The Zirgkiouleli Chitzaz (Ζιργκιουλελί 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. 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 4x-chitzaz on chouseini [A], and/or a 4x-ousak on chouseini [A], and/or a 5x-rast on neva [G]. The extension is possible with a 4x-chitzaz on chouseini asiran [low A] and/or a 5x-rast on gegkiach [low G], making rast [C] or nim zirgkioule [C#] the sub-final of the mode.
While, theoretically, the occasional occurrence of nim zirgkioule [C#] is sufficient to distinguish the Zirgkiouleli Chitzaz mode from Chitzaz, in practice, it is also sufficient—either in addition or as an alternative—for nim zirgkioule [C#] to appear an octave higher, i.e., as nim sechnaz [high C#]. The name Zirgkiouleli Chitzaz is derived from the use of chitzaz as the fundamental element of this mode and the use of the nim zirgkioule [C#] position; the term zirgkiouleli (tr. zirgüleli) means in Turkish «that which utilizes zirgkioule}».
The modal dominant is neva [G] for the tetrachordal form and chouseini [A] for the pentachordal form. 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 Zirgkiouleli Chitzaz with atzem [Bb].
Dromos Zirgkiouleli Chitzaz
The adjustment to equal temperament is referred to as dromos Zirgkiouleli Chitzaz or equal-tempered Zirgkiouleli Chitzaz mode (or Zirgkiouleli 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.
