Improvised Forms

The Taqsim, Layali, Mawwal and Qasida

Improvised forms are the most immediate vehicle for a mutrib (singer) or an instrumentalist to connect with their audience while exploring and working with a maqam's sayr.

The Layali

Pronunciation of Layali

The Layali form is a vocal solo improvisation on the phrase "Ya Layl Ya ‘Ayn" (O Night, O Eye), where "layali" is the Arabic plural of the word "layl". This is a traditional phrase that is not used for its literal meaning any more, but has become more of a vocal filler and a vehicle for vocal ornamentations.

Layali can stand alone but more commonly they are used as a prelude for the next vocal form (e.g. Mawwal, Qasida, or even a composed vocal form). In that case they serve as a warm up, and help the singer get immersed in the maqam.

Dawr Kadni el-Hawa Marie Jubran's recording of Dawr Kadni el-Hawa (music by Muhammad ‘Uthman) starts with a qanun taqsim followed by layali in Maqam Nahawand.

Taqtuqa Leh Ya Banafseg Saleh Abdel Hayy's recording of Taqtuqa Leh Ya Banafseg (music by Riyad al-Sunbati) is a long Wasla that starts with an oud Taqsim, a Sama‘i, a qanun Taqsim, a recap of the Sama‘i's taslim, then a Layali, all in Maqam Rast.

Muhammad Khayri - Layali Aleppan singer Muhammad Khayri starts his Wasla in Maqam Rast with a Layali before proceeding to an improvised Qasida, then some Qudud.

The Mawwal

Pronunciation of Mawwal

The Mawwal (plural Mawawil) is a solo vocal improvisation on a colloquial Arabic poem. For example, the poem could be in the Egyptian, Lebanese, Syrian or Iraqi dialects. As with other vocal improvisational forms, the mawwal is a vehicle for showcasing the maqam's sayr, as well as the singer's beautiful voice and ornamentation technique.

One important type of mawwal is the "Baghdadi Mawwal", also called Sab‘awi (from sab‘a, seven) because it comprises 7 lines that rhyme as A, A, A, B, B, B, A. The Baghdadi Mawwal is very popular in the Aleppan repertoire, alonside the Muwashahat and Qudud forms.

Sadduk ‘Anni el-‘Ida Aleppan singer Muhammad Khayri starts his Wasla in Maqam Bayati with a Sama‘i, followed by Mawwal Sadduk ‘Anni el-‘Ida

Ashki Li Min el-Hawa Mawwal Ashki Li Min el-Hawa in Maqam Kurd, by Muhammad Abdel Wahab (1931).

Min Youm Firgak Mawwal Baghdadi Min Youm Firgak by Sabah Fakhri.

The Improvised Qasida

Pronunciation of Qasida

The Qasida (plural Qasa'id) is a metered poem in classical Arabic. It can be used in a composed form (see the composed qasida) or, in this case, used in an improvised form. The improvised qasida is identical to a Mawwal in how it features a maqam's sayr, and the singer's skills and artistry.

Ya Man Yara Admu‘i Muhammad Khayri's Qasida Ya Man Yara Admu‘i in Maqam Rast.

Qul Lil-Maliha Sabah Fakhri's signature Qasida Qul Lil-Maliha in Maqam Huzam.

The Taqsim

Pronunciation of Taqsim

The Taqsim (plural Taqasim) is an instrumental improvisation guided by a traditional framework that very closely follows a maqam's sayr (including intonation, phrasing and modulation). The taqsim also showcases the beauty of the instrument, its ornamentation possibilities, and the performer's skills, technique and personal voice.

The taqsim must follow a narrative arc and consist of sections separated by mini cadences and brief pauses. The taqsim can be a stand-alone piece, or it could be embedded in a song or a wasla.

The most popular and widespread taqsim instrument is the oud, along with the violin, nay and qanun. Arabized instruments like the accordion can also be used for a taqsim.

‘Aboud Abdel ‘Al Violin Taqsim in Maqam Bayati by Aboud Abdel ‘Al, preceded by Sama‘i Bayati Ibrahim al-‘Aryan

‘Amer ‘Ammuri Taqsim Oud by ‘Amer ‘Ammuri (Syria) in Maqam Huzam during a concert by Sabah Fakhri.

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