Master List

01

02

03

04

05

06

07

08

09

10

11

12

13

14

15

16

17

18

01

02

03

04

use of raised 6 to return

05

2nd Verse

06

4 returns to normal

07

08

09

use of raised 6 to return

10

dips down to 3

11

lowered 7

12

13

14

emphasis on 4

15

16

or could be interpreted within Hijaz 5

17

18

emphasis on 5, Hijaz

19

20

again, although technically in ajam range

21

16-21 could all be grouped as Hijaz 5

22

23

ending...

24

use of raised 6 to return

01

02

03

(or Ajam 6)

04

alternate parsing

05

(or 2nd ajam 3/6)

06

07

08

a.k.a. "Shuri"

09

10

11

condensing 04-06, alternate parse

12

13

Shuri

14

15

16

As above, feeling of Husseini 5 and Ajam 3

17

melody variant, dipping to octave below of Ajam

18

19

20

21

melody variant, using bayati on the octave

22

23

01

02

also strong emphasis on Ajam 6, with notes underneath

03

04

strong Ajam 6

05

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)

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

a pity to cut up further this incredibly beautiful melody!

22

23

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

up to Ajam, down to Nahawand (prominent 3)

27

Shuri again

28

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)

34

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

01

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

07

lazima

08

09

ending + chorus, not parsing out lazima (=02 & 04)

10

not parsing out bayati lazima (like 07)

11

12

"Husseini" Nahawand/ not parsing out bayati lawazim

13

14

15

includes start of wahda for mawwal

16

majority of mawwal in Rast 4 (typical for Farid)

17

18

mawwal ends

19

final verse; equivalent to 12-15

20

21

22

+ start of final chorus

23

24

01

02

03

04

including notes under tonic; could also parse as Bayati

05

06

could also parse within Bayati 1

07

08

could also call "2nd Ajam 3/6"; tonic is 6, but note span 3-6

09

"Husseini" = emphasis on 5 descent to 4

10

11

a.k.a. "Secondary Ajam 3/6"

12

13

14

emphasis on 5--resolving to 4 in next phrases

15

16

includes baggage underneath 2 & 3

17

18

little bit of bayati at the octave within melody

19

20

21

alternate parse of 08-11: bayati descent from 6

22

23

24

not fully realized until #27--just basically 7 to 8

25

26

27

inclusion of 7 within jins

28

29

30

31

32

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

36

37

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

41

42

43

44

though it is really only the note "6"

45

includes dip down to 3 under tonic of 4 (also typical)

46

47

48

admittedly, first 3 notes could be parsed as 2nd Ajam 3/6

49

50

51

start of taqsim

52

opening could also be parsed as Ajam 3

53

don't be thrown off by phrase ending a step below tonic

54

55

56

57

bayati octave hinted from start of phrase

58

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

62

dips down to 2 & 3

63

"Shuri"--which doesn't appear anywhere in the Samai itself

64

65

66

descent from 6

67

68

69

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

04

05

06

07

Melody descent, starting with Husseini emphasis (= #02-03)

08

09

full-octave descent through both ajnas

10

including baggage underneath, 7 - 6 - 7 - 8

11

use of raised 6 above Rast to descend

12

13

14

15

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

19

descent from 6

20

starts on 6, although admittedly tonicization not strong

21

22

again, Ajam not very strong here. could parse just as Nahawand

23

24

25

26

27

about to resolve down to Rast 4 in lower octave

28

29

30

a little Sazkar here (raised 2 of Rast)

31

resolution down

32

going up to 5

33

34

01

02

03

04

05

including 6 & 7 underneath octave tonic

06

07

including the area of 2nd rast

08

09

10

11

12

13

brief dip into 2nd Rast territory

14

emphasis on 9, 2nd degree above 8

15

resolution of #14

16

a typical rast modulation.

17

18

01

prominent note a step below tonic

02

03

prominent use of 5

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

01

melody uses both step below tonic, and up to 6

01

scale degrees 6 & 7 different than Hijaz

02

03

Warda sings down octave to Hijaz; chorus sings up to Hijazkar

04

05

06

descending from flat 6

07

08

09

10

11

12

13

14

15

16

not an arabic jins here--western influence!

17

reaches flat 6 above Nah.; raised 4 ornament typical

18

19

20

is it worth parsing out this Hijaz? maybe not.

21

suspended 5 (like Husseini)

22

23

descent from flat 6

24

25

26

27

01

02

03

04

05

06

07

08

starts with emphasis on 5 (Kurd); like Husseini: resolves to 4

09

Hence Maqam "Hijazkar-Kurd"--starts Hijazkar 8, resolves Kurd 1

10

11

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

05

06

Bayati descent from its 6th degree

07

08

09

10

11

12

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

15

16

17

18

19

20

21

22

23

the note under the Hijaz tonic distinguishes it from Hijazkar

24

25

lazima descends from 6 above Hijaz

26

27

28

29

30

same verse ending for all three verses

31

32

33

34

35

36

37

38

39

Like Bayati, Saba 5 occurs more typically in Nahawand

40

An unusual combo with Saba, but this establishes Nawa Athar

41

42

43

44

45

46

47

back to same ending of verse

48

49

50

51

52

53

54

55

01

long passage in one jins, eventually up to 6

02

03

04

05

intro to 2nd verse; starts 3-4-5

06

strong emphasis on 4--feeling like Nakriz 4

07

08

just hint of Hijaz (flat 6)

09

2nd verse--long passage in Rast

10

prominent Hijaz of 2nd verse => Maqam Suznak

11

12

extended passage in Hijaz

13

use of raised 6 to return to Rast

14

shared verse ending

15

16

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

20

21

22

23

like #19, intervals not exactly Hijaz, but similar

24

25

26

melody doesn't dip underneath tonic

27

reaches up to 8 at end

28

+ back to instrumental, Sikah-Beladi 8

29

30

31

32

33

34

35

36

making our way back to a stable 5...

37

also includes 3-4-5

38

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

43

shared verse ending

44

45

46

4th verse intro

47

unusual usage of flat 7 w/o resolution to Nah. 5

48

49

very striking!

50

51

(tonicizing 8 from below)

52

53

emphasis on 3, not tonicized yet

54

55

56

emphasis on 3

57

58

59

60

61

62

63

64

65

very conclusive phrase! pointing to the end

66

first extended emphasis on Nahawand

67

68

69

70

Raised 4 (2 relative to Sikah tonic) distinguishes from Sikah

71

emphasis on 4

72

73

Again, some might call this "Nakriz 4"

74

75

76

77

78

(again, emphasis on 4)

79

80

81

strong flat-7

82

83

alternate parse of #81-2; descent within Rast from flat-7

84

shared verse ending

85

86

01

02

with raised 4 => immediate strong tonicization of 5

03

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

11

Strong Ajam 7

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

18

end of verse 1

01

02

dips to 7 & 6

03

04

05

06

07

dips to 7 & 6

08

09

ends on 6

10

flat-9; 6 emphasized but not tonicized

11

resolution to 5 of 2nd Saba 6/8

12

phrase end 6

13

14

15

16

end on 6

17

really just a slide down 8-5

18

19

20

goes up to 10-9-8

21

22

descends to 4 at phrase end

23

24

25

descent from 9

26

27

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

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

01

02

03

04

05

06

end of qanun intro, start of layali

07

08

09

10

11

12

13

qanun jumps octave at end, anticipating--

14

extended passage includes resolutions to 5

15

16

17

18

19

20

violin tarjama (probably Gameel Ouweis)

21

22

23

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

31

Suddenly transported!

32

33

a completely unique modulation from Rast!

34

35

36

37

38

39

not sure if this return really works, but it's genius!

01

melody extends to 9

02

03

04

Melodic emphasis on 3 (sikah)

05

06

2 instances of raised 2nd = "Sazkar"

07

repeat of first melody

08

09

10

melodic emphasis on 3

11

12

raised 2nd = "Sazkar"

13

real tonicization, unlike #5 & #11

14

Sikah with raised 2nd

15

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

20

21

22

sikah emphasis

23

24

Sazkar with use of raised 2nd

01

02

03

04

05

06

07

(octave)

08

09

10

11

12

13

14

15

16

17

18

(octave)

19

20

21

22

23

24

25

(octave)

26

27

28

29

30

31

32

33

34

35

36

37

38

39

resolution down 6 =>5

40

41

42

43

44

45

46

47

48

01

02

03

melody dips below down to 3

04

05

06

07

melody variant reaches up to 11

08

09

10

11

12

02

melodies go down to 6th underneath tonic

01

melody stretches from 3 up to 8

02

6th degree maintains Hijaz tuning

03

tonicizes 3rd degree of Hijaz

04

05

01

(Doulab intro)

02

03

04

05

06

07

08

09

10

start of lazima before verse

11

12

return up to 7; Hijaz as neighbor of Nah.

13

14

15

includes raised 6th degree under nah. (= 5 rel. bayati)

16

return to Hijaz tonicization

17

18

19

01

02

03

04

alternate version of melody tonicizes 5 at end

05

06

07

08

skipping 2nd verse, on to 3rd

09

10

11

12

13

14

15

16

acting as a (typical) intensification of upper Rast

17

18

19

20

21

melody doesn't go above octave (just 6=>8)

22

23

identical verse ending

24

parsing Hijaz notes as part of Sikah (=#06-07)

01

starts underneath, prominent 6 & 7

02

03

use of flat-6, contrasting with Ajam

04

use of 6 & 7

05

(3rd degree of Ajam 4)

06

includes 6 & 7 under octave tonic

07

08

09

10

flat 6 in lower (root) Hijaz jins

11

12

13

flat-6 again

14

15

16

17

or could include within Hijaz 8 (no descent to 4)

18

19

20

no use of flat 6

21

22

23

24

start of mawwal

25

26

27

Raised 6 above Ajam 4 (=raised 9 relative to Hijaz 1)

28

flat 6 above Hijaz

29

30

wide span

31

32

33

Violin: Gameel 3uweis. 3-4--7-8 melody

34

35

36

37

38

end of violin tarjama

39

(octave of 4)

40

41

arrival at "Maqam" Ajam 4

42

43

44

45

46

47

48

49

50

descent to Ajam 4

51

52

long route here! (from #46)

53

tarjama only from #49

54

raised 6 above Ajam 4 (#50-#51)

55

56

57

58

59

60

(4-6-8) arpeggio

61

62

or Hijaz 8 with flat 6 above

63

64

65

= raised 6 relative to Ajam 4

66

no actual resolution to 4

67

ending on 7

68

raised 6 above Ajam 4

69

Wow!

01

02

including 6 & 7 underneath octave tonic

03

04

05

raised 6 above Ajam 4 (= 9 relative to Hijaz 1)

06

07

melody repeat

08

09

10

11

use of raised 6 above Ajam 4

12

13

14

15

Raised 6 above Ajam; Same verse ending

16

01

02

03

04

05

06

07

use of raised 6 above Ajam 4 (= 9 relative to Hijaz 1)

08

09

10

11

12

13

2nd Verse: Hijazkar

14

15

16

17

18

doesn't resolve to root as hijazkar

19

use of raised 6 above Ajam 4

20

21

22

23

24

25

flat 6 above Ajam

26

27

includes flat 6 above (= 9 relative to Hijaz)

28

raised 6 above Ajam

29

30

31

32

33