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Maqam Lessons تَحْليلُ المَقام

Analyses›Ba3eed 3annak

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Ba3eed 3annak

Verses 1 & 2

A classic late Umm Kulthum song very popular with the dancers (though I've cut out the first instrumental intro here!), but in fact a very rich Tarab composition as well. Later verses explore maqamat beyond Bayati, but the first two presented here give a fairly full picture of that maqam. The instrumental intro to the second verse (starting #16) has to be one of Baligh's best melodies, although it's stiff competition with all of the other amazing tunes he's written.

See the following analyses: Jins Bayati, Jins Nahawand, Jins Ajam, Jins Rast, Jins Hijaz, Jins Rast Baggage, Bayati Pathways: Nahawand & Ajam, Bayati Pathways: Rast, Bayati Pathways: Hijaz

Maqam Bayati

Composer: Baligh Hamdy

Performer: Umm Kulthum

Ba3eed 3annak (complete recording)

(The complete recording contains an instrumental intro - starting in Maqam Kurd - not included in this analysis, and the first and second verses are repeated in the complete recording, but not in the analysis. Later verses in the recording, which depart from the area of Maqam Bayati, are not included in the analysis.)

Original clip-by-clip analysis · 37 clips

01

02

also strong emphasis on Ajam 6, with notes underneath

03

04

strong Ajam 6

05

06

Nah. 4 - Bayati 1

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)

11

12

lazima

13

14

prominent emphasis on 7

15

16

ending of first verse, starting instrumental of verse 2

17

prominent 6 & 3 within melody

18

19

20

21

Nah. 4 - Bayati 1

a pity to cut up further this incredibly beautiful melody!

22

23

Ajam 6 - Nah. 4

up to Ajam, then down to Nahawand. A challenging parse.

24

"Shuri"--don't mistake for Nakriz 3 when melody ends on 3!

25

26

Ajam 6 - Nah. 4

up to Ajam, down to Nahawand (prominent 3)

27

Shuri again

28

29

finally, an extended Nahawand treatment

30

prominent modified notes under Rast tonic (2 & 3)

31

lazima in bayati 1 range (1-3-5)

32

Rast 4 + Bayati 8

emphasis on octave, with a note above

33

verse ending (same as 1st verse 07-09)

34

35

35-36 different parsing of same melody in 11-14,

36

tonicizing 8 from notes underneath.

37

Nah 4 - Bayati 1

full octave descent Nahawand - Bayati; = 15-16

<< "Maqam Analysis: A Primer" ^ List of Songs ^ Resources / Links >> << Aruh Li Meen Dawr "Ijma3 Shufna" >>