The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. This complex mode is ancient and is found in Arabic, Persian and Turkish classic and popular music, with the term meaning "straight" in Persian. It evokes feelings of wisdom, grandeur and spirituality because of its common use in the adhan, religious ceremonies and Quran recital. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas where it uses two different rhythmic formulas (maqam performers in past centuries often sang the rast to classical Persian poetry). It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Madani, and Mathnawi.
Maqam Rast (two parts)
First Cairo Congress of Arab Music (1932)
Cairo, Egypt. 78rpm recording.
Maqam Rast by Muhammad al-Qubbanchi and members of the Iraqi delegation to the First Cairo Congress of Arab Music (Le Congrès du Caire) in Egypt, ِ1932. The poetry sung here is a takhmis by Sayyid Ja'far al-Hilli al-Najafi (1861-1898) of a poem by Muhammad Sa'id al-Habbubi (1849-1916).
- Muqaddima, instrumental introduction in rast mode.
- Tahrir, unmeasured vocal introduction presenting the rast mode to the word "yar" (love, Turkish) (0:18), descending from the rast (C) to the 'ushayran degree, then up to the rast, dukah, segah and nawa gradually descending back to rast, then up to the kardan through the 'arabat hijaz and nawa (1:06). This version of the tahrir is called Rast Hindi.
- Instrumental piece on the joza in rast mode. (1:27)
- Two verses of the qasida in rast mode ending with a modulation on the 'arabat hijaz degree called Negriz. (1:44)
- A piece called Mansuri (saba on G) consisting of two sung verses, followed by a return to rast. (3:27)
- A piece called Ibrahimi (bayat on G) consisting of a verse ending with the command "aman, 'elet ya m'awwad, aman" (Turkish and Iraqi-Arabic) (4:06)
- Jalsa, cadenza called Hijaz Shaytani (hijaz on G) to the words "ah ya leil" (Arabic, o night) with a gradual descent to C to the word "yar", ending the first half of the maqam. (5:37)
- Dulab, instrumental interlude in sharqi rast mode and a 4/4 wahda rhythm.
- First meyana called Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) from the buzurg degree up to the sahm (0:37)
- A verse of the qasida representing the melody of the meyana ending with a descent to rast to the word "aman" (Turkish, grace). (1:01)
- Second dulab in sharqi rast mode and a 4/4 wahda rhythm. (1:47)
- Second meyana Khalili (in chahargah mode) to the words "nazenine men" (Persian, my sweet love) followed by a verse in the same mode. (2:23)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, o eternal one). (2:55)
- Part of recording of third meyana called Madani damaged from origin.
- Musical interlude in hijaz mode. (3:14)
- A piece called Mathnawi (hijaz on G) consisting of three sung verses. (3:27)
- Taslim, conclusion of the maqam, to the word "yar", gradually descending from the 'ajam (B-flat) degree to the rast. (5:43)
Vocals: Muhammad Abdul Razzaq al-Qubbanchi (1901-1989)
Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shummel Shmuli (1890-1960)
Qanun: Yusuf Meir Za'rur al-Saghir (1901-1986)
Oud: Ezra Aharon al-'Awwad (1903-1995)
Tabla: Yehouda Moshe Shammas (1884-1972)
Daff: Ibrahim Salih