Maqam
Knowing the modal families is where the path begins. A free placement session with Ramy shows you the rest of it.
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The closest maqam to a Western major scale, and the hardest to make sound Arabic Jins Ajam on B flat + Jins Ajam on F
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Ascends to the fourth, hesitates, and returns to D by way of the half-flat second Jins Bayati on D + Jins Nahawand on G
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A lower-register Nahawand, favoured for slow instrumental introductions Jins Nahawand on G + Jins Kurd on D
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The augmented second in the lower jins is the identity; the upper jins is where modulation begins Jins Hijaz on D + Jins Nahawand on G
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The Hijaz upper jins gives Sikah a sharper, more declarative character Jins Sikah on E half-flat + Jins Hijaz on G
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A flattened second without the quarter-tone; often mistaken for Bayati by new listeners Jins Kurd on D + Jins Nahawand on G
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Minor in outline, but the upper Hijaz keeps it from sounding European Jins Nahawand on C + Jins Hijaz on G
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A pivot mode: composers use it to leave one family and arrive in another. Jins Nikriz on C + Jins Bayati on G
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Opens on the tonic, settles on the fifth, and resolves downward through the lower jins Jins Rast on C + Jins Rast on G
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Its diminished fourth means the mode never fully closes — the reason it reads as grief Jins Saba on D + Jins Hijaz on F
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Sits on a quarter-tone tonic, which forces every accompanying instrument to adjust Jins Sikah on E half-flat + Jins Rast on G
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Rast below, Hijaz above — the standard cadential surprise of the Egyptian repertoire Jins Rast on C + Jins Hijaz on G
More from The Oud Library
Continue your journey through certified scholarship, performance achievements, student stories, and masterclasses.
Masterclasses, History & Recordings
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1
Between Longing and Sorrow: The Secrets of Sikah in Maqam Bayati
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2
How did RAMY’S 7 Layers Sheet Music give the kiss of life to the Oud instrument
Essays & Pedagogical Scholarship
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Between Longing and Sorrow: The Secrets of Sikah in Maqam Bayati
On this page The fundamental Maqam Bayati rests on the note Re, known in Arabic music as (Duka). Its scale consists of two main blocks: As for the degrees of the scale, they are as follows: As for the tonal dimensions (intervals) between these notes, they are as follows: The structure and intervals of the […]
FEATURED
How did RAMY’S 7 Layers Sheet Music give the kiss of life to the Oud instrumen
On this page These are many common questions that frequently cross the minds of students of Arabic music in general, and the Oud in particular. The Oud has been played for longer than written history. Before we explore together how RAMY’s 7 Layers Sheet Music cleverly solved this dilemma, These experts sought to adapt the […]
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