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Jins Nahawand and Jins Nakriz (p1)

I've included examples of these two ajnas together on one page because of their similarity; Nakriz is simply Nahawand with a raised 4th scale degree. They often exchange with each other in the various contexts where they occur--although not always.

As a root jins

Gameel Gamaal:

01

03

now we see that "Gameel Gamaal" phrase is bottom of Nakriz, not Nahawand

05

20

And here is an example of Nakriz as a modulating jins on the same root as Maqam Rast, from Fakkaruni:

01

02

with raised 4 => immediate strong tonicization of 5

03

04

tonicizing 5 from underneath

05

really only 5-4 with natural 4 (as opposed to half-# or #)

06

alternate parse of #02-03

I haven't included any examples of Maqam Nahawand on this site, which focuses most heavily on Rast and Bayati, to illustrate the analytical points made in "Maqam Analysis: A Primer." Therefore the absence of more examples of Nahawand and Nakriz as a root jins of the various maqamat of this family (Maqam Nahawand, Maqam Nakriz, Maqam Nawa Athar) should not be taken to reflect the repertory as a whole, which has many such examples (in fact, later verses of "Fakkaruni" use Nakriz quite prominently, and its instrumental introduction, also not included in this analysis, begins in Nahawand).

Nonetheless, Nahawand in particular, and Nakriz slightly less so, is tremendously common as a secondary jins within most of the common maqamat (in particular: Bayati, Hijaz, Kurd, Rast, Ajam, and members of those maqam families). The following examples illustrate that common usage.


As a Secondary Jins on 4

Nura Nura:

06

could also call "Husseini/Nahawand"--emphasis on 5

07

lazima

08

09

ending + chorus, not parsing out lazima

10

not parsing out bayati lazima (like 07)

11

"Taheya" dance instrumental:

01

goes up to 5 in final phrase

02

Husseini is the unresolved emphasis on 5 starting this melody

03

repeating the last few notes of #02; descent from 6

04

05

06

Ba3eed 3annak :

25

26

up to Ajam, down to Nahawand (prominent 3)

27

Shuri again

28

29

finally, an extended Nahawand that doesn't fall back into Bayati

30

prominent modified notes under Rast tonic (2 & 3)

31

lazima in bayati 1 range (1-3-5)

Harramt Ahibbak:

01

scale degrees 6 & 7 different than Hijaz

02

03

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

08

09

10

14

15

16

not an arabic jins here--western influence!

17

reaches flat 6 above Nah.; raised 4 ornament typical

18

19

20

is it worth parsing out this Hijaz? maybe not.

21

suspended 5 (like Husseini)

22

Muwashshah "Tif Ya Durri":

07

08

starts with emphasis on 5 (Kurd); like Husseini: resolves to 4

09

Hence Maqam "Hijazkar-Kurd"--starts Hijazkar 8, resolves Kurd 1

10

11

Ya Halawt id-Dunya:

13

2nd Verse: Hijazkar

14

15

16

17

18

doesn't resolve to root as hijazkar

19

use of raised 6 above Ajam 4

20

I'm including the following example of Nahawand as "Secondary Jins on 4" because that is the relationship it has to the Hijaz, which itself is a secondary jins of the root Bayati. But you can see the Nahawand has the same relationship to Hijaz as in the previous examples, a point which will become important in the analysis of Maqam Bayati Shuri.

Mihtaar Ya Naas:

09

10

start of lazima before verse

11

12

return up to 7; Hijaz as neighbor of Nah.

13

14

15

includes raised 6th degree under nah. (= 5 rel. bayati)

16

return to Hijaz tonicization

17

18

19

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