The Song of Joy
In secret Love performs song
Where is the lover who listens to the song?
The entire world is full of His sound
Who has heard such a plaintive sound?
Thousands and thousands of copious glorious litanies and countless praiseworthy laudations to the altar of the refuge of creatures, the creator and protector who with the single chanting of the word “to be” with a light lighter than the sun and by the ordering of the strike of a musical instrument resounding, blew the body of fire of the pure soul into man’s body of dirt.
On the day when the Lord blew Adam’s soul into the body
The command was “get in”
But from fear it did not enter the body
The angels sang in the melody of David
“Into the body, into the body, get into the body”
To the pleasant call from heaven echoing the original covenant between God and man, the blessed melody of the word of God – from the corner of hiding and from the veil of seclusion to the place of truth, in chastisement of refusal, and to the tune of aloofness, from a corner and from the corner to the assembly of truth and certainty, praise and blessings be to the investigation of hearing from the origins and conclusions of things.
The discourse is with himself there is no other
The Kaaba of Mecca is not thought of as a temple
Into eight musical stages the pitching of sound is ordered into melody, and into eight paradises the musically motivating breath is manifested in the invention of wondrous powers. From listening to each musical note the pure hearts at that time attain a fresh and unbounded ecstasy and are collected into those that find His acceptance.
The first note according to custom is the voice of young birds and the collected sweet young of small birds which upon hearing ( this note ) make the egg of their heart like the royal falcon take to flight, and the nose of the soul breathes the air of the first heaven increasing the spirits and untying all the bindings of thoughts by the nail of the assistant of special blessing.
The second note, in the shape of a bin and other musical instruments of interesting and pleasing sounds of the well-made flight of song, which upon hearing one gains rapid ( deer-like ) and ecstatic intoxicating perceptions similar to childlike fearlessness and astonishment in rapid transit to the full flowing northern canal of the second heaven invigorating the soul and covering negligence with the radiance of knowledge. The same note makes the world of genii spread itself as a carpet in anticipation of beholding the vision.
The third note is like the clamor of camel bells to which hand clappers and dancers come to listen, to see, and to behold the forcible seizure of thought like the reverberation in the tanbur without any player being independent of all instrumentalists. By the propagation and promotion of the third note with the breeze of the third heaven, which is the refuge and dwelling of destiny, all houri and gilman dancing and singing come into focus and man is prepared for pleasure and joy.
The fourth note is perceivable as the sound of a bell, and by one’s desiring to know and understand it, there is the propagation of the fragrance of unity, and all the angels and cherubim of the fourth heaven, and the creations of the higher and lower worlds become manifest at the limit of vision. But from all this amazement one is increasingly astonished. Inspiration and miraculous powers are many at this stage but one must have the ear of a hearer.
The fifth note is like the gurgling tumult of rivers that flow from the mountains to the ground and by understanding and teaching the fragrant passing of winds of the fifth heaven become aware of the mysterious secrets of everything and the outward and worldly motions become suspended and dispersed.
The sixth note is the clamor of drums drunken in rapture and selflessness, the brimfulness of which bestows delight sweeter than sugar and candy, nay, in fact the listener having drunk this water of life escapes totally like the Simurgh from the snare of self.
The seventh note is like the great thunder, the thunderbolt, and tumultuous thunder, and by inhaling the seventh heaven invokes “anal haq” ( being one with God ) causing one to struggle against servitude and escape to the shelter of the Lord.
The eighth note which, like the roar and howling of the wind echoing from the mountains or domes, causes the rose bud to open, which, like the perfume of the aloe wood and the eighth heaven, suspends the hand of slavery and spurs the mastership to Allah manifesting the splendor of God to everyone aware of this note. This sound is internal without musical instruments or musicians, always performed without performers. And this knowledge is called the sultan of litanies and the song of eternity. The Brahmins and Indians call this sound shabed. The elders have said:
The distance from song to God is just a lane
This saying of mysticism is born witness by the reed
Mevlevi Rumi is composing poetry to ascertain the validity of this sound of which one line is studied as a treasure of jewelry:
Listen to the reed as it tells its tale.
By the reed is meant the self which, in every breath offering gratitude to that self-sufficient musician and peerless painter, every breath sighing to God in a tongueless language, without the rhythm and measure of the strings of the tanbur deviating from the palpitation of the heart and from the pluckings of the performer of love. The beating of the fingers and the low singing of the desire for this sound is the principal cause of the exaltation and hearing of the heart’s desire. These are the eight heavenly treasures of God and their key is in the hand of the guide, and with the help of the guide the key is authenticated and propagated.
When the exalted Shri Brahma, namely Adam ( the first man ) came to explain the self-sufficiency of God and the limits of the manifest, the first utterance was “omkar ” followed by the four Vedas. That is, he composed and completed four excellent books and established four appropriate times for the four Vedas which, if recited at those times, bestow grace and are most efficacious: the Rigveda in the morning facing east, the Yajurveda at mid-day facing south, the Samaveda at sunset facing west, and the Atharvaveda at midnight facing north. In the Rigveda there is the science of theology, action, and law ( dharma ). In the Yajurveda are the signs of war, ceremonies, and spirits; that is magic, etc. In the Samaveda is the science of song or music, and in the Atharvaveda the science of asceticism, renunciation, and unity. Thus the Samaveda is the most powerful of the Vedas and Shri Krishna, the eighth incarnation of Vishnu Narayan, defines it in the holy Gita: “among the Vedas I am the Samaveda – that is the most significant of all the Vedas, and I ( Krishna ) am that.”
Both in the state of silence and in conversation Shri Brahma repeats the word “omkar ” as proof of unity ( monism ). Shri Brahma, Shri Vishnu, and Shri Mahdev are respectively the deities of creation, preservation, and destruction; namely the guardians of three main characteristics of truth: the qualities of creation, preservation, and destruction. Others such as rishis, brahmans, devas, genii, bhairavas, and demons also know this word ( omkar ) to be the name for the essence of God and they repeat it. This word has three letters exactly like the sound of the camel bells, the palpitation of the heart, and the sound of the pulse. The first letter is the open alef ( a ), the second is the dhumma ( short u ), and the third is the consonant mim ( m ). This arrangement from the beginning is according to the science of Sanskrit which is the totality of all sciences. Thus a crescent-like diacritical mark above a letter called nasal in Persian and half-vowel in Sanskrit, occurs at the beginning and end of each sound and is more evident in the pauses of the voice. The first letter comes from the navel, the second from the chest, and the third from the nose. That is, the Ascension of the soul, the forceful shout, and the shout made by wrestlers before commencing, as well as the highs and lows of these three letters, causes the manifestation of all speech, whether in song or in conversation. If the word is sung or recited in one beat or one heart-beat the lame horse of imagination trots across the expanse of the sky. If the word is recited in two beats, perfect joy and luxury are attained. If it is sung in three beats one procures the wealth of this and the other world. That is, Harsu, Durga, and Pult are inhaled from the navel, maintained in the chest, and exhaled from the nose which, according to the science, have seven numbers. These are called Ahang Veda. One alef, one low dhumma, and five mim s ( aummmmm ) make a total of seven and out of these seven emerge seven notes ( sur ) and from these, seven sounds ( avaz ) are derived. In other words each of the seven songs ( tarana ) emerge from this very word ( aum ) and submerge into this very word ( aum ). From the conjunction of pure intelligence and pure self comes this sound. Self is the hearer, self is the thing heard, self is the act of hearing, and self is hearing itself. So this body that resembles a panpipe ( musighar ) and is filled with every sound ( by its very nature ) understands and listens itself to listening to that listening. From six notes are derived six ragas and the seventh note.
Nishadeh Vrashabeh Ghandara Shudzeh Madhieh Divateh Pancheh
Song comes from the circle and the middle.
Nishadeh, the sound of the elephant, stable with all sounds, does not have a distinct way of singing.
Vrashabeh the sound of the bull, rises from the navel and brings a pleasant fragrance to the nose when sung.
Ghandara is according to custom the sound of calves and sheep.
Shudzeh, the sound of the peacock, breathes from the throat, nose, tongue, teeth, and chest.
Madhieh, the sound of the aloe wood and clay, breathes from the neck and bosom and returns to the navel.
Divateh, the sound of the horse, breathes in the forehead and is loud.
Pancheh, the sound of the dove and ring dove, breathes from the chest, left breast, neck, and head and returns to the navel.
From these seven notes the six ragaswere established.
The quality of Bhairav is to nourish the heart and exhilarate the thoughts and cause clarity of time, reflecting a ray of splendor and brightness.
Malkaus has the quality of enchanting wild animals like deer, peacock, and snakes.u Hindol’s characteristic is to agitate the leaves of trees like the blowing of the wind.
The quality of Dipak is that the wicks of lamps automatically and without intermediary are set aflame by the flame of the music.
The quality of Shri raga is that it provides peace of mind, augments comfort, totally destroys anguish and worry, and generates joy.
Megh raga ‘s effect is that it gathers clouds and produces rain.
Some other ragas like Numi, Bidari, Muzhaki, Mubbaki , and other sweet-smelling music also produce fragrance in such a way without any scent or musk the nostrils become perfumed simply by the effect of these raga s. By understanding the raga Numi one falls sound asleep. Bidari avar is that raga which awakens a sleeping person. Muzhaki is that raga which causes the members of the assembly to smile. Mubbaki is that raga which causes the feeling of separation and the outpouring of tears.
Since this science was invented by Shri Mahdev he ordered that each raga which is sung be named after the six Bhairavs who are his very close attendants. Therefore the names of the ragas are the names of the Bhairavs and the names of the Ghandar. In other words four fiery illumined refined creative sounds in addition to the above exist which are specific to the Bhairavs , and those four notes are known to be that of Shri Mahaganesh who is the leader of the Bhairavs . Now each Bhairav has five Bhairavis and correspondingly each raga has five ragini s. That is a total of 30 ragini s and feminine names are fixed on these ragini s.
There are six raga s and 30 ragini s
Five Bhairavis to one Bhairav
Bhairav, Malkus, and Hindol
Dipak, Shri raga, Meg Malhar
When we count them all
Thirty-six raga s and ragini s result
Painters draw the pictures of these ragas according to their impressions, states, and fate, and the affluent avaricious persons keep these pictures for themselves.
Distinguishing Raga s and Ragini s
Bhairav
Bhairavi Malasri Natnarani Patmanjari Lalit
Malkus
Mali Gura Khambhavati Varveh Ramkali Kashkali
Hindol
Bilaval Todi Dishaki Gandhari Madhumadhavi
Dipak
Dhanasri Kalyan Purbi Kedara Dinimi
Shri raga
Gauri Kahghata Pashma Gujari Asavari
Migheh Malhar
Shudmalhar Kamudehmalhar Bangalmalhar Gundmalhar Magudeh
And each ragini has twenty children details of which were not known. All together there are 606 raga s, ragini s, and other male and female offspring. Details could not be obtained on these nor on the Beharajaye which the masters of this art created by the intertwining of two ragas and raginis. This was particularly done during the reigns of the emperors Jehangir and Shah Jehan. Tansen sang many compositions of this type. In as much as Jehangir was continually and constantly drunk, he commanded Tansen to sing a certain raga or ragini outside of the time of the raga or ragini of that specific hour. According to the historians from among the Iqsaqal and Niyak of Deccan Madhumal known as Sheikh al-Masha’ikh it is know that in all there are 49,000 raga s and ragini s. Each raga or ragini is portrayed as a painting by the painters in the Deccan and this is known as ragamala . Whoever imagines the picture of the appropriate raga at the appropriate time sees manifested to him the effect attributed to that raga or ragini , otherwise the recitation of the raga or ragini is ineffective. Divisions which are practiced in this era are confirmed by Madhumal and are as follows:
A complete day consists of sixty giri , beginning with the night:
From evening until one hour and forty minutes into the night-
Ramakali Samkali Shudhali Bhupali Purbi Hemar Iman Kedara
From one hour and forty minutes until three hours and twenty minutes into the night-
Kanhra Bagi Bagirathi Nandranni Avana Sahnameh Darbarkanheri
Kara
The time of Disi – Dapani Jangula Jajunat Manj Dishkar Yebas
The time of Malikura – Malikura Kehavi Narda
The time of Lalit – Lalit Natnarani Natmanjari
The time of Asavari – Asavari Jarkiasavari Lachari Jivanpuri
Darbari Jazarnati
The time of Paraj – Paraj Suji Bhairavi Gujari Berpati Yebas
The time of Todi – Todi Mianki Todi Jivanpuri Darbari
The time of Vishakaha – Vishakaha Basanti
The time of Malikura – Malikura Kehavi Narda
The time of Adana – Adana Surteheh
The time of Panjam – Panjam Kamudeh Gaund Meghudehmalhar Banguleh
The time of Dhanasri – Dhanasri Meltani Mianki
The time of Malhar – Shuddamalhar Mighehmalhar Gaundmalhar
Sarangmalhar
The time of Purbi – Purbi Gandhar Sri Kureshshri Medkuri Manshri
Dunshri Mobaraha
The time of Asavari – Asavari Jarkiasavari Lachari Jivanpuri
Darbari Jazarnati
This is an unending science which had its beginning in eternity and is without end. These thirty-six raga s and ragini s are formed from thirty-six scales ( tat ) from which both this universe and man are created and sustained. Whomsoever transcends these thirty-six scales is himself Lord of Lords Shri Brahma who first played this song and began the Samaveda in prose, namely without the embellishment of a firm rhythm, and opened the recesses of the memories of the people with the sharp nail of voice. Later He recited the first line in verse which became known as the root tala ( muh tala ). And that is one stroke and one rest and is called tahta, and in Persian ravani, dinat, and duna ; and in Hindi dashtah and dashtun. Chap andaz is close to that. The point is that meter is the same as time with uniform perfect pulsing of beat as is derived from that ( pulse ) and is concealed in this aspect. When this is repeated three beats result with two strokes and one rest. These two beats with one omitted are called Dataleh and Lapteh and in Persian Ufar and in Kashmiri Da’ud padshah . The cycle of Ufar is desh tah tah desh tun, Lapteh is dadana dadadadana , and Da’ud padshah is tad din dah nabur dada tun . Nizami ‘Arudi was very fond of this science and he has enumerated seventeen meters as per the following verses:
Let me enumerate the rhythms
Oh singer there are seventeen meters
One meter which is appreciated by everyone
that meter came to be Mukhamas
The meter which is the foundation of that meter
that meter came to be Turki Zarb
The best from the collection of meters
that also is Duyek
Another meter in the middle of this group
from far came the limitless meter
If I search as a musician
I come upon the cycle known as Thaqil
That musician who is a good instrumentalist
knows the cycle of Khafif
That meter which is dur urdu dur
is the cycle of Nimdur
That meter which pleases the kings
that meter is known as Durfishan
Whenever you place the beat a little before
it is known as bam
The meter which is similar to Hezaj
working from the following and agreeing
is in eleven beats
six short and the others long
We say that the meter which is Durshah
Samadi is less one short beat
when it is timed also as Samadi
with two beats of five to that
One meter is the prince of meters
Its beats are many, repeated one hundred beats
One hundred brisk strikes numbered in the month
Matin is from above
ten breaths and a maqam sounds good
with gusheh, shabeh , and pardeh
more cunningly timed when singing ghazals
one hundred souls become one
The ustads worked twelve types of verse
from calling out verse and contrived
from one hundred twenty two taking in short
thus is also known
to all musicians who know how to play
Then twelve types of verses were begun
one made out of seven beats
which is accepted as Nim thaqil
We say that one meter was first
which was arranged by King David ( Da’ud padshah )
one meter which is welcome, well repeated
Ufar is life’s companion
one meter which is accepted by all is Thaqil
Chap andaz is said to be intellectual
Another meter according to Hindi
is said to be Tahteh and also Duruya
If in Persian we sing Duruya
It is known in Hindi as Tahteh
Muleh Tala ( root tala )
Hindi – Tahteh yektal, Puntal, Banti
Persian – Ravani, Chap andaz
Du Taleh ( two beats )
Hindi – Lapteh
Persian – Ufar
Kashmiri – Dau’d padshah
Tritaleh namely 3 beats
Hindi – Bharataritaleh, Taritaleh khurad, Dardekehtal
Persian – Duruya, Duyek
Chutaleh namely four beats
Hindi – Areh, Hachutachtaleh, Bharachutaleh
Persian – Charzarb ( four beats ), Nimdur, Hejaz
Five beats
Hindi – Sur fakhteh
Persian – Mukhamas, Khafif, Fakhteh zarb
Six beats
Hindi – Chateh taleh
Persian is different in arising and ending –
Chambar ( Chabaz ), Duyek sangin
Seven beats
Hindi – Sat taleh
Persian – Nim thaqil
Eight beats
Hindi – Barhat tala
Persian – Samadi, Dur shahi
Nine beats
Hindi – Nuheh tala
Persian – Behr ramal
Ten beats
Hindi – Das taleh
Persian – Zarb al Fatah
Eleven beats
Hindi – Yaran Taleh
Persian – Turki zarb
Twelve beats
Hindi – Baran taleh
Persian – Durfishan
Thirteen beats
Hindi – Tiran taleh
Persian – Thaqil
Two hundred beats
Hindi – Brahama tala
Persian – Ma’tin
The extent of influence with which Vishnu tala is endowed is known although it is not realized that it brought man onto the earth.
Rudreh tala is according to custom.
This humble self Khushdil, the writer of this manuscript, in this manner has delineated and made clear the truth of rhythms as perfected by the masters. From Muleh tala arose Ravani, Tahteh, and Da’ud padshah which was explained earlier and is in addition to the seventeen meters.
First, three beats namely Tritaleh in Hindi is in fact four beats which are divided into three sung beats and one empty beat.
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Persian Duyek Hindi Chutahatar tala
Persian Three beats of Hindi Wastani
dish tun tun dish dish tun dadina dadain din na
The song ( tasnif ) arises from each beat and is delayed at the conclusion.
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Three beats namely Tritaleh which is more time than Duyek
This is different than din neh dadina din neh dadina
singing Duyek twice and it
was not found written in
Persian.
The pacing of the song is from each beat with a delay at the conclusion.
—————————————————————–
Also Duyekeh tala in Hindi is in Persian Duruya with four beats and one empty beat.
Persian Hindi
dish dish tun tun dish dish tun dadinna dadinna didinna din na
The pacing of the song is from each beat with a delay at the conclusion.
—————————————————————–
Chap andaz
dish teh dish tun dish teh dish tun
Relaxation and arousal according to custom is named Pun tala in Hindi and this Pun tala is useful in this timing of relaxation and arousal. This is different but also related in Hindi to the Duruya , Ravani twice.
—————————————————————–
Chutaleh or four beats
Persian concluding delay Hindi concluding delay
Nimdur Areh equal with Nimdur
dish tun datkeh dish dish tun dish dish tun dish dish tun
delay delay
repeated meter of Nimdur four beats or Chutaleh
eight strikes and also four beats dish dish takeh dish tun are sung differently in arising tahtekeh dish dish tunand production from Nimdur and dish dish tun tun the conclusion is totally delay different
—————————————————————–
Five beats – Mukhamas in Persian
ten beats in a repetition of five beats, similar to four Duyek
Mukhamas – takeh takeh dish takeh dish tun dish dish tun takeh
dish tun takeh dish dish tun delay
Khafif – dishatun dishatun dishta dishta dishatun dish takeh
dishdashtun dish takeh dish tun delay
five beats – half of Mukhamas and Khafif
dish dish tun dish dish tun dish dish tun delay
Fakhteh zarb in Hindi Sur fakhteh
dish dishdash dishdash tun delay
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Six beats Persian and Hindi being alike
Chabaz – dishtatun takeh takeh dash te takeh takeh dashdash
tun delay
Duyek sangin – dish tun takeh dish tun takeh dashdash tun
delay
—————————————————————–
Seven beats – Nim Thaqil in Persian
takeh takeh dish takeh dish takeh takeh beginning
the concluding delay
dish takeh dishdash tun
from the second tala arises a delay
—————————————————————-
Eight beats – Atah tala in Hindi
Samadi, Barhast tala in Hindi
dish dish tun teh takeh dish te dishdash tun delay
Turki zarb – takeh takeh dish takeh dish dish tun tun
dishdash tun delay
Durshah is the repetition of Nimdur and similar to Samadi
dish dish tun teh takeh dishteh dishdash tun teh takeh
—————————————————————-
The repetition of Nim thaqil also is Thaqil of fourteen beats, its pacing being close to Duyek
taka dish taka dish dish takeh takeh takeh
dish dish takeh takeh dishdash tun
teh taka dish dish takeh takeh tun
dash teh dash takeh dash tun
and similarly in Hindi
tana darve darna darve tana tana tana
dir tana dim teh dim teh ana dar dar taneh taneh
tun dar teh dar taheh dar tun
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The other Hindi Ma’tain is called Brahma tala and it is composed of two hundred beats; the others are Durfashan and Ramal meter.
Tala s and usuls ( meters ) with these beats are alluring although I have not been able to understand more about them. All of the thirty-two usuls are related to thirty-two letters of Gatiri Mataji which is special to brahman s and saints. Four hemistitches of two usuls are not existent on earth. One of them is Rudra tala and the other is Vishnu tala.
Since Shri Brahmajiv designed the Samaveda in tune, drum, and fixed the beats clearly and beautifully, all the angels, jinni, bhairav s, ghanghab s, demons, ghandara s, houri s, gilman , fairies, devils, rishi s, brahman s, said s, serpents, and all of creation became ecstatic by this science and greatly enjoyed themselves. Shri Mahaganesh notated it to a cycle ( circle ) and befriended everyone with zeal and zest until the end of Dwaper Yuga which this Veda existed on the face of the earth. After that when Buddha Avatar incarnated and created hurdles in the path of the Veda s, the angels took away this particular Veda . A fraction of it was provided by Shri Krishna in his converse with the gopi s, and that portion of it remained in the world and is still being sung.
The truth about instruments is as follows. When the tritans, angels, rishi s, naga s, and genii assembled and by the command of the power of God salinated the salty sea, Shri Vishnu was exhilarated by their sight and personally with His hands played upon them. From the sound of omkar which emerged from the play of Shri Vishnu the entire creation became joyous and exultant and all of them started playing on bells as if their playing was the actual miracle of unity. shri Saraswati Devi invented the Vina and is busy playing it. Indra and Chattarsen, the leaders of the ghandaras, cause kettledrums according to the entire range of rhythms to appear. They invented the surnai ( oboe-like instrument ), karnai ( largest brass trumpet which sounds the bass ), buq ( trumpet ), qanun ( a harp-like instrument ), zanguleh ( rattle ), daf ( large tamborine ) with and without bells, damal ( a large kind of kettledrum ), damameh ( a large kind of drum with parchment at each end ), dekhnabaj , arab , bajahteh ( type of wind instrument ), qus ( large military drum ), kurkeh (big drum), and dadi ; and they are constantly engaged in playing these instruments. Shri Parvati Devi Bahavani invented the tanbur without frets and gave it to Shri Birtibaljiv for playing and this Shri Mata Parvati is the first aum and is the mother of all that is male and female and is better, greater, and higher than all behavani s and gods. And Shri Narad Munisharjiv, namely Bashir, who in this world is unparalleled in this art, invented the flute and in the service of Shri Vishnu plays the flute all of the day and night. Venus, who is the guardian of this science, plays the rabab ( a kind of lute ), kamencheh ( a spike fiddle ), chang ( harp ), and muchang ( full harp ) with his hands and with his mouth.
Kavir Novishrawan who is the leader of all the yaksha s and pishcha s, that is the filthy creation, has invented and played the u’d and barbat until the beginning of the Kalayuga . Thereafter in the Kalayuga Plato, the first teacher, invented the arguan (organ) from his great intelligence. After him Abu Ali Sina while passing through a forest suddenly arrived at a place where he saw a rooster which was dead and had been caught in a branch and whose body had rotted on its bones and whose dried veins had knotted on its bones. From the strings of these veins a pleasant sound emanated. Having seen this, Abu Ali Sina made an imitation of it and fashioned the tanbur with ninety-six frets so that ninety-six musical notes were separately discernible. The Indians condensed this instrument and constructed the setar without frets and another arranged with sixteen frets. Luqman made an imitation of this in the santur which has ninety-six strings. Also he made the chang ( harp ) and the mrdang , an ancient instrument, along with the dukara and mazid . An instrument was made named the musiqar which was similar to the musiqar , a bird with a thousand holes in its beak, each of which emits a pleasant and happy note. The tabl and tanbak are from ancient times. This is the truth of the instruments and all of the learned men from the far reaches of this world were frustrated because none of them can claim proficiency in these instruments.
They say that one day Shri Narad Munisharjiv was overtaken by a feeling of pride, namely that nobody in this world could sing raga s like him. At that very moment he was seized by sleep and in his dreams saw a huge open area filled with men and women of beautiful physique and pleasant face except that each one of them had one member severed from his body from which dripped blood. He was amazed as to who these people were and why they had been mutilated like that. In answer to his inquiry they replied collectively that there is a person named Narad Munishar in the world who sings raga s and he has no teacher. Because of this act of his, this fate has befallen us. So, should you happen to go to the world meet with him and prohibit him from singing or else suggest to him that he study with a teacher and sing properly so that, having learned well, we may be liberated from this agonized state since we are raga s and ragini s. As he awoke from that dream he was freed from his vanity and he went before Shri Narayan Maharaj and lamented until he was given an audience.
After that came the flood of Noah, as a result of which the creation of the Western part of the earth was annihilated while the inhabitants of the East and South were able to divinate through the science of astrology that a flood was coming. All of the people along with their wives, children, beasts of burden, and possessions prepared boats and tied together pumpkins on which planks of wood were made firm and upon which they seated themselves. And along with their books, sciences, and other equipment having escaped destruction returned to their places when the flood had receded. The inhabitants of the West calculated through their astrology that an emperor would issue from the West. In saying this they made an error and all of them drowned in the water. Until the time of Plato none of the inhabitants of the West had seen groups who had saved themselves in Noah’s ark and did not know anything about the science of melody ( nagmeh ). But then one of the students of Plato visited India and was delighted to see the science of raga and ragini , and after learning something returned to Plato and disclosed it. Plato was very much delighted on hearing this news and said that his science of music and celestial ———– and that nobody would be able to bring it to the apex of perfection. Up until that time Plato would often tell the gatherings and assemblies and the students in his school ” here is the man but where is the science”. But once he comprehended this science he said, “here is the science but where is the man” and added that this science is the science of music, namely how to put a knot on the wind. In Greek “mu” means knot, “si” means on, and “qi” means wind.
The tradition of Persian melody is that the prophet Moses saw a stone in the middle of the waters of the Nile river and very much wanted to return to pick it up but finally did not do so. At that moment Gabriel appeared before him and said, “Oh Moses pick up this stone”; or “Musa qi” – in the Greek language “qi” means take – “someday you will find a use for this stone”. When Moses with his tribe stayed forty days in a desert and water had disappeared and they drank the ditch water for forty days so that even the ditches turned dry and no water was left in the desert, lack of water and thirst conquered Moses and he supplicated in submission with lamentation before the almighty most high God and his prayer was accepted. Gabriel appeared before him and said, “Oh Moses, hit that stone with your staff.” And Gabriel disappeared. Moses with all his strength hit the stone with his staff and the stone cracked in twelve places and split into twelve parts and from each part burst forth a spring and the echoes of the springs blended together. Moses departed into a flight of fancy in these sounds while his tribe became engaged in drinking water and broke the tranquility with a loud shout. From his sufficient obliteration, perception, and discernment of these twelve sounds Moses kept the impression in this memory. In his own tongue he read some verses in those melodies and gave them the name of the twelve maqam s. Accordingly there are two verses in Persian as below:
Rast, ashaq, and Busalik to play
with Nava. Isfahan, Bazorg to sing
Zir afghan, Araq, and Zanguleh
then Hoseini, Rahavi, Hejaz bring
Another tradition – Once when Moses was meditating with the intent of comprehending the science of maqam s and of finding the source or materials of singing, he perceived the agitation of springs and desired to become acquainted with their contents. The divine harbinger called, “In the desert of destiny and fate there is a stone which will break once you hit it with your staff, and from that stone you will come to see the origin of maqams, a sea, a science which will disseminate your name.” While in amazement, Moses swooned into sleep and saw in a desert which instead of fruits had human heads suspended. Frightened, he travelled along away from that place. Suddenly he arrived at a location where he saw a hexagonal stone and in agreement with the divine command, he struck the stone. From its six sides gushed six currents pouring out water with a great deal of sound and each of these splashing noises was distinctly different and on hearing these pleasant melodies he awoke. He inquired of the learned men of the time and reveled these wonders. They combined two of these maqam s into one and produced a melody therefrom. In this way six melodies were exposed.
Salmak, Garuaynah, Nuruz Usul, Malia and Shanaz with Karasht .
Such good names of songs the masters said or wrote.
In îadiqat al anwar ( the enclosed garden of the musician ) it is said that the philosopher Pythagoras, a disciple of Solomon, arranged a qasida ( old Arabic poetic form ) surrounding exhortations with melody and having done so came to the tribe of Bani Israel and sang it to them in his charming voice. The listeners, all of them, were amazed and became more curious but the said wise man enlisted eight maqam s in that qasida . And the same eight maqam s are sung to six melodies.
Busalik , Hejaz , Isfahan , Rast , and Asheq are in the voice of
Araq
Also Rahavi and Hoseini were previously sung by the people of
Iraq
Thereafter Ustad Hezrat Saadi Khawaja Shams-uddin Mahmud extracted four other maqam s from the previously mentioned eight maqam s through intuitive perception and understanding. From Busalik he derived Nava , from Rahavi and Isfahan he derived Zanguleh, from Rast and Araq he derived Bazorg , and from Hoseini and Asheq he derived Kuchek . Thereafter he attached these twelve maqam s to twelve astrological signs in consideration of their influence on the human temperament.
Maqam Rast is ascribed to Aries
Isfahan is explained as being Tauras
Truly Araq came agreeably to Gemini
Kuchek happens to occur in Cancer
If Bazorg is hidden in Leo
Hejaz is beheld in Virgo
Busalik came paired to Libra
The building of Asheq is placed in Scorpio
Hoseini is harmonious with Sagittarius
Zanguleh is sung with Capricorn
Nava is played with Aquarius
Until Rahavi occurs with Pisces
Afterwards Khwaja Abraham Hoseini and Isaac Mausili have placed each maqam into two shabeh ( divisions ) and into consonant hours of the complete day. Altogether there are twenty-four shabeh .
Sing Rast and go rast ( upright ) through the ways of man
then sing Marqeh until Panjgah
As to the singing of youth with Isfahan
the breath of life to Tabriz and Nishapurak
As Araq is related to the new
also Mokhalef was prior to Maqlub
then the jewels of Kuchek are fresh
its shabeh are said to be Rakab ( Zolab ) and Bayati
from Bazorg another flower concluded blossoming
until I heard Humayun in Nihuft
Haji s swoon with the song of Hejaz
until Segah came Hesar was played
The song of Busalik was named Niyak
from Ashiran came new of Saba
until the lamentation of Asheq was understood
from Zaul from Auj love is inflamed
I was singing Hoseini until Hadithi
In the heart of Dugah I remained Muhaiyar ( astonished )
the melody of Zanguleh is sung in a perfect state
Chahargah is sung with the sound of the Aazzal
Nuruz Khara is not far from Nava
the gusheh is not far from Mahur
from the past masters Rahavi is sung low
also Nuruz arab and Aajam
And two maqams which with these are pointing to one song.
Until Salmak became the exalted song
Zanguleh became harmonious with Isfahan
Rast in the slowly turning heart of Dashti
became consonant with Asheq ( love )
until it was sung equally with Nuruz usul
Duznava well became fresh from Hejaz
from the song of Gawasht as it came out
Busalik is guided by Hoseini
Malia is sung and is very fortunate
from Araq and Kuchek came Khabar
After that the learned men took two shabeh from each which became forty-eight gusheh ( corners ).
From Hejaz came Segah of good tune
useful and necessary for exaltation
also from Hejaz , Hesar came out well
made for lamentation and the necessary prayers
Rast is better than Mobarkeh in sound
Sihat and Zual-khams are in the gusheh of Rava
Rast became collected into Panjgah
Urasfi and Makangerda remaining over
Nuruz khara became manifest from Nava
Gulistan is not completely in Dahani
Mahur with harmony and good reason is from Nava
Niriz is great with Saba
If Mokhalef came out of Araq
Pahlavi with a moderately good omen
becomes Maqlub it is said
Muta’addi is completely with Auj
If Rakab came from Kuchek in attendance
Qadari aru is judged from Raki bayat
Since I have taken Bayat from Kuchek
I was greatly agitated with Bahar ( spring )
Nuruz arab is from Rahavi
Moulavi and Behar jang came from repenting
the shabeh of Humayun came from Bazorg
original and surely symmetrical shabeh
in Bazorgi is concealed a collection
Nahari and Sanvar together are a pair
Busalik is well placed in Ashiryan
increasing the spirits and excitedly dancing with joy
Busalik is from the shabeh of Nuruz saba
the twins of Hejavat and Saba were formed
Dugah of good temperament is from Hoseini
mixed from Bayat-e-turk and Kurd
Also Muhir from Hoseini the grand
with Ashiryan became a worldly sweet breath
Each maqam has two shabeh and each shabeh has two gusheh and each gusheh has two pardeh and the existence of a nagmeh (melody) consists of ninety-two pardeh . All of the Persian melodies total one hundred and eighty-six as below:
Avaz Maqam Shabeh Gusheh Pardeh
6 12 24 48 96
In this total Araq and Mauralnahar are pardeh .
The description of the temperament of Maqam s.
Rast is associated with Aries, fire, heat, and dryness and cures hemiplegia ( paralytic affliction of one side of the body ) and the pains caused by cold, dry to the third degree.
Isfahan from Taurus is air, cold and dry to the second degree. Diseases caused by dryness and heat are cured by it.
Araq from Gemini is earth, heat, and moisture, and cures the afflictions of inflammation of the brain and contusions caused by excessive cold.
Kuchek from Cancer is cold and moist and cures pain in the ear and palpitation of the heart caused by fever.
Bazorg from Leo is fire, hot, and dry and cures intestinal diseases and contortions which have been caused by cold.
Hejaz is from Virgo and is earth, cold and dry and cures colic, paralysis, and also pains caused by heat.
Busalik is from Libra and is wind, hot, and moist and cures the pain of headaches caused by cold and helps sustain pregnancy.
Asheq is from Scorpio and is water, cold, and moist and cures afflictions of breathing caused by heat and dryness.
Hoseini is from Sagittarius and is fire, dry, and hot and cures fever and feverish heat.
Zanguleh is from Capricorn and is earth and cures the diseases of colic and paralysis and pain caused by heat.
Nava is from Aquarius and is earth, dry, and hot and cures sciatica, hip goat, and chronic ulcers.
Rahavi is from Pisces and is water, cold, and dry and cures diseases of the kidneys and bladder and thirst caused by heat.
The elders have stated that previously the treatment of the sick, particularly of monarches was undertaken by the singing of songs and the playing of music, and if somehow no cure was obtained by them then treatment was conducted through the control of food, drinks, and fine fruits. And if destiny had it that the sickness was not cured even by that, cure was sought by hot condiments which were of pleasant taste and failing that then cure was sought by bitter, sour, and tasteless medicines or condiments.
The specification of times which the ancient wise men described for these maqam s is as follows:
He who offers thanks in Rahavi in early morning
steers his steed of self-annihilation to heaven
when Hoseini is sung at the beginning of the day
the world becomes illumined like the sun
If Araq is sung at mid-morning
one is carried to heaven as
At midday if you sing Rast
you are shown an abundance of truth
With the singing of Kuchek one gets peace and delight
the fulfillment one has south in the second prayer
He who listens to Busalik
how can he be attentive to further prayer
Sing Asheq during the day
eating the kabob of love and enraptured in love
If you sing Zanguleh in the evening
your evening will become as a day of solace
At the time of the evening prayer
sing Hejaz oh man of virtuous actions
With the song of Bazorg before midnight
your actions will become exalted
If you sing Nava at midnight
the gates of heaven will be opened to you
If you sing Isfahan at dawn
you will become aware of the essence of both worlds
After organizing the classification of maqam s and establishing times for their recital the knowers of this are prepared a qasida ( tune ) in each melody accompanied by rhythm. Some of these verses were composed of one hemistitch, others of pairs, one high and one low. The low was named Kharaj or Heziz. The high is called Auj . Some were composed of three verses, the first being low, the second high, and the third in the middle voice. Also the beats are placed according to custom and from taking other tunes or where the sound is heard. The foundation and signing of maqam s is of so many different workings of melody.
Naqsh Taain Sut Aamal Kar Qul Sarghazal Taraneh Rikhteh
Pishrav Sarband Tarkib
Naqsh is determined and beat in one manner. Taain is that which except for the yallali yallali singing has a verse of one manner and the rhythm of another and does not have tan tan . Sut is composed of a high-pitched section and a middle-pitched section repeated. It is determined by having its beginning from its verse, tan tan as its rhythm, and not having yallali . Qul is composed in one manner with two high-pitched sections and no middle-pitched section. Kar is an ocean without end and has a beginning of rhythmic strokes after which the verse is sung, again coming to rhythmic striking, and it is all made of high-pitched voice. It has high-pitched voice and Sarghazal of one kind. Sarghazal is composed of a middle-pitched section and its repetition and has poetry from any language. Its daramad ( beginning and refrain ) can either be from a verse or rhythmic strikes, both being permitted but more Sarghazal are without verse. Taraneh is composed of high-pitched voice, and does not have repetition. It has three gusheh ( corners ), one being a verse, one being praise cantillation, and the other being yallali yallali. Rikhteh is in meter and its rhythm is either tan tan or yallali . They call tasnif that which has several meters or several melodies. It is also called Rang. Pishrav is the beginning of a maqam and the mixture of voice. In Sarband is the skill of expert singing and it is composed of a high-pitched section and a middle-pitched section and a repetition. Sarband is in several meters and its tarkibat ( compositions ) are improvised. Everywhere the masters together make an assessment of each others abilities by singing Sarband . Sarband has one hemistitch high and the other low. Sut al-aamal is that which has had both the first and last rhythm. Nazm is with meter which has music of the time of Taraneh fashioned in an exalted manner and has compositions to which one claps benefiting the appearance of melody to which rhythm is equal. We are able to say that if the verse is its own it is Tasnif and that if it is from something else it is called Kheyal . Nagmeh is very pleasing at night and is fully effective, sweeter, nicer, and better if sung by beautiful pious women or a young child.
Amir Khusrav Dehlavi, the successor of Nizam ud-din Ganjui who was very proficient in the science of raga , rang , and Persian maqam s sang the Persian maqam s according to the times established by the authorities without mixing them with the climate and they were not pleasurable since the climate of India is very different from the climate of Greece. India is warm and Greece is cold and dry and Iran is warmer and the climate of Kashmir is colder. Therefore the timing of Persian maqam s was established according to the knowledgeable Indian musicians.
From two hours in the night until morning-
maqam – Rahavi , shabeh – Chahargah,
rag s – Bebas , Gujari , Ramkali , paraj, Purbati
From morning until two hours into the day –
maqam – Bazorg, gusheh – Pahlavi, Tekani,
shabeh – Nuruz saba, Majadat
rag s – Bahirav, Bhairavi, Ghandhari, Todi, Biravi, Nat narani
After two hours into the day
maqam – Araq, Maqlub, ruye araq, Mokhalef
rag s – Bilaval, diva giri, Jazunati, Ahiya bilaval, Janjunat,
Purya
After four hours into the day
maqam – Hoseini, Dugah, Bayat ha
rags – Todi, Darbari, Asavari, Jug asavari, Alachari, Rakab,
Bayati
After six hours of the day until eight hours of the day –
maqam – Kuchek, shabeh – Bayati, Nuruzaajam
rags – Sarang, Malarha
After eight hours of the day –
maqam – Zanguleh, shabeh – Aazal, Nuruz arab, Nehar, Neshat
rag s – Shri rag, Guda shri, Malari, Dena, Denashri , Akar
gandhar, Tekati
are also sung at this time without reproach
After ten hours of the day –
maqam – Busalik, Aazal Kashmiri
rag s – Anaragni, Bhairav, Jangla, Manj
From sunset until two hours of the night –
maqam – Hejaz, Hesar, Segah, Bastenagar, Segah kuyi, Kubari
segah
rag s – Purbi, Gauri, Nihteh
After two hours of the night –
maqam – Rast, Panjgah, Mobarkeh, Rast Kashmiri which is
Zua – alkhamas ( the fifth lord )
rag s – Sham, Gudaz, Kalyan, Divagari , Sham kalyan, Bhopali,
Shud kali
After four hours of the night until the middle of the night –
maqam – Isfahan, Nirizad, Nishapurak
rag s – Shud kali, Hamir, Iman kalyan, Adaneh, Kanara,
Shahaneh
After six hours of the night until eight hours of the night –
maqam – Nava
rag s – Surat, Dipak, Mansuri, Khahacheh, Telang, Salund
After eight hours until ten hours of the night –
maqam – Asheq ,
rag s – Malkus, Suhani , Todi, Jivanpuri, Patmanjari,
Bandrabni, Kanara, Bagi rathi, Bagi
And also the authorities have ordered that each maqam and each rag which is sung at this time is correct and that there is not any prohibition. It is also admissible if Hoseini and Aauzal are sung.
This humble self has arranged this manuscript and named it îarana -i- Saroor ( the song of joy ) and brought together the tasnif s, kheyal s, and Persian maqam s of the previous masters along with the Kashmiri tasnif s and that which I heard and learned from the masters, as well as tasnif s which I have put into words and music. Since the time of nagmeh ( melody ) is from the evening we started with the evening. I hop that if men of learning and foresight find an error or mistake in this manuscript that they will correct it with the view to improving it and making it perfect without finding fault or assessing blame since man is subject to error and God alone is without fault as He is mixed with everything and is distinct from each thing. ( I would like to echo Kushdil’s plea )
During the reign of Muhammad Shah, the sovereign of India, as master of this art by the name of Sadrang and his disciple Adharang organized Samatal which was not shown by the Qawwal s ( dervish musicians ) and Kalawat s ( maestros ) to anyone and was hidden. He taught is to everyone and composed many verses in Hindi which are called Tapna . Yusuf Shah Kashmiri sang many tasnif s in the Kashmiri language in the following maqam s as below:
morning – Charagah
mid-morning – Aaraq
until noon – Hoseini, Dugah
before noon – Nava
afternoon – Rahavi, Nuruz ajam
mid-afternoon – Aajal
evening – Segah with Zanguleh
until 1/4 of the night – Rast
until midnight – Niriz and Isfahan
midnight – Mojavat and Aasharan
after midnight – Bayatha
in the middle of the night – Nava and Rahavi
From Kashmiri masters like Hafiz Sakhi and Muhammad Amin Ganju, one of whom was a master of all and the other unparalleled in rhythm, came knowledge and this Muhammad Amin had information of Samehtal. Also none of the other singers knew of the flowing of sam ( beginning of the rhythmic cycle ). Muhammad Akran Khan whose name is known as the best singer of rag , honored by the people for rag singing, tal playing, slapping his hands, tapping his fingers, and moving his eyes, eyebrows, cheeks, lips, and forehead thereby revealed his craft and showed his powers. Abdul Salim, of pleasant voice, went as a disciple before Sheikh Bakshalad Kalawatan, who was the Tansen of his time, and learned Hindi tal s and usul s ( meters and rhythms ). During the reign of Hakumat Raja Sukjivanmal it is recorded that the aforementioned maestro had arrived in Kashmir. At that very time Mir Abdul Sabjan, one of the nobles of India, came and was a great master of singing who was aware of Samehtal and intelligent. At the same time Shah Mirza of the Savaa tribe returned from India and he was greatly informed about tal and he taught privately and publicly. The Kashmiri Nanakchand was good at singing rhythmic song but was not informed about tal . Of the naubat ( rhythm players ) of the musicians of Raja Maajaleh, one who was an expert in playing the Tablak ( tambourine ), learned in tal . In short each one of the Kashmiris became knowledgeable about the science of tal but the subtlety and delicacy of nuance of sound and relaxation and arousal of tasnif s is the prerogative of specialists. Notwithstanding that people in general are informed about tal , still they are not informed about the freshness of melody until it is made evident.
Happy Summits
The teaching of rhythm, of tal s in another manner collected and here recorded.
Nim thaqil – tun tun tun desh tun desh tun dashtakehtun
dashtakehtun dashtaketun dashtakehtun
Nim taqil afresh – takehdeshtun takehdeshtun takehdeshtun
takehdeshtun deshtun deshtun deshtun tun tun tun
chabar – takeh takeh takadish takatun disktakatun dishtakatun
deshtakeh deshtun tun tun tun
Samadi – takehdeshtun tun deshtun tun deshtun tun deshtun tun
deshtundesh deshtuntun deshtun tun tun
Samadi afresh – desh desh taka desh desh takadesh desh takadesh
desh takadesh desh takadesh desh takatun deshdsih
tun tun tun
Samadi also – takehdeshtun takehdeshtun takehdeshtun takehdeshtun
takehdeshtun takehdeshtun takehdeshtun deshdish
tun tun tun
Mukhamas – takehtakehtakadish takadeshtun deshtun takadeshtun
Mukhamas as well – takehtakehtakadish takdish takehtakehtakadish
takadishtakadishtun
Samadi as well – tun desh takehtun deshtakehtun deshtakehtun
Nimdur – takehdeshdeshtun deshdeshtun deshdeshtun
Nimdur in Hindi Durupat – dim tareh kadah dinat daga dina takeh
dina kata
Hejaz – takehdeshtun desh dish tun tun tun
Hejaz as well – deshtun takehdeshtun takehdeshtun takehdeshdash
tun tunHejaz also – deshtakehtuntun deshtakehtuntun deshtakehdeshtun tun
tun tun
Seh tal – deshdeshtun deshdeshtun deshdeshtun deshtuntunSeh tal – denehdenata denehdanata denehdanata denehdanata
Seh tal hejar – denehdenata denehdanata denehdenehdenehta
tadenehta deshdishtun deshdsihtun deshdsihtun
tun tun tun
Sehtal as well – targadehtun targadehtun targadatun targadatun
Duruya – deshdish dashdashtun deshtun tun tun tun
Duruya as well – deshdashtun deshtun dashdashtun tun tun
Tahteh – deshtakeytun deshdash dsihtun tun tun
Da’ya – tadina tah sehteh tah dinatah
Bayat – deshtun deshdashtun
Duyek – dashdashtun dashdashtun dashdashtun dashdashtun
Duyek as well – takehdeshtun takehdeshtun takehdeshtun
takehdeshtun
Charchara – deshdeshdeshta deshdeshdeshta
Yekeh – dashdish deshtakehtun tun tun tun
Dur khafif – deshtuntun deshtuntun deshtundesh deshtun deshtun
deshtakehdeshdesh takehdesh takehdeshtun
Turki zarb – takeh takehdesh takadesh desh desh tun tun
deshdeshtun
Zarb sur fakhteh – deshdeshtun deshtun tehtuntun
Ravani – taneh taneh derna nadar darim
taneh taneh derna nadar darim
Ravani as well – deshtakehdeshtun takehdesh deshtunRavani also – tun tun dishtun tundish
Chap andaz – deshtuntetakeh deshtuntehtakeh
Chap andaz as well – takehdeshdeshtun takehdesh deshtun
Da’ud padshah chapandaz – dinatahehtaheh dinatahehtaheh
dinatahehtaheh dinatahehtaheh dinatahehtaheh
The Flowing of Munificence
Oh nightingale my heart is singing melodiously from your grief
My heart is like an endless circle from your grief
Love is always helpless from your grief
The pain is from you and the cure of pain is from your grief
Praise and thanksgiving to the monarch who spreads the carpet of the joyous in abundance and (graces us with) his presence, and praise to the lords of luxurious enjoyment who revel in rejoicing in the place and habitation of joy. Those possessed with hearts of love joined in the secret of love and voiceless misfortune to the voice of the masters of compassionate singing, like the sound of the organ and resembling those who are enduring calamity, are connected in the tongueless invocation (languageless prayer) of musicians. Majnun s (lovers) are those who are burning in the wilderness of separation and whose lips of thirst are yearning for the fire of love, and who are wandering in the valley of separation from their beloved in each mountain and a thousand deserts, since Farhad is Majnun. The musical instrument of submission is in each gusheh (corner) of happiness, eternally bestowing countless benedictions on that leader of caravans, the pearl of the prophets, and the leader of the army of the middle and the extremities of the least thing, namely Sayid Amir Salim Muhammad Mustafa, may blessings be upon him and his companions. Moreover then as wandering at the beginning of the valley and in the quiet of the village of creation he (the monarch) wanted to spread his tablecloth in such a way that within his power he would document the art of music taken from the sayings of the foremost masters perhaps making visible the chemical effect of each excellent maqam of heaven.
A quatrain –
That by which the nature of the mystery of your judgement
becomes veiled
The enemy becomes afflicted from praising your magnificence
The young and old say each morning and evening
Oh God, may that which is your enemy be conquered
Therefore this treatise entitled Karamat-e-Mujra (the flowing of munificence) was built on three fundamental principles.
The first principle is in distinguishing the twelve maqams .
Be it known that there is much dispute regarding the appearance of maqam s. Moreover the lords of this art and the masters of this science have related the tradition in several ways. The naming of this science as musiqi is from the Greek language. Some have said that Moses, peace be upon him peace be upon him, while crossing the Nile river, saw a stone in the middle of the water. Gabriel, peace be upon him, said, ” Pick up this rock, it will be useful to you.” Moses, peace be upon him, picked up the rock and brought it with him with this tribe into the desert. They remained for forty days in that desert and thirst overpowered them. Moses, peace be upon him, prayed and in that same hour Gabriel, peace be upon him, appeared and said, “Oh Moses, strike that stone with your staff.” Moses, peace be upon him, acted as commanded by striking the stone with his staff. A pure spring of water came out of that rock and divided into twelve parts each of which emitted a sound. Gabriel, peace be upon him, said, “Ya Musa qi” which means Oh Moses take. So Moses, peace be upon him, took twelve maqams from these sounds. Henceforth the term musiqi by plentiful usage became associated with this science.
The story of the appearance of melody in this science is said to be originally in seven maqam s each one coming into being from a prophet. They say that Adam, exalted be his pure descendents and peace be upon him, said the Rabana Zulmana (request for forgiveness in Arabic) in the melody of Rast . Abraham, peace be upon him, chanted the sacred writings in the melody of the maqam of Hejaz . Jacob, peace be upon him, lamented and cried from affliction and separation in the melody of the maqam of Aaraq . Jonus, peace be upon him, made supplication in the melody of the maqam of Kuchek . Moses, peace be upon him, prayed for the hindering of desire in the melody of the maqam of Aasheq . David, peace be upon him, sang the psalms in the melody of the maqam of Hoseini . And the chief of the prophets, Muhammad Mustafa, may blessings and peace be upon him, chanted the Quran in the melody of the maqam of Rahavi . Until the reign of the emperor Khusru Parviz and king Shiruyeh, the foundation of melody was in these seven maqam s.
There is a tradition that one night Plato ascended and took the twelve maqam s from the twelve zodiac constellations. He played those maqam s on the musical instrument the Ud (large- bodied lute) which was his invention. There is a tradition that men of complete wisdom, in particular the philosopher Pythagorus and Salasal, through being immersed in searching, found the eighth.
Aasheq, Busalik, Rast, Aaraq, Rahavi, Isfahan, Hoseini, Hejaz
But that which the perfect wise men have truthfully written is that after those (earlier philosophers) Ustad Hazrat Saudi Khawja Shams al-din Muhammad ascertained and perfectly timed and derived four additional maqam s from the previously mentioned eight. He had taken one maqam from two maqam s. The have taken Isfahan from the poignancy (sharpness, ardor, impetuosity) of Rast and the tenderness (softness, smoothness, sleekness, gentleness, mildness) of Aasheq , Kuchek from the poignancy of Busalik and the tenderness of Hoseini, Zanguleh from the poignancy of Rahavi and the tenderness of Aaraq , and Nava from the poignancy of Hejaz and the tenderness of Rast.
All of these maqam s were brought forth from the sounds of animals, i.e. Rast from the sound of the elephant, Isfahan from the sound of sheep, Aaraq from the sound of the cow, Kuchek from the suckling child, Bazorg from the snow pheasant, Hejaz from the forest crow, Busalik from the mother lion, Aasheq from the dung-hill cock, Nava from the nightingale, Hoseini from the horse, Zanguleh from the camel bell, and Rahavi from the crow.
A Ghazal –
In the banqueting house of lovers the nightingale sings well
the song of God into song without musicians
making the melody of Aaraq come out returning from the
anguished heart
Equally Hejaz is beheld in the path of joining souls together
Casting away the hand of dreadful grief in Hoseini
Since Busalik became the melody of heart ravishing
Zanguleh is as contiguous to my heart as it is to itself
In the same way that instrumental melody is in the tune of
Isfahan
Perhaps becoming Rast when it is heard verbally by me
In the tune of Rahavi the image melts the song
Oh flower tramplers of Shiraz your Kuchek ( small ) is ours
Perhaps Bazorg ( large ) we made in the court of kings
A compendium of the truths of the qualities of maqam s with respect to their being useful in freeing one from some diseases is hereby given. Rast is beneficial for paralysis or palsy. Isfahan gives a cure for diseases of cold and dryness. Aaraq is useful with respect to the disposition of warm trembling. Kuchek is beneficial for palpitation of the heart. The maqam of Bazorg warms, makes pure, and cleanses thereby fixing contorted and continuously persistent intestines. Hejaz gives benefits for pains in the side (of the body) and vomiting and draws out pain in the ear. Busalik has utility for pain of the buttocks, filters vicious thought, and makes the mind well. The maqam of Hoseini drives off care and makes the feverish body strong. The maqam of Zanguleh is effective in inflammation of the throat and stricture of the heart giving vein to corrupt blood and makes the blood and kidneys pure. The maqam of Rahavi is beneficial for the afflictions of numbness in limbs and colic.
In this way the compendium of the twelve maqam s has been specified including each ones ascribed disposition, fixing in time which hour and what nation sings or plays them, and what their properties and temperament were in the beginning. Since treatises are abridged making attempts at analysis of those (maqam s) endlessly fatiguing, with it not remaining concealed that there are many variances in the names of some of the maqam s. That is they say Kuchek for Zir Afghan and also Rahavi for Baste Nagar . Some know Hoseini as Zar kush and Zanguleh as Nahawand and know Hejaz as Turki. It is said that originally Hejaz was played by Turkish musicians some of whom also called it Muaatadil (moderate, temperate). They know the distinction originally with Hejaz is that Aazal Tabriz is in the middle. Some place the name Baste nagar on Zar kush , Hejaz on Turk . They are arranged with the twelve astrological signs.
Poem –
Rast is ascribed to Aries
since Isfahan is explained as being Taurus
Truly Aaraq came agreeably to Gemini
Kuchek happens to occur with Cancer
If Bazorg is hidden in Leo
Peaceful singing is from Hejaz and Virgo
Busalik came paired to Libra
The building of Aasheq is placed in Scorpio
As Hoseini is harmonious with Sagittarius
Zanguleh is sung with Capricorn
Nava is played in Aquarius
Until Rahavi occurs with Pisces
The second principle is in distinguishing the shabeh (divisions) of the twelve maqam s.
After the twelve maqam s Khwaja Hoseini Namri and Ishaq Mausuli invented two shabeh from each maqam . As the hours of the day and night are twenty-four, so are the shabeh .
Panjgah Mobarqaa Niriz Nishapurak Mokhalef
Maghlub Zalab Bayati Humayun Nehfteh
Segah Hesar Aashiran Saba Zaul
Auj Dugah Muhir Chargah Aazal
Nuruz Kharabahur Nuruz arab Nuruz aajam
Even though there are twenty-four shabeh there were some names left over. Therefore Bayati is called Yekbat and Humayun is called Aarban and Saba is called Nuruz saba and Segah is sung as Ruh and Nishapurak is sung as Kharzi and Mokhalef is sung as Ruye Aaraq and also Jiran and Zawal are called Damari (root of breath), and Dil farab ( heart alluring ), and Shamari . Thus song consists of twenty-four shabeh , though in the opinion of the masters of this art it has been concealed what their arrangement is and from which song they have arisen and indeed it is concealed how this ingenious science was assembled. From the compendium of the maqam s thirty-six compositions were extracted and each composition was itself placed into a maqam since the maqam was not itself producing those (compositions), thus only the maqam s are mentioned and their shabeh have been abridged. It has almost been established what each one is. The twelve maqam s are twenty-four shabeh and six avaz (sounds). Extraction was needed since two shabeh are exposed from each maqam , one from the lowness softness) and one from the highness (loudness). This classification has also been placed into the form of a poem.
The maqam came in the number eight and four
Two shabeh are necessarily in each one
Sing Rast and go rast ( upright ) through the ways of man
Also Marqaa must be with Panjgah
The face of Isfahan with the countenance of youth
the root of Niriz and Nishapurak were informed
In my Aaraq were the enemies of misery
until Mokhalef was before Maqlub
At the same time the jewels of Kuchek are fresh
its shabeh are said to be Zalab and Bayati
From Bazorg another flower concluded blossoming
until I heard Humayun and Nihuft
Until Saba was lost there was the song of Hejaz
Until Segah came Hesar was of the inhabitants of mystery
Busalik is a celebrated instrumental melody
from Aashiran to Saba was prophesied
The lamentation of Aasheq was not understood
from Aawal and Auj love is inflamed
From Hoseini I had sung a Hadith
in Dugah I was exiled in the heart of Muhayir (astonishment)
The melody of Zanguleh is sung in a perfect state
Chahargah is sung with the sound of Aazal
Nuruz khara is not far from Nava
The gusheh of Nikutur is not far from Mahur
From Rahavi previous masters delighted
in two Nuruz, this one Arab and that one Ajam
The maqam s and shabeh of philosophers from fixing each two maqam s to one Avaz are gathered to one voice traditionally made and they are six in number. Salmak, Gardaneyeh, Nuruz usul, Gushat, Mushat, Shanaz. The daramad (entering in) is from a maqam and delineates it to a maqam . In this way it was made clear.
Poem –
Until Salmak became the exalted song
Isfahan became harmonious with Zanguleh
Gardaniyeh is far from being unrighteous
built with Aashaq ( love ) inclining it to Rast ( fidelity )
Until it was sung equally with Nuruz usul
Busalik and Hoseini were fresh
Each voice from which Gushat came out
became Hejaz into its capricious Humayun
from Mushat one hundred lamentations are heard
until Kuchek from Aaraq came into sight
the lament of Shanaz wipes grief from the heart
with Rahavi the head, Bazorg the face appears
Each maqam is two shabeh . Two maqam s are one Avaz and twelve maqam are one rang (color). It did not remain concealed that the science of music is eighteen bang (voice, sound) and these eighteen bang are sung in the twelve maqam s. Rast is two bang and half an avaz . Busalik is one and a half bang. Isfahan is two halves of bang . Hoseini is one bang. Aashaq is one bang . Kuchek is two bang. This is what the masters say.
Moulavi Hoseini says that the twelve maqams have thirty-six ban g. Each maqam is three bang . For Hoseini the lowness is one bang and the highness is one bang . Its lowness is Dugah . Its highness is Mujir . The middle of Hoseini is low. The three bang similarly of Rast have two shabeh , one in its highness namely Panjgah and the other in its lowness said to be Mirfaa . The masters say that the twelve maqams are found in four parts.
The first part – Hoseini is sung in six pardeh (sounds) and Rast as well is sung in six pardeh
The second part – Aashaq is sung in four pardeh
The third part – Rahavi is sung in three pardeh
Therefore they have established twelve conditions. But the incomparable master of the Pahlavi era Abu Saayid said that there were three ways of singing, i.e. qullabi (artful), damaghi (proud), and hallaqi (guttural). The sound of the qullabi is the Saruchang (cypress harp). The sound of damaghi is a neighbor to softness. The sound of hallaqi is better whatever is sung. These three conditions have been taken from each avaz (sound). Some of the foundations of music, namely the meters, philosophers have taken from the motions of vibration. The origin of the foundation was named Zarb-al-qadim (the old beat). After that all who had ability contributed to this art. Five more meters were discovered, i.e. Farakh , Ufar , Duyek , Turki zarb , and Mukhammas . There was an extension of meters from their tasnifs in this way until Khwaja Safi al-din, Aabd-ul-muman, and Ustad Ali nourished the spirit and Moulana Hasan Ghouri established seventeen meters. Ufar, Duyek, Charzarb, Turkizarb, Mukhammas, Durafshan, Durshahi, Chabar, Fakhteh zarb, Ifgah turki zarb, Thaqil, Nim thaqil, Khafif, Durhejaz, Ravani, Usat, which they say are blessed and a beneficent treasury of rhythm. But then several other meters had their duration of time increased which were not included in the seventeen meters. Similarly, Zarb al-maluk which is from modern tasnifs and Zarb al-asal which Nadir al-Aasri Ustad Sultan Muhammad Maauri established and fixed in several difficult Pishrav (beginnings) conforming to that (meter). And it is in five parts and in ancient times, in origin, in hearing, and in Hindi Nimdur did not remain concealed and its origin in maqam is singular and in meters is singular. But disagreement has arisen as to their formation. Maqam is from one time since instrumental musicians and singers first made melody come to pass. One time is that from which each melody is sung in the flowing and form of each maqam which is sung, bringing in the fundamental doctrines of meter. The foundation is that music which is not agreeable to poetry is taken out. A poem of Turki zarb which is not joyfully extracted is discovered to be opposite. Therefore meters are collected in one root and the root is that reconciliation of music which conforms to the articulation and rhythm. The time then falls in the middle of two beats and the perception of the measure of time which is the interval of that beat and the observation of those laws is everlasting, personal, not the thinking of artisans, or preference. The masters have established three ways of singing music, i.e. qabl (before), dafaa (pushing), and baad (after). Qabl is that in which the rhythm is beat, after which the song comes, following which the rhythm is beat. Dafaa is one rhythm and song coming together. Baad from the first is sung, followed by beating of the rhythm. Because of the placing of the poem in music those describing it which in the service of Khusru Parviz brought much all having a preference, sung without equal, to an excellent standard playing the harp. Prior to that the individual form and picture were not fixed. Tasnif (song) is in several parts in the science of music, i.e. Naqsh (picture), Surat (face), Aamal kar (doing work), Qul (speaking), Sarghazal (the best ghazal ), Taraneh (song), Rikhteh (mixed), Niri (strength), Sarband (wreath). Naqsh is that which has two verses and has beats of each of the two Yallehla and does not have tan tan . Surat is one high-pitched voice (section) and repeated middle-pitched voice (section). Aamal is two high-pitched voices (sections) in one manner, one middle-pitched voice (section) and is not repeated. Each two (high-pitched voice sections) begin low and their beating is tan tan and does not have Yallehla . Aamal kar is not metric, is divine, (royal according to another manuscript) and has its beginning in rhythm, after which the verse is sung and again an excellent rhythm comes. It is all made of high-pitched voice and has two high-pitched voices (sections) in one manner. It does not have a middle-pitched voice (section) or repetition of middle pitched voice. Its poetry is sometimes in Arabic, sometimes in Persian with its daramad (beginning) sometimes from the verse and sometimes from bringing in the rhythm. Sarghazal is low not having high-pitched voice or middle-pitched voice and is repeated. Its Yalla has three gusheh (branches). Whoever ornaments the verse does so with one and a half praises and not also Yallehla , and it is mixed with words of rhythmical prose together with a verse sometimes of tan tan and sometimes of Yallehla before the music. Sarband is the best instrumental music. Pishrav (beginning) is one high-pitched voice (section) and middle-pitched voice (section) and is not repeated and is everywhere a necessity and heart-alluring and an obligation of a kind. Sarband is in several meters. Its compositions were improvised each time the masters were together. From its extension a number of Sarband were brought forth in the meantime making known from that (improvisation) their strength and ability.
May it not remain concealed that twelve maqams become twenty-four shabeh . As each maqam has been specified as two shabeh one from its highness necessarily. Its form is in this manner:
highness lowness highness lownessRast Kuchek panjgah mobarqaa zalab bayatIsfahan Busalik nishapurak niriz nurazsaba aashiranAaraq Bazorg maghlub mokhalef nihfut humayunHoseini Nava muhir dugah mahur nuruzkharaHejaz Aashaq hesar segah auj zawalZanguleh Rahavi aazzad chargah nuruzarab nuruzaajam
Distinguishing six raga twelve maqam twenty-four shabeh forty-eight gusheh which are the science of music. A listing of the Avaz of Nuruz by custom:
Khwaja Ali Sina orders – A Ghazal
When the people of fortune began society Zanguleh was played
in the early morning
Delight is well increased when the mid-morning is finished
with the song of Aaraq
The heart-attracting notes of Hoseini are sung until the
first watch of the day
The remedy of the soul, Nava , is sung until two half watches
are finished
Then the sound of Aashaq in the forenoon carries one aloft to
the pinnacle of the zenith
Sing Busalik until there is doubt as to the watch, each one
completed with pleasure
After that as intoxication is made, in Nahawand making love
The horse of enjoyment at the first of the night gallops on
the perfect road of Hejaz
We call Rast that which is a good upright time, at the first
of sleep the maqam is played
Until the doubtful watch Kuchek is the heart’s desire sung in
the way maqams are sung
As Rahavi occurs in the last watch musicians who are lazy
play it
Abu Ali wrote the poem of the secret of time to whomever
reveals secrets
Up until this time nothing can be said. You gave guidance to which we always return and we honor you. We were blessed that we have not seen other than you and have not chosen other than your heart and vision. You gave a foundation whereby we would not wander from the way of your love. You gave a language which speaks of your pure love.
Quatrain –
Until the nightingale of the heart of melody will sing
Until the desire from love will sing
Without the chanting of love I will not sing
Until my strength of breath will have died
Quatrain –
When there exists Busalik, Hoseini, and maqam Rast
The secret of Aashaq, Zanguleh, Isfahan, Nava
Zirafghan, Bazorg, worked in Aaraq
The melody in Hejaz and Rahavi increases merriment
cellofiddler 