(The complete recording also includes an extended layali in Maqam Rast, followed by the Dawr "Aslil-Gharam," another recording of which can be found after the recording of Ya Shadi il-Alhan.)
melody extends to 9
Melodic emphasis on 3 (sikah)
2 instances of raised 2nd = "Sazkar"
repeat of first melody
melodic emphasis on 3
raised 2nd = "Sazkar"
real tonicization, unlike #5 & #11
Sikah with raised 2nd
other versions use Hijaz 5 (no raised 4)
other versions use Sikah 3
raised 6 to erase previous flat-6 of Hijaz
return to first melody
sikah emphasis
Sazkar with use of raised 2nd