Maqam Nahawand and Related Maqamaat

Maqam Nahawand and Family of related Maqamaat

This package contains a thorough discussion of Maqam Rast and Family with many Audio and Video examples and 48 Sheet Music of songs and musical pieces.

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Please watch the Video Presentation about Maqam Nahawand to get an idea about the contents of this package

The list below shows the Sheet music of songs and music that comes with this package

 

 

Popular Traditional in Maqam Nahawand الأغاني التراثيه في مقام النهوند
  Mohammad Abdilwahhab محمد عبد الوهاب  
61 Bafakkar Filli Nasini بفكر في اللي ناسيني 61
62 Loughat al-Guitar لغة الغيتار 62
  Abdilhaleem Hafiz عبدالحليم حافظ  
63 el-Hilwa الحلوه 63
64 Khosara Khosara خساره خساره 64
  Fareed al-Atrash فريد الاطرش  
65 Touta توته 65
66 Ya Zahratan Fi Khayali يازهرة في خيالي 66
  Feirouz فيروز  
67 Akhir Ayyam el-Sayfiyi اخر ايام الصيفيه 67
68 Baadak Ala Bali بعدك على بالي 68
69 Biktib Ismak ya Habibi بكتب إسمك يا حبيبي 69
70 Bint el-Shalabiyi بنت الشلبيه 70
71 La Inta habibi لا إنت حبيبي 71
  Sabah Fakhri صباح فخري  
72 el-Ouzubiyah العزوبيه 72
73 Ma Liayni Absarat ما لعيني ابصرت 73
74 Sibouni Ya Naas سيبوني يا ناس 74
  Um Kalthoum أم كلثوم  
75 Ghoulibt Asalih غلبت اصالح 75
76 Hanat al-Aqdaar حانت الأقدار 76
77 Layli Wnahari ليلي ونهاري 77
78 Ma dam Tihib ما دام تحب 78
79 Masr Elli fi Khatiti مصر اللي في خاطري 79
  Muwashahaat موشحات  
80 Aatini Bikr al-Denan أعطني بكر الدنان 80
81 Aatini Bikr al-Zinani أعطني بكر الزنان 81
82 Billathi Alhama باللذي الهم 82
83 Lamma Bada Yatathanna لمّا بدى يتثنّى 83
84 Ma Laththa Li ما لذّ لي 84
85 Mounyati Izz Istibary منيتي عو إصطباري 85
86 Ramani Bisahm Hawah رماني بسهم هواه 86
  Classics كلاسيكيات  
87 Bashraf Farah faza – Ismaeel haqqui بشرف فرح فزا – اسماعيل حقي 87
88 Bashraf Farah Faza – Jameel Ouwais بشرف فرح فزا – جميل عويص 88
89 Bashraf Nahawand – Dada بشرف نهوند – عزيز دادا 89
90 Bashraf Nahawand – ismaeel haqqui بشرف نهوند -اسماعيل حقي 90
91 Bashraf Nahawand Jameel Ouwais بشرف نهوند – جميل عويص 91
92 Longa Farah Faza – Ali al-Darweesh لونغا فرح فزا – علي الدرويش 92
83 Longa Farah Faza – george Michael لونغا فرح فزا – جورج ميشيل 93
94 Longa farah faza – Riyadh al-Sunbati لونغا فرح فزا – رياض السنباطي 94
95 Longa Nahawand – Mohammad Abdilkareem لونغا نهوند – محمد عبد الكريم 95
96 Longa Nahawand – George Michael لونغا نهوند – جورج ميشيل 96
97 Longa Nahawand Jameel Tanboori لونغا نهوند جميل الطنبوري 97
98 Samaii farah faza – Mohyiddeen Haydar سماعي فرح فزا – محي الدين حيدر 98
99 Samaii Farah Faza – Jameel Ouwais سماعي فرح فزا – جميل عويص 99
100 Samaii Farah Faza – Jameel tanboori سماعي فرح فزا – جميل الطنبوري 100
101 Samaii Nahawand – Nadeem al-Darweesh سماعي نهوند – نديم الدرويش 101
102 Samaii Nahawand – Roohi Khammash سماعي نهوند – روحي الخماش 102
103 Samaii Nahawand – Safar Ali سماعي نهوند – صفر علي 103
104 Samaii Nahawand – Wanis Wartanyan سماعي نهوند وانيس وارطانيان 104
105 Samaii Nahawand – Masoud Jameel سماعي نهوند – مسعود جميل 105
  Dulab (Plural: Dawaleeb) دواليب  
106 Dulab Ajam Ousheiran دولاب عجم عشيران 106
107 Dulab Shawq Afza دولاب شوق افزا 107
108 Dulab Nahawand دولاب نهوند 108
109 Dulab Nawa Athar دولاب نوا اثر 109

Core Structure and Characteristics

Maqamat are typically analyzed as a combination of two smaller sets of notes called ajnas (singular: jins), which are usually tetrachords (four notes) or pentachords (five notes) (Shumays, 2013).

  • Primary Jins: The root jins of Maqam Nahawand is Jins Nahawand, a tetrachord characterized by a whole tone, a half tone, and another whole tone (similar to the first four notes of a minor scale).

  • Secondary Jins: The upper part of the scale often features Jins Hijaz or Jins Kurd, depending on the specific melodic movement or the sub-type of the maqam (Poorhaydari, 2022).

  • Tonic and Scale: In the contemporary system, Nahawand is usually played on C (Rast) or G (Sol). Unlike many other Arabic maqamat, the basic Nahawand scale does not typically utilize quarter tones, making it more accessible to Western-tempered instruments (DergiPark, 2025).

The Nahawand Family

The “Nahawand family” includes several variations that share the same root tetrachord but differ in their upper structure or melodic behavior:

  • Maqam Nahawand Murakhkhas: Features a specific melodic development that emphasizes certain resting points in the upper ajnas.

  • Maqam Farahfaza: This is essentially Maqam Nahawand transposed to G (Sol). It is frequently used in classical compositions and is known for its “joy-increasing” emotional quality.

  • Maqam Ushaq Masri: A variation that incorporates elements of Jins Bayati in its upper structure, blending the minor feel of Nahawand with the traditional “oriental” quarter-tone flavor.

  • Maqam Sultani Yakah: Nahawand starts on the Yakah pitch (D2 in the lower register) and follows a specific traditional melodic path (sayir).

Melodic Behavior (Sayir)

The sayir of Nahawand is generally characterized by a smooth, descending or ascending flow that emphasizes the tonic. While it shares the intervals of the Western harmonic minor scale in its ascending form—often raising the 7th degree to create a leading tone—it frequently reverts to the natural minor (flat 7th) when descending (Poorhaydari, 2022).

Relationship to Other Traditions

In Persian music, the counterpart to Nahawand is found within Dastgah-e Isfahan, which shares a very similar intervallic structure (Poorhaydari, 2022). In Turkish music, it is known as Makam Nihavend (DergiPark, 2025). Despite these similarities, each tradition maintains distinct rules for ornamentation and melodic progression.

References

DergiPark. (2025). The Eastern Modal (Maqam) System and Unequal Temperament. DergiPark Academic Journal. https://dergipark.org.tr/en/download/article-file/5240461

Poorhaydari, M. (2022). Historical Examination and Theoretical Analysis of Maqām Iṣfahān in Persian Art Music. Music Theory Online, 25(3). https://www.mtosmt.org/issues/mto.25.31.2/mto.25.31.2.poorhaydari.pdf

Shumays, J. (2013). Maqam Analysis: A Primer. Music Theory Spectrum, 35(2). https://maqamlessons.com/analysis/media/MaqamAnalysisAPrimer_MTS3502_Shumays2013.pdf