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The Three Ẓulam

The Three Ẓulam

Tilāwah: Sūrah al-Rūm, 17 to 27; Sūrah al-Takwīr

Riwāyah: Warsh ʿan Nāfiʿ, al-Sūsī ʿan Abū ʿAmr, Ḥafṣ ʿan ʿĀṣim, Khalaf ʿan Ḥamzah

(This article has referential material)

It was an interesting sight to see a rare congruence of Madīnah, Kūfah and Baṣrah today with the reciter opting to anoint the audience with a recitation in the qirāʾāt of Nāfiʿ (Madīnah), Abū ʿAmr (Baṣrah), and ʿĀṣim and Khalaf (Kūfah). The Sūrah al-Rūm was delivered in a perfect balance of Warsh and Khalaf while al-Takwīr saw equal portions allotted to Ḥafṣ and al-Sūsī. A recitation brimming with harmonized stability, today’s excerpt brought forth a 30-minute long performance in effortless style, encompassing the polarized readings as though they were one.

The recitation contained the alternate stopping styles involving tas-hīl of the hamzah as touched upon briefly in the previous article. Listen to the audio here.

Similarly, the distinct idghām kabīr of al-Sūsī in al-Takwīr was a treat to the ears. Listen to the audio here.

However, this short article will focus on one of the most unique aspects of the recitation which was a brief but significant moment in Sūrah al-Rūm’s verse twenty-two where the recitation turned to Ḥafṣ for a very brief moment before resuming in the paired Warsh-Khalaf recitation of this sūrah.

Let us have a look at the last word of this twenty-second verse. It is the word العالمين that we, accustomed to Ḥafṣ, will automatically recognize as ʿālimīn. We will, however, be surprised to know that Ḥafṣ alone – among all ten reciters – has chosen to recite this word with a kasrah (zayr) below the lām. All others have recited it as ʿālamīn with a fatḥah (zabar). This begs the question if there are other instances too where Ḥafṣ has chosen to deviate from the rest. The answer is a resounding yes! Yes, there are several instances where Ḥafṣ has chosen to walk his own path of solitude. What are those places? What is it that Ḥafṣ recites differently there? The table below attempts to comprehensively answer some of the questions associated with words that have been recited differently by Ḥafṣ alone. The table entries are divided in two parts, the first part containing the first half of the Qurʾān is contained here. The second part will be presented in a subsequent article. The table might help ḥuffāz of the Ḥafṣ narration to appreciate the uniqueness of this reading to some extent.

May Allah Taʿālā grant al-Dai al-Ajal Syedna Aali Qadr Mufaddal Saifuddin (TUS) a long and healthy life till the day of judgement. Ameen.

  • Dr cumel 4:24 pm 07/09/2019 Reply

    Superbly explained

  • Shk Abdeali Al-Yamani 4:30 pm 07/09/2019 Reply

    Great analysis

  • Dr. Cumel Patents 5:22 pm 07/09/2019 Reply

    The idgham kabir in takweer sounded too melodious today in shz sabs voice, also the aalemeen of surat ur room in hafs’ narration was something new to learn about.

    I have noticed shz sab moving his head in different directions to attempt some of the ahkaam particularly. Are these body movements essential for any qari to do or any other style of delivering that specific hukum is accepted.

    To me it seemed to be performed deliberately, now and always.

    • Tajweed Explained 5:27 pm 07/09/2019 Reply


      Janab, such movements are individual preferences and most qurra move according to what suits them best.

  • Mu Najmuddin Saifuddin Japan 1:49 pm 28/10/2019 Reply

    Is it possible to explain this in lisanud daawat?

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