Makams with Quarter Tones and Commas:

The first note of the upper jins is the dominant note in the maqam. Beginning note is the tonic, note before tonic is leading tone. Leading tone means the note you play before the first note of the scale, lying below it in pitch.

· Green marking like this: 10 shows a note that is flat by ¼ and can be interpreted as you like.

· Blue marking like this: 110011 shows the existence of a Hijaz tetrachord, where the 2^nd and 3^rd notes are attracted.

· Yellow marking like this: 01 shows the presence of an alternate possibility for use of that note in Ascending and Desending variations.

Bayati Family - 110101 / 101101 Dominant note is usually the 4^th note. The tonic is often also the beginning note.
Makam:	Pattern:		Dromo		Ajnas:			Info:
Bayati D		Asc. 1101010110101 1101010101101 1011010110101 1011010101101		Ussak-Like Ussak-Neva Nat.Minor-Like Dorian-Like		D Bayati G Rast			2^nd (E) note and 6^th (B) is flat by ¼.
		Desc. 1101010110101 1011010110101		Ussak-Like Nat.Minor-Like		D Bayati (F Ajam) G Nahawand (Bb Ajam)			2^nd (E)note is flat by ¼. Secondary Ajams used in Modulation.
Bayati D Alternate (Ushshaq)		1101010110101		Ussak-Like		D Bayati (F Ajam) G Nahawand (Bb Ajam)			2^nd (E)note is flat by ¼. Secondary Ajams used in Modulation. A.k.a. Al-Husein Ajam in Tunis. Called Muheir when it is played on the upper octave.
		1011010110101		Nat.Minor-Like
Bayati-Shuri D (Kartsigyar)		1101011001101		Mode 2 of Harmonic Minor		D Bayati G Hijaz			2^nd (E)note is flat by ¼. Common to modulate to this makam from Bayati. A.k.a Chury, Qar-Jghar
		1011011001101		Desc-Houseini- Nikopolpoulos- Kartsigyar-Like
Husseini D (Al-Husein)		1011010101101		Dorian		D Bayati G Rast (A Bayati)			2^nd (E)note and 6^th (B)note is flat by ¼. Common to modulate to this makam from Bayati. A.k.a. Al-husein, composed of three Bayati tetrachords: one on D, One on A and one on upper D. Variations: Alhusein Niriz (Tunis). It stresses the C below the tonic. Al-Husein Usheiran is same as the Bayati with the addition of a Bayati tetrachord below its Tonic when descending. Al-Husein Saba is characterized by stressing the third note.
		1101010101101		Ussak-Neva-Like
		1011010110101		Nat. Minor-Like
		1101010110101		Ussak-Like
Rast Family - 10101 / 1011 Dominant note is usually the 5^th note. The tonic is often also the beginning note. In general the Rast-Rast form is used on the way up, and the Rast-Bayati and Rast-Nahawand forms are used on the way down.
Makam:	Pattern:		Dromo		Ajnas:			Info:
Rast C		Rast-Rast Asc. 1010110101011 1010110101101 1011010101011 1011010101101		Rast-Rast Major-Like Mixolydian-Like Mel-Minor Asc.-Like Dorian-Like		C Rast (E Sikah) G Rast	3^rd(E) and 7^th(B) notes are flatend by ¼ tone. Due to this we choose to use major scale for ascending and mixolydian for descending. Called Yakah when in G. Secondary Ajams used in Modulation. Descending version also used alone as Rast Al Mayah, mainly in North Africa, The Notes E and B are avoided when descending Aka Rahawi (Turkey), Kardaan, and in Morocco, the Rast Maqam is known by the name Istihlaal, and in Tunis it’s called Rast El-Theel, see below. Has ascending sayir in turkish system.
		Rast-Nahawand/Rast Al-Mayah Desc. 1010110101101 1011010101101		Rast-Rast Mixolydian-Like Dorian-Like		C Rast (E Sikah) G Nahawand
Suznak C		1010010110011 1011010110011		Tabanhiotikos-Like Harm. Minor		C Rast (E Sikah) G Hijaz	Common to modulate to this makam from regular Rast. 3^rd(E) note is flatend by ¼ tone.
Nairuz C		1010110110101 1010110101101 1011010101101 1011010110101		Mixolydian mode of Mel. Minor Mixolydian-Like Dorian-Like Nat. Minor-Like		C Rast (E Sikah) G Bayati	Pieces in Rast often modulate on Nairuz and vice versa. 3^rd(E) and 6^th(A) notes are flatend by ¼ tone. Aka Neirooz. If we transpose to the Tonic of G, then we have a Rast tetrarch. on G and a Bayati tetrarch. on D.  This is called Muheiar Iraq in Tunis, and Iraq in Algeria. There is no difference between them other than the note below the tonic, where it’s natural in Algeria and sharp in Tunis.
Mahur C		1010110101011 1011010101011		Major-Like Mel. Minor Asc.		C Rast G Ajam	3^rd(E) note is flatend by ¼ tone. This makam is more accurate to reproduce on a fret than Rast because there are less quarter notes to deal with.
Rast El-Theel		1011010101011 1011010101101 1011001101011 1011001101101		Mel-Minor Asc.-Like Dorian-Like ? Romaniko-Like		C Buselik (or C Nawa Athar) G Rast	7^th(B) note is flatend by ¼ tone. This Maqam is used in North Africa and the fourth note alternates between natural and sharp. Called Acemli in Turkish Sytem.
Dernisheen		010101101011011 010110101011011 010101101010111 010110101010111		Mixolydian-ish-Like Dorian-ish-Like Major-ish-Like Mel-Minor Asc.-Like 0)(1) (0) 101 10 10101 11		C Rast A Saba	Maqam Dernisheen differs from Rast by having a Saba Tetrachord on A. This makes it unique.

Sikah Family – 10101 / 01101

Dominant note is usually the 3^rd note.

Makam:

Pattern:

Dromo

Ajnas:

Info:

Sikah E

Sikah-Rast

Asc. 10101011010110
10101010110110

01101011010101
01101010110101

Sikah-Rast

Lydian-Like
Lydian mode of Mel. Minor-Like
Locrian Like
Ussak-Like

E Sikah
G Rast

1^st (E) note and 5^th (B) note is flat by ¼ tone.

Often the first form (Sikah-Rast) is used on the way up, and the second form (Sikah-Nahawand) is used on the way down.

Sikah-Nahawand

Desc.10101011010110
Desc.01101011010101

Sikah-Nahawand

Lydian-Like
Locrian Like

E Sikah
G Nahawand

Huzam E

10101100110110

01101100110101

Mode 6 of Harm.Minor
Zamzam

E Sikah G Hijaz

1^st(E) note is flat by ¼ tone. Huzam is the most popular variation of Sikah. Pieces in Sikah rarely go far without modulating on Huzam. Called Rahat el Arwah in B.

Iraq B

10101101010110
10101011010110
01101101010101

01101011010101

Major-Like
Lydian