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   الأشكال الموسيقيّه في الموسيقى العربيّه
  Arabic Musical Forms

 In general terms, Arabic Musical Forms (genres) can be categorized into the following:

A Tribute to Some Historical Musical Scholars

  Improvised Singing                                                     الغناء المرتجل

      The first of these forms is the Singing Improvisation, which is a strong suit of the Persian-Iraqi heritage, and is still prevalent in our times.  The name of this style, in that region, is called, and this is a stretch, a Maqam.  Hence, if we used this word (Maqam) in these two regions, it is not meant to describe a composition of a scale, but rather a style of improvised singing that does not follow any certain rhythm.  One famous singer of this style was the late Ahmad Zedan who passed away in 1912, and currently, Mr. Muhammad Al-Qabbanji is considered the dean of this singing style.  A book about this style of singing was written and published in 1961 by Mr. Hashim Al-Rajab.   

      This style is also prevalent in Tunisia with “Al-Uroubi”, in Syria with “Al-Qasida”, in Algeria with “Al-Istikhbar”, in Morocco with “Al-Beitan” and in Egypt with the “Mawwal and Liali”.  The form in all these regions is very much the same, and it’s the usage of the singer, of the musical scale, ascending and descending.  The Tetrachords used, however, are different depending on the musical accents prevalent in these regions.  We now listen to a form of Alqasida by the Syrian singer Sabah Fakhri as an illustration (Qul Lil maliha ).  The second example of improvised singing is done by the Iraqi singer, Nazim Al-Ghazali (Samra Min Qaumi Issa ).  A third example of the Moroccan Al-Beitan is as can be heard (Song  ),  The fourth example is of the Uroubi style by the singer Raul Jurneu   

     The improvised singing was relied upon in Stage musicals in its early years, started by the Syrian artist Abu-Khalil Al-Qabbani, followed by the Egyptian singer Salama Al- Hijazi (1917) and the Tunisian singer Muhammad Al-Aqrabi (1967).   

    A specialty in Egypt, the improvised singing focused on Al-Liali, which is limited to “Ya Lili, Ya Aini”, meaning “Oh my night, Oh my eyes”, because a lover closes his/her eyes at night to live a fantasy moment with the loved one.  This is followed by Al-Mawwal, which is a special form of poetry without a traditional rhythmic scale, which was devised by Al-Khalil Bin Ahmad Al-Faraheedi in the seventh century.  Here is an example of an Egyptian Mawwal by Mr. Muhammad Abdel-Wahhab ()

  Musical Improvisation                                   الموسيقى والعزف المرتجل

      When it comes to Musical Improvisation, we find no difference between it and Singing Improvisation other than the mean of delivery, an instrument or a through.  It is a way where a musician shows his musicianship by his utilization of the different Maqamat, as well as the mastery of his instrument.  This style is known in the Middle East as “Taqseem”, and in Morocco by “Al-Istikhbar”.  Here is a Taqseem on the Qanoon by the Moroccan Musician, Ibraheem Salih Al-Maghribi. (Qanoon  ).  Another example of musical Taqseem, is this Turkish Taqseem on the Clarinet 

     In Taqseem, ending and finishing of musical lines play a basic role in showing the musician’s ability and sensitivity in music.  Here is an Egyptian example of the aforementioned, by Mr. Fahmi Aowadh’s Taqseem on the Qanoon  ().   

     The eastern form Taqseem is called “Istikhbar” in Morocco (Meaning: finding out).  It’s mainly used in short musical phrases in order to insure proper tuning of string instruments.  Here is an improvisation on the violin, as an illustration of the Moroccan Istikhbar (). The Istikhbar has evolved in Tunisia, and here is an example, an improvisation on the Tunisian Oud by Khumeis Ternaan ().

Musical Composition                                                     التأليف الموسيقي
      the Noubah                                                                         النوبه

    In Musical Composition forms, a primary one is the “Noubah” in the Arab Maghrib (Arabs of North Africa).  It is said: That it is of Andalusian origin.  It’s equivalent in the Arab Mashriq (Arabs of the Middle East) to the “Wasla”.  In Turkey, it’s known as “Al-Fasil” and in some of the Old Soviet Republics as “Shish Maqam”. 

    We start with the Noubah.  It is a word that means “Al-Dour”, or a name for a group of musical pieces, or a program for a party.  The Scottish Professor Farmer has attributed the name to the alternation of artists and singers in a party, or their appearances in special presentations during the day, such as The Sultan’s Band. 

     In our times, in the Arab Maghrib, the name Noubah means a group, or a collection, of musical pieces that have common Maqam, but played in different rhythmic scales.  It’s believed that it’s of an "Andalusian origin", and in Tunisia, the Noubah is started with “Istiftah” (Meaning: a start or introduction), which is a musical piece played by the entire group without any discernable rhythm.  In the old days, it used to be the improvisation of the lead musician, then, followed by the rest of the group, and this style has died out in the modern times.  Here is Istiftah from the Tunisian “Noubat Al-Theel” as an illustration (  ).

      Equivalent to the Tunisian Noubah is the “Mishalia” in the Moroccan Noubah.  There are many small Mishalias and they are called “Bughya”.  Here is an example of a Moroccan Mishalia.  It’s the first introduction to the Noubah (). This musical form is vanishing in Algeria, and only a remaining trace exists in the city of Telmesaan.

      We go back to the Tunisian Noubah, and mention that the Istiftah is followed by “Al-Musaddar”, which is another piece played in the Noubah and evolves into three rhythms graduates from slow to fast.  The first of three is called Al-Musaddar.  It's composed of six slow beats, followed by a “Touq”.  It’s a faster six beats, and ends with “Al-Huroob”, which is a fast three beats.   The musical piece that is composed to this rhythm is called Silsilah (Chain), because it’s a musical sentence repeated at different Tonics.   The second part is Touq.   The third part, Silsilah .  After the Mishalia, comes the Tushia, and it’s of one rhythm.

     The Tunisian Musaddar is compared to the Algerian “Tushia”, and it’s of one rhythm that does not deviate from the rhythm of four beats. 

     It is noticed that we do not have any musical pieces in the Libyan Noubah, and only the introductions in the Moroccan, Algerian and Tunisian Noubah.  Before we get into the musical pieces of the Noubah, we will give a brief description of this musical form in North Africa.

      In Morocco, there are Eleven (11) Noubaat ( plural of Noubah).  Four of these Noubaat follow the basis of the Maqam, and they are “Noubat Al Maya”, “Noubat Rast Al-Theel”, “Noubat Iraq-Ajam” and “Noubat Hijaz Msharqi”.  The other seven deviate from this rule, and each one of these Noubat contains musical pieces that are composed to five different rhythms. When the royal band masters all the Noubat, it’s honored, and named: the band of 55 (Referring to the 11 Noubaat, multiplied by the number of rhythms 5).

     Rhythms of the Moroccan Noubah are: Albaseet (the simple) which is of two varieties, a slow six beats and a fast three beats.   Here is an example of this style, Noubat Rast Al-Theel by The Tetwaan Musical Group ().

     The Second Moroccan Rhythm is called “Al-Qaim Wa-Nisf”, and it contains 8 beats. Then there is the “Btayhi” which is slow and contains 8 beats.  If it’s sped up, they call it “Msarraf Btayhi”.  Here is a musical piece from “Gharibat Al-Husein” as an example ().

     The fourth Moroccan Noubah rhythm is called “Al-Quddam”.   It has six beats.  Here is an example from Noubat “Iraq-Ajam” ( ).  The fifth Moroccan Noubah rhythm is “Daraj” which has a two beats rhythm.

      We have concluded the talk about the Moroccan Noubah, and now we stop in Algeria. We will familiarize ourselves with Algerian Noubah, which is composed of a musical piece called Tushia, followed by a group of musical pieces that start slow (Msaddar).  Then Btaihi followed by Daraj.  These three groups are played to the same rhythm which is called “Mrabaa” ( Rhythm).  Here is a “Msaddar” of Maqam Zedan which is compared to Hijaz in the East ().  Here is a “Daraj” example of the same Noubah on Maqam Zedan (). 

      The second rhythm of the Algerian Noubah is called “Al-Insiraaf”, which has 10 beats, moderate speed, and of two parts with each part having five beats.  Here is “Insiraaf Noubat Al-Maya” by the City of Qestanteenah Band () as an example.

      The last rhythm of the Algerian Noubah is called “Al-Khalas” with six fast beats.  This rhythm reminds us of the Moroccan “Al-Qaddam” rhythm.  Here is an example by the City of Qestanteenah Band ().

      The Libyan Noubah:  Most of the musical pieces of the Libyan Noubah are lost, and we do not know as to the reasons for this fate.  However, singing pieces were preserved through the Issaweiah method, back in the sixties. This singing style is composed of the following rhythmic patterns: First and Second “Musaddar”, First and Second “Murakkaz”, First and Second “Barwal” and then a light and Fast conclusion.  All these pieces have a same common rhythm.  However, the name changes according to the speed of rhythm.  In Dr. Mehdi’s opinion: these pieces may have had different rhythms as in Tunisia, Algeria and Morocco, but were lost through the passage of time.

      As far as the Maqamat of the Libyan Noubah, they are very related to those in Tunisia.    Here is a piece of the Libyan Noubah ().  When the rhythm turns into a fast one,  the Noubah changes as follows: ( ).

      Our last tour with the Noubah is with the Tunisian Noubah:  It’s composed of two musical parts: “Al-Istiftah” and “Al-Musaddar” after which a musical group plays a short musical introduction that begins with a fast pace then slows down.  It’s called “Dukhoul Al-Noubah".  (Meaning: the entry into the Noubah).  After this introduction, the primary singer recites a couple of classical poetry lines accompanied by a musical piece called “Al-Farighah”.  It’s noticed that the two poetic lines are musically improvised, and were first initiated by the well known Tunisian singer Khumei Esternaan.  Here is an example of "Noubat Al-Theel”, with which we conclude this session ( ).

      We continue our discussion of the Tunisian Noubah.  After the Istiftah of the group musical piece, which is non-rhythmic, comes the Musaddar, which is distinguished by gradual speed from slow to fast, through three rhythms, followed by a musical introduction which starts at a fast rhythm “Barawal” ( Rhythm), then it slows down into the Btayhi rhythm “Dukhoul” (Rhythm).  After which a singer recites some poetry accompanied by a musical piece “Al-Farighah).  We now introduce a new variety of the Noubah and it’s called “Dukhoul Al-Btayhieah".  It’s not much different than the Dukhoul that we have mentioned earlier.  This is followed by the “Btayhi” or “Akthar”, and it’s a Muwashah, where the music is repeated for every singing line, and interspersed with several Farighaat. This style is called “Ruddan Al-Jawab”.  In the East it’s called “AL-Muhasabah”.  Here is an example of “Al-Btayhi” ( ).

      We continue our discussion about the Tunisian Noubah. After the Tushia, which deviates from the original Maqam of Al-Noubah, we mention a Maqam for “Noubat Al-Muwalia”.  This is where an Oud player will perform an improvisation returning to the original Maqam of the Noubah.  Then gives a chance for the singing group to sing several Barawil distinguished by its fast pace.  Here is an example of “Noubat Maqam Al-Mazmoom”, which is equivalent to the Western Major Scale (). 

      After the Barwal, the musical group plays a Farighah to the “Daraj” Rhythm, followed by a Muwashah with this rhythm.  It’s of six Beats.  This segment is followed by a musical segment called “Farighat Al Khafeef”.   It is set to the rhythm of “Al Khafeef”, which is of six beats and is faster than “Daraj” ( ). 

      The Noubah Finally ends with “Al-Khatm” which is equivalent to the Algerian “Khalaas” and Moroccan “Quddam”.  It’s of fast six beats.  The words of the “Al-Khatm”  have religious connotation of praising the Lord. 

Musical Composition                                                     التأليف الموسيقي
         Waslah                                                                           الوصله

     The Waslah begins with a “Bashraf”, which is a Turkish Musical piece.  The name is of a Persian origin meaning “Going Forward”.  This piece was inspired to indicate a musical introduction. The “Bashraf” origin was attributed to Abu-Nasr Al-Farabi in the Tenth century, in a book written by Zakaria Yunis.  It's believed that this piece came about at the beginning of the Ottoman Empire in the Fourteenth century and flourished when the government moved to Constantinople, through the military music that is played by the Mahtar.  And here is an example ( ). 

     The Bashraf was adopted by string instruments in the way of a certain musical piece, composed in a certain Maqam, with one or more rhythms, and without any restriction.  It was observed that all the Arab regions had no musical introductions other than the Turkish Bashraf.  We find special Bashraf in Tunisia and Algeria, that was not found in the Turkish musical heritage in spite of the extensive research done By Dr. Salih Al-Mehdi. The Tunisian and Algerian Bashraf took on a distinguished character, which in conjunction with the music brought in by the Andalusian Refugees, have given birth to modern music of these two countries.  Here is an Algerian Bashraf called “AL-Araisi”, particular to the city of Qestanteenah  

     The Bashraf in Tunisia, have kept its Militaristic character, and was always played by the drummers of the Basha (governor).  Up until now, the last part of the Bashraf is called “Al-Harbi” (meaning: the Military).  The Bashraf started being utilized by String Instruments in the last century.  Violin Players had their way of utilizing the Bashraf in performance, improvisation, and jam sessions.  “Rabab” (a one string instrument that may be the forerunner of Violin) players have switched to the western violin when it comes to playing Bashraf and what comes after it, in the way of songs.  Here is a Tunisian Bashraf called “Al-Nawasi”.  It's distinguished by its military style first part, and is considered to be the only Bashraf in Arabic music that was composed to a free rhythmic style, that is many different rhythmic parts, which is used in modern Western music (Al-Nawasi  ).

     The Turkish Bashraf has reached its peak in Arabic music back in the Nineteenth century, where its rules were established.  It was divided into four parts, usually short pieces, interspersed among it a musical piece called “Al-Tasleem”, with the ability to vary in Maqam, in the Second, Third and Fourth Parts, or Movements.  Here is an example by the Armenian-Turkish Composer, Tatius, who lived 1855-1913 (Bashraf by Tatius  ).

Musical Composition                                                     التأليف الموسيقي
          Muwashahat                                                              الموّشحات

       After a musical introduction, an Oud player would improvise in the Maqam on which the Bashraf is based, followed by several Muwashahat that graduate in speed from slow to fast.  Here is a Muwashah in Maqam Rast with a rhythm Called The “Eastern Murabaa”, which is of 13   Beats (Rhythm) (Hayyara Al-Afkara Badri ). 

       We notice that the musical composition of a Muwashah tends to follow its Poetic composition.  That is, its tune is repeated three times, followed by another tune, then going back to the original tune and it’s called Rujou (coming back).  Another variety of Muwashah uses the reverse. That is a first tune, followed by a second tune, repeated Three times then back to the original tune.  Our second example is a Muwashah with a rhythm called “Nawakht”, which has Seven Beats (Rhythm) (Sihtu Wajdan Ya Nadama ).  Our Third example has a Rhythm called “Al-Tair Al-Thulathi”, which is a fast Three ().

       The Muwashah in The Arab Maghrib follows in the same fashion if it’s used in the Noubah.  However, if it’s used outside the Noubah it takes on a different form.  In Tunisia, it’s essential to sing all the Five Parts of the Muwashah, of which a singer would sing one part then moves on to a new Maqam.  Here is a Muwashah, in Maqam Rast Al-Theel, that follows this Pattern, by Khumei Esternaan (Kallili Ya Suhbu ).

Musical Composition                                                      التأليف الموسيقي
         Samaii                                                                          السّماعي

      After the Bashraf and a group of Muwashahat, a musical group would play a musical piece shorter than the Bashraf.  It’s called “Samaii”, and is similar to the Bashraf in its composition.  The “Samaii” is composed of four parts and a “Tasleem” that is repeated after every part.  The Samaii is distinguished by having a rhythm of ten fast beats , and it’s fourth part has a rhythm that is different from the original one.  It either goes with Six beats , or three beats.  Here is a Samaii in Farah Faza by Jameel Bey (Samaii Farah Faza ). The last part of this Samaii is of three beat rhythm (Samaii Farah Faza ).

      Tunisia is the only country that has Old “Samaiyat”.  They are not Turkish, and composers are un-Known.  It’s possible that they were written in the Sixteenth Century.  However, they kept their Tunisian flavor in performance.  Here is Samaii Rast Al-Theel, with a last part that has both three slow beats, and a fast six beats (Samaii Rast Al-Theel ). 

       In the Arab Mashriq, the first Samaii that came about (in 1925) was called “Samaii Araby”.  It was composed by Three Virtuoso musicians; Abdil-Hamid Al-Qababi (Qanoon Player), Muhammad Al-Qasabji (Oud Player) and Sami Al-Shawwa (Violin Player).  Here is a part of (Samaii Araby ).  We notice that this Samaii is missing the rhythmic variation in the fourth part, and is a simple composition.  This Samaii was followed by a well known Samaii by Ibraheem Al-Arian. This Samaii was followed by Tens of Samaiyat in various parts of the Arab World.  And here is (Samaii Al-Arian ). 

Musical Composition                                                    التأليف الموسيقي
          Longa                                                                           اللونغا

       One of the Arabic-Turkish musical forms is the “Longa”.  It’s normally played at the end of a Muwashahat session, and allows a competent musician to show off his musicianship.  Dr. Al-Mehdi believes that the “Longa” was started in Turkey.  This is due to its connection with the people of the Balkan area, where its music is distinguished by its fast style.  Here is a Longa by the Egyptian Composer Hussein Juneid (Longa ). 

  Al-Dour                                                                                  الدور

       There is another Musical form that came to prominence in the last century, and became popular with an improved artistic standard.  This form is called “Al-Dour” in the Middle East.  Some of its early pioneers were; Abdul-Raheem Al-Masloob and Muhammad Al-Muqaddam, who trained one of the most popular composers and singers of “Al-Adwaar” (plural of Al-Dour). This musician is Abdu Al-Hamooly, who lived until the early part of the 20^th century.  Abdu Al-Hamooly is credited with infusing the Arabic Egyptian music with Turkish music which gave Al-Dour a finer form.  This was due to his travels to Turkey, and his participation with the Royal musical group of the Sultan of Turkey.  A colleague of Mr. Al-Hamooly, Muhammad Usman, has also contributed greatly to the evolution of this musical form to its present state.  

       We have come to know that the Muwashah is performed by a vocal singing group.  However, Al-Dour is considered an artistic Dialogue between the Primary singer and the Vocal group.  Where by, the Singer performs a rhythmic improvised singing, where he shows his artistic competence and knowledge of Maqamat and rhythm.  The Dour is ended with a high continuous voice, followed by descending down the scale to complete the ending.  It’s possible that Mr. Muhammad Usman had created this dialogue due to his illness, and it became hard for him to carry on with singing extended phrases, because of shortness of breath.  This way, the audience was not aware of his condition.  However, this style became very popular and much loved as well. 

       The artists mentioned above have collaborated in establishing the “Egyptian School of Adwaar”, which has helped in proliferating this style and musical form through out the Arab World.  Through them and their albums, many renowned musicians have become well known as graduates of this School.  In passing, we mention some of these musicians, such as: Ibraheem Al-Qabbani, Kamil Al Khalii and Seyyid Darweech of Egypt, Ibraheem Al-Samman of the Arabian Peninsula, Saleem Al-Hilow of Lebanon, Shakir Al-Murabit of Libya and Muhammad Al-Aqrabi of Tunisia.  Seyyid Darweech was born in the city of Alexandria, Egypt, which had a sizable European community, that brought many Western musical groups for occasional performances, and that may explain how the Egyptian Music, and particularly Seyid Darweech’s music, was infused with Western music.  Here is one of Seyyid Darweech’s Adwaar which was popular in the first half of the 20^th century. The Dour is in Maqam Hijaz Kar (). 

       We have noticed that Muhammad Usman was the one to introduce the singing dialogue to the Muwashah, which was solely done by the musical group.  To illustrate this, a Muwashah in Rast, called “ Mala Al-kasaat wa-saqani”, by Mr. Usman, will be introduced. This is one Muwashah that is still quite popular in our times. (Mala Al-kasaat ) 

 Modern Musical Forms                                     الأشكال الموسيقيّه الحديثه

       We continue our discussion about the Musical forms, in particular, modern forms.  Beside the Egyptian Dour, there is the “Moroccan Brawlah”, which is often mixed with Noubah. Here is an example ().  And another example is an Algerian Barwal () 

       In Tunisia, This style of folkloric and evolved singing is called “Fuondu”.  Of it, is what this group sings in Maqam “Rast Al-Theel” ()  

      After the Thirties of the last century, the well known Egyptian composer Muhammad Abdil-Wahhab has written many pieces that did not have any particular musical forms, used as entertaining and for enjoyment.  Here is a musical piece called “Liali Lubnan” (Lebanese Evenings)(  ). 

A Tribute to Some of the Musical Scholars in Arabic Music History

      It’s noteworthy, and appropriate, to present to you in this last session, a brief history of the lives of a few Musical scholars who have contributed to the evolution and growth of Arabic music in the last 15 centuries.

      Notable among them was “Abu Yousif Yaaqoub Ibn Ishaq Alkindi”, who was born in 801 A.D., and was thoroughly knowledgeable in Philosophy, Astronomy, Logic, Music and Mathematics.  He gained his knowledge through delving into the Greek, Persian and Indian cultures.  He passed away in 866 A.D. after he enriched the Arabic literature with many books and literate work that was published in Cairo and Baghdad.  Some of his great works were: Al-Risala Al-kubra fi Al-Ta’leef (a comprehensive study in composition), a Study in Tune arrangement that indicates Peoples higher characters and traits, a Study in Rhythms and a Study in the making of Musical Instruments.         

       Another notable scholar was “Abu Nasr Muhammad Ibn Terkhan” who was known by Al-Faraabi referring to the city where he was born. It’s the city of Faraab in the country beyond the two great rivers, Uzbekistan.  He was born in the year 870 A.D.  Moved to Baghdad and settled there, where he was learned by “Abu Basheer Matta Ibn Younis”, and “Yohanna Ibn Kheilan”.  He has gained tremendous knowledge in Logic, Ethics, Politics, Mathematics, Chemistry and Music, and has written many books in these fields, and several were translated to other languages.  Some of his works were: A statistics in Rhythm, A book of notes and Words in Music.

     A third notable was Ibn Siena.  He is “Abu Ali Hassan Ibn Abdallah Ibn Siena.  Who was born in the year 980 A.D. in the city of Afshana, near Bukhara, in Uzbekistan.  In his Adulthood, Ibn Siena was appointed a Medical Doctor to Noah the Second, of Bukhara, where he was able to use the governor’s library, which contained a vast wealth of information about Sciences and the Arts.  He entered into the service of Shams Al-Dawlah in the City of Hamathan, where he was appointed a Prime Minister, then moved on to the city of Isphahaan, where he spent the rest of his life.  He has written many books among them Kitab Al-Thanaa and Kitab Al-Najat, which contained a large chapter about music.