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Karima Sequilli Sings
Muwashah Mala Al-Kasaat

                   Musical Composition
                        Muwashahat

      (Qanoon )  After a musical introduction, an Oud player would improvise in the Maqam on which the Bashraf is based, followed by several Muwashahat that graduate in speed from slow to fast.  Here is a Muwashah in Maqam Rast with a rhythm Called The “Eastern Murabaa”, which is of 13   Beats (Rhythm) (Hayyara Al-Afkara Badri  ). 

       We notice that the musical composition of a Muwashah tends to follow its Poetic composition.  That is, its tune is repeated three times, followed by another tune, then going back to the original tune and it’s called Rujou (coming back).  Another variety of Muwashah uses the reverse. That is a first tune, followed by a second tune, repeated Three times then back to the original tune.  Our second example is a Muwashah with a rhythm called “Nawakht”, which has Seven Beats (Rhythm) (Sihtu Wajdan Ya Nadama ).  Our Third example has a Rhythm called “Al-Tair Al-Thulathi” (), which is a fast Three.

       The Muwashah in The Arab Maghrib follows in the same fashion if it’s used in the Noubah.  However, if it’s used outside the Noubah it takes on a different form.  In Tunisia, it’s essential to sing all the Five Parts of the Muwashah, of which a singer would sing one part then moves on to a new Maqam.  Here is a Muwashah, in Maqam Rast Al-Theel, that follows this Pattern, by Khumeis Ternaan (Kallili Ya Suhbu  ).

Muwashah Houbbi Zourni
Muwashah Imla Li Alaqdah
Muwashah Mala Alkasaat
Muwashah Sihtu Wajdan

Please visit the following Web Sites for an extensive collection of Muwashahaat and Adwaar:

http://www.classicalarabicmusic.com

http://www.traditionalarabicmusic.com

http://www.arabicmusicvideos1.com