حامد السعدي . مقام الابراهيمي - لي خلة وطروني

لي خلة وطروني هموم وطراهم
وبشوگهم عني جرح الگلب وطراهم
وسفي عليهم غدوا ما گضوا وطراهم
فنك يا گلبي عگبهم چيف راحة تجد
وتشب نيران گلبي بالضماير تجد
وضحيت نايم وراسي عالوسادة يجد
كلما يجي ذچرهم عالبال وطراهم

سنطور/غازي العزاوي, جوزة/صهيب الرجب, طبلة/عبد الرزاق مجيد, رق/ضياء محمود, محمد الجبوري

Maqam Ibrahimi - Haj Hamid al-Saadi and Al-Chalghi al-Baghdadi
(santur: Ghazi al-Azzawi, joza: Sohaib al-Rejab, dumbuk: Abdul Razzaq Majid, riqq: Dhia Mahmoud, Mohammed al-Juburi)

The melody formula of this mode is in Bayyat, the tonic in dukah, rhythm in 12/4 yugrug, words in local dialect. This is part of the Hijaz suite (fasl) and talks of unfortunate love or melancholic meditations. It is named after the prophet Abraham whose charisma and noble descendence suggest the magic of the mode and the numerous modulations. In other versions it is named afer the Abbasid era singer Ibrahim al-Mawsili. The tahrir uses the dukah, rast, chahargah, nawa and husayni degrees (to the words "Owéh, khayyi, ya khayyi", Oh my brother, Oh my brother). The first hemistich is said on the same melody formula, preceded by "Ya ya bah", using the chahargah, sikah and nawa. The recitor then plays on the nawa, the dukah and husayni ("Owéh") and ends in rast. The second hemistich uses the Nari pieces in the nawa, zanburi, and Nari in the third hemistich on sikah and Qazzaz preceded by "Oweh, khayyi, khayyi, owéh" and repeated with "Aman", Sunbula on nawa (Mennoh la, mennoh la léh, la lay, "From him, no, from him, no, no and no". The fourth hemistich is in 'Araybun 'Ajam on hijaz, which becomes Bayyat through a sayha which moves between the husayni and dukah ("Owéh"). The recitor modulates in Taher on the nawa degree before returning to the Rast (Lél, ya lél, "Night oh night") and develops the 'Omar Gallah and Quriyyat on the husayni (Agham, ya, "Lord oh"). The fifth hemistich is in Mansuri (Mennoh la wa-l-Lah galbi, "From him, no, By God, Oh my heart", with taslim in Ya bah, ya bah, ya bah). The pieces Qaryat Bash, 'Abbush, Mahmudi and Qatar then follow, in the song of the fifth hemistich. The sixth hemistich continues in the Zanburi then in Sharqi Dukah on 'ajam degree ("Ya, ya ghanem"), followed by the Maskin on nawa degree (Esh welek, ya baba, "What, Oh my father") and finally by the Mugabal (manneh wail awail awail wa waila wail). The recitor then goes into the Bheirzawi, the Juburi and the Nari. By means of a sayha departing from the husayni (Owéh), he reaches the chahargah. There is a brief silence and then a modulation in 'Ali Zubar in the seventh hemistich (Diyéh, yé, yé). Then comes the Bayyat mode (Owi) and the dukah, nawa and husayni degrees for the taslim (Mennoh 'elét, 'elét). He comes back to the rast ('Elét ya), goes up to the nawa (Ya and the dukah (D'a wedd 'alénah bi-l-khér, ehnah we-s-same'in, owé khayyi, "Wish us be loved for our well being, us and the listeners, ah my brother")
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