A maqam of the Ajam sphere in Arabic explanation, summarized practically as: Jaharkah = Ajam on F + Rast on C.

In practical Arabic explanation, Jaharkah is built on Jins Ajam on Jaharkah (F), followed by Jins Rast on Kardan (upper C), and its identity appears through the move from Ajam on F to Rast on C and then back to the tonic.

In practical Arabic explanation, Jaharkah is a maqam built on Jins Ajam on Jaharkah (F), followed by Jins Rast on Kardan (upper C). This is a correct and direct Arabic formulation for explaining the maqam through its ajnas without needing to enter the Turkish theoretical formulation. Jaharkah appears in older and modern Arabic explanations as a maqam clear in structure, large in color, and stable in personality, even if it is less commonly used than maqamat such as Rast and Bayati.

• Jaharkah (F): the tonic and primary center of attraction of the maqam
• Kardan (upper C): the ghammaz and upper center, because it is the place of the Rast jins in the upper half
• Nawa (G) and Husayni (A): passing and partial stabilizing tones between the tonic and the ghammaz

• The maqam’s personality is not derived from the scale alone, but from the way it moves from Ajam on F to Rast on C, then cadences back on Jaharkah (F)
• In Egyptian performance it is described as having a visible popular or folk-like flavor, with a clear reliance on the first region of the maqam
• In performance one should not lose the difference between its being Ajam on F and merely using a generic major scale
• What confirms its maqamic identity is the clarity of Ajam on Jaharkah at the beginning, then the bringing out of Rast on Kardan above, then the convincing return to the tonic

• Stabilize Ajam on Jaharkah (F) at the opening
• Expand upward through the middle region
• Bring out Rast on Kardan (upper C) clearly in the upper part
• Return convincingly to Jaharkah (F) without losing the maqamic identity

• Jaharkah is very close to Ajam in broad color because its basis is Ajam, but in Arabic explanation its peculiarity is that it does not stop at one Ajam jins and is completed by Rast on Kardan (upper C)
• Rast is another maqam with a different center and original intervallic logic, whereas Jaharkah begins from Ajam on F rather than Rast on C, even though Rast appears in its upper part
• Jaharkah is not merely a major scale on F, because the presence of Rast on Kardan gives it a specific Arabic maqamic organization rather than a generic pitch collection
• If we adhere to Arabic explanation only, the clearest and most accurate formulation is: Ajam on Jaharkah (F), then Rast on Kardan (upper C)
• In Egyptian performance Jaharkah has a special popular flavor, which means its theoretical explanation alone is not enough to capture its practical taste