A reference maqam built on a firm tonic, a clearly audible Sikah third, a strong expansion toward the fifth, and a decisive return to the tonic.

Rast is one of the most important core maqamat in Arabic music. It is not understood only from its scale, but from its modal movement, its points of repose, and the coloring that appears especially in the upper register.

في السماع والممارسة، تظهر عائلة الراست من خلال جنس سفلي ثابت نسبيًا، مع احتمالات متعددة في الجنس أو المعالجة العليا. وتميَّز فروعها عادةً بحسب طبيعة المنطقة العليا، وطريقة الصعود إلى الجواب، واللون الناتج عن هذا الاختلاف.

Rast is one of the central reference maqamat in Arabic music. It is not understood only from its scalar form, but from its way of moving, its points of repose, and the coloring that becomes especially important in the upper region.

• Rast (C): the tonic and main center of gravity
• Nawa (G): the clearest practical ghammaz
• Kardan (upper C): an important upper resting point
• Dukah (D) and Sikah (E half-flat): two important tones in shaping the maqam’s personality

• The identity of Rast appears especially through the Sikah third (E half-flat)
• The fifth is one of the maqam’s most important working regions
• Hijaz on the fifth may function as an internal coloring inside Rast rather than a full departure from it

• Stabilize Rast (C) at the tonic
• Bring out the Sikah color clearly
• Ascend gradually toward Nawa (G)
• Work extensively around the fifth
• Potentially reach Kardan (upper C)
• Then return to the tonic

• Rast on the fifth
• Nahawand on the fifth
• Hijaz on the fifth
• Not every upper coloring means the maqam has left Rast; the crucial point is the logic of phrase and repose