Instrumental Musical Forms

What Is Samā‘ī in Arabic Music?

Samā‘ī is a classical instrumental genre that originated in Ottoman Turkish music and was later adopted and developed in 19th–20th century Arabic music. It is considered one of the foundational forms taught to students of maqam-based music.

It is known for its elegant structure, expressive melodies, and its signature 10/8 rhythm.

 Structure of a Samā‘ī

A traditional Samā‘ī has a fixed, four-part structure, each part called a khāna (خانه):

Between each khāna, the ensemble returns to a refrain called the taslīm (تسليم).

This structure is one of the defining features of the Samā‘ī form.

 Rhythmic Pattern

The classic Samā‘ī rhythm is:

Samā‘ī Thaqīl – 10/8

Counted as:

DUM – TAK – DUM – TAK – TAK

This 10-beat cycle gives the form its flowing, stately character.

The 4th Khāna Changes Rhythm

The final section traditionally shifts to a different meter, often:

• 6/8
• 3/4

This rhythmic contrast is another hallmark of the form.

Maqams and Repertoire

Samā‘ī compositions exist in many maqams, such as:

• Bayātī
• Rast
• Hijāz
• Nahawand
• Ajam
• Kurd

Some famous examples include:

• Samā‘ī Bayātī al-‘Aryān (one of the most well-known pieces)
• Samā‘ī Farahfāzā by Jameel Bey

Tunisia also preserves a set of old Samā‘ī compositions with unknown composers, possibly dating back to the 16th century.

 What Makes Samā‘ī Special?

• It is instrumental, not vocal.
• It showcases the maqam system beautifully.
• It balances strict structure with expressive improvisation.
• It is a favorite form for oud, qanun, violin, and ensemble performance.
• It is often taught early to students because it demonstrates maqam development, rhythmic discipline, and melodic phrasing.

Samaii Bayati Arabi

Composer: Sami Shawwa

Tunis T.V. Orchestra

What Is a Bashraf in Arabic Music?

A Bashraf is a pre-composed instrumental form used in classical Arabic and Ottoman music. It traditionally serves as an opening piece in a musical suite (called a waṣla), setting the mood and establishing the maqām—the melodic mode that will guide the rest of the performance.

The term comes from the Persian peshrū, meaning “that which goes ahead,” which became peshrev in Turkish and bashraf in Arabic.

Structure of a Bashraf

A Bashraf has a highly organized structure, usually consisting of:

• Four khānāt (sections or “movements”)
• A repeating lāzima (also called taslīm or ritornello) between each section This creates a pattern like: Khāna 1 → Lāzima → Khāna 2 → Lāzima → Khāna 3 → Lāzima → Khāna 4 → Lāzima

The lāzima can be the same length as a khāna or shorter (half, third, or quarter) depending on the composition.

 Rhythmic Features

Bashraf compositions typically use long, cyclical rhythmic patterns, often in binary meters. One common example is the 28-beat dawr rhythm, which gives the form a stately, processional feel.

 Origins and Cultural Context

• Originated in Ottoman court music and Mawlawiyya (Mevlevi) Sufi traditions
• Adopted into Arabic classical music as the standard instrumental prelude to a waṣla
• The form spread widely across the Arab world, especially in the Levant and Egypt
• The Arabic term bashraf also appears in North African traditions, sometimes with local variations

 What Does a Bashraf Sound Like?

A Bashraf is:

• Instrumental (no vocals)
• Melodically rich, exploring the maqām in a clear, structured way
• Rhythmically steady, often with a long repeating cycle
• Ornamented by performers, who add expressive nuances while keeping the composed structure intact

If you want to hear an example, the Bashraf Qarah Batak Sikah by Kemani Khidr Agha is a well-known Ottoman-era piece performed by many ense

 Why It Matters

The Bashraf is foundational because it:

• Establishes the maqām for the entire performance
• Demonstrates the ensemble’s technical precision
• Connects modern performers to centuries of Ottoman–Arab musical heritage
• Serves as a musical “gateway” into the emotional world of the waṣla

What Is a Longa in Arabic Music?

A Longa is a fast-paced, instrumental musical form used in Arabic, Turkish, and Balkan traditions. In Arabic music, it is one of the most recognizable instrumental genres—lively, rhythmic, and often used as a finale in a waṣla (musical suite).

The form entered Arabic music through Ottoman and Eastern European influences, especially from Romani (Gypsy) musicians in the Balkans.

Structure of a Longa

A typical Longa has:

• Several khānāt (sections)
• A repeating taslīm (refrain) after each section Pattern: Khāna 1 → Taslīm → Khāna 2 → Taslīm → Khāna 3 → Taslīm → …

This structure is similar to the Bashraf or Samā‘ī, but the tempo and rhythmic feel are what make the Longa unique.

 Rhythmic Characteristics

The Longa is almost always in:

• 2/4 meter
• Fast tempo
• Dance-like rhythmic patterns

This gives it a bright, energetic character.

Some Longas end with a final section in 3/4, called khāna masrī, adding a playful rhythmic twist.

Musical Style

A Longa is:

• Instrumental (no vocals)
• Virtuosic, showcasing the skill of the ensemble
• Melodically rooted in a maqām, but with:
• Short phrases
• Repetition
• Ornamentation
• Clear rhythmic drive

It often features rapid runs and lively motifs.

Origins and Cultural Context

• Originated in Ottoman court and folk traditions
• Strongly influenced by Balkan and Romani dance music
• Adopted into Arabic classical music in the 19th–20th centuries
• Became a standard part of the instrumental repertoire in Egypt, Syria, Lebanon, and Iraq

Famous examples include:

• Longa Riad (Maqām Nahawand) by Riyad al-Sunbati
• Longa Farahfaza

What Does a Longa Sound Like?

Imagine:

• A fast, catchy melody
• Repeated refrains
• Spiraling ornamentation
• A driving 2/4 beat

It’s the kind of piece that makes musicians smile because it’s fun to play and fun to hear.

 Why the Longa Matters

The Longa is important because it:

• Adds energy to a musical suite
• Demonstrates instrumental mastery
• Bridges Arab, Ottoman, and Balkan musical worlds
• Provides a lively contrast to slower, more contemplative forms

• Longa Hijazkar

Longa Riadh- Riyadh Sunbati

Saleem Sahhab Conductor

What Is a Tahmila in Arabic Music?

A tahmila is a classical instrumental form in Arabic music that blends composed melody with structured improvisation. It is one of the most distinctive forms in the traditional instrumental repertoire and is often performed by a takht ensemble (oud, qanun, nay, violin, riqq, etc.).

According to the AMAR Foundation’s analysis, the tahmila is considered the instrumental counterpart of the dawr in vocal music because it combines fixed melodic material with improvisatory passages.

 How a Tahmila Works

A tahmila typically follows this structure:

 1. Main Theme (Khāna)

• A short, composed melody.
• Played by the full ensemble in unison.
• Establishes the maqām (modal scale), such as Bayyātī, Hijāz, or Suznak.
• This theme repeats throughout the piece.

 2. Improvisational Passages (Henk or Tafarrud)

• After the theme, each instrument takes a turn improvising.
• The improvisation is based on the theme’s melodic material.
• The ensemble responds by repeating the main theme after each solo.

This creates a call-and-response cycle:

1. Theme
2. Solo improvisation
3. Theme
4. Next solo … and so on.

AMAR describes this as a “dialogue between the solo instrumentalist and the ensemble”.

Why Tahmila Is Special

• It showcases virtuosity of individual players.
• It preserves classical Arab musical aesthetics.
• It allows creative expression within a traditional framework.
• It highlights the maqām system through both composed and improvised material.

 Examples You Can Listen To

Your search results include several performances:

These performances show how different ensembles interpret the same form with their own improvisational flavor.

 In Short

A tahmila is:

• A cyclical instrumental form
• Built on a repeating theme
• Featuring solo improvisations
• Rooted in the maqām system
• A showcase of dialogue between soloists and ensemble

It’s one of the most elegant examples of how Arabic music balances structure and freedom.

Tahmila Suznak

Michigan Arab Orchestra