We can distinguish the use of Hijaz 4 as a secondary jins within Maqam Bayati from Maqam Bayati Shuri - in which the Hijaz 4 is melodically dominant (usually the first jins to be heard, before a brief descent to the root Bayati Jins). The examples here show the "Bayati Shuri" pathway within the larger context of the other major Bayati pathways. It is worth noting that this pathway is important enough that it appears within 3 of the 5 of the songs analyzed on this site as "Maqam Bayati," and so we must consider it one of the principal pathways of Bayati, aside from its existence as the primary pathway of Maqam Bayati Shuri. Compare the analyses on this page with those on the Bayati Shuri analysis page. Notice in particular how in most of the examples here the Hijaz is a brief passing jins, offering a sharp contrast to surrounding phrases. In many instances that contrast occurs directly with the flat-6 which is the tonic of Ajam as well as the lowered third scale degree of Nahawand 4, since Hijaz 4 uses a flat 5 and a raised 6.
From "Taheya"
From "Ah Ya Hilu" - notice the feeling when the Ajam (#10) replaces the previous Hijaz (#08)
From "Ba3eed 3annak"
From the taqsim before the ending of Samai Bayati il-3ariyan--notice again that the Hijaz offers a sort of contrasting cadence, signalling the end of the section.