The principle maqmot used in the Syrian Jewish liturgy and pizmonim (songs in praise of G-d) [This document,

written Nov. 23, 2011 by Eric Ederer, was intended as a companion piece to the essay Brief remarks on Middle Eastern musical modes used in praise-songs for (the Abrahamic) God of the same date and by the same author; its intention was to provide basic information on a small selection of melodic modes to microtonal composers interested in exploring them in their own works.] The maqm descriptions given below must be taken with the following caveats: that they are very general; truly learning a maqm entails much listening and playing, and consulting on minute details with more experienced musicians that my experience is mainly with Turkish makam and with Egyptian maqm rather than with the Syrian version per se; while I am confident that music played in accord with the following descriptions would indeed be easily recognized by a Syrian listener as expressing the characteristics of the specific maqm-s, there may be local details that I have missed o this is even more true specifically for the Jewish tradition; compare by listening to the pizmonim here: http://www.pizmonim.com/ while there are well developed theoretical models of how ajna-s/cins-es/genera (that is the general category to which trichords, tetrachords and pentachords belong) are recognized and connected to form the scalar aspect of each makam/maqm in the Turkish and Egyptian forms of the art, I do not know how the Syrian tradition understands this aspect of their theory; I am presenting them in Turkish terms below o similarly, I use Turkish accidental signs, though most of the pizmonim repertoire is un-notated dominantsthe second most melodically prominent focal point after the tonic are usually (but not always) the point where genera are conjoined; here they are shown as underlined letters in the maqms scale

Below each maqm description is a quote from the description of the same maqm given at the Sephardic Pizmonim Project website (http://www.pizmonim.org), for some performance context given in a native voice.

The Maqmot Rast Rast is a maqm with an ascending path (seyir = path), meaning that generally melodies begin around the tonic, rise (though not always as high as the upper tonic), and fall to a final cadence on the tonic. The ascending scalar aspect of Rast is composed of a rast pentachord [CDEqFG] conjoined to a rast tetrachord [GABqC]: C Eq F G A Bq C 9:8 12:11 88:81 9:8 9:8 12:11 88:81 0 204 355 498 702 906 1057 1200 The melody may go below the tonic by conjoining another rast tetrachord below [GABqC]. The descending version of the scale consists of the same rast pentachord [CDEqFG] conjoined to a nahawand tetrachord [GABeC]: C Eq F G A Be C 9:8 12:11 88:81 9:8 9:8 256:243 9:8 0 204 355 498 702 906 996 1200 [Parenthetically, in the oldest notated repertoire in Rast (late fifteenth century) the Be was more normative than the Bq, and the sixth degree was Aq (13:8 = 841) rather than A.] Note that any time the melody descends from E to C the Eq is likely to be lowered slightly. Eq may also have its own leading tone [Ds], used to spice it up occasionally.
Rast is the first maqam in the arrangement of the Oriental maqamat and therefore represents a beginning. The word Rast sounds similar to RAS, the Arabic word for head. As a result, we use Maqam Rast in the prayers for the Shabbats that we begin a new Humash as well as the Minha service of Shabbat because that is the first time the upcoming Perasha is read. On the Shabbat when the first perasha of each Humash is read, Maqam Rast is employed. Thus on the weeks of Perashat Bereshit, Shemot and Vayiqra this maqam is applied. Although we read about Berit Milah in Shemot, the idea of commencement of a new book takes precedence, especially since this was a postponed Berit Milah. Perashat Bemidbar is usually Shabbat Kalah, the Shabbat prior to Shabuot, therefore some use Maqam Hoseni. In the event that it is not Shabbat Kalah, then Rast is employed. Perashat Debarim is always Shabbat Hazon, the Shabbat prior to Tisha BAb; therefore Maqam Hijaz is used instead of Rast. This maqam should also be used the Shabbat immediately after Passover.

Mahur (Mahour) The maqm Mahur has existed in several versions over the centuries, but the one described as appropriate for Syrian pizmonim is simply the same scalar material as maqm Rast, performed in a descending manner rather than an ascending one, using the Bq when keeping the melody around the upper tonic, and Be when wanting to descend to the lower tonic. Since Rast repeats at the octaves (not all maqm-s do!), you may conjoin another rast pentachord [CDEqFG] to the upper tonic. In classical music it is typical for all maqm performances to end by falling to the (lower) tonic; apparently in pizmonim performances Mahur may end on the upper tonic instead.
Mahour is a higher pitched version of Maqam Rast. The way to end each stanza in Maqam Mahour is at a high tone, instead of a low tone; that is, it starts lower and ends higher. The word Ma'hour means chagrinned and disappointed in Arabic. The maqam expresses anxiety and emotional distress. This maqam is only used twice a year; on the Shabbats of Toledot and Balaq. During these two perashas, both Esau and Balaq are disappointed and angered. Mahour should also be used for Shabbat Sheqalim, and according to Gabriel Shrem and his family, it should also be used for Parashat Vayigash. Maqam Mahour, or in Egypt, Nagham Kerdan, is the same scale as Maqam Rast, but in the early 20th century practice, the term "Rast" was often use to actually mean Suznak. The term Mahour/Kerdan also usually implies that the upper part of the scale will be developed. There is another ambiguity concerning this name : in early 20th century sources, the term "Mahour/Kerdan" is often used to describe pieces that could more accurately be labeled as Dilnishin (Saba/Hoseni, Hijaz/Kerdan), in which the opening sentence is Saba/Hoseni and the ending melodic sentence and qafla are Rast/Nawa or Rast/Rast. For instance, Abd El Hamouli's dor "Eshna we shofna senin", followed by Mohammed Osman's "Bustan Gamalak", and the many mawawil sung in this combination, are always described as dor Kerdan or dor Mahour, and the term Dilnishin is unknown to pre-1932 Egyptians. It is interesting to note that this Maqam Dilinshin is often used in adwar and mawawil but never in qasa'id 'ala al-wahda.

`Ajam `Ajam may be described most simply as Be Major; in classical practice it is a descending maqm (like Mahur: beginning at the upper tonic and slowly wending its way to a final cadence on the tonic). The Turkish version (called Acem Airan) usually has an internal modulation to Saba (which see below) but this seems not to be characteristic, here. The scalar aspect of the maqm consists of the conjunction of an `ajam pentachord [Be C D Ee F] below an `ajam tetrachord [F G A Be]the same genera are repeated above the upper tonic and below the tonic: Be D Ee F G A Be 9:8 9:8 256:243 9:8 9:8 9:8 256:243 0 204 408 498 702 906 1178 1200
This maqam originated in Persia (Iran), and therefore it was named after Persia, which translates to Ajam in Arabic. Ajam is the Arabic equivalent of the Western Major scale. This maqam is linked with festivity and joyousness. There are many patriotic tunes in this maqam. It contains many pizmonim that are associated with holidays and weddings. We apply this maqam to the prayers on the second days of the Yom Tob (Pesah, Shabuot, and Succot), Perasiot Vayetze, Beshallah, and Shofetim, as well as the Sheba Berakhot of all weddings.

In Perashat Vayetze, Jacob marries his wives (wedding) and therefore this maqam is used. Ajam is closely related to the true meaning of song so we use it for Beshallah (Shabbat Shira) and the Seventh Day of Passover because we read the section of "Az Yashir" from the Torah on those days. It is used on Shofetim to mark the joyous event of choosing a king. It is also used for Simhat Torah, which is a day that represents happiness and joy.

Nahawand (Nahwand) Nahawand (Turkish Nihavent) may be over-simply described as C Minor. While the lower pentachord does not change from C D Ee F G, the upper tetrachord may be either a kurd tetrachord (G Ae Be C perhaps especially when descending, but not limited to that function), or (perhaps but not necessarily when ascending) a Hijaz tetrachord G Aw Bq C [which in Egypt would instead be represented G Ae B C]: C D Ee F G Ae Be C 9:8 256:243 9:8 9:8 256:243 9:8 256:243 0 204 294 498 702 792 996 1200 Mixed with: C D Ee F G Aw Bq C 9:8 256:243 9:8 9:8 16:15 2187:1900 88:81 0 204 294 498 702 814 1057 1200 Nahawands path (seyir) may be ascending, like Rasts, or descending-ascending, meaning that it may begin around the dominant (G) and fall before rising to the top and falling finally to cadence on the tonic. Nahwand is the named after a city in Iranian Kurdistan. This maqam was popular in Iran and Turkey
before it made its way down to Syria and Egypt. Nahwand is the closest equivalent of the Western Minor Scale. The maqam is easy on the western ear and encompasses modern day Israeli tunes. Contrary to most misconceptions, this maqam is not related to Maqam Nawah. Maqam Nahwand is applied when there is disharmony and conflict. There are many "Westernized" songs in this maqam. Even though it is listed in the pizmonim book as a possible Shabbat maqam up to seven times a year, this is a new innovation. All older listings, both manuscripts and printed, fail to list Maqam Nahwand as an option. According to Arabic music scholars, this maqam was considered off limits for holy use until about 80 years ago when a wellrespected Sheikh used it for the first time for religious chanting. Since that time it has begun to make roadways in Aleppo's Islamic and Jewish communities. This maqam was common among the Turks and Aleppo's close proximity to Turkey would account for a number of older pizmonim bearing Turkish musical origins. This maqam is also usually used for Shabbat Parah.

Bayyati (Bayat) Bayyati consists of a bayyati tetrachord [D Eq F G note that in Cairo this would be written D Ew F G in either case the Eq/Ew must be lower than that found in Rast] conjoined to a nahawand pentachord [G A Be C D]. Note that the dominant is the fourth degree and not the fifth. Occasionally when rising to the upper tonic, a rast pentachord on G [G A Bq C D] may replace the nahawand one, but it should return when falling back to the tonic. Its path may be ascending (cf. Turkish Uak) or descending-ascending (cf. Turkish Bayati): D Eq F G A Be C D 13:12 128:117 9:8 9:8 256:243 9:8 9:8 0 139 294 498 702 792 996 1200 Occasionally: D Eq F G A Bq C D 13:12 128:117 9:8 9:8 12:11 88:81 9:8 0 139 294 498 702 853 996 1200

Maqam Bayat is a slumber sounding maqam and doesn't necessarily imply a given theme. Maqam Bayat is the most common of the Syrian Maqamat. More songs in the pizmonim book are classified under this maqam than any other. This maqam has a mellow mood to it and therefore is used for Arbit Mossae Shabbat and Mossae Yom Tob when the mood of ending the day is such. Bayat symbolizes an oath between two parties (as is the case with Bar Mitzvah- an oath between man and God). Bayat is associated with the occasion of a Bar Mitzvah due to its wealth of Bar Mitzvah pizmonim. It is also used on Mossaei Shabbat due to its wealth of Mossaei Shabbat pizmonim. Bayat is used for both the celebrations of Baby Girls and the Bar Mitzvah. A possible explanation for this is that daughter in Hebrew is BAT, which sounds somewhat similar to Bayat. The Jews of Damascus use this maqam to close a Humash.

Husayni (Hoseni) Husayni (Turkish Hseyni) is structurally very similar to Bayyatiit may be said to be in the Bayyati Family but there are a few major differences: the bottom genus is a bayyati pentachord [D Eq F G A] rather than a tetrachord o which makes the dominant the fifth degree, A, rather than the fourth, G the primary genus conjoined above it is a bayyati tetrachord [A Bq C D] o but in descending passages it may become a kurd tetrachord [A Be C D] the Eq may not be exactly as high as the 12:11 (151) I have given for Rast, but it should be higher than the 13:12 (139) given for Bayyati, except when descending to the tonic in a cadence

Eq F G A Bq C D 12:11 88:81 9:8 9:8 12:11 88:81 9:8 0 151 294 498 702 853 996 1200 Often when descending: D Eq F G A Be C D 12:11 88:81 9:8 9:8 256:243 9:8 9:8 0 151 294 498 702 792 996 1200 The word "Hosn" means beauty and splendor, and that it why it is the maqam used when commemorating
the giving of the Torah. This maqam is a higher version of Maqam Bayat. Hoseni (or Hosini) is closely associated with receiving the Torah. On Shabuot, the holiday that commemorates the receiving of the Torah, we read Megilat Ruth. The ta'amim for this megila are in Maqam Hoseni, and so is the tune for the Azharot, chanted on Shabuot. Hoseni is used for Perashiot Yitro and Vaethannan which both have the Decalogue (Ten Commandments) within the perasha. This maqam is also used many times throughout the book of Exodus usually in connection with the receiving of the Torah motif and Tabernacle (mishkan) beauty motif. According to Moshe Ashear, Hoseni is used for Shabbat HaHodesh.

Rahawi Nawa As indicated in the informants text below, this is actually two makam-s: Rahawi (cf. Turkish Rehavi) and Nawa (Turkish Neva). It does not indicate how or whether they are to be used together, and so I will describe them separately. But as it happens, there is a Turkish compound makam (Yegh; Arabic version would be Yakah) that closely approximates such a mixture, except that it ends in a different place. Nawa Nawa is part of the Bayyati family. Like Bayyati, its fourth degree is the dominant (having a bayyati tetrachord holding apart the tonic and dominantD Eq F G) but the normative upper genus is a rast pentachord (G A Bq C D), and the Eq is somewhat high, like Husayni. Having an ascending-descending seyir, it begins as though it were Rast from the tone nawa (g), then descends to cadence like Bayyati. D Eq F G A Bq C D 12:11 88:81 9:8 9:8 12:11 88:81 9:8 0 151 294 498 702 853 996 1200

Yakah (Yegh) At least in Turkish practice, Yegh is a compound makam consisting of playing in Nawa (Neva), then after its final cadence on D, continuing to descend through a rast pentachord on the G below (G A Bq C D i.e., treating D now not as the tonic of Nawa, but as the dominant of this new sort of Rast on yegh/yakah/low G); the final cadence is on the low G. [Nawa above, plus the following below it:

A Bq C D 9:8 12:11 88:81 9:8 0 204 355 498 702]

Rahawi As implied by its ascending seyir, Rast is already somewhat bottom-heavy, spending a lot of time at first around the tonic, and even descending at times into a rast tetrachord below the tonic (G A Bq C). Rahawi is nothing more than a form of Rast that spends more time than usual in that low G rast tetrachord in the beginning of the performance and again near the final cadence. The main difference between playing Nawa then playing Rahawi (which the maqm name Rahawi Nawa may imply) and playing Yegh/Yakah is that the former must have its final cadence on C whole the latter must end on low G.
Maqam Rahawi Nawa symbolizes the end of something. Nawah and Rahaw are two different maqams. Nawah is the maqam used to chant mishnayot as well as the maqam of the Kabbalat Shabbat and Arbit of Shabbat services. The last verse of Psalm 93, "lebetecha nava kodesh...", which is said prior to Kaddish on Friday night, alludes to Maqam Nawah, because nava read in the Syrian-Hebrew manner would be nawa and not nava. Nawah is suggested to be used on Friday night also because Mishnah ("Bameh Madlikin") is said during Kabbalat Shabbat.

Rahaw is the maqam of the Pesah Haggadah as well as the pizmon Emounim 'Irkhu Shebah therefore it is closely associated with Pesah, and we use it for Shabbat Morning prayers on Shabbat HaGadol, the Shabbat prior to Pesah.

Saba Saba is a compound maqm, meaning that in its most basic form it is a combination of two or more previously existing maqm-s. In this case it consists of two main elements: Playing a form of the maqm Hijaz from the tone F, consisting of a hijaz pentachord (F Gw Aq Be C note that in Egypt this would be F Ge A Be C) conjoined to a hijaz tetrachord (C Dw Eq F in Egypt C De E F): F Gw Aq Be C Dw Eq F 16:15 2187:1900 88:81 9:8 16:15 2187:1900 88:81 0 112 356 498 702 814 1088 1200 played with and ascending seyir, though very often rising no higher than the dominant, C, and using the high Eq below the tonic as a leading tone, after which falling through a bayyati trichord (D Eq F in Egypt D Ew F, and in both cases with a low Eq/Ew) to cadence on D. (Note that the C below the tonic can be used as a sub-tonic leading tone,

and that while playing around in that trichord the Fformerly the tonicnow becomes the dominant): D Eq F Gw Aq Be C Dw Eq F 13:12 128:117 16:15 2187:1900 88:81 9:8 16:15 2187:1900 88:81 0 139 294 408 680 792 996 1110 1354 1497 Perhaps because this maqm does not usually venture very far above the C for long periods, there is a widespread idea that Saba is not a compound maqm at all, but a strange maqm with a diminished 4th in the bottom tetrachord (D Eq F Gw) that conveys the sense of longing by never being able to reach its upper octave (that is, an octavespanning D to D scale is taken as normative, but this one instead goes from D to Dw). Because of this many performances (especially in the Arab-speaking world) have an ascending seyir from D rather than the proper compound seyir described above.
The Arabic word Sabi means baby boy, and this is why Maqam Saba is used for the Berit Milah (circumcision). Saba is used for perashiot that contain either births, covenants (berit), a multitude of laws, the mention or reference to an army (Saba), or the actual word Saba within the perasha. The following are the Perashiot: Lekh Lekha (Isaacs Birth), Vayishlah (Jacobs covenant with God), Mishpatim (multitude of laws), Tazria (birth of a baby boy), Qedoshim (multitude of laws), Naso (the mentioning of the word Saba in reference to the Sotah), Pinehas ("Berit Shalom" between Pinehas and God and also the traditional association between Pinehas and the Prophet Eliyahu of which is connected to the Berit Milah), Mas'ei (traveling from place to place-something armies do), and Ki Tese (mentioning of armies, which is Saba in Hebrew). Maqam Saba is also used on Shemini Aseret (Eighth Day of Succot) and the Eighth Day of Passover, because the number eight is heavily associated with the concept of covenant (berit). The Jews of Damascus also use this maqam to express sad events (like the way Jews of Aleppo use Maqam Hijaz).

Sikah (Sigah) There are several ways to explain the elements of maqm Sikah (Turkish Segh), but to my mind the simplest way is to understand it as being built of three genera: a sikah trichord: Eq F G above which is conjoined at times (especially when ascending) a huzzam tetrachord: G Aq Bq C and at other times (especially when descending) a bayyati tetrachord: G Aq Be C above either/both of which is conjoined a rast trichord: C D Eq

Eq F G Aq Bq C D Eq 88:81 9:8 12:11 9:8 88:81 9:8 12:11 0 143 347 498 702 845 1049 1200 Alternating with:

Eq F G Aq Be C D Eq 88:81 9:8 13:12 128:117 9:8 9:8 12:11 0 143 347 486 641 845 1049 1200 [note that G to Aq is lower in the bayyati tetrachord!] Sikah is generally ascending (rises upward from the tonic, then falls back to cadence on the tonic) or descending-ascending (concentrates around the dominant [here G], showing the trichord beneath it, then rising, then falling to cadence on the tonic). Maqam Sigah (Sikah), from the Persian for "third place", is applied when there are special Torah
readings. This maqam is usually used for the weekday prayers as well as the Syrian way of chanting the Torah with the cantillations. This maqam is also used on the first days of the Shalosh Regalim (holidays) and perashiot relating to Menorah, Kohanim, and the building of the mishkan. In addition to that, there is an entire selection of pizmonim that are related to Purim that come from this Maqam, and that is why this maqam is used the Shabbat prior to Purim (Shabbat Zachor). According to Prof. Idelsohn, Sigah denotes majesty, pomp, ceremony (as conducted by the Kohanim). Sigah is used for the following Shabbats and for the following reasons: Miqes is always the Shabbat during Hannukah- a holiday that is associated with the Menorah. Tesave discusses the clothing and ornaments of the Kohen HaGadol in the mishkan. Emor discusses the laws pertaining to the Kohanim, as well as the laws of the holidays. Behaalotekha mentions the Menorah in the beginning of the perasha. Ki Tabo discusses the reading of the Torah when entering the new land. Other maqamot in the Sigah family are: Oj, Iraq, Huzam, and Sigah Baladi.

Hijaz The term Hijaz (Turkish Hicaz) means something very specific in Turkish usage, something rather more vague in Egyptian usage, and I know not toward which end of that spectrum the Syrian usage tends. I will describe it in the more specific (Turkish) version, knowing that it is recognizable as at least a form of Hijaz everywhere else as well. Hijaz is a descending-ascending maqm whose scalar aspect consists of a hijaz tetrachord (D Ew Fs G in Egypt D Ee F G) conjoined to a rast pentachord (G A Bq C D). Occasionally, when delaying an arrival at the upper tonic or when descending from it, the rast pentachord may be replaced by a nahawand pentachord (G A Be C D). D Ew Fs G A Bq C D 16:15 2187:1900 88:81 9:8 12:11 88:81 9:8 0 112 356 498 702 853 996 1200 And occasionally: D Ew Fs G A Be C D 16:15 2187:1900 88:81 9:8 256:243 9:8 9:8 0 112 356 498 702 792 996 1200

Hijaz refers to Saudi Arabia, which in Arabic is still known as the Hijaz. This maqam, which originated in Saudi Arabia, is linked with death, and is used to mark sad occasions that occur on the calendar, as well as sad occasions that occur in a given perasha. We use this maqam on the following Shabbats: Hayye Sarah mentions the death of Sarah and the death of Abraham later in the perasha. Vayehi mentions the death of Jacob and the death of Joseph later on. Ki Tissa discusses the tragedy of the Golden Calf. Aharei Mot mentions the deaths of Aaron's children, Nadab and Abihu. Shelah Lekha mentions the spies, and the punishments that followed. Debarim has no sad event within the perasha, however, Hijaz is used because it falls out on the Shabbat before Tisha B'Av, the saddest day on the Jewish calendar. According to the Jews of Damascus, the only Shabbat of the year that Hijaz is used is Parashat Debarim. According to Gabriel Shrem, Hijaz in its purest form should only be used for Parashat Debarim, and for the rest of the weeks, Hijaz should be mixed with Bayat. The Jews of Damascus only use Hijaz for Shabbat Debarim. Other maqamot in the Hijaz family are: Shahnaz, Suzidil, or Zanjaran.