Ghannili Shwayya:
Aruh Li Meen :
Mawwal Rast "Kull illy Habb Itnasaf":
Fakkaruni:
Mawwal Rast "Fein Ya Gameel Wa3dak":
dips to 7 & 6
ends on 6
Ya Maal ish-Sham:
(octave)
Dawr "Ijma3 Shufna":
brief dip into 2nd Rast territory
emphasis on 9, 2nd degree above 8
resolution of #14
Muwashshah "Ya Shadi il-Alhan":
Muwashshah "Sihtu Wajdan":
Sazkar with use of raised 2nd
Hayrana Leh:
use of raised 6 after Hijaz 5 to return to Rast 1
"Taheya" dance instrumental:
a little Sazkar here (raised 2 of Rast)
Ba3eed 3annak :
finally, an extended Nahawand treatment
prominent modified notes under Rast tonic (2 & 3)
lazima in bayati 1 range (1-3-5)
emphasis on octave, with a note above
verse ending (same as 1st verse 07-09)
35-36 different parsing of same melody in 11-14,
tonicizing 8 from notes underneath.
full octave descent Nahawand - Bayati; = 15-16
Nura Nura:
"Husseini" Nahawand/ not parsing out bayati lawazim
Samai Bayati il-3ariyan:
emphasis on 5--resolving to 4 in next phrases
includes baggage underneath 2 & 3
Harramt Ahibbak:
descending from flat 6
Muwashshah "Jadaka-l-Ghaithu":
alternate version of melody tonicizes 5 at end
skipping 2nd verse, on to 3rd