Hijaz maqam

The Hijaz maqam is built on a tetrachord spanning a perfect fourth, with the characteristic augmented second between the second and third degrees. In the common D-based version, the notes are D, Eb, F#, G, A, Bb, C#, D, producing a sequence of half, augmented-second, half, whole, half, augmented-second, and half steps.¹ This interval creates a distinctly tense, exotic color that is often associated with Middle Eastern music. The upper tetrachord mirrors the lower, giving the mode a symmetrical quality. In Turkish classical music, the same scale is called Hicaz and is used in both secular and religious forms, with slight variations in tuning due to the use of microtones.

In Arabic music, the Hijaz maqam is a staple of both composed and improvised forms, appearing in genres from classical waslah to popular songs and film scores. It is frequently used in the adhan (call to prayer) and in Quranic recitation, where its emotional intensity enhances the spiritual atmosphere.² In Turkish music, Hicaz is one of the most common makams, used in Ottoman classical compositions, Sufi music, and folk songs. The mode also appears in Persian classical music as Hijaz, though with different modal contexts, and in Greek music as Hitzaz, where it is often used in rebetiko and folk dances. Its influence extends to Western classical music, where the augmented second interval is found in works by composers such as Rimsky-Korsakov and Saint-Saëns, often to evoke an Oriental atmosphere.³

Beyond its common forms, the Hijaz maqam has several lesser-known variants and uses. The Hijaz Kar and Hijaz Humayun are sub-variants that alter the upper tetrachord, creating different emotional shades. In Ottoman music, Hicaz was often paired with the usul (rhythmic cycle) Düyek to produce a majestic effect in ceremonial pieces. The mode is also central to the maqam al-iraq tradition, where it is performed with specific ornamentation techniques such as tarjim and tahzib.⁴ In Jewish liturgical music, the Hijaz mode appears in the Ahava Rabbah prayer mode, used for the Sabbath morning service, showing its cross-cultural reach. Additionally, the mode's interval structure has been analyzed in ethnomusicological studies as an example of a 'neutral' third, which challenges Western tuning assumptions.⁵

In practice, the Hijaz maqam is performed with characteristic ornaments, including glissandi, vibrato, and microtonal inflections, particularly on the second and third degrees. The mode is often used for taqsim (improvisation), where the performer explores its melodic potential over a drone or rhythmic accompaniment. In Arabic music theory, the maqam is classified under the Hijaz family, which includes related modes like Hijaz Kar and Shadd 'Araban. The mode's emotional character is often described as 'yearning' or 'passionate,' and it is frequently used for love songs and laments. In modern times, the Hijaz maqam has been incorporated into jazz and world music, with musicians like Anouar Brahem and Rabih Abou-Khalil using it in their compositions, demonstrating its enduring appeal and adaptability.⁶

Augmented second

An interval spanning three semitones, characteristic of the Hijaz maqam.

Tetrachord

A four-note scale segment spanning a perfect fourth.

Taqsim

An instrumental improvisation in Arabic music.

Usul

A rhythmic cycle in Ottoman and Turkish music.