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Jins Hijazkar

Jins Hijazkar, although previously unnamed as such, is very common in the repertory.

Jins Hijaz has certain expected notes underneath its jins tonic: the 7th scale degree a whole step underneath the tonic, and the 6th a 3/4 step underneath that. Visit the Jins Hijaz Baggage page to hear examples using these expected "baggage" notes underneath the tonic. Here are a few more examples of Jins Hijaz, in which the 7th scale degree, a step below the tonic, is particularly prominent. First, from the Adhan in Maqam Hijaz:

01

Second, from a popular Abdel-Wahhab dance instrumental, "Zeina Zeina"

01

melody uses both step below tonic, and up to 6

In the following examples, Jins Hijaz occurs on the 5th scale degree of Maqam Rast (and the prominent whole-step below it is thus the 4th scale degree of Rast). The first example is from "Ghannili Shwayya":

07

08

And the second example, from "Aruh Li Meen":

09

10


If we compare the previous examples of Hijaz with the following examples of what I've labeled "Jins Hijazkar," we can see that the "Jins Baggage," i.e. the notes underneath the jins tonic, are quite different. It sounds like 2 hijazes are squished together. But the melodic continuity indicates that we should consider this one jins, rather than breaking it up into two. Because the character of the melodies are so different, and because of the prominence of the differing jins baggage, I believe this should be considered a distinct jins from Jins Hijaz. For more discussion, read the article "Maqam Analysis: A Primer." Jins Hijazkar's primary occurrence is at the top of Maqam Hijazkar & Hijazkar Kurd. The first example is from the Muwashshah "Tif Ya Durri":

03

04

05

06

07

From the pop song by Warda, "Harramt Ahibbak," #01, #04, #10

01

scale degrees 6 & 7 different than Hijaz

02

03

Warda sings down octave to Hijaz; chorus sings up to Hijazkar

04

05

06

descending from flat 6

07

08

09

10

11


This jins also occurs prominently on the 5th degree of Maqam Nawa Athar; hear examples from Gameel Gamaal, #37, #40 & #42:

36

37

38

39

Like Bayati, Saba 5 occurs more typically in Nahawand

40

An unusual combo with Saba, but this establishes Nawa Athar

41

42

And finally, an unusual example on the 5th scale degree of Rast (where jins Hijaz normally occurs), from "Aruh Li Meen" (#36 & #38; the more typical Jins Hijaz returns in #41 to form a segue back to Rast):

36

making our way back to a stable 5...

37

also includes 3-4-5

38

39

final phrase ambiguous, leading to Saba

40

strong "tone painting" here--"I cover my tears" etc.

41

lowered 4 distinguishes this from Hijazkar 5

42

use of raised 6 to return to Rast

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