Maqam Kurd and Family of Maqamaat

Maqam Kurd Music Notations and Scores

With Maqam Kurd description and Audio & Video Examples

Unit Price $12.95. When transaction is complete, Paypal will direct you to link to download a zipped folder. Download folder, un-zip (extract) folder, open folder and click on the file “index.htm” which is the table of contents

The following table shows all the Songs Sheet Music that comes with this Package

No.	Song Name	إسم الأغنيه	رقم
	Popular Traditional	أغاني وموسيقى تراث
	Mohammad Abdilwahhab	محمد عبدالوهاب
1	Aghar Min Qalbi	أغار من قلبي	1
2	Ah Minnak Ya Garihni	اه منك يا جارحني	2
3	Aih Elli Inkatabli	أيه إمكتبلي	3
4	al-Karnak	الكرنك	4
5	Ana Wilathab	انا والعذاب وهواك	5
6	Aziza – Music	عزيزه – موسيقى	6
7	Imta al-Zamaan	إمتا الزمان	7
8	Khatwit Habibi	خطوت حبيبي	8
9	Khayif Aquol	خايف اقول	9
10	Lamma Inta Nawi	لمّا انت ناوي	10
	Abdilhaleem Hafiz	عبدالحليم حافظ
11	Asmar Yasmarani	أسمر ياسمراني	11
12	Fi Yoam Fi Shahr	في يوم في شهر	12
13	Nar Ya Habibi Nar	نار ياحبيبي نار	13
14	Nibtidi Mnain el-Hikayah	نبتدي منين الحكايه	14
15	Zay el-Hawa	زي الهوا	15
	Fareed al-Atrash	فريد الاطرش
16	Ahla Hamsa	احلا همسه	16
17	Baqa Aayiz Tinsani	بقى عايز تنساني	17
18	al-Rabii	الربيع	18
19	Eish Anta	عش انت	19
20	Qalbi Wmiftahu	قلبي ومفتاحو	20
21	Wayyak Wayyak	ويّاك	21
22	Ya Gameel ya Gameel	يا جميل يا جميل	22
23	Zamaan ya Houb	زمان يا حب	23
	Feirouz	فيروز
24	Aallamooni	علّموني	24
25	Baitlak	بعتلك	25
26	Boukra Lamma Yirjaou	بكرى لمّا يرجعوا	26
27	Habbeitak Bilseif	حبيتك بالصيف	27
28	Irjaii ya Alf layla	إرجعي يا ألف ليله	28
29	Nihna Wilqamar Jiraan	نحنا والقمر جيران	29
30	Qaddaish Kan fi Naas	قديش كان في ناس	30
31	Rajeen ya Hawa	راجعين يا هوا	31
32	Rijit Layali Zamaan	رجعت ليالي زمان	32
33	Ya Qalbi La Titeb Qalbak	يا قلبي لا تتعب قلبك	33
34	Ya Zairi fi eldhouha	يا زائري في الضحى	34
	Sabah Fakhri	صباح فخري
35	Badr Hilu al-Shamayil	بدر حلو الشمايل	35
36	Hel Ladaika	هل لداعيك	36
37	Hirimt Aaashaq	حرمت أعشق	37
38	Mour al-Tajanni	مرّ التجنّي	38
39	Nawait Asibak	نويت أسيبك	39
40	Ya Shajarat al-Leimoon	يا شجر الليمون	40
41	Ya Manta Wahishni	يا منتى واحشني	41
42	Yamourru Oujban	يمرّ عجبا	42
	Um kalthoum	أم كلثوم
43	al-Niel	قصيدة النيل	43
44	Amal Hayati	أمل حياتي	44
45	Aqbala al-Layl	أقبل الليل	45
46	Awwidt Ayni	عوّجت عيني	46
47	Baeed Annak	بعيد عنّك	47
48	Hajartak	هجرتك	48
49	Inta Omri	انت عمري	49
50	Min Ajl Aynayk	من أجل عينيك	50
51	Quissat al-Ams	قصّة الأمس	51
52	Ruqq el-Habeeb	رق الحبيب	52
53	Ya Zalimni	يا ظالمني	53
	Muwashahaat	موشحات
54	Basimon	ياسم	54
55	Houbbi Zourni	حبّي زورني	55
56	Samaii Hijaz kar Kurd	سماعي حجاز كار مرد	56
57	Ya Bahjat al-Rooh	يا بهجة الروح	57
58	Ya Nazih al-Daar	يا نازح الدار	58
	Classics	كلاسيكيات
59	Bashraf Hijaz Kar Kurd – Jameel Ouwais	بشرف حجاز كار كرد – جميل عويص	59
60	Bashraf Hijaz Kar Kurd – Tatyous	بشرف حجاز كار كرد – تاطيوس	60
61	Bashraf Kurd – Roohi Khammash	بشرف كرد – روحي الخمّاش	61
62	Bashraf Muhayyar Kurd – Jameel Ouwais	بشرف محير كرد – جميل عويص –	62
63	Samaii Hijaz Kar Kurd – Darweesh	سماعي حجاز كار كرد – نديم الدرويش	63
64	Samaii Hijaz Kar Kurd – Roohi Khammash	سماعي حجاز كار كرد – روحي الخمّاش	64
65	Samaii Hijaz Kar Kurd – Tatyous	سماعي حجاز كار كرد – تاطيوس أفندي	65
66	Samaii Kurd – jameel Ouwais	سماعي كرد – جميل عويص	66
67	Samaii Kurd – Wanis Wartanyan	سمشعي كرد – وانيس وارطانيان	67
68	Samaii Tarznween – fareed Ghousn	سماعي طرزنوين – فريد غصن	68

Kurd and Family of Maqamaat

The Kurd Family of maqams is one of the most significant and widely used modal groups in the Middle East, spanning across Arabic, Turkish, Kurdish, and Persian musical traditions. Unlike many other maqams that utilize quartertones (microtones), Maqam Kurd is built entirely on “natural” notes that exist in the Western equal-tempered system, making it highly accessible for instruments like the piano or guitar.

Understanding Maqam Kurd

Maqam Kurd is characterized by its dark, melancholic, and deeply emotional mood. It is built on the second degree of the “Ajam” (Major) scale, which gives it a structure similar to the Western Phrygian mode.

Structural Composition

In Arabic music theory, Maqam Kurd is defined by its primary and secondary ajnas (melodic fragments).

Lower Jins: Jins Kurd (centered on the tonic). This jins is defined by the intervals of a half-step followed by two whole-steps (e.g., D to Eb, Eb to F, F to G).
Upper Jins: Jins Nahawand (on the 4th note). The transition to the upper jins provides a sense of expansion and heightens the emotional tension of the melody.

The Kurd Family and Related Maqams

The Kurd family is relatively small compared to others like Bayati or Rast, but it is exceptionally versatile. The variations within this family often occur in the upper register or through specific modulations.

Maqam Name	Lower Jins	Upper Jins	Key Characteristics
Kurd	Kurd	Nahawand	The primary and most common form. It is often used for longing, sadness, and cinematic themes.
Hijaz Kar Kurd	Kurd	Kurd	This mode mirrors the lower Jins Kurd in the upper octave, creating a symmetrical and very dark tonal color.
Lami	Kurd	Kurd	Traditionally associated with Iraqi folk music, this maqam is deeply mournful and often resolves in a unique, descending pattern.

Relationship with Other Maqams

While Maqam Kurd does not contain microtones, it is frequently used as a “bridge” or a destination for modulation from maqams that do.

Modulation from Hijaz: It is very common for a performer in Maqam Hijaz to modulate into Kurd. Because both share a similar “dark” quality, the transition feels natural and is often used to resolve a particularly tense melodic phrase.
Contrast with Nahawand: While Maqam Nahawand (similar to the Minor scale) feels romantic and balanced, Kurd feels more urgent and “heavy” due to the half-step interval immediately following the tonic.

Performance and Cultural Significance

Maqam Kurd is a staple in both classical and contemporary Middle Eastern music. Because it does not require microtonal adjustments, it is the go-to maqam for modern pop songs and cross-cultural collaborations between Eastern and Western musicians.

In a Taqasim (instrumental improvisation), a musician will often start by emphasizing the tonic and the flat second (the “Kurd” character). They will then ascend to the 4th note (the start of Jins Nahawand) to explore more lyrical phrases before returning to a low, somber conclusion on the tonic.