Introduction
Maqam Hijaz Kar Kurd is one of the unique maqamat in Arabic music that combines characteristics of both Hijaz and Kurd maqamat. Although it shares the same intervallic distances as Maqam Kurd, it differs fundamentally in the position of the dominant (ghammaz), giving it a distinct musical character.
Theoretical Distinctiveness
The Fundamental Difference from Kurd
What makes Maqam Hijaz Kar Kurd fascinating is that it has the same pitch intervals as Maqam Kurd, but it is not a transposition of it. The main difference lies in:
- Maqam Kurd: The dominant (ghammaz) falls on the 4th degree
- Hijaz Kar Kurd: The dominant falls on the 5th degree
This change in the dominant position creates a completely different "center of musical gravity" and alters the nature of the melodic path (sayir) in the maqam.
The Musical Scale
When playing on C as the tonic:
Scale Degrees Table
| Degree | Western Note | Arabic Name | Interval from Previous |
|---|---|---|---|
| 1 | C (C) | Rast | - |
| 2 | D♭ (D flat) | Dukah flat | Half step |
| 3 | E (E) | Hisar | Step and a half |
| 4 | F (F) | Jaharkah | Half step |
| 5 | G (G) | Nawa | Whole step |
| 6 | A♭ (A flat) | Husayni | Half step |
| 7 | B♭ (B flat) | Awj | Whole step |
| 8 | C (C) | Kirdan | Whole step |
Ascending Pattern
C - D♭ - E - F - G - A♭ - B♭ - C
Descending Pattern
When descending, the 7th degree can remain B♭, with additional Hijaz degrees possible.
Ajnas (Jins) Structure
Maqam Hijaz Kar Kurd consists of overlapping ajnas:
First Jins: Jins Kurd (from the tonic)
- Extends from C to F
- Interval pattern: Half - Step and a half - Half
- Gives the distinctive Phrygian (sad/Eastern) character
Second Jins: Jins Nahawand (from the 5th degree)
- Extends from G to C
- Interval pattern: Whole - Half - Whole
- Adds the Western minor color
Third Jins: Jins Hijaz Kar (also from the 5th degree)
- Extends from G to C with special degrees
- Adds the distinctive Hijaz character
The Sayir (Melodic Path)
Main Characteristics of the Sayir
- Starting from the top: Historically, the sayir began from the high C (octave) then gradually descends
- Focusing on the dominant: Long emphasis on the 5th degree (G) as a secondary center
- Moving between ajnas: Smooth transitions between Jins Kurd and Jins Nahawand
- Returning to the root: Ending by returning to the Rast degree (C)
Typical Musical Phases
- Opening: Starting with Jins Hijaz Kar from above
- Expansion: Descending to the root Jins Kurd
- Movement: Transitioning between different ajnas
- Conclusion: Returning and settling on the root degree
Emotional Quality
Maqam Hijaz Kar Kurd is characterized by a unique blend of emotions:
- Hijaz character: Adds mystery and deep Eastern quality
- Kurd character: Adds sadness and contemplative calm
- The combination: A unique result combining spiritual depth with hidden sorrow
This maqam is used in:
- Deep vocal qasidas (poems)
- Extended instrumental taqasim (improvisations)
- Muwashshahat with classical character
Famous Artists and Works
Famous Works
- Samai Kurd by Abdel Daqqaq (analyzed in the context of Hijaz Kar Kurd)
- Some Iraqi mawawil that combine Kurd and Hijaz
- Oud taqasim on this maqam
Distinguished Performers
- Abdel Daqqaq: His works on Maqam Kurd show characteristics of Hijaz Kar Kurd
- Munir Bashir: His oud taqasim used this maqam with mastery
- Naseer Shamma: In some of his contemporary works combining tradition and modernity
Comparative Analysis
Comparison with Maqam Kurd
| Aspect | Maqam Kurd | Hijaz Kar Kurd |
|---|---|---|
| Dominant | 4th degree | 5th degree |
| Sayir | Descends to root | Centers on dominant |
| Character | Philosophical sadness | Sadness with mystery |
| Upper ajnas | Nahawand/Ajam | Hijaz Kar/Nahawand |
Comparison with Maqam Hijaz
| Aspect | Maqam Hijaz | Hijaz Kar Kurd |
|---|---|---|
| Root jins | Hijaz | Kurd |
| 2nd degree | Half flat | Half flat |
| 3rd degree | Sharp | Major |
| Character | Exposed Eastern | Hidden Eastern |
Practical Application
For Performers
- Start descending: Begin from the octave and descend gradually to establish the character
- Focus on the dominant: Spend more time on the 5th degree
- Transitions: Use the transition from Jins Kurd to Jins Hijaz Kar
- Taqasim: This maqam is excellent for extended taqasim
For Composers
- Emotional songs: Suitable for deep sad melodies
- Film music: Works well for drama and mystery scenes
- Fusion: Can be blended with Western scales (Phrygian/Minor)
Conclusion
Maqam Hijaz Kar Kurd is a wonderful example of the complexity and richness in Arabic music. Despite the simplicity of its pitch structure in terms of degrees, changing the dominant position creates a completely different musical world from Maqam Kurd. This maqam shows how rearranging priorities within the musical scale can produce a unique emotional character—a profound lesson in understanding the nature of Arabic maqam.
Want to learn more about Arabic maqamat? Explore other maqamat in the Mynoota blog.