Here is a clear explanation of what a maqam is: Makam means a MUSICAL SCALE in arabic - here the term 'musical' does not mean music per say but means SOUND - any sound in the world has a certain frequency, even your electric shaver, we call that a NOTE, so a bunch of NOTES in a certain order will make up a SCALE - now when you change that order or sequence of NOTES the SCALE changes. A certain sequence (scale/makam) will be "PERCEIVED" as SAD, Happy, Victorious, mystical, elegant, etc, - all those perceptions are culturally learnt to be perceived in that way depending on what "YOUR" culture associated that specific maqam/scale to. So for instance since we are kids we always associated the MAJOR scale which in arabic is called "AJAM MAQAM" with happiness, kids, playfulness, because almost ALL nursery rhymes all around the world uses the MAJOR SCALE in kid songs "twinkle twinkle, cocorasha, old mcdonald" - so then when we grow up and hear that scale we will associate it with happiness.. now lets relate this to using Maqams in QURAN - so same concept applies, as we said each MAQAM has its own FEELING, now basically you try to use the MOST SUITABLE makam to "compliment" the context of the quranic verses you are reciting. So for example you would NOT use a MAJOR SCALE or AJAM to read a verse about "Death, Punishment, Hellfire and so on". Here are the main scales or maqams that are used in the arab world: RAST (power, happiness, folklore, humbleness) SABA (extremely sad, fear, tears, regret, remorse) Hijaz (he explains it in this video, it is very very mystical and has a very arabianesque feel to it Bayati (mature, serious, arabian power, poetic, wise, deep) Sika (extremely arabic, provocative, happiness) Nahawand (mystical, kind of sad, thoughtful, natural, nature, elements of the world) Kurd (similar to nahawand but hold an even more arabian and rougher tone to it due to its immediate half tone cut off) Ajam - and off course the happy childlike, festive makam Thank You
00:39 He gives an example of maqam Hijaz used in Athan. Many people hear this maqam in Athan and many people can preform the Athan in maqam Hijaz [I guess because they are familiar with the Athan preformed in maqam Hijaz]. 00:58 Now we will recite in maqam Hijaz in tarteel (faster) style [Surat At-Tin].
04:47 Hijaz Qarar (i.e. low pitch). 05:40 We recited in maqam Hijaz and Hijaz Kar. Hijaz Kar is a maqam (branch of maqam Hijaz) which is used by many Quran recitors in the Islamic world, Shaykh Mustafa Ismail recites a lot in this maqam. And this maqam, in many cases, leads them towards reciting in maqam Hijaz Asli (i.e. prepares the recitor for maqam Hijaz Asli).
02:03 In Tajweed we can recite as follows [Surat Al-Fajr]. He recites first in Hijaz (Asli-Original) 02:35 He recites in a branch of Hijaz called Hijaz Kar [Kar means construction.. it is not an Arab word]. 04:24 He returns back to Hijaz Asli. 04:38 Returns back to Hijaz Kar.
06:08 We can also recite Islamic Anashed in maqam Hijaz. He gives example and the words are written as subtitles (You'll notice that the tajweed rules of the Quran are not applied here and it isn't necessary neither is it common to do so).
@IbnuRafi Actually maqam hijaz, that melody originates with the call for Prayer, and was named after that region. Subhanallah its amazing how sound can travel through the ages. As for the tajweed rules allowing only three tones, I don't exactly understand this myself. If you look at the wiki page for Quran recitation, it mentions the restriction of 3 tones. I'm not exactly sure what that means or if it is true, but the important thing is the differentiation between singing and recitation.
@TheMuslimBro The Qurra who recite in the mujawwad style (like Sh. Minshawi, Sh. Abdul Basit, etc) actually do change maqams during a single recitation ... they might normally start out in maqam bayati and then move in to other maqamat from there. Many of the murattal reciters more commonly stick to one maqam ... that's their "tune" ... there are some exceptions though
Video Title: Maqam Hijaz with Shaykh Dr. Mahmood Ibrahim, instructor at Azhar University. 00:10 The third maqam (i.e. third he's teaching) is maqam hijaz. It is usually employed to recite the ayahs which talk about ancient times and what relates to what happened during these ancient times. And it is habit to use this maqam in Athan (Call to Prayer) in all Islamic countires.
is very different the melody is different. and bayyati has mor emelody. bayyati asli. bayyati alan nawaa.. bayyati hussaini bayyati bayyati jawab and jawabul jawab
@ReciteinTune Also the term maqam is actually a misnomer. The correct term is a jins (plural ajnaas). Technically a maqam is a combination of two or more ajnaas. For example maqam hijaz usually begins with the four notes of the hijaz jins then the four notes of the rast jins.
@codectified ---The third is that the rigidness of the maqam nowadays was not found in the past. That is, the reciters before did not follow maqam systems, instead they recited what naturally came to them, people later recognized a pattern between them and formulated then into maqamat.
Actually, since my comment I've done a little maqam studying. Switching maqams during recitation is usually breaking the rules of tajweed. That is to say, a maqam is a set of three notes with specific intervals. Abdel Basit for example often uses Maqam Bayati, Husaray often uses Nahwand. Strict tajweed rules usually allow only three tones, but I'm not exactly sure who strict this is, because even famous qaris break this rule from time to time, adding a fourth or fifth tone.
@khadijabarhoumi jazakumullah khair for translating a few of these videos. just to clarify, dr. mahmood here is reciting from surah al-fajr in the qira'ah of hamza ... he's not reciting in warsh.
@codectified Much of arabic music uses maqams. You can easily find a song in maqam hijaz or bayati or nahawand. But the way the melody moves in music like that would not be allowed for quranic recitation. What the exact restrictions are I am not sure. But if you ever hear tajweed practice, they only use one note, two at the most. I find famous qaris often use at least three notes but usually more. Whether this is permissible or not I cannot say more than Allahu a'lam.
@codectified jazakallahu khairan I could not find the three tones thing; however considering you found it on wikipedia I do not see any truth in it anyways. As for the maqam hijaz originating in the adhan there are a few things I wish to mention first. The first fact is that the maqam was not formulated until later. The second is that the maqam's themselves are based on natural tones that humans make, when a man says something with a melody they will naturally resemble one of the maqams----
@codectified I would like to know where it has been ruled that tajweed rules only allow for three tones. I have never read about this in any classical work of tajweed. We should also note that during the time of the Prophet (SAW) the classification of the maqam did not exist the way it does today.
@codectified Sorry, what I mean is that they use different maqams in different recitations. Surely there's not a rule that says you have to stick to the same one everytime you read
@IbnuRafi Wikipedia deserves some credit! here is the link btw; wikipedia[dot]org/wiki/Qur%27an_reading (it is in the beginning). It is true that the strictness of maqam hijaz and all the maqams in general where not formulated during the time of the prophet, what I wanted to point out was that the melody, those four distinct notes of the hijaz jins are nearly exactly the same as they were 1400 years ago.
tarteel is slow with tajweed. tadweer is in th emiddle of fast and slow like sheikh sudais. with tajweed. and hadr. is faster then that. they use it in taraweeh prayers in pakistan and india and i use it too sometimes
@codectified i doubt you'll be able to associate any particular Maqam with any famous Qari as they switch between them so much while reading. Even Abdul Basit depending on which recitation you're listening to
does anyone know which maqams are used with regard to some famous qaris? Did they stick to one only? It seems that abdulbasit used bayati a lot, but what about others? Afasy? Sudais? Hosary? I find it difficult to figure out my ear alone...
@codectified The human voice, when saying the adhan, mixes all sorts of elements from different maqamat unless you purposely say it in one. The maqamat are not religious in nature so they should not be credited as so. Just because you have a muadhin saying an adhan in a specific maqam doesn't make that maqam holy, and neither does it make the maqam suitable for the adhan. It is true that by studying the maqam you can beautify your voice, but could also study no maqam and recite beautifully.
and i have collection of the maqamat wiht poetrie. just the bginnings. saba 'ara tairan alal gusni junadi' rast ya sayyidal kaunainie ja allamal hudá' bayyati 'nurun nabiyyi alal awalimi asfara' jiharkah'Allahu zada Muhammadan Ta zeema' nahawand. 'ya kam zattajaanni' sika'ya man jurajja fil qiyamati' hijaz' ya wardatan'
@codectified I dont want to give the impression that I have had any training in Maqam's or anything. I've just done a bit of reading about them. I can recognise some of them by ear sometimes such as Nahawand, rast etc. but im not qualified or anything lol
im not so sure that this is true... shouldn't switching between maqams while reciting break the three-tone limitation of tarteel/tajweed? it hardly seems to me that any qari changes "key" during recitation... (although my lack of familiarity with maqams in general could be deceiving me) on the contrary abdul basit for example has many common melodies that are very unique to his style of recitation
Respond to this video... Also, I'm not sure if I exactly understand your second point, but the arabic maqams are just that --they are arabic. They are very dissimilar to western music or oriental music or anything like that. The arabic maqams cover a wide range of different sounds, but it is certainly not all of them. That is, for example, western melodies sound western, they don't arab because they do no use maqams.
@codectified JazakAllahu khairan I understand that Wikipedia has its merits; however the "three" tones idea is fabricated. During the time of the prophet (SAW) the 'tones" were not formulated so claiming that you could only use three is baseless, as the Prophet never taught such a thing. The melody of hijaz cannot be proven to originate from the adhan, in fact it isn't. It is a natural melody of the human voice that existed for a long time, so you shouldn't say that it has arisen from the adhan
Here is a clear explanation of what a maqam is: Makam means a MUSICAL SCALE in arabic - here the term 'musical' does not mean music per say but means SOUND - any sound in the world has a certain frequency, even your electric shaver, we call that a NOTE, so a bunch of NOTES in a certain order will make up a SCALE - now when you change that order or sequence of NOTES the SCALE changes. A certain sequence (scale/makam) will be "PERCEIVED" as SAD, Happy, Victorious, mystical, elegant, etc, - all those perceptions are culturally learnt to be perceived in that way depending on what "YOUR" culture associated that specific maqam/scale to. So for instance since we are kids we always associated the MAJOR scale which in arabic is called "AJAM MAQAM" with happiness, kids, playfulness, because almost ALL nursery rhymes all around the world uses the MAJOR SCALE in kid songs "twinkle twinkle, cocorasha, old mcdonald" - so then when we grow up and hear that scale we will associate it with happiness..
now lets relate this to using Maqams in QURAN - so same concept applies, as we said each MAQAM has its own FEELING, now basically you try to use the MOST SUITABLE makam to "compliment" the context of the quranic verses you are reciting.
So for example you would NOT use a MAJOR SCALE or AJAM to read a verse about "Death, Punishment, Hellfire and so on".
Here are the main scales or maqams that are used in the arab world:
RAST (power, happiness, folklore, humbleness) SABA (extremely sad, fear, tears, regret, remorse)
Hijaz (he explains it in this video, it is very very mystical and has a very arabianesque feel to it
Bayati (mature, serious, arabian power, poetic, wise, deep)
Sika (extremely arabic, provocative, happiness)
Nahawand (mystical, kind of sad, thoughtful, natural, nature, elements of the world)
Kurd (similar to nahawand but hold an even more arabian and rougher tone to it due to its immediate half tone cut off)
Ajam - and off course the happy childlike, festive makam
Thank You
00:39 He gives an example of maqam Hijaz used in Athan. Many people hear this maqam in Athan and many people can preform the Athan in maqam Hijaz [I guess because they are familiar with the Athan preformed in maqam Hijaz].
00:58 Now we will recite in maqam Hijaz in tarteel (faster) style [Surat At-Tin].
04:47 Hijaz Qarar (i.e. low pitch).
05:40 We recited in maqam Hijaz and Hijaz Kar. Hijaz Kar is a maqam (branch of maqam Hijaz) which is used by many Quran recitors in the Islamic world, Shaykh Mustafa Ismail recites a lot in this maqam. And this maqam, in many cases, leads them towards reciting in maqam Hijaz Asli (i.e. prepares the recitor for maqam Hijaz Asli).
02:03 In Tajweed we can recite as follows [Surat Al-Fajr]. He recites first in Hijaz (Asli-Original)
02:35 He recites in a branch of Hijaz called Hijaz Kar [Kar means construction.. it is not an Arab word].
04:24 He returns back to Hijaz Asli.
04:38 Returns back to Hijaz Kar.
06:08 We can also recite Islamic Anashed in maqam Hijaz. He gives example and the words are written as subtitles (You'll notice that the tajweed rules of the Quran are not applied here and it isn't necessary neither is it common to do so).
بارك اللة بصوتك شيخناو تدربت عليها جميعها و اتقنتها بشكل ممتازو شكرا
@IbnuRafi Actually maqam hijaz, that melody originates with the call for Prayer, and was named after that region. Subhanallah its amazing how sound can travel through the ages. As for the tajweed rules allowing only three tones, I don't exactly understand this myself. If you look at the wiki page for Quran recitation, it mentions the restriction of 3 tones. I'm not exactly sure what that means or if it is true, but the important thing is the differentiation between singing and recitation.
@TheMuslimBro The Qurra who recite in the mujawwad style (like Sh. Minshawi, Sh. Abdul Basit, etc) actually do change maqams during a single recitation ... they might normally start out in maqam bayati and then move in to other maqamat from there. Many of the murattal reciters more commonly stick to one maqam ... that's their "tune" ... there are some exceptions though
Video Title: Maqam Hijaz with Shaykh Dr. Mahmood Ibrahim, instructor at Azhar University.
00:10 The third maqam (i.e. third he's teaching) is maqam hijaz. It is usually employed to recite the ayahs which talk about ancient times and what relates to what happened during these ancient times. And it is habit to use this maqam in Athan (Call to Prayer) in all Islamic countires.
is very different the melody is different. and bayyati has mor emelody. bayyati asli. bayyati alan nawaa.. bayyati hussaini bayyati bayyati jawab and jawabul jawab
@ReciteinTune Also the term maqam is actually a misnomer. The correct term is a jins (plural ajnaas). Technically a maqam is a combination of two or more ajnaas. For example maqam hijaz usually begins with the four notes of the hijaz jins then the four notes of the rast jins.
@1DON90 when dr. mahmood says tarteel and tajweed he's referring to the murattal style and mujawwad style of recitation
@codectified
---The third is that the rigidness of the maqam nowadays was not found in the past. That is, the reciters before did not follow maqam systems, instead they recited what naturally came to them, people later recognized a pattern between them and formulated then into maqamat.
Actually, since my comment I've done a little maqam studying. Switching maqams during recitation is usually breaking the rules of tajweed. That is to say, a maqam is a set of three notes with specific intervals. Abdel Basit for example often uses Maqam Bayati, Husaray often uses Nahwand. Strict tajweed rules usually allow only three tones, but I'm not exactly sure who strict this is, because even famous qaris break this rule from time to time, adding a fourth or fifth tone.
@khadijabarhoumi jazakumullah khair for translating a few of these videos. just to clarify, dr. mahmood here is reciting from surah al-fajr in the qira'ah of hamza ... he's not reciting in warsh.
@codectified Much of arabic music uses maqams. You can easily find a song in maqam hijaz or bayati or nahawand. But the way the melody moves in music like that would not be allowed for quranic recitation. What the exact restrictions are I am not sure. But if you ever hear tajweed practice, they only use one note, two at the most. I find famous qaris often use at least three notes but usually more. Whether this is permissible or not I cannot say more than Allahu a'lam.
@codectified
jazakallahu khairan
I could not find the three tones thing; however considering you found it on wikipedia I do not see any truth in it anyways. As for the maqam hijaz originating in the adhan there are a few things I wish to mention first. The first fact is that the maqam was not formulated until later. The second is that the maqam's themselves are based on natural tones that humans make, when a man says something with a melody they will naturally resemble one of the maqams----
@codectified yeah the qurra do switch between maqamat during their recitation .. those different melodies you're talking abt are the diff maqamat
@codectified
I would like to know where it has been ruled that tajweed rules only allow for three tones. I have never read about this in any classical work of tajweed. We should also note that during the time of the Prophet (SAW) the classification of the maqam did not exist the way it does today.
amazing subhanallah.
@codectified Sorry, what I mean is that they use different maqams in different recitations. Surely there's not a rule that says you have to stick to the same one everytime you read
@IbnuRafi Wikipedia deserves some credit! here is the link btw; wikipedia[dot]org/wiki/Qur%27an_reading (it is in the beginning). It is true that the strictness of maqam hijaz and all the maqams in general where not formulated during the time of the prophet, what I wanted to point out was that the melody, those four distinct notes of the hijaz jins are nearly exactly the same as they were 1400 years ago.
tarteel is slow with tajweed. tadweer is in th emiddle of fast and slow like sheikh sudais. with tajweed. and hadr. is faster then that. they use it in taraweeh prayers in pakistan and india and i use it too sometimes
oh okay that makes sense.. but personally are you able to identify the maqam used by ear?
تنبيه : يقال و يكتب " اللهم صل " بدون ياء و لا يقال صلي لأنه للمؤنث
@codectified i doubt you'll be able to associate any particular Maqam with any famous Qari as they switch between them so much while reading. Even Abdul Basit depending on which recitation you're listening to
does anyone know which maqams are used with regard to some famous qaris? Did they stick to one only? It seems that abdulbasit used bayati a lot, but what about others? Afasy? Sudais? Hosary? I find it difficult to figure out my ear alone...
@codectified
The human voice, when saying the adhan, mixes all sorts of elements from different maqamat unless you purposely say it in one. The maqamat are not religious in nature so they should not be credited as so. Just because you have a muadhin saying an adhan in a specific maqam doesn't make that maqam holy, and neither does it make the maqam suitable for the adhan. It is true that by studying the maqam you can beautify your voice, but could also study no maqam and recite beautifully.
and i have collection of the maqamat wiht poetrie. just the bginnings. saba 'ara tairan alal gusni junadi' rast ya sayyidal kaunainie ja allamal hudá' bayyati 'nurun nabiyyi alal awalimi asfara' jiharkah'Allahu zada Muhammadan Ta zeema' nahawand. 'ya kam zattajaanni' sika'ya man jurajja fil qiyamati' hijaz' ya wardatan'
@codectified I dont want to give the impression that I have had any training in Maqam's or anything. I've just done a bit of reading about them. I can recognise some of them by ear sometimes such as Nahawand, rast etc. but im not qualified or anything lol
tarteel tadweer and hadr
im not so sure that this is true... shouldn't switching between maqams while reciting break the three-tone limitation of tarteel/tajweed?
it hardly seems to me that any qari changes "key" during recitation... (although my lack of familiarity with maqams in general could be deceiving me) on the contrary abdul basit for example has many common melodies that are very unique to his style of recitation
Respond to this video...
Also, I'm not sure if I exactly understand your second point, but the arabic maqams are just that --they are arabic. They are very dissimilar to western music or oriental music or anything like that. The arabic maqams cover a wide range of different sounds, but it is certainly not all of them. That is, for example, western melodies sound western, they don't arab because they do no use maqams.
@codectified
JazakAllahu khairan
I understand that Wikipedia has its merits; however the "three" tones idea is fabricated. During the time of the prophet (SAW) the 'tones" were not formulated so claiming that you could only use three is baseless, as the Prophet never taught such a thing. The melody of hijaz cannot be proven to originate from the adhan, in fact it isn't. It is a natural melody of the human voice that existed for a long time, so you shouldn't say that it has arisen from the adhan