Maqam is one of the genres of singing in Iraq. Because of the fact that it has its own standardinherited rules it can be considered as a traditional and classical music. Maqams are performed mainly and widely in the Iraqi cities of Baghdad, Mosul and Kerkuk. It is however, practiced in limited venues in the cities of Kerbala,Hilla and Diyala as well.It is in Baghdad that the Iraqi maqam is widely performed. Baghdad witnesses also its origins and its development across generations. Artistically interpreted, maqam is a distinguished mode along the course of Iraqi music and singing. It is based on two main factors; that of sound(melody)and the time(rhythm). Usually, the maqam singer is called Qaari ( lit. reader). this is because Originally maqam is categorized within the Sofistic and religious music. The maqam singer is expected to apply the standard rules of maqam. Surely , he or she is also expected to integrate his own improvisation in the maqams system of standard style to reflect his or her own particular style and character as a singer. Therefore ,individual differences in Performance are deliberately aimedat.
1-Tahriir (or the Beginning Of maqam)
2-Qita / Awsaal (parts and pieces within)
3- Al-Djalsa “lit. Sitting” is a sound movement or a musical note where a maqam singer descends to a note at the maqam base in order to ascend to the higher notes in singing; what is known, in the terminology of maqam, as “mayanat“
4-“Mayanat” refers to the part of maqam singing when a maqam singer uses high voice layers above the octave note of the original maqam base
5-Tasliim ( the end or conclusion).
The maqam singer is usually accompanied by a small group of musicians. The group is called(Al-Chaalghi Al-baghdadi). The word chaalghi is of aTurkish origin.Because Baghdad is where the main origin of the Iraqi maqam is traced, this group is named after it. The group consists of Performers using traditional musical Instruments.
Those instruments are:
The djooza(aspiked four string fiddle), the santur (a cither brought to sound through sticks), the tabla(vase drum with two open sides of which one side is covered by the drum skin). the riqq (a tambourine) and occasionally, the naqqara (metal shells beaten by metal sticks).
The players of the group are expected to be fully acquainted with the minute technicalities of each instrument they play and how it suits the required performance of maqamat and pestehs. In addition,they are supposed to have skilled voices and eloquent performance. this is because their role is not confined to the playing of the instruments only but is extended to the singing of the pesteh (the popular song) wich i s sung at the end of each maqam, this pesteh gives the maqam singer some time to rest and be prepared for the following one. the texts recited in each maqam differ from one maqam to another. There are maqamat that are performed in classical Arabic poetry, while others in the Iraqi vernacular known as Zuheeri Mosabba,(seven Zuheeri). In addition, there are some maqams that are performed while accompanied with some Iraqi rhythms from the beginning to the end, while others are without these. It is worthwhile saying that there are more than 50 Iraqi maqams. till recently, Maqam has been performed inthe following venues and occasions:
The Mawlid, The feast celebrating the birth of the prophet Mohammed, in coffeehouses and In Zurkhane which is a Sofi-related sport school.