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The Victory

07/09/2018 Archives

(This article contains links to audio files hosted on SoundCloud. Similarly, technical terms have been linked to a glossary. Kindly click on linked words to listen to the relevant audio or to read more about technical terms.)

The mumineen of Indore secured a clear victory when, on the day of ʿĪd, Syedna Aali Qadr Mufaddal Saifuddin (TUS) declared Indore as the destination for Ashara Mubaraka 1440. The fundamental essence of this victory was highlighted on the day of istiqbaal, the 26th of Dhu-l-Hijjah, when Shehzada Husain bhaisaheb Burhanuddin Saheb (DM) recited the opening verses from Sūrah al-Fatḥ in a heartrending voice that not only heralded the victory of having succeeded in achieving the zikr of Imam Husain (AS) in the city of Indore but also served as a reminder of those memorable instances when Syedna Mohammad Burhanuddin (RA) had visited Indore in 1407 and 1423 and prepared the ground for what mumineen would behold in 1440 of the zikr-e-husain through the nooraani kalimaat of Syedna Aali Qadr Mufaddal Saifuddin (TUS).

Shehzada Saheb (DM) began the tilawah with the istiʿādhah and basmalah reminiscent of Shaikh Muhammad al-Minshawi‘s supple renditions. The tilawah was entirely in the riwayah of Ḥafṣ ʿan ʿĀṣim, the most familiar of all readings especially in the subcontinent. It continued till the fifth verse of Sūrah al-Fatḥ after which Shehzada Saheb recited Sūrah al-Ḍuḥā and concluded the recitation at the end of this sūrah.

The next few paragraphs will discuss certain technicalities of the recitation which include a brief discussion on maqamaat and wuqūf.

You have already heard the short clip of Minshawi‘s opening in the previous link. That is the maqaam of bayāt. This particular maqaam is often employed by the reciters of the Qur’an – the qurrāʾ – due to its three main characteristics. Firstly, this maqaam is quite easy to learn and recite. Students of maqamaat are initially trained in this very maqaam because, and this is also its second essential characteristic, it is very easy to transition into other maqaams such as ṣabāʿajam and even nahāwand from this maqaam due to its proximity with all other maqamaat. The third characteristic is the versatility of this maqaam. A reciter who has mastered this maqaam will be able to extract numerous tones and will even be able to base his entire recitation on this single maqaam. This maqaam tends to attract the conscious towards the Qur’an and causes the listener to contemplate its verses. 

Shehzada Saheb (DM) began his recitation with bayāt quickly transitioning into several interesting intonations. Notable was the nahāwand that stretched across the first five verses of Sūrah al-Ḍuḥā, yielding a spirited response from the audience. The recitation ended with a brief return to bayāt followed by the kalimah al-taṣdīq.

Coming to the wuqūf, they play an important role in defining the quality of recitation especially in terms of the enhancement of meanings or suppression thereof. In this context, Shehzada Saheb (DM) made an unexpected waqf at the word “li-yazdādū” in the second verse of Sūrah al-Fatḥ. Stoppages like these cause the listener to pause and contemplate the words of the Qur’an. 

Another interesting element in the recitation was the joining of basmalah with the first verse of  Sūrah al-Ḍuḥā and repeating the first verse with the succeeding four verses, creating an atmosphere of anticipation and compelling the audience to maintain their attention to the recitation. Here is an example from the recitation of Shaikh Abdul Basit doing so.

Carrying forward from last year, had these verses (of Sūrah al-Fatḥ) been recited in the riwayah of Khalaf ʿan Ḥamzah, the following changes would have been noticed in the recitation:

  1. The letter ص in صراط (Verse 2) would have been recited with a hint of the letter ز like so.
  2. All the madd munfaṣil would have been elongated to six harakaat
  3. The harakah between wal and ʾarḍ in the word والأرض (Verse 4) would have been eliminated like so.
  4. There would have been a saktah (a breathless pause) before the hamzah of الأنهار (Verse 5) like so.
  5. The hamzah in سيئاتهم would have been changed to the letter ي and the word would be pronounced like so.

Technicalities apart, an oft repeated question pertaining to the basics is regarding the difference between tarteel and tajweed of the Qur’an. Perhaps the following example might serve to explain this difference in simple words: A wall that stands with exposed brick and mortar represents a recitation that is bereft of aḥkām and makhārij. Once coated and painted, it comes to represent a complete recitation that is technically sound, albeit bereft of melody and tone. Lastly, a painted wall decorated with embellishments is like a recitation with tajweed which not only includes the features of tarteel but adds to that and creates a perfect recitation in line with the hadith where Rasulullah (SAW) proclaims: “There is nothing more beloved to me than the melodious recitation of the Qur’an.”

This page will be updated daily with general discussions on Tajweed revolving around the tilawah of Shehzada Husain bhaisaheb Burhanuddin Saheb (DM). Stay tuned for updates.

  • Abdul Qadir 4:12 pm 07/09/2018 Reply

    The dissection of shz sahebs qiraat is fabulous, Although i couldn’t understand each and every word as i m not so much deep rooted in qiraat maqamaat as author does , but following subsequent post might get me some more understanding about various ahkaams and. Maqamaats.

    Keep it up janab.

  • Mulla Husain godhrawala 4:13 pm 07/09/2018 Reply

    Very mufeed information
    Thanks to the publisher
    Very well explained

  • Moiz Champeli 4:40 pm 07/09/2018 Reply

    In depth!

    Request to follow up with posts which explain terms such as bayāt, nahāwand, ṣabā and ʿajam.

  • Murtaza Udaipurwala 5:27 pm 07/09/2018 Reply

    Do continue this good deed. Jazakallah.

  • Husain Fakhri 5:49 pm 07/09/2018 Reply

    Salaam Bhai Great
    Analytically well elaborated Qira’at. Expecting to see many more such volubles striking out of your Saber.

  • Zainab 7:47 pm 07/09/2018 Reply

    Such a deep analysis of the style of qirat is so innovative!!
    Would love to have a beginner’s guide to the terms used.

  • Juzer 2:39 am 08/09/2018 Reply

    Very informative! Thank you.

  • S Moiz 9:00 am 08/09/2018 Reply

    الله يرزقكم شفاعةنبينا الكريم صلع

  • Tasneem 10:19 am 09/09/2018 Reply

    It is said if u want to attain something, do it for 40 days.So now in 14(40) and myself crossing 40,I am feeling blessed to read from this basket weaved with wonderful threads of experience and knowledge.

  • Sakina 10:46 am 21/09/2018 Reply

    Impressive work ! Very well explained.

  • A. 3:40 pm 15/10/2018 Reply

    Afwan, but doesn’t Hamzah elongate the madde munfasil to 6? And wouldn’t there be a saktah in الأرض as well? Please rectify if I’m mistaken.

    • Tajweed Explained 4:34 pm 15/10/2018 Reply

      Dear A.

      Thank you for pointing out the inadvertent error about the ḥarakāt of munfaṣil and muttaṣil, both of which have been recited اشباعا by Ḥamzah. I have corrected the article which now shows “six” instead of “four”.

      As regards to the question of naql, Ḥamzah has two wujūh while stopping: sakt and naql. I have preferred to write naql because Shehzada Saheb often recites with naql while stopping in the Qirāʾah of Ḥamzah.

  • Mu Najmuddin Saifuddin Japan 10:18 am 16/11/2018 Reply

    Afzalus Salaam. Very good initiative to atleast understand the different types of Qirat. Well I feel if this is explained to some in extent during ashara (may be in majlis at night or before the tilawat) it would be of great help to all. Being Moallem, children always question us about this and we don’t have a satisfying anwer to them. Keep updating Janab. Thanks a lot

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