Maqam Sika Contents and Notations

Maqam Sika Music Notations and Scores

With Maqam Sika description and Audio & Video Examples

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No.	Song Name	إسم الأغنيه	رقم
	Traditional Tourath	أغاني التراث
1	Layali Lubnaan – M. Abdilwahhab	ليالي لبنان – عبدالوهاب	1
2	Samaii Huzam – M. Abdilwahhab	سماعي هزام – عبدالوهاب	2
3	Aaldebki – Wadii al-Safi	عالدبكي – وديع الصافي	3
4	Ya ayni Aalsabr – Wadii al-Safi	يا عيني عالصبر – وديع الصافي	4
5	al-Thulathiya al-Muqaddasa – Um kalthoum	الثلاثيه المقدسه – ام كلثوم	5
6	Darit al-Ayyaam – Um kalthoum	دارت الأيام -ام كلثوم	6
7	el-Wardi Gameel – Um kalthoum	الورد جميل – ام كلثوم	7
8	Emta el-Hawa – Um kalthoum	إمتا الهوا -ام كلثوم	8
9	Fat el-Miaad – Um kalthoum	فات المعاد -ام كلثوم	9
10	Inta Fakrani – Um kalthoum	إنت فاكراني -ام كلثوم	10
11	Nahj al-Borda – Um kalthoum	نهج البرده – ام كلثوم	11
12	Ya Sohbat al-Rah – Um kalthoum	يا صحبة الراح -ام كلثوم	12
	Muwashahaat -Maqam Huzam	موشحات – مقام هزام
13	Aya Min tarfih Sihrun	عين من طرفه سحر	13
14	Quif Ala Aktaaf	قف على أكتاف	14
15	Qudd Harrakat	قد حرّكت	15
16	Ramayta Qalbi	رميت قلبي	16
17	Samaii Huzam	سماعي هزام	17
18	Ya Ghousna Naqa	يا غصن نقا	18
19	Ya Naheel al-Qawaam	يا نحيل القوام	19
	Muwashahaat -Maqam Iraq	موشحات – مقام عراق
20	Aahd al-Bain	عهد البين	20
21	Al-Laylu Ella	الليل إللا	21
22	Bi Abi Bahi al-Jamaal	بي أبي باهي الجمال	22
23	Samaii Iraq	سماعي عراق	23
24	Soud al-Ouyoon	سود العيون	24
25	Ya Noseimaat al-Siba	يا نسيمات الصبا	25
	Classics	كلاسيكيات
26	Bashraf Bustanikar – Jameel Ouwais	بشرف بستكار – جميل عويص	26
27	Bashraf Huzam – Outhman Baik	بشرف هزام – عثمان بك	27
28	Bashraf Huzam – Jameel Ouwais	بشرف هزام – جميل عويص	28
29	Bashraf Iraq – Jameel Ouwais	بشرف عراق – جميل عويص	29
30	Bashraf Sikah – Jameel Ouwais	بشرف سيكاه – جميل عويص	30
31	Samaii Bustanikar – Ali darweesh	سماعي بستنكار -علي الدرويش	31
32	Samaii Bustanikar – Jameel Ouwais	سماعي بستنكار – جميل عويص	32
33	Samaii Farahnak – Leon	سماعي فرحناك – ليون	33
34	Samaii Huzam – M. Abdilwahhab	سماعي هزام – عبد الوهاب	34
35	Samaii Huzam – Jameel Ouwais	سماعي هزام – جميل عويص	35
36	Samaii Huzam – M. Abdo salih	سماعي هزام – عبدو صالح	36
37	Samaii Huzam Sisaq Afandi	سماعي هزام – سيساق افندي	37
38	Samaii Huzam Yousif Basha	سماعي هزام – يوسف باشا	38
39	Samaii Iraq – Mohyiddeen Haidar	سماعي عراق – محي الدين حيدر	39
40	Samaii Iraq – Yousif Basha	سماعي عراق – يوسف باشا	40
41	Samaii Rahat al-Arwaah – M. Ajjan	سماعي راحة الأرواح – محمود عجّان	41
42	Samaii Rahat al-Arwaah – Salih al-Mehdi	سماعي راحة الأرواح – صالح المهدي	42
43	Samaii Sikah – Moneer Basheer	سماعي سيكاه – منير بشير	43
44	Samaii Sikah – Outhman Baik	سماعي سيكاه – عثمان بك	44
45	Samaii Sikah – Jameel Ouwais	سماعي سيكاه – جميل عويص	45
46	Samaii Sikah – Safar Ali	سماعي سيكاه – صفر علي	46

In the intricate world of Arabic music theory, Maqam Sika stands as one of the most distinctive and emotionally complex “families” ( $fasila$ ). It is defined by its unique starting note and its heavy reliance on the “quarter-tone”—specifically the neutral third.

While many maqamaat feel grounded in major or minor Western tonalities, Sika exists in the spaces between, offering a sound that is often described as soulful, regal, and deeply traditional.

1. The Structure of Maqam Sika

The defining characteristic of Sika is that it begins on the note E-half-flat ( $Sika$ ). In the Arabic tonal system, this note is roughly halfway between E-natural and E-flat.

Tonic: $E \text{ half-flat}$
Jins (Lower Fragment): Sika on the tonic.
Jins (Upper Fragment): Rast on the 3rd note ( $G$ ) or Nahawand on the 3rd note.

The interval structure creates a sense of tension and yearning, as the distance between the tonic and the second note is a specific medium-sized interval ( $1.5$ semitones) that is characteristic of the “Eastern” sound.

2. The Sika Family (Related Maqamaat)

The Sika family is diverse, with variations created by changing the upper “building blocks” ( $ajnas$ ) of the scale.

Maqam Name	Characteristic	Feeling / Mood
Sika	The standard form; often uses Jins Rast on the 3rd note ( $G$ ).	Dignified, traditional, and evocative.
Huzam	One of the most popular variations; uses Jins Hijaz on the 3rd note ( $G$ ).	Deeply emotional, mournful, and dramatic.
Iraq	Starts on $B \text{ half-flat}$ but follows the Sika logic.	Grounded, ancient, and sonorous.
Bastah Nigar	A complex variation that incorporates Jins Saba on the 3rd note.	Highly melancholic and spiritually restless.
Segah	(Persian/Turkish variant) Often utilizes a slightly different intonation and melodic path.	Shimmering and fluid.

3. Melodic Behavior ( $Seyr$ )

Maqam Sika is unique because it is an ascending maqam. Traditional compositions often start on the tonic ( $E \text{ half-flat}$ ) and move upward, circling around the third note ( $G$ ) before returning to rest.

It is a “stable” maqam but requires a highly skilled performer to master the intonation of the half-flats. If the Sika note is played too high or too low, the entire “color” ( $lawn$ ) of the maqam is lost.

4. Iconic Examples in Classical Music

The beauty of Sika and Huzam can be found in some of the most celebrated works of the 20th century.

“Laylat al-Hubb” (Mohammad Abdel-Wahab): Features brilliant transitions that highlight the regal nature of the scale.
“Al-Atlal” (Riyadh Al-Sunbati / Um Kalthum): While primarily in Maqam Huzam, the way the melody navigates the quarter-tones in the verses is considered a masterclass in this tonal family.
“Mawtini”: The famous nationalist anthem is composed in Maqam Huzam, giving it its stirring, bittersweet quality.

Summary

Maqam Sika is more than just a scale; it is a gateway to the heritage of the Levant and Egypt. Whether it is the sorrowful cry of Huzam or the steady, grounded pulse of Iraq, the Sika family remains the heartbeat of the traditional takht (ensemble).