Yusuf Omar and al-Chalghi al-Baghdadi
1972, Baghdad, Iraq.
This principal maqam is based on the bayat mode which is found in songs from the south of the country and in bedouin, Kurdish and Turcoman singing. Of the seven fundamental maqamat, the Bayat is the one which has the greatest number of derived maqamat. Of stunning beauty, it is sung without rhythmic accompaniment on a poem in qasida form. *
The first part begins with a rhythmic instrumental introduction followed by a non-rhythmic introduction on the santur and djoze (1:45).
- Tahrir in bayat mode sung to the words "eleday day yademen". (2:13)
- Instrumental piece on the santur to the tahrir melody. (2:38)
- Three verses of the qasida in bayat mode. (3:00)
- Taqsim (instrumental improvisation) on the djoze and santur. (5:46)
- Part of a verse in bayat mode followed by a Kurdish vocal piece "Lauk" (in tchahargah mode) to "oyé" vocal effects. (6:25)
- Taqsim on the santur and djoze. (7:15)
- A verse in bayat followed by a fragment in saba mode. (7:42)
- Jalsa concluding the first part in descending from G to D. (8:10)
The second part includes two meyana.
- First meyana sung to "eleley" vocal effects. (8:30)
- A sung piece in 'ajam mode. (8:40)
- "Lauk" in nahawand mode. (9:02)
- Second meyana to the words "jahanem, delejan" (9:20)
- Taqsim on the santur and djoze. (9:42)
- A vocal piece "''Ajam" returning to bayat mode. (9:50)
- A verse in bayat.
- Teslim to the Persian words "yademen, delejan, jahanem, faryademen".
- Peste "Chalchal ʻalayya-l rumman."
* Commentary by Scheherazade Qassim Hassan
The qasida is by an anonymous author:
Vocals: Yusuf OmarVocals: Yusuf Omar (d. 1987)
Santur: Abdallah Ali
Djoze: Shaoubi Ibrahim al-Aʻdhami (d. 1991)
Djoze: Hassan Ali al-Naqib (d. 1986)
Tabla: Abdul Razzaq Majid
Raqq: Kanʻan Mohammed Salih
Daff zinjari: Dhia' Mahmoud Ahmed
Choir: Ali al-Dabbou, Abdul Wahid Zaidan, Falih Jawhar, Abdul Qadir