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Rast Analyses (p2)

Hayrana Leh

[song page with full recording]

01

02

03

04

05

06

just 3-4-5 here

07

08

again, just 3-4-5

09

10

11

could parse #10-11 together as "Rast 8"

12

dips to 4

13

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

18

19

use of raised 6 to return to Rast 1

20

(although melody here spans 6 to 9)

21

22

23

(although melody dips to 4)

24

25

26

27

stretches from 3 up to 9

28

29

30

31

use of raised 6 to return


(Maqam Suznak)

This version of Rast, known sometimes as "Maqam Suznak" for its emphasis on Jins Hijaz on the 5th scale degree, is also known simply as Rast, with an emphasis on 5. "Ghannili Shwayya" emphasizes the "Suznak" aspect, in that all verses end using Hijaz 5 as the second-to-final jins. Aruh Li meen is broader, (see extended discussion of Aruh Li meen), having many options of Rast pathways, but always emphasizing the 5th scale degree as the most important secondary tonic... and then in its final verse giving some time to the Secondary Rast pathway that dominates the first version of Rast.

Ghannili Shwayya

[song page with full recording]

01

02

melodic inclusion of 4 under tonicized 5

03

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

09

10

11

flat-5 distinguishes from Sikah 3

12

starts 3-4-5

13

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

18

19

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