâr, hisâr bûselik, şehnâz, şehnâz bûselik, şevk'efzâ, sabâ, dügâh, bestenigâr, şevk-u tarâb) which meant to include hicaz zirgûle as part of their scale, according to theory of AEU. By comparing the theoretical knowledge to compositions, the study offers a contribution to bringing theory and execution together. Selected thirty compositions were analyzed after their present scores in archives of Dârü'l-Elhân and Classical Music Choir of Presidency of Turkish Republic. The analysis included the decomposition of selected work by means of "çeşni", time-length and their tonics which are presented on a time-scale. Hicaz çeşnis are sorted out and further analysis of leading tones, dominants, tonics and relation with other çeşnis is made. The results are compared to dissertations of AEU about given maqams. As a result, the differences between execution and theories of AEU are revealed. The study displays the use of hicaz zirgûle scale upon century, form and ten selected maqams. Further studies are possible extending the research on every maqam and even another scales meant to be part of another maqams in AEU system, hence it is possible to close the gap by execution and theory by new evidences.