A maqam of the Ajam family whose tonic is Ajam Ashiran (low B-flat). In practical Arabic explanation it may be understood as Ajam on Ajam Ashiran, but the more precise Turkish description treats it as a transposed Jaharkah with a descending sayr.

Ajam Ushayran is a maqam of the Ajam family. Its tonic is Ajam Ashiran (low B-flat), and in classical Turkish theory it is presented as the transposition of Jaharkah to that degree, with a basically descending sayr.

Ajam Ushayran is a maqam of the Ajam family, and in classical Turkish theory it is presented as the transposition of Jaharkah to the degree of Ajam Ashiran (low B-flat tonic). That means its structural logic is the logic of an explicit major/Jaharkah framework, but with a lower tonic on Ajam Ashiran and a basically descending sayr. For that reason, it is not merely “Ajam on another note” in a simplified sense, but a maqam with a stable theoretical profile in terms of tonic, strong tone, sayr, and temporary cadential centers.

• Ajam Ashiran (low B-flat tonic): the final tonic of the maqam
• Ajam (middle B-flat): the strong tone or ghammaz, where an important secondary stabilizing center appears
• Husayni Ashiran (low E): the leading tone toward the tonic, functioning as the yeden of the maqam

• Its sayr is basically descending in the classical Turkish description
• It is not accurate to explain it only as a major scale on a low B-flat without mentioning that its original sayr logic is descending
• Its identity is not reducible to its major color alone, but also depends on the points of emphasis, the role of Ajam as the strong tone, and Husayni Ashiran as the leading tone toward the cadence
• It may sound close to the Western major scale to an untrained ear, but its maqamic personality is more specific than that

• Center first in the upper or middle region
• Bring out the clear Ajam/Jaharkah material
• Descend gradually toward the tonic
• Show Husayni Ashiran as the leading approach to the cadence
• Close fully on Ajam Ashiran (low B-flat tonic)

• It belongs to the Ajam family and shares the broad major color with Ajam, but differs from Maqam Ajam mainly in the position of the tonic, since Ajam Ushayran resolves on Ajam Ashiran (low B-flat)
• Its relation to Jaharkah is very close, because the classical Turkish description treats it as the transposition of the Jaharkah sequence to Ajam Ashiran
• It may be confused with Rast by the non-specialist because of the clarity of its tonal stability, but Rast depends on a different logic of ajnas and the third degree, whereas Ajam Ushayran presents a clearly Ajam/Jaharkah organization
• There is no major school dispute over the basic identity of the maqam; what differs is mainly the mode of explanation between the more precise Turkish structural school and the shorter Arabic practical explanation