The chitzaz (χιτζάζ) element finds its counterpart in the Ottoman hicâz element and takes its name from its use of the nim chitzaz position [F#].
Chitzaz has its basis and theoretical position on dougkiach [D], although it is also transposed to other positions. In staff notation, a theoretical intervallic structure of 5·12·5·9 commas is defined1, classifying chitzaz as a hard chromatic element. The sub-basis lies 9 or 5 commas below the basis. In the case of chitzaz on dougkiach [D], if the sub-basis lies 5 commas below the basis, the element may adopt the prefix zirgkiouleli, resulting in zirgkiouleli chitzaz (ζιργκιουλελί χιτζάζ), which takes it’s name from its use of the nim zirgkioule [C#] position.
In the case of chitzaz on neva [G], the actual pitch of the II degree may be raised, while that of the III degree may be lowered. When this occurs, the chromatic interval of 12 commas is reduced to 11 or 10 commas, effectively transforming chitzaz into a soft chromatic element. The chitzaz element with a soft character is also referred to as araban (αραμπάν), named after certain makams that employ the chitzaz element on neva [G] (e.g., Arabân, Bayâti Arabân, Şedarabân, etc).
The adaptation of chitzaz to equal temperament is referred to as the equal-tempered chitzaz element (or chitzaz*) and occurs as illustrated in the following figure.
An exception occurs with chitzaz on tsargkiach [F]: 5·13·4·9 commas. ↩︎
This excerpt is from my book The Theory of Rebetiko, where I delve into the modal system of Greek music as it relates to the rebetiko genre. To access the complete text—including detailed discussions, tables, illustrations, and musical transcriptions of the examples—visit this page and explore the rich world of Greek modal music.
