Maqāmāt

Maqām is a complete modal framework built from an ordered sequence of pitch classes (typically 7–13+ notes), ascending (ṣuʿūd) and descending (hubūṭ) sequences (which may differ), positioning of multiple ajnās at specific maqām degrees, melodic development pathways (suyūr), and unique theoretical and aesthetic properties.

What is a Maqām?

Maqām is a complete modal framework that differs from ajnās in its scope and structure, representing a complete modal framework rather than a building block component.

Structure

Each maqām contains:

Ascending Sequence (Ṣuʿūd):

• Seven or more notes defining the upward melodic path
• Represents how the maqām develops when ascending

Descending Sequence (Hubūṭ):

• Seven or more notes defining the downward melodic path
• Can be identical to the ascending sequence or different

Asymmetrical Structures:

• Many maqāmāt employ different sequences in ascent and descent
• The platform visually distinguishes notes that appear only in descending sequence
• This asymmetry is a characteristic feature of Arabic maqām practice

Construction and Compatibility

Similar to ajnās, maqāmāt are constructed based on constituent note names and are subject to tuning system compatibility.

Requirements:

• All note names in both ascending and descending sequences must exist within the selected tuning system
• If any required note name is missing, the maqām is not possible in that tuning system

Example: Maqām farahfazza in Al-Kindī's tuning system extends from yegāh to ḥusaynī, utilizing notes across this range.

Ajnās Within Maqāmāt

As building blocks, ajnās combine to form maqāmāt. The platform automatically analyzes each maqām to identify:

• Which ajnās appear in the ascending sequence
• Which ajnās appear in the descending sequence
• Whether they are in their original form (taḥlīl) or transposed (taṣwīr)
• Their precise intervallic structure within the maqām context

Analysis Algorithm:

• Searches every starting point within both sequences
• Compares subsequences of 3-5 consecutive notes
• Matches against known ajnās interval patterns
• Uses cents tolerance mechanism for performance practice variations

Multiple Ajnās on One Degree

A maqām degree often satisfies the interval pattern of more than one jins. Most of these are not real ambiguity: the ajnās involved share an identical interval pattern and exist as separate entries only because tradition seats that one shape on different notes. Jins rāst and jins yegāh are the same shape, named for where each is conventionally played.

The platform shows every jins that matches a degree, stacked together on that degree. Nothing is hidden in favor of a single "correct" reading.

Ordering. Where a degree carries more than one match, which one leads is decided by the suyūr. A sayr's stops record which jins the historical sources actually name at a given note, and that recorded usage is evidence, while a jins's structural seat — the note tradition treats as its home — is only inference. Evidence outranks inference: at the degree nawā in maqām rāst, jins yegāh is the jins conventionally seated there, but the suyūr, across the whole corpus, repeatedly name jins rāst at nawā and never jins yegāh — so jins rāst leads instead.

Where the suyūr are silent about a family, seating decides instead, and a jins nested inside a longer one ranks below the jins containing it. Where even that ties, a stable identifier settles it, so the order shown never depends on how the underlying data happens to be listed.

Families. A maqām named for one of its own ajnās is classified under that eponymous jins even when a different reading leads the tonic degree's display — maqām nawā athar's tonic also matches jins nikrīz, but the maqām still files under nawā athar. Family names always carry the jins's full name rather than a truncated first word — nawā athar, rāḥat al-arwāḥ, ḥijāz kār kurd — and keep any source attribution that distinguishes readings, so būselīk (al-Shawwā) and būselīk (al-Ḥilū) remain separate families.

Maqām Transpositions

Like ajnās, maqāmāt can be systematically transposed to begin from different pitch classes while preserving their essential intervallic relationships and directional characteristics.

How It Works

The transposition algorithm:

1. Separately processes both ascending and descending sequences
2. Ensures all required note names exist within the tuning system
3. Maintains original intervallic relationships
4. Recalculates all embedded ajnās for each transposition
5. Generates transposed names following "maqām [name] al-[starting note]" convention

Example

Original: Maqām farahfazza starting on yegāh

Transposition: Maqām farahfazza starting on rāst → "maqām farahfazza al-rāst"

Each transposition:

• Retains original intervallic relationships between consecutive notes
• Adapts to the new tonal center
• Automatically recalculates constituent ajnās
• Maintains ascending/descending sequence characteristics

Maqām Suyūr

Suyūr (singular: sayr) represent traditional melodic development pathways that define how a maqam unfolds in performance practice. They go beyond basic ascending and descending sequences to describe:

• Characteristic melodic progressions
• Emphasis points
• Developmental patterns
• Traditional performance practices

Structure:

• Implemented as sequences of "stops"
• Each stop can be: a note, a jins, a maqām, or a directional instruction
• Automatically transposed when the maqām is transposed

See the Suyūr Guide for detailed information.

Using Maqāmāt

Via REST API

# Get all maqāmāt
curl https://diarmaqar.net/api/maqamat

# Get specific maqām with full details
curl "https://diarmaqar.net/api/maqamat/maqam_bayyat?tuningSystem=alfarabi_950g&startingNote=ushayran&pitchClassDataType=cents"

# List transpositions (dedicated endpoint)
curl "https://diarmaqar.net/api/maqamat/maqam_bayyat/transpositions?tuningSystem=alfarabi_950g&startingNote=ushayran"

# Include modulation analysis
curl "https://diarmaqar.net/api/maqamat/maqam_bayyat?tuningSystem=alfarabi_950g&startingNote=ushayran&includeModulations=true"

Bibliographic Sources

Maqāmāt in DiArMaqAr are compiled from:

• Historical Arabic music theory treatises (9th-20th centuries)
• Modern scholarly works
• Performance practice documentation

Each maqām includes:

• Complete bibliographic references
• Source and page citations
• Multilingual commentary (Arabic/English/French)
• Suyūr from original sources
• Historical context

Visual Analysis

The platform provides multiple visualization modes:

• Tabular display: Mathematical details for all pitch classes
• Pitch class bar: Visual representation with highlighting
• Ascending/descending notation: Clear distinction of sequences
• Ajnās overlay: Visual indication of constituent ajnās

Next Steps

• Learn about Suyūr
• Explore Taṣwīr (Transposition) capabilities
• Discover Intiqāl (Modulation) networks
• Understand Bibliographic Sources