Jins Sikah Family (Mukhalif and Musta3ar)

As a root jins & descent endings:

Muwashshah "Jadaka-l-Ghaithu":

At the octave:

Muwashshah "Jadaka-l-Ghaithu":

As a Secondary Jins:

Ghannili Shwayya:

Aruh Li Meen:

Muwashshah "Sihtu Wajdan":

Mawwal Rast "Kull illy Habb Itnasaf":

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Sikah Beladi

Sikah Beladi is so called because it transfers the feeling of Sikah to a non-sikah-based tonic note. The tonic of Sikah in the examples above (on this page) is a "quarter-tone"-based note, which is the third scale degree above Rast (as you can hear clearly in the examples when Sikah and its family members tonicize the third scale degree above Rast). But in Sikah Beladi, a pitch normally associated with the first note of other scales -- or an open-string note, for example -- is given the feeling of being a Sikah note; the feeling is as though the ground has shifted underneah, because all of the other notes are in a frame a "quarter-tone" off from the tonic note. In the example here, it is that root tonic of Rast that is transformed through a modulation to Sikah Beladi:

Aruh Li Meen:

Compare the feeling and interval relationships here with the feeling in the above Sikah examples.

Yet Sikah Beladi also resembles Hijazkar, especially in its melodic phrasing, circling above and below the tonic symmetrically. In a way, the Sikah Beladi intervals feel like a squeezed Hijaz, with the biggest interval (the augmented second between steps 2 & 3) reduced almost from a 1-1/2-step interval to a whole-step, almost enough to resemble Jins Sikah. Yet no matter how close the intervals approach those of Sikah, I feel that melodically, the Sikah Beladi resembles Hijazkar more than it does Sikah itself; compare the previous examples with these examples of Jins Hijazkar:

Harramt Ahibbak:

Muwashshah "Tif Ya Durri":