Maqam Sikah Family

 Maqam Sikah Pronunciation

 
Rast on G
Trichord Tetrachord
G clef E half-flat F G A B half flat C D E half-flat
3/4 tone 1 tone 1 tone 3/4 tone 3/4 tone 1 tone 3/4 tone

 


 
Trichord Tetrachord
G clef E half-flat F G A B flat C D E half-flat
3/4 tone 1 tone 1 tone 1/2 tone 1 tone 1 tone 3/4 tone

 


Maqam Sikah has two forms shown above. Often the first form (Sikah-Rast) is used on the way up, and the second form (Sikah-Nahawand) is used on the way down.
 

Hear this Maqam:

Violin   Maqam Sikah on E - Form 1
Violin   Maqam Sikah on E - Form 2
Oud   Maqam Sikah on E
Buzuq   Maqam Sikah on E

 Maqam Huzam Pronunciation
 
Hijaz on G
Trichord Tetrachord
G clef E half-flat F G A flat B C D E half-flat
3/4 tone 1 tone 1/2 tone 1 1/2 tone 1/2 tone 1 tone 3/4 tone

 


Maqam Huzam is the most popular variation of maqam Sikah, with the second tetrachord being Hijaz. Pieces in Sikah rarely go far without modulating on maqam Huzam.
 

Hear this Maqam:

Violin   Maqam Huzam on E
Oud   Maqam Huzam on E
Buzuq   Maqam Huzam on E

Samples:

  Um Kulthum: Dawr Emta El-Hawa
  Muwashah Ya Ghusna Naqa
  Muwashah Ayyuha Al-Saqi
  Fairouz: Marmar Zamani
  El-Hali Taabani Ya Layla
  Doulab Huzam Sabah Fakhri
  Doulab Huzam Sabah Fakhri
  Doulab Huzam George Abyad
  Doulab Huzam


 Maqam Rahat El Arwah Pronunciation

 
Hijaz on G
Trichord Tetrachord
G clef B half-flat C D E flat F # G A B half-flat
3/4 tone 1 tone 1/2 tone 1 1/2 tone 1/2 tone 1 tone 3/4 tone

 


Maqam Rahat El Arwah is a transposed version of maqam Huzam, starting on B half-flat. Its mood differs from maqam Huzam due to its lower tuning.
 

Hear this Maqam:

Violin   Rahat El Arwah on B
Oud   Rahat El Arwah on B
Buzuq   Rahat El Arwah on B

Samples:

  Zakariya Ahmad: Dawr Inta Fahim
  Um Kulthum: El-Wardi Gamil
  Muwashah Ya Wahid Al Ghid
  Doulab Rahat El Arwah
  Doulab Rahat El Arwah

 


 Maqam Iraq Pronunciation

 
Bayati on D
Trichord tetrachord
G clef B half-flat C D E half flat F G A B half-flat
3/4 tone 1 tone 3/4 tone 3/4 tone 1 tone 1 tone 3/4 tone

 


Maqam Iraq is another popular variation of maqam Sikah, with the second tetrachord being Bayati. Pieces in Sikah often modulate on maqam Iraq.
 

Hear this Maqam:

Violin   Maqam Iraq on B
Oud   Maqam Iraq on B
Buzuq   Maqam Iraq on B
Buzuq   Maqam Iraq on B

 Maqam Bastanikar Pronunciation

   
Saba on D
Tetrachord
Hijaz on F
Trichord Tetrachord  
G clef B half-flat C D E half-flat F G flat A B flat

 

3/4 tone 1 tone 3/4 tone 3/4 tone 1/2 tone 1 1/2 tone 1/2 tone

Maqam Bastanikar is unusual because it does not end on the octave (it ends on B instead of B). The third note could be the starting point of maqam Saba on D, which is a possible modulation from Bastanikar. Also since the first 5 notes have the same tonal intervals as maqam Iraq, it is common to modulate from Iraq to Bastanikar.

When starting on E, this maqam is called maqam Tarz Nuin. Pronunciation

 

Hear this Maqam:

Violin   Maqam Bastanikar on B
Oud   Maqam Bastanikar on B
Buzuq   Bastanikar on B
Buzuq   Bastanikar on E

Samples:

  Abdul Halim Hafez: Zalamooh
  Riyad El Sunbati: Taqsim Oud
  Muhammad Qadri Dalal: Taqsim Oud
  Um Kulthum: Inti Fakrani
  Um Kulthum: Ahl El Hawa

 


 Maqam Mustaar Pronunciation

Mustaar on E
Trichord Tetrachord
G clef E half-flat F # G A B flat C D E half-flat
1 1/4 tone 1/2 tone 1 tone 1/2 tone 1 tone 1 tone 3/4 tone

 


Maqam Mustaar is very similar to maqam Sikah (form 2), except the first trichord is a modified version of Sikah with a raised second (F# instead of F).
 

Hear this Maqam:

Buzuq   Maqam Mustaar on E

Samples:

  Taqsim Oud Riyad Sunbati
  Habbeit Wala Banchi Alayya
  Taqsim Qanun Imad Molki
  Sabah Fakhri: Qul Lil Malihah



Maqam Sikah Baladi Pronunciation

 
Hijaz on D
Tetrachord Tetrachord
G clef G A flat (raised) B (lowered) C D E flat F# G
1/2 tone 1 1/2 tone 1/2 tone 1 tone 1/2 tone 1 1/2 tone 1/2 tone

 


 
Sikah on G
Sikah on D
Trichord Tetrachord
G clef G A half-flat B half-flat C D E flat F# G
3/4 tone 1 tone 3/4 tone 1 tone 3/4 tone 1 tone 3/4 tone

 


Maqam Sikah Baladi is a version of maqam Sikah with exaggerated tuning. One way to understand it is by thinking it's derived from maqam Hijaz Kar or one of its transposes (in this example maqam Shadd-Araban). Both Hijaz tetrachords have an interval between the 2nd and 3rd notes shown as 1 1/2 tone, but these notes are actually played a little closer to each other in such a way to narrow the large interval. This effect is more exaggerated in maqam Sikah Baladi to the point where the 2nd and 3rd notes of both Hijaz tetrachords are moved closer by about a 1/4 tone each.

Maqam Sikah Baladi is also unusual because although the first trichord is Sikah, this maqam does not start on a 'quarter tone' like the other maqamat in the Sikah family. Usually it starts on a semitone (e.g. C, G, etc), which makes Sikah Baladi a possible modulation from a non-Sikah maqam that starts on the same tonic (e.g. maqam Rast or Nahawand).

 

Hear this Maqam:

Buzuq   Maqam Sikah Baladi on G
Oud   Maqam Sikah Baladi on G
Oud   Maqam Sikah Baladi on C

More Maqam Families: Ajam | Sikah | Bayati | Nahawand | Rast | Hijaz | Hijaz Kar | Saba | Kurd | Nawa Athar

Home | Maqamat | Index | Ajnas | Modulation | Forms | Rhythms | Instruments | References | Discography | Links | About

2001-2005 Maqam World. All rights reserved. This page was last Updated on May 7, 2005