The Chitzaz (Χιτζάζ) mode has its theoretical basis and final on dougkiach [D], where the fundamental element 4x-chitzaz (for the tetrachordal form) or 5x-chitzaz (for the pentachordal form) is based, giving the mode its name. This mode is not characterized by any specific incipit, which may occur on dougkiach [D] or neva [G] in the tetrachordal form, or on dougkiach [D], nim chitzaz [F#], or chouseini [A] in the pentachordal form. The elemental structure is completed with a 5x-rast on neva [G] (for the tetrachordal form) or a 4x-ousak on chouseini [A] (for the pentachordal form). The extension is possible with a 5x-rast on gegkiach [low G], making rast [C] the sub-final of the mode.
The modal dominant of the tetrachordal form is neva [G]. The primary modal dominant of the pentachordal form is chouseini [A], while the secondary is nim chitzaz [F#]. The following attractions may occur:
neva –> nim chisar [G –> G#], in phrases gravitating around the dominant chouseini [A];
evits –> atzem [B 1 comma flat –> Bb], nearly systematic in descending phrases, in phrases that do not extend over gkerdanie [high C], and in phrases gravitating around the dominant chouseini [A]; less commonly, this attraction can be permanent and also occur in ascending phrases leading to mouchagier [high D]: this phenomenon can be described as Chitzaz with atzem [Bb].
Dromos Chitzaz
The adjustment to equal temperament is referred to as dromos Chitzaz or equal-tempered Chitzaz mode (or Chitzaz*) and occurs as illustrated in the following figure. All the characteristics of the corresponding microtonal mode are preserved.
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.
