In Maqam Bayati Shuri the primary emphasis is on the Jins Hijaz, on the 4th scale degree above the ultimate root tonic of Bayati (which, as you can see in both of these pieces, frequently isn't given much emphasis and usually only occurs at the end of major sections of melody) Maqam Bayati itself also uses the Jins Hijaz on 4, but, as you can hear above, it serves mostly a passing function there.
As described in more detail on the Alternate Pathways page on Bayati Shuri (in section V. of the analysis), the presence of Hijaz on the 4th scale degree opens uo two potentially conflicting options for upward melodic movement--either to the Octave Bayati jins (as in the Muwashshah "Hibbi Da3ani"), or to Jins Nahawand 7, as in "Mihtaar ya Naas"