Hijaz is not adequately covered on this site; I don't have a full song analysis of something that would be considered "Maqam Hijaz" as opposed to Maqam Hijazkar (with only one song representation here, "Harramt Ahibbak"--which, however, does go through the most important areas of both Hijaz and Hijazkar). As a Jins, Hijaz is represented here by one of its most iconic melodies, the call to prayer, in a really stunning rendition. We also have one example of a song in Maqam Hijazkar-Kurd, which could also be classified in the Kurd Family (otherwise completely unrepresented on this site).
The full network represented here is as follows (compare with the pedagogical versions from 2010 of the Maqam Hijaz Network and the Maqam Hijazkar Network):
Although this is a complete melody, it doesn't leave the primary area of Jins Hijaz, staying within 5-6 notes throughout, but with a few small modulations. But there's a lot to this melody!
Just a fragment of this song, to illustrate Jins Hijaz, and its prominent whole step below the tonic.
Maqam Hijazkar, because of its opening and closing emphasis, but goes through the main Hijaz pathways as well; the verse could be said to be in "Maqam Hijaz" because of the prominent Nahawand 4.
[song page with full recording]Hijazkar-Kurd is an older maqam, fallen mostly into disuse by mid-20th century Egyptian composers. As you can see from this beautiful Syrian muwashshah, the maqam starts in Hijazkar on the octave, but concludes on Kurd at the base of the scale. It reflects an older tendency in maqam pathways, in which the octave and root ajnas are not the same in a particular maqam (see the discussion on alternate Bayati Shuri Pathways).