Maqam Hijaz and Family of Maqamaat

Maqam Hijaz Music Notations and Scores


With Maqam Hijaz description and Audio & Video Examples

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No. Song Name & Maqam (All Hijaz except where noted) إسم الأغنيه رقم
  Popular Traditional Music أغاني تراث  
  Mohammad Abdilwahhab محمد ععبدالوهاب  
1 al-Karnak الكرنك 1
2 Layali al-Jazael ليالي الجزائر 2
3 Madhnaka Gafahu مضناك جفاه 3
4 Mawlid el-Noor-Music مولد النور 4
5 Min Qudd Aih من قد إيه 5
  Abdilhaleem Hafiz عبدالحليم حافظ  
6 Asmar Yasmarani أسمر ياسةراني 6
7 Bahlam Biek بحلم بيك 7
8 Maddah el-Qamar مدّاح القمر 8
  Fareed al-Atrash فريد الأطرش  
9 Kahrumana- Music – Hijaz Kar كهرمانا 9
10 Ma Qalli Wqoultilu ما قلّي وقلتله 10
11 Raqsat al-Jamaal – Music رقصة الجمال 11
12 Saalni el-Leil سألني الليل 12
Feirouz فيروز
13 La Tiji el-Yoam لا تجي اليوم 13
14 Rijit el-Shatwyi رجعت الشتويه 14
15 Shatti Ya Dinyi شتّي يا دنيي 15
16 Waynon وينون 16
17 Ya Lour Houbbak يا لور حبّك 17
18 Ya Mayila Aalghosoon يا مايله عالغصون 18
  Sabah Fakhri صباح فخري  
19 Ahwa al-Ghazaal أهوا الغزال 19
20 Ala al-Aqeeq Ijtamaana على العقيق 20
21 el-Boulboul Nagha البلبل ناغى 21
22 Foaq Elna Khil فوق النا خل 22
23 Hayyamatni هيّمتني 23
24 Loulu Biloulu لولو بلولو 24
25 Qadduka al-Mayyaas قدّك النياس 25
Um kalthoum أم كلثوم
26 al-Ridha Welnoor الرضا والنور 26
27 Ana Fi Intizarak انا في إنتظارك 27
28 Darit al-Ayyam دارت الأيام 28
29 Fat el-Miaad فات الميعاد 29
30 Isaal Roohak-Introduction إسأل روحك 30
Classics كلاسيكيات
  Muwashahat موشحات  
31 Ayn Houbbi – Hijaz Kar عين حبّي – حجاز كار 31
32 Ahwa al-Ghazaal أهوا الغزال 32
33 Al-wajh Zain الوجه زين 33
34 Badri Adir بدري أدر 34
35 Billah Ya Qalbi – Zankulah بالله يا قلبي – زنكولاه 35
36 Bintu Karamin – Shadd Arban بنت كرم – شد عربان 36
37 Laha Badr al-Teim – Hijaz Kar لاح بدر التيم – حجاز كار 37
38 Ma Dharra Lau – Shadd Arban ما ضرّ لو – شد عربان 38
39 Ma Ihtiyali -1 ما إحتيالي -1 39
40 Ma Ihtiyali -2 ما إحتيالي – 2 40
41 Nabbih el-Nadmaan – Hijaz Kar نبّه الندمان – حجاز كار 41
42 Samaii Hijaz- Tawfeeq al-Basha سماعي حجاز توفيق البلشا 42
43 Samaii Hijaz Kar سماعي حجاز كار – توفيق الباشا 43
44 Zarani al-Mahboob – Hijaz Kar زارني المحبوب – حجاز كار 44
  Classics قطع كلاسيكيه  
45 Samaii Hijaz – Ajjan سماعي حجاز – اجّان 45
46 Samaii Hijaz – Ibraheem al-Aryan سماعي حجاز – إبراهيم العريان 46
47 Samaii Hijaz – Jameel Ouwais سماعي حجاز – جميل عويص 47
48 Samaii Hijaz – Yousif Basha سماعي حجاز -يوسف باشا 48
49 Samaii Hijaz Kar – Nadeem darweesh سماعي حجاز كار – نديم الدرويش 49
50 Samaii Hijaz kar – Kamal Niyazi سماعي حجاز كار – كمال نيازي 50
51 Samaii Hijaz Kar – Jameel Ouwais سماعي حجاز كار – جميل عويص 51
52 Samaii Hijaz kar – Iskandar Shalfoon سماعي حجاز كار – إسكندر شلفون 52
53 Samaii Hijaz Kar – jameel Tanbouri سمشعي حجاز كار – جميل الطنبوري 53
54 Bashraf Hijaz – Jameel Ouwais بشرف حجاز – جميل عويص 54
55 Bashraf Morabbaa Hijaz – Safar Ali بشرف مربع حجاز – صفر علي 55
56 Bashraf Hijaz Hamayoon – Outhman baik بشرف حجاز همايون – عثمان بك 56
57 Bashraf Hijaz Hamayoon – Weli dada بشرف حجاز همايون – ولي دادا 57
58 Bashraf Hijaz Kar – Jameel Ouwais بشرف حجاز كار – جميل عويص 58
59 Bashraf Shahnaaz – Del Hayat hanim بشرف شاهناز – دل حياة هانم 59
60 Longa Hijaz – shanbeer لونغا حجاز – شنبير 60
61 Longa Hijaz – Wanis Wartanyan لونغا حجاز – وانيس وارطنيان 61

Maqam Hijaz and Family of Maqamaat

The Arabic Maqam system is a sophisticated framework of melodic modes that defines the tonal structure, emotional character, and improvisational pathways of traditional music in the Middle East and North Africa (Shumays, 2013). Among these, Maqam Hijaz is one of the most recognizable and essential modes, serving as the foundation for an entire family of related maqams.

 

Understanding Maqam Hijaz

The identifying characteristic of Maqam Hijaz is its use of the augmented second interval. In the standard 24-quartertone system of Arabic music theory, this interval creates a distinctively “oriental” or soulful sound that is deeply evocative (Shumays, 2013).

Structural Composition

Maqam Hijaz is typically constructed using two smaller melodic units called ajnas (singular: jins). In Arabic music theory, a maqam is often viewed as a scale built from these conjunct or disjunct tetrachords (four-note sets) or pentachords (five-note sets) (Shumays, 2013).

  • Lower Jins: Jins Hijaz (centered on the tonic).

  • Upper Jins: Usually Jins Nahawand or Jins Rast, depending on the specific melodic path or “sayir” of the piece.

The Hijaz Family and Related Maqams

Maqam Hijaz belongs to a larger “family” of modes that share the same lower jins but differ in their upper structure, modulation patterns, and emotional resolutions (Hashemi, 2021).

Maqam Name Lower Jins Upper Jins Key Characteristics
Hijaz Hijaz Nahawand The primary mode; often used in religious calls to prayer and emotional folk songs.
Hijaz Kar Hijaz Hijaz Features the Hijaz tetrachord twice, emphasizing the augmented second in both halves of the octave.
Zanjaran Hijaz Ajam Starts with Jins Hijaz on the tonic but shifts to a major-sounding (Ajam) structure in the upper register.
Shahnaz Hijaz Hijaz (on the 5th) A member of the family that utilizes specific modulations typical of the Levant and Ottoman traditions.

 

Theory and Performance

Unlike Western music, which relies heavily on equal temperament, Maqam Hijaz utilizes unequal temperament and microtonal intervals (Yöre, 2012, as cited in DergiPark, 2025). These intervals, such as “half-flats” or “neutral thirds,” allow for a level of nuance and expression that distinguishes the tradition from Western major and minor keys (Shumays, 2013).

Key Concepts in Maqam Theory

  • Tonic: The “home” note or dominant pitch where a melody typically begins and ends (University of Hertfordshire, 2024).

  • Taqasim: A form of solo instrumental improvisation where the artist explores the “pathways” of the maqam, moving from the primary jins to related ones before returning home (Shumays, 2013).

  • Jins Baggage: A modern theoretical concept suggesting that each jins carries with it a set of expected modulations and melodic motifs that a skilled practitioner must navigate (Shumays, 2013).

References

Hashemi, A. (2021). Voices of the mountains: Deep learning-based vocal error detection system for Kurdish maqams. arXiv. [Note: Source updated/referenced as 2026 version in search].

Shumays, S. (2013). Maqam lessons: A primer on Arabic music theory. Society for Music Theory, 35(2).

University of Hertfordshire Research Archive. (2024). Arabic music genre identification. https://uhra.herts.ac.uk/id/eprint/11148/2/ARASETV46_N1_PP187_200A.pdf

Yöre, S. (2012). The Eastern modal (maqam) system and unequal temperament. DergiPark. [Note: Source accessed via 2025 publication file].