Master List
Master List of all 819 audio samples used on the site.
Ayqadha-l-hubbu fu'aadi
Lissa Fakir
04
use of raised 6 to return
09
use of raised 6 to return
16
or could be interpreted within Hijaz 5
20
again, although technically in ajam range
21
16-21 could all be grouped as Hijaz 5
24
use of raised 6 to return
Ah Ya Hilu
11
condensing 04-06, alternate parse
16
As above, feeling of Husseini 5 and Ajam 3
17
melody variant, dipping to octave below of Ajam
21
melody variant, using bayati on the octave
Ba3eed 3annak
02
also strong emphasis on Ajam 6, with notes underneath
06
alternate parse of 02-05; typical Nahawand to Bayati descent from 6
07
first real Ajam, even though hinted before
08
this Lazima is easy to confuse with Kurd 1; however, emphasis is on Ajam 6
09
wrapping it all into Ajam
10
prominent inclusion of notes under Nahawand (2 & 3)
14
prominent emphasis on 7
16
ending of first verse, starting instrumental of verse 2
17
prominent 6 & 3 within melody
21
a pity to cut up further this incredibly beautiful melody!
23
up to Ajam, then down to Nahawand. A challenging parse.
24
"Shuri"--don't mistake for Nakriz 3 when melody ends on 3!
26
up to Ajam, down to Nahawand (prominent 3)
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)
32
emphasis on octave, with a note above
33
verse ending (same as 1st verse 07-09)
35
35-36 different parsing of same melody in 11-14,
36
reflecting tonicization of 8 from notes underneath.
37
full octave descent Nahawand - Bayati; = 15-16
Nura Nura
02
Actually Rast; "Husseini" refers to emphasis on 5--here lower octave
03
including the ascending notes underneath tonic
04
Again, actually Rast 4, but melody stops on 5
05
no longer parsing out Husseini Lazima
06
could also call "Husseini/Nahawand"--emphasis on 5
09
ending + chorus, not parsing out lazima (=02 & 04)
10
not parsing out bayati lazima (like 07)
12
"Husseini" Nahawand/ not parsing out bayati lawazim
15
includes start of wahda for mawwal
16
majority of mawwal in Rast 4 (typical for Farid)
19
final verse; equivalent to 12-15
22
+ start of final chorus
Samai Bayati il-3ariyan
04
including notes under tonic; could also parse as Bayati
06
could also parse within Bayati 1
08
could also call "2nd Ajam 3/6"; tonic is 6, but note span 3-6
09
"Husseini" = emphasis on 5 descent to 4
11
a.k.a. "Secondary Ajam 3/6"
14
emphasis on 5--resolving to 4 in next phrases
16
includes baggage underneath 2 & 3
18
little bit of bayati at the octave within melody
21
alternate parse of 08-11: bayati descent from 6
24
not fully realized until #27--just basically 7 to 8
27
inclusion of 7 within jins
33
starts with flat-6 above Nah.; could be parsed as Kurd 8
34
also including Taslim: descent 6 to 1 (like #21)
35
again, an alternate parse--melody contained within #21
38
descent from 6--a major emphasis in this Samai, and in Bayati
39
Bayati 1 is tonic throughout; melody uses notes from 6 below to 6 above
40
emphasis on 5, tonic is Nahawand 4
44
though it is really only the note "6"
45
includes dip down to 3 under tonic of 4 (also typical)
48
admittedly, first 3 notes could be parsed as 2nd Ajam 3/6
52
opening could also be parsed as Ajam 3
53
don't be thrown off by phrase ending a step below tonic
57
bayati octave hinted from start of phrase
59
resolution of Husseini within this phrase
60
not very strong--perhaps Nahawand 4 or Ajam 6 are felt more?
61
could make #60 retroactively feel like 2nd Ajam 3/6
63
"Shuri"--which doesn't appear anywhere in the Samai itself
Taheya
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
07
Melody descent, starting with Husseini emphasis (= #02-03)
09
full-octave descent through both ajnas
10
including baggage underneath, 7 - 6 - 7 - 8
11
use of raised 6 above Rast to descend
16
a.k.a. Ajam 3. Calling it Jiharkah b/c of position in Bayati
17
opening Ajam emphasis; same as #14-15
18
a.k.a. Jiharkah 3; same as #16. intervallically Ajam, not Jiharkah
20
starts on 6, although admittedly tonicization not strong
22
again, Ajam not very strong here. could parse just as Nahawand
27
about to resolve down to Rast 4 in lower octave
30
a little Sazkar here (raised 2 of Rast)
Ijma3 Shufna
05
including 6 & 7 underneath octave tonic
07
including the area of 2nd rast
13
brief dip into 2nd Rast territory
14
emphasis on 9, 2nd degree above 8
16
a typical rast modulation.
Adhan (call to prayer) in Hijaz
01
prominent note a step below tonic
04
lowered 5; more typical for this to occur as ending within maqam Hijazkar
05
prominent use of both step below & 5th scale degree
06
both step below & 5th scale degree included
07
prominent step below; 5 used in last phrase
Zeina Zeina
01
melody uses both step below tonic, and up to 6
Harramt ahibbak
01
scale degrees 6 & 7 different than Hijaz
03
Warda sings down octave to Hijaz; chorus sings up to Hijazkar
06
descending from flat 6
16
not an arabic jins here--western influence!
17
reaches flat 6 above Nah.; raised 4 ornament typical
20
is it worth parsing out this Hijaz? maybe not.
21
suspended 5 (like Husseini)
Tif Ya Durri
08
starts with emphasis on 5 (Kurd); like Husseini: resolves to 4
09
Hence Maqam "Hijazkar-Kurd"--starts Hijazkar 8, resolves Kurd 1
Gameel Gamaal
01
because it doesn't go up to 4 or 5 yet, we don't realize this will be Nakriz
02
actually goes all the way up to 9 in the last phrase
03
now we see that "Gameel Gamaal" phrase is bottom of Nakriz, not Nahawand
04
Bayati 5 typical in Nahawand, not Nawa Athar
06
Bayati descent from its 6th degree
13
In a sense, this isn't Rast 1, but Rast 4 underneath the Bayati
14
possible to parse the last part of phrase as a part of Rast
23
the note under the Hijaz tonic distinguishes it from Hijazkar
25
lazima descends from 6 above Hijaz
30
same verse ending for all three verses
39
Like Bayati, Saba 5 occurs more typically in Nahawand
40
An unusual combo with Saba, but this establishes Nawa Athar
47
back to same ending of verse
Aruh li meen
01
long passage in one jins, eventually up to 6
05
intro to 2nd verse; starts 3-4-5
06
strong emphasis on 4--feeling like Nakriz 4
08
just hint of Hijaz (flat 6)
09
2nd verse--long passage in Rast
10
prominent Hijaz of 2nd verse => Maqam Suznak
12
extended passage in Hijaz
13
use of raised 6 to return to Rast
17
3rd verse; brief start on 1
18
a unique jins, raised 4 in Sikah Beladi to emphasize 5
19
3 is where Hijaz occurs in Sikah; this resembles that
23
like #19, intervals not exactly Hijaz, but similar
26
melody doesn't dip underneath tonic
27
reaches up to 8 at end
28
+ back to instrumental, Sikah-Beladi 8
36
making our way back to a stable 5...
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
47
unusual usage of flat 7 w/o resolution to Nah. 5
51
(tonicizing 8 from below)
53
emphasis on 3, not tonicized yet
65
very conclusive phrase! pointing to the end
66
first extended emphasis on Nahawand
70
Raised 4 (2 relative to Sikah tonic) distinguishes from Sikah
73
Again, some might call this "Nakriz 4"
78
(again, emphasis on 4)
83
alternate parse of #81-2; descent within Rast from flat-7
Fakkaruni, Verse 1
02
with raised 4 => immediate strong tonicization of 5
04
tonicizing 5 from underneath
05
really only 5-4 with natural 4 (as opposed to half-# or #)
06
alternate parse of #02-03
07
tonicizing 5 from underneath
08
again, just 5-4 with natural 4 (as in jins Rast 1)
09
Strong Ajam feeling on 7
10
emphasis is still Nahawand 5, though in area of Rast 1
12
still emphasizing/tonicizing 5 here
13
a unique occurrence; the typical jins on 5 tonicizes 8
14
flat-7 pulls us back here
15
dips all the way down to 2 in Rast area
16
back to typical use, tonicizing 8 (contrast with #13)
17
really only flat-6 to 5
Mawwal Rast "Fein ya gameel wa3dak"
10
flat-9; 6 emphasized but not tonicized
11
resolution to 5 of 2nd Saba 6/8
17
really just a slide down 8-5
22
descends to 4 at phrase end
Ghannili Shwayya
02
melodic inclusion of 4 under tonicized 5
04
5-6-7 shared Bayati & Saba; ornamentation ambiguous
05
strong emphasis on 7 (3rd note above Nahawand 5)
06
phrase endings on 4, but tonic still 5
07
I'm told old man's voice is Zakaria Ahmed
08
again, melodic inclusion of 4
11
flat-5 distinguishes from Sikah 3
14
could chose a later parse point
15
between Sikah 3 & Hijaz 5 here.
16
again, ambiguous (=#04). Coloring it Saba this time
17
strong emphasis on flat-7
Hayrana Leh
11
could parse #10-11 together as "Rast 8"
14
use of raised 6 after Hijaz 5 to return to Rast 1
15
alternate parse of #05-09, including dips to 3-4-5
16
alternate parse of #10-11, including 2nd Rast area
17
final dip to 4 may seem momentarily like Ajam
19
use of raised 6 to return to Rast 1
20
(although melody here spans 6 to 9)
23
(although melody dips to 4)
27
stretches from 3 up to 9
31
use of raised 6 to return
Mawwal "Kull illy habb itnasaf"
06
end of qanun intro, start of layali
13
qanun jumps octave at end, anticipating--
14
extended passage includes resolutions to 5
20
violin tarjama (probably Gameel Ouweis)
24
#20-24 textbook "Dalansheen" passage
25
let the intensification begin!
26
typical Saba modulation
27
could start to just call this "Saba 6"
28
about as distant as possible to go from Rast 1!!
29
Sikah 4 part of this jins, from #25
30
finally, proper resolution 6-5
33
a completely unique modulation from Rast!
39
not sure if this return really works, but it's genius!
Sihtu Wajdan
04
Melodic emphasis on 3 (sikah)
06
2 instances of raised 2nd = "Sazkar"
07
repeat of first melody
13
real tonicization, unlike #5 & #11
16
other versions use Hijaz 5 (no raised 4)
17
other versions use Sikah 3
18
raised 6 to erase previous flat-6 of Hijaz
19
return to first melody
24
Sazkar with use of raised 2nd
Ya Maal ish-Sham
Ya Shadi il-Alhan
03
melody dips below down to 3
07
melody variant reaches up to 11
Huwa Sahih il-Hawa Ghallab
02
melodies go down to 6th underneath tonic
Hibbi Da3ani lil-Wisaal
01
melody stretches from 3 up to 8
02
6th degree maintains Hijaz tuning
03
tonicizes 3rd degree of Hijaz
Mihtaar Ya Naas
10
start of lazima before verse
12
return up to 7; Hijaz as neighbor of Nah.
15
includes raised 6th degree under nah. (= 5 rel. bayati)
16
return to Hijaz tonicization
Jadaka al-Ghaithu
04
alternate version of melody tonicizes 5 at end
08
skipping 2nd verse, on to 3rd
16
acting as a (typical) intensification of upper Rast
21
melody doesn't go above octave (just 6=>8)
23
identical verse ending
24
parsing Hijaz notes as part of Sikah (=#06-07)
Amana Ya Leil
01
starts underneath, prominent 6 & 7
03
use of flat-6, contrasting with Ajam
05
(3rd degree of Ajam 4)
06
includes 6 & 7 under octave tonic
10
flat 6 in lower (root) Hijaz jins
17
or could include within Hijaz 8 (no descent to 4)
27
Raised 6 above Ajam 4 (=raised 9 relative to Hijaz 1)
33
Violin: Gameel 3uweis. 3-4--7-8 melody
41
arrival at "Maqam" Ajam 4
52
long route here! (from #46)
54
raised 6 above Ajam 4 (#50-#51)
62
or Hijaz 8 with flat 6 above
65
= raised 6 relative to Ajam 4
66
no actual resolution to 4
Aya Daraha Bil-Haqq
02
including 6 & 7 underneath octave tonic
05
raised 6 above Ajam 4 (= 9 relative to Hijaz 1)
11
use of raised 6 above Ajam 4
15
Raised 6 above Ajam; Same verse ending
Ya Halawt-id-Dunya
07
use of raised 6 above Ajam 4 (= 9 relative to Hijaz 1)
18
doesn't resolve to root as hijazkar
19
use of raised 6 above Ajam 4
27
includes flat 6 above (= 9 relative to Hijaz)