Ba3eed 3annak:
Nura Nura:
(not parsing out Husseini Lazima)
Huwa Sahih il-Hawa Ghallab:
melodies go down to 6th underneath tonic
Ah Ya Hilu:
prominent emphasis on 7
ending of first verse, starting instrumental of verse 2
Muwashshah "Tif Ya Durri" (Kurd example):
Aruh Li Meen:
also includes 3-4-5
final phrase ambiguous, leading to Saba
strong "tone painting" here--"I cover my tears" etc.
lowered 4 distinguishes this from Hijazkar 5
use of raised 6 to return to Rast
Ghannili Shwayya:
5-6-7 shared Bayati & Saba; ornamentation ambiguous
strong emphasis on 7 (3rd note above Nahawand 5)
Gameel Gamaal:
Bayati 5 typical in Nahawand, not Nawa Athar
Bayati descent from its 6th degree
Like Bayati, Saba 5 occurs more typically in Nahawand
An unusual combo with Saba, but this establishes Nawa Athar
Lissa Fakir (#22):
could also be parsed within Hijaz 5 (#21)
ending...
use of raised 6 to return
Muwashshah "Jadaka-l-Ghaithu":