Bayati and Related Maqamaat Samples
Samples of Bayati and Related Maqamaat
Maqam Bayati
In this section,
we come to an original mode which is used through out the Arab countries and
other places that came in contact with the Islamic culture. This Maqam
is called “Bayati” Maqam. It contains a Bayati tetra chord on
Re (D) which has ¾ step between the first and second notes (Re-Mi) , ¾ step
between the second and third notes (Mi-Fa) and a complete step between the
third and fourth notes (Fa-Sol) (Sample
).
The tetra chord becomes as follows: (Sample
).
The origin of this Maqam
is folkloric, which has evolved through the ages to become one of the most
prominent Maqam in Arabic music. We find it in the Tunisian folk music
and singing and is known by “Al-Salihi”, and we also find it in the Syrian
and Lebanese folk singing form of Ataba and Mijana. Which makes us conclude
that: This Maqam may have Phoenician roots, due to the connection of these
regions at the times of the Phoenicians. Here is an example of Ataba
and Mijana on “Bayati”, by the Lebanese singer Sabir Al Safh (Ataba
).
And here is another example of the Al-Salihi style singing in Tunis, by the
singer Ismaeel Alhattab (Al-Salihi
).
The “Bayati” Maqam is
composed of a “Bayati” Tetra chord on the Tonic of Re (D) (Sample
)
followed by a “Rast” Tetra chord on Sol (G) (Sample
),
then a “Bayati” Tetra chord on the upper Re (D2) (Sample
).
However, when descending, the second tetra chord becomes a “Nahawand” tetra
chord on Sol (G) (Sample
).
Here is an improvisation on the Flute to show the various “Bayati” Tetra
chords, ascending and descending. And here is a Muwashah from the
Turkish musical heritage, with which we end our session (Turkish
Muwashah
).
Click Below to watch the Audio/Visual Presentation of Maqam Bayati
 |
