Syrian Jewish Maqamat

The Syrian Jewish community uses Arabic maqamat in their liturgical music with some light alterations. I learned about it from Mauro Braunstein of OffTonic.com, who notates his ajnas in 53-EDO. He's not from Syria, but neither am I. No judgement. Thanks for your scholarship, Mauro.

: The Syrian Jewish Ajnas

First, the ajnas. Two of Braunstein's ajnas span a neutral third at 15\53 steps.

Jins Mustaar: [10, 5]

Jins Siga: [6, 9]

Three ajnas span a Pythagorean major third at 18\53 steps:

Jins Saba: [6, 7, 5]

Jins Saba Zamzama: [4, 9, 5]

Jins Saba Busalik: [9, 4, 5]

He also uses [7, 6, 5] as a tuning for Saba in one place, in Maqam Dalanshin. 

Most of the ajnas are true tetrachords spanning a perfect fourth at 22\53:

Jins Ajam: [9, 8, 5]

Jins Bayat/Bayati: [6, 7, 9]

Jins Busalik/Nahwand: [8, 4, 10]

Jins Hijaz: [5, 12, 5]

Jins Kurd: [4, 9, 9]

Jins Nahwand: [9, 4, 9]

Jins Rast: [9, 7, 6]

Jins Awj Ara: [6, 13, 3]

He also uses a variant of tetrachordal variant of jins Siga in Maqam Sikah Baladi. He doesn't give it name besides calling the first two notes jis Siga, doesn't even give a single 53-EDO intonation, but I think it deserves its own spot here:

Jins Sikah Baladi: [6, 10, 6] or [7, 8, 7].

And finally we have two pentachords spanning a perfect fifth of 31 steps of 53 edo:

Jins Athar Kurd: [4, 9, 13, 5]

Jins Nawa Athar: [9, 5, 12, 5]

: Comparing Syrian Jewish Ajnas With Alsiadi's Syrian Ajnas

Remember Alsiadi, the Syrian oud player who described Arabic maqamat, perhaps with a Syrian intonation, in 53-EDO? Now we have Jewish Syrian Arabic maqamat in 53-EDO! Or at least we have the ajnas. How similar do they look?

The two authors agree on jins Rast as [9, 7, 6], jins Kurd as [4, 9, 9], jins Sikah/Siga as [6, 9], jins Nahawand/Nahwand as [9, 4, 9], jins Bayati as [6, 7, 9],  And that's where the agreement ends!

Alsiadi uses both names jins Nahawand and jins Busalik, but always with the same tuning, while Braunstein uses [8, 4, 10] for jins Busalik  and [9, 4, 9] for jins Nahwand.

Alsiadi's jins Ajam is a Pythagorean [9, 9, 4] while Braunstein's is [9, 8, 5].

Alsiadi gives us two version of Hijaz, [4, 14, 4] and [5, 13, 4], and neither of these matches Braunstein's [5, 12, 5].

Alsiadi gives a Musta'ar trichord of [11, 4] and a Musta'ar pentachord of [11, 4, 14, 2]. Braunstein only has a trichord, tuned to [10, 5].

Alsiadi gives jins Awj as [6, 14, 2] and Braunstein gives jins Awj Ara as [6, 13, 3].

Alsiadi has a Saba tetrachord tuned to [7, 7, 4] while Braunstein uses [6, 7, 5] (and in one place,  [7, 6, 5] ). Alsiadi also gives a Saba pentachord as [6, 7, 4, 14]. Braustein doesn't exactly have a jins to match this, but he does overlap his rare intonation of jins Saba with jins Hijaz in maqam Dalanshin to give [7, 6, 5, 12, 5], which looks close.  Alsiadi doesn't have ajnas called Saba Zamzama or Saba Busalik to match Braunstein.

Alsiadi gives jins Nikriz as a AcM2 plus one of his Hijaz intonations, [9, 4, 14, 4], while Braunstein uses the name jins Nawa Athar for his intonation of Hijaz on top of an AcM2, [9, 5, 12, 5].

Finally Alsiadi doesn't have jins Athar Kurd.

I get excited about differences like these between authors who write systematically and confidently and self consistently. Do these differences exist because the Syrian Jewish community plays their music a little differently than the rest of Syria? Or because everyone in the middle east plays things a little differently from their neighbor, even if they're both Muslim or both Jewish or whatever? Or because microtones are hard to hear and perform precisely and all this formalism is a little fake? I don't know! I've mostly gotten to the point where I don't believe in maqam Saba, I just believe that there are five things called Saba taught by five different people. When  you have two people differing like this with the ajnas, it isn't so bad, but, like, in Persian music there are only 12 scales and everyone is in the same country, and you might think there'd be some agreement, but the level of disagreement from one source to another is about this same level, even if you look at 14 sources.

In so much as you believe in e.g. an Arabic Hijaz or a Syrian Arabic Hijaz that isn't specific to the person teaching it, you might try to draw a triangle in 3D frequency space and place a represenative point in the middle of the intonations of Alsiadi and the intonation of Braunstein. It would be something like [4 + 2/3, 13, 4 + 1/3]\53. Isn't that nice? So Syrian.

: Just Detemperings Of Syrian Jewish Ajnas

A few of Braunstein's ajnas are obviously Pythagorean:

Jins Kurd: [4, 9, 9] ~ [256/243 * 9/8 * 9/8]

Jins Nahwand [9, 4, 9] ~ [9/8 * 256/243 * 9/8]

Jins Saba Zamzama has plausible 3-limit and 5-limit interpretations that only differ by a schisma:

Jins Saba Zamzama [4, 9, 5]

~ (256/243 * 9/8 * 2187/2048)

~ (135/128 * 9/8 * 16/15)

The 5-limit interpretations of Ajam and Hijaz look good to me:

Jins Ajam [9, 8, 5] ~ (9/8 * 10/8 * 16/15)

Jins Hijaz [5, 12, 5] ~ (16/15 * 75/64 * 16/15)

And Nawa Athar is simply Hijaz with an acute major second at the start:

Jins Nawa Athar [9, 5, 12, 5] ~ (9/8 * 16/15 * 75/64 * 16/15)

Here are three intonations for Athar Kurd:

Jins Athar Kurd [4, 9, 13, 5]

~ (256/243 * 9/8 * 32/27 * 2187/2048) # 3-limit

~ (256/243 * 9/8 * 1215/1024 * 16/15) # 5-limit

~ (21/20 * 9/8 * 25/21 * 16/15) # 7-limit

Since jins Saba Busalik also has 4\53, 9\53, 5\53, we could reuse those relative intervals from Athar Kurd. But before I did that I found these two intonations:

Jins Saba Busalik [9, 4, 5]

~ (9/8 * 135/128 * 16/15) # 5-limit

~ (9/8 * 21/20 * 15/14) # 7-limit

And they look fine, right? Everything is fine. 

For Awj Ara, the middle interval looks like a Pythagorean minor third, but the other ones could be so many things.

Jins Awj Ara [6, 13, 3]

~ (27/25 * 32/27 * 25/24) # 5-limit

~ (243/224 * 32/27 * 28/27) # 7-limit

~ (88/81 * 32/27 * 729/704) # 11-limit

~ (13/12 * 32/27 * 27/26) # 13-limit

~ (25/24 * 32/27 * 26/25) # 13-limit

In general, I find it hard to detemper neutral intervals from 53-EDO. Like four of these Zalzalian options for Rast will look familiar to you if you've read al-Farabi (and the 5-limit option is discussed in the chapter on Persian Dastgah):

Jins Rast [9, 7, 6]

~(9/8 * 208/189 * 14/13 * )

~(9/8 * 800/729 * 27/25 )

~(9/8 * 128/117 * 13/12)

~(9/8 * 12/11 * 88/81)

~(9/8 * 11/10 * 320/297)

But 53-EDO doesn't narrow down for us which one to use.

Braunstein's jins Bayat/Bayati, [6, 7, 9]\53, has the same relative intervals as Rast in a different order. I don't have a reccomendation for the intonation, but unless you know better, I reccomend being consistent and using the same relative intervals over the two tetrachords.

Braunstein calls one tetrachord "Busalik/Nahwand" with a slash like those are two different names for one thing, and they are the same in some sources, but he also has a separate jins Nahwand at [9, 4, 9]\53 with a plain Pythagorean intonation. I grant that they look similar though. I'm just going to call the non Pythagorean one Busalik from here on. I think it has a nice 7-limit interpretation:

Jins Busalik [8, 4, 10] 

~ (10/9 * 21/20 * 8/7)

Although since the middle 4-step interval didn't change from Nahwand, maybe we shouldn't change its intonation from Pythagorean. Then we might have:

~ (567/512 * 256/243 * 8/7)

~ (10/9 * 256/243 * 729/640)

Those don't look great to me. For the first and last interval, we're basically trying to generate ratios such that {(9/8) * x} and {(9/8) / x} are both low complexity, and also requiring that the interval justly associated with {x} is tuned to 1 step of 53-EDO.  I did a search and found these:

~ (39/35 * 256/243 * 945/832)

~ (891/800 * 256/243 * 25/22)

~ (243/220 * 256/243 * 55/48)

~ (143/128 * 256/243 * 162/143)

But I don't think those are an improvement over the old ones.

The first two neutral intervals of jins Saba outline a Pythagorean minor third at 13\53, so we have some familiar Zalzalian options:

Jins Saba: [6, 7, 5]

~ (27/25 * 800/729 * 2187/2048)

~ (13/12 *  128/117 * 2187/2048)

~ (88/81 * 12/11 * 2187/2048)

~ (320/297 * 11/10 * 2187/2048)

There are also two decent options with a 5-limit minor second at the end instead of the Pythagorean augmented unison:

~ (243/224 * 35/32 * 16/15)

~ (27/25 * 1125/1024 * 16/15)

You might wonder if ajnas in the Saba family should outline a diminished fourth instead of a major third, perhaps a grave diminished fourth (with a just tuning of 512/405), which 53-EDO also tunes to 18 steps. I don't think so. I think it's pretty obvious that Saba exists because someone played both m3 and M3 on an instrument, maybe one that had markers at both palces, and they likes the sound. 

Let's look at intonations for jins Siga and jins Mustaar. They both outline a neutral third at 15\53. I support using whatever 9\53 and 6\53 intervals you use for Rast in Siga, e.g.

Jins Siga [6, 9] ~ (88/81 * 9/8 )

That would mean that jins Siga would outline an AsGrm3, justly tuned to 11/9. If Mustaar has the same size, then we might do

Jins Mustaar [10, 5]

~ (55/48 * 16/15)

~ (8/7 * 77/72)

The mathematician J. E. Littlewood once remarked that every positive integer was one of Srinivasa Ramanujan's personal friends. I'm no Ramanujan, but sometimes I wonder if I have too many friends who are rational numbers.

Finally, Jins SIkah Baladi. Braunstein tells us to intone it as [6, 10, 6] or [7, 8, 7]. An interval somewhere around 6 or 7 steps of 53-EDO is sized somewhere between 138c and 158c. The first thing that comes to my mind is:

Jins Sikah Baladi

~ (12/11 * 9/8 * 88/81) @ [143, 204, 151] c

We could probably find some weirder ratios that make the ends closer together, but a 7 cent gap isn't all that uneven. The two ends here are certainly much closer together than 6\53 is to 7\53 across the two 53-EDO intonations of Sikah Baladi. Alternatively, check this out these weirder ratios:

~ (SbSbd3, AcM2, SpSpGrA1) # (49/45, 9/8, 160/147) @ [147.4, 203.9, 146.7] c

That's insane, right? Indistinguishable relative intervals on the ends, only needs primes as high as 7, and the numerators aren't that large. It's not spelled by seconds, unfortunately, but what a beaut. 

: Syrian Jewish Maqamat

Braunstein gives his Maqamat in terms of pitches and jins annotations, and the jins annotations occasionally have 53-EDO steps, but not always. I think I'm going to trust that his pitches match his tetrachords, and I'll just share his maqamat in terms of its tonic + jins structure, unless perhaps it's a maqam that we haven't seen before. I will write the jins structure going up from the low tonic note regardless of whether the maqam is played ascending or descending.

: Rast Family

Maqam Rast (ascending): [Rast + T + Rast]. Tonic: C.

Maqam Rast (descending): [Rast + T + Nahwand]. Tonic: C.

Maqam Kirdan. # Like Rast, but it only descends. You can play Rast or Nahwand for the upper tetrachord.

Maqam Mahur: # Lots of comments, but it seems to be the same as Rast for him.

Maqam Suznak: [Rast + T + Hijaz]. Tonic: C.

Maqam Nayruz/Niriz: [Rast + T + Bayat]. Tonic: C.

Maqam Yakah: # The same as Nayruz descending but transposed so its tonic is on G.

Maqam Nishaburk: [Rast + Rast + T]. Tonic: D.

Maqam Dalanshin: [Rast pentachord + T + Alternate form of jins Saba overlapping with Hijaz to make [7, 6, 5, 12, 5]]. Tonic: C.

: Ajam Family

Maqam Ajam/Ajam Ushayran: [Ajam + T + Ajam]. Tonic: Bb.

Maqam Sasgar/Sazkar: [Ajam + T + Ajam]. Tonic: F. 

Maqam Jiharkah (ascending): [Ajam + T + Rast]. Tonic: F.

Maqam Jiharkah (descending): [Ajam + T + Nahwand]. Tonic: F.

Maqam Shawk-Afza: [Ajam + T + Hijaz]. Tonic: Bb.

Maqam Suzdalara/Suzidil Ara (ascending): [Ajam + Ajam + T]. Tonic: C.

Maqam Suzdalara/Suzidil Ara (descending): [Rast + Ajam + T]. Tonic: C.

: Nahwand Family

Maqam Nahwand (ascending): [Nahwand + T + Hijaz]. Tonic: C.

Maqam Nahwand (ascending alternate): [Nahwand + T + Ajam]. Tonic: C.

Maqam Nahwand (descending): [Nahwand + T + Kurd]. Tonic: C.

Maqam Nahwand (conjunct): [Nahwand + Nahwand + T]. Tonic: C.

Maqam Farahfaza: [Nahwand on G overlapping with Ajam on Bb overlapping with Kurd on D overlapping with Ajam on F]. Start on the F of the high Ajam, end on the low G.

Maqam Ushaq Misri (ascending): [Busalik + T + Bayat]. Tonic: D.

Maqam Ushaq Misri (descending): [Busalik + T + Kurd]. Tonic: D.

Maqam Busalik (ascending): [Busalik + Nawa Athar]. Tonic: D.

Maqam Busalik (descending): [Busalik + Nahwand + T]. Tonic: D.

Maqam Sultani Yakah (descends): [Nahwand + T + Hijaz]. Tonic: G.

Maqam Nahwand Murassa (ascending): [Nahwand + Hijaz + T]. Tonic: C.

Maqam Nahwand Murassa (ascending): [Nahwand + T + Hijaz]. Tonic: C.

Maqam Nahwand Kabir: [Nahwand + T + Nahwand]. Tonic: C.

: Kurd Family:

Maqam Kurd: [Kurd + Nahwand + T]. Tonic: D.

Maqam Hijaz Kar Kurd: # Some combination of maqam Hijaz Kar [Hijaz + T + Hijaz] and Maqam Kurd [Kurd + Nahwand + T].  From his comments, I think [Kurd + T + Hijaz] would be a sensible thing to write, but he's seen too much disagreement to be committal. Tonic: C.

Maqam Lami: [Kurd + Kurd + T]. Tonic: D.

Maqam Tarz Nawin: [Kurd + Hijaz + T]. Tonic: C.

: Hijaz Family

Maqam Hijaz (ascending): [Hijaz + Rast + T]. Tonic: D. # The ascending form might be also be called maqam Shahawarkh, or maqam Hijaz Misri in Egypt.

Maqam Hijaz (descending): [Hijaz + Nahwand + T]. Tonic: D. # The descending form might also be called maqam Hijaz Humayun, or Hijaz Ajami in Egypt.

Maqam Hijaz (ascending, alternate): [Hijaz + T + Bayat]. Tonic: D. # Also called maqam Uzzal.

Maqam Hijaz (descending, alternate): [Hijaz + T + Kurd]. Tonic: D. # Also called maqam Zirguleli.

Maqam Zanjaran/Zankula: [Hijaz + Ajam + T]. Tonic: C.

Maqam Hijaz Kar: [Hijaz + T + Hijaz + Nahwand]. Tonic: C.

Maqam Shadd Araban (ascending): [Hijaz + T + Hijaz]. Tonic: G.

Maqam Shadd Araban (descending): [Hijaz + Nahwand + T]. Tonic: G.

Maqam Shehnaz (ascending): [Hijaz + T + Hijaz + Nahwand + T]. Tonic: D.

Maqam Shehnaz (descending): [Hijaz + T + Nahwand + Nahwand + T]. Tonic: D.

Maqam Suzidil/Suzdal: [Hijaz + Nawa Athar]. Tonic: A.

Maqam Sikah Baladi: [Sikah Baladi + T + Sikah Baladi + T]. Tonic: C. # Braunstein just annotates it as jins Siga on C and jins Siga on G, leaving most notes unaccounted for by the jins structure. I think notating it this way, based on his 53-EDO steps, makes more sense.

Nawa Athar family:

Maqam Nawa Athar: [Nawa Athar + Hijaz]. Tonic: C.

Maqam Hisar: [Nawa Athar + Hijaz]. Tonic: D.

Maqam Nagriz/Nikriz/Nakriz: [Nawa Athar + Nahwand]. Tonic: C.

Maqam Athar Kurd/Kurdili Nawa Athar: [Athar Kurd + Hijaz]. Tonic: C.

Bayat family:

Maqam Bayat/Bayati: [Bayat + Nahwand + T]. Tonic: D.

Maqam Mehayar Bayat/Muhayer (ascending): [Bayat + Rast + T]. Tonic: D.

Maqam Mehayar Bayat/Muhayer (descending): [Bayat + Nahwand + T]. Tonic: D.

Maqam Hoseni (ascending): [Bayat + T + Bayat]. Tonic: D.

Maqam Hoseni (descending): [Bayat + T + Kurd]. Tonic: D.

Maqam Bayat Shuri/Karjighar: [Bayat + Hijaz + T]. Tonic: D.

Maqam Ashiran/Hoseni Ushayran: [Bayat + Bayat + T]. Tonic: A.

Maqam Nahoft/Nuhuft (ascending): [Bayat + Ajam + T]. Tonic: A. # This maqam, ascending and descending, has lots of annotations about how the sources disagree with each other.

Maqam Nahoft/Nuhuft (descending): [Bayat + Bayat + T]. Tonic: A.

Maqam Isfahan: [(Rast or Bayat) + Nahwand + T]. Tonic: D.

Maqam Arazbar:  Pitches: [D, Ed, F, G, Ad, Bb, C]. [Bayat on D overlapping with Rast on F, reaching Bb, plus a T up to C. It doesn't seem reach the octave]. Tonic: D.

Maqam Nawa: [Bayat + Nahwand + T]. Tonic: D.

Maqam Rahaw: Pitches: [D, Ed, F, G, A, Bb or Bd, C, D]. [Tonic on F, the third note. Ajam on F reaching Bb, overlapping with Rast on G, which passes through Bd and lands on C, plusa tone up to D. Descend down to the low D, and in doing so you'll pass through Bayat on D, overlapping with the original Ajam. I think it's plausible you play the Bb from Ajam ascending and the Bd from Rast descending, but the notes don't mention this]. Tonic: D.

Siga family:

Maqam Siga/Sikah (ascending): [Siga + Rast + Rast trichord]. Tonic: Ed.

Maqam Siga/Sikah (descending): [Siga + Nahwand + Rast trichord]. Tonic: Ed.

Maqam Huzam: [Siga + Hijaz + Rast trichord]. Tonic: Ed.

Maqam Rahat el Arwah: [Siga + Hijaz + Rast trichord]. Tonic: Bd.

Maqam Awshar: [Siga + Nahwand + Rast trichord]. Tonic: Ed.

Maqam Iraq: [Siga + Bayat + Rast trichord]. Tonic: Bd.

Maqam Oj/Awj (descends): [Siga + Bayat + Rast trichord]. Tonic: Bd.

Maqam Bastanikar/Basta Nikar: [Bd, C, D, Ed, F, Gb, A, Bd] _ [Siga trichord + Saba tetrachord overlapping one interval with Hijaz tetrachord]. [6, 9, 6, 7, 5, 12, 5]. Tonic: Bd. 

Maqam Mustaar: [Ed, F#, G, A, Bb, C, D, Ed] _ [Mustaar trichord + Nahwand + 9 + 7]. Tonic: Ed.

Maqam Awj Ara (ascending): [Bd, C, D#, Ed, F#, G, A#, Bd, C#, D] _ [Awj Ara tetrachord+ Mustaar trichord + 13 + 3 + Mustaar trichord]. [6, 13, 3, 10, 5, 13, 3, 10, 5]. Tonic: Bd. 

Maqam Awj Ara (descending): [Bd, C, D#, Ed, F#, G, A#, Bd, C, D] _ [Awj ara tetrachord + Musaar trichord + 13 + 3 + Siga trichord]. [6, 13, 3, 10, 5, 13, 3, 6, 9]. Tonic: Bd. 

Saba family:

Maqam Saba: [D, Ed, F, Gb, A, Bb, C, Db] _ [Saba tetrachord on D overlapping one interval with Hijaz tetrachord on F + [9, 4]. [6, 7, 5, 12, 5, 9, 4]. Tonic: D.

Maqam Saba Zamzama / Saba Kurd: [D, Eb, F, Gb, A, Bb, C, Db] _ [Saba zamzama tetrachord on D overlapping one interval with Hijaz on F + [9, 4]]. [4, 9, 5, 12, 5, 9, 4]. Tonic: D.

Maqam Saba Busalik: [D, E, F, Gb, A, Bb, C, D]. [Saba Busalik tetrachord on D, overlapping one interval with Hijaz on F + Ajam on Bb]. [9, 4, 5, 12, 5, 9, 8 or 9]. Tonic: D. // We need 9 as the last interval to reach an octave of 53 steps, but maybe they sometimes play it one comma flat.

Maqam Tarz Jadid: [Bb, C, D, Eb, F#, G, A, Bb]. [Ajam tetrachord on Bb overlapping one interval with Hijaz tetrachord on D + Nahwand trichord]. [9, 8, 5, 12, 5, 9, 5]. Tonic: Bb.

...

Those are the maqamat from his staff notation. I don't care for his prose and haven't read all of his commentary. Let's do some analysis.

...

Woo! Found a problem. 

"Maqam Farahfaza": [Nahwand on G overlapping with Ajam on Bb overlapping with Kurd on D overlapping with Ajam on F

Nahwand goes [9, 4, 9]. Ajam goes [9, 8, 5]. So far so good. The maqam starts [9, 4, 9, 8, 5]. But then Kurd starts [4, 9, 9]. So that doesn't overlap with the previous Ajam. Now, it makes perfect sense to me that Ajam would be [9, 9, 4], with a Pythagorean intonation, just like Nahwand and Kurd have a Pythagorean intonation. And [9, 9, 4] is also Alsiadi's intonation for Ajam. But that's not what Malo gave us. So let's look at the rest of the maqam, and we just won't join it all up just yet.  Kurd overlaps with another Ajam, which is [9, 8, 5], so we have:

[9, 4, 9, 8, 5] [4, 9, 9, 8, 5]

I'm of course guessing that this will become

[9, 4, 9, 9, 4, 9, 9, 8, 5]

as we learn more. How can we learn more? Let's see what steps of 53 EDO various pitches are connected with across maqamat, and then also look at the pitches of Farahfaza, and maybe the answer will pop out on its own. 

...

Time for another interesting one! Maqam Hijaz Kar Kurd. Some combination of maqam Hijaz Kar [5, 12, 5, 9, 5, 12, 5] and Maqam Kurd [4, 9, 9, 9, 4, 9, 9]. From his comments, I think [4, 9, 9, 9, 5, 12, 5] would be a sensible thing to write, but he's seen too much disagreement to be committal. If we average the steps of these we get

[4.5, 10.5, 7, 9, 4.5, 10.5, 7]

But I don't feel like I can resolve this one to any one step pattern that he might support from the information he's given.

I'm not sure I can give one step pattern to maqam Rahaw either.  If we ignore the note that says it starts on Ajam, then we get

[6, 7, 9, 9, 7, 6, 9]

This is another case where I think we can make some progress by learning about pitch/step associations in other maqamat, but even then, to get a maqam out of inconsistent descriptions, we might need variant ascending and descending forms.

...

Apart from those, we've got pretty much got provisional 53-EDO steps for all the Syrian Jewish Maqamat:

"Maqam Rast (ascending)": [9, 7, 6, 9, 9, 7, 6],

"Maqam Rast (descending)": [9, 7, 6, 9, 9, 4, 9],

"Maqam Suznak": [9, 7, 6, 9, 5, 12, 5],

"Maqam Nayruz/Niriz": [9, 7, 6, 9, 6, 7, 9],

"Maqam Nishaburk": [9, 7, 6, 9, 7, 6, 9],

"Maqam Dalanshin": [9, 7, 6, 9, 9, 7, 6, 5, 12, 5],

"Maqam Ajam/Ajam Ushayran": [9, 8, 5, 9, 9, 8, 5],

"Maqam Sasgar/Sazkar": [9, 8, 5, 9, 9, 8, 5],

"Maqam Jiharkah (ascending)": [9, 8, 5, 9, 9, 7, 6],

"Maqam Jiharkah (descending)": [9, 8, 5, 9, 9, 4, 9],

"Maqam Shawk-Afza": [9, 8, 5, 9, 5, 12, 5],

"Maqam Suzdalara/Suzidil Ara (ascending)": [9, 8, 5, 9, 8, 5, 9],

"Maqam Suzdalara/Suzidil Ara (descending)": [9, 7, 6, 9, 8, 5, 9],

"Maqam Nahwand (ascending)": [9, 4, 9, 9, 5, 12, 5],

"Maqam Nahwand (ascending alternate)": [9, 4, 9, 9, 9, 8, 5],

"Maqam Nahwand (descending)": [9, 4, 9, 9, 4, 9, 9],

"Maqam Nahwand (conjunct)": [9, 4, 9, 9, 4, 9, 9],

#"Maqam Farahfaza": [Nahwand on G overlapping with Ajam on Bb overlapping with Kurd on D overlapping with Ajam on F]. Start on the F of the high Ajam, end on the low G.

"Maqam Ushaq Misri (ascending)": [8, 4, 10, 9, 6, 7, 9],

"Maqam Ushaq Misri (descending)": [8, 4, 10, 9, 4, 9, 9],

"Maqam Busalik (ascending)": [8, 4, 10, 9, 5, 12, 5],

"Maqam Busalik (descending)": [8, 4, 10, 9, 4, 9, 9],

"Maqam Sultani Yakah (descends)": [9, 4, 9, 9, 5, 12, 5],

"Maqam Nahwand Murassa (ascending)": [9, 4, 9, 5, 12, 5, 9],

"Maqam Nahwand Murassa (ascending)": [9, 4, 9, 9, 5, 12, 5],

"Maqam Nahwand Kabir": [9, 4, 9, 9, 9, 4, 9],

"Maqam Kurd": [4, 9, 9, 9, 4, 9, 9],

#"Maqam Hijaz Kar Kurd": # Some combination of maqam Hijaz Kar [5, 12, 5, 9, 5, 12, 5] and Maqam Kurd [4, 9, 9, 9, 4, 9, 9]. From his comments, I think [4, 9, 9, 9, 5, 12, 5] would be a sensible thing to write, but he's seen too much disagreement to be committal.

"Maqam Lami": [4, 9, 9, 4, 9, 9, 9],

"Maqam Tarz Nawin": [4, 9, 9, 5, 12, 5, 9],

"Maqam Hijaz (ascending)": [5, 12, 5, 9, 7, 6, 9],

"Maqam Hijaz (descending)": [5, 12, 5, 9, 4, 9, 9],

"Maqam Hijaz (ascending, alternate)": [5, 12, 5, 9, 6, 7, 9],

"Maqam Hijaz (descending, alternate)": [5, 12, 5, 9, 4, 9, 9],

"Maqam Zanjaran/Zankula": [5, 12, 5, 9, 8, 5, 9],

"Maqam Hijaz Kar": [5, 12, 5, 9, 5, 12, 5, 9, 4, 9],

"Maqam Shadd Araban (ascending)": [5, 12, 5, 9, 5, 12, 5],

"Maqam Shadd Araban (descending)": [5, 12, 5, 9, 4, 9, 9],

"Maqam Shehnaz (ascending)": [5, 12, 5, 9, 5, 12, 5, 9, 4, 9, 9],

"Maqam Shehnaz (descending)": [5, 12, 5, 9, 9, 4, 9, 9, 4, 9, 9],

"Maqam Suzidil/Suzdal": [5, 12, 5, 9, 5, 12, 5],

"Maqam Sikah Baladi v1": [6, 10, 6, 9, 6, 10, 6, 9],

"Maqam Sikah Baladi v2": [7, 8, 7, 9, 7, 8, 7, 9],

"Maqam Nawa Athar": [9, 5, 12, 5, 5, 12, 5],

"Maqam Hisar": [9, 5, 12, 5, 5, 12, 5],

"Maqam Nagriz/Nikriz/Nakriz": [9, 5, 12, 5, 9, 4, 9],

"Maqam Athar Kurd/Kurdili Nawa Athar": [4, 9, 13, 5, 5, 12, 5],

"Maqam Bayat/Bayati": [6, 7, 9, 9, 4, 9, 9],

"Maqam Mehayar Bayat/Muhayer (ascending)": [6, 7, 9, 9, 7, 6, 9],

"Maqam Mehayar Bayat/Muhayer (descending)": [6, 7, 9, 9, 4, 9, 9],

"Maqam Hoseni (ascending)": [6, 7, 9, 9, 6, 7, 9],

"Maqam Hoseni (descending)": [6, 7, 9, 9, 4, 9, 9],

"Maqam Bayat Shuri/Karjighar": [6, 7, 9, 5, 12, 5, 9],

"Maqam Ashiran/Hoseni Ushayran": [6, 7, 9, 6, 7, 9, 9],

"Maqam Nahoft/Nuhuft (ascending)": [6, 7, 9, 9, 8, 5, 9],

"Maqam Nahoft/Nuhuft (descending)": [6, 7, 9, 6, 7, 9, 9],

"Maqam Isfahan v1": [9, 7, 6, 9, 4, 9, 9],

"Maqam Isfahan v2": [6, 7, 9, 9, 4, 9, 9],

"Maqam Arazbar": [6, 7, 9, 7, 6, 9],

"Maqam Nawa": [6, 7, 9, 9, 4, 9, 9],

# "Maqam Rahaw": [D, Ed, F, G, A, Bb or Bd, C, D].[Tonic on F, the third note. Ajam on F reaching Bb, overlapping with Rast on G, which passing through Bd and lands on C, plusa tone up to D. Descend down to the low D, and in doing so you'll pass through Bayat on D, overlapping with the original Ajam. I think it's plausible you play the Bb from Ajam ascending and the Bd from Rast descending, but the notes don't mention this],

"Maqam Siga/Sikah (ascending)": [6, 9, 9, 7, 6, 9, 7],

"Maqam Siga/Sikah (descending)": [6, 9, 9, 4, 9, 9, 7],

"Maqam Huzam": [6, 9, 5, 12, 5, 9, 7],

"Maqam Rahat el Arwah": [6, 9, 5, 12, 5, 9, 7],

"Maqam Awshar": [6, 9, 9, 4, 9, 9, 7],

"Maqam Iraq": [6, 9, 6, 7, 9, 9, 7],

"Maqam Oj/Awj (descends)": [6, 9, 6, 7, 9, 9, 7],

"Maqam Bastanikar/Basta Nikar": [6, 9, 6, 7, 5, 12, 5],

"Maqam Mustaar": [10, 5, 9, 4, 9, 9, 7],

"Maqam Awj Ara (ascending)": [6, 13, 3, 10, 5, 13, 3, 10, 5],

"Maqam Awj Ara (descending)": [6, 13, 3, 10, 5, 13, 3, 6, 9],

"Maqam Saba": [6, 7, 5, 12, 5, 9, 4],

"Maqam Saba Zamzama / Saba Kurd": [4, 9, 5, 12, 5, 9, 4],

"Maqam Saba Busalik": [9, 4, 5, 12, 5, 9, 9],

"Maqam Tarz Jadid": [9, 8, 5, 12, 5, 9, 5],

Nice.

Here are absolute steps:

Maqam Rast (ascending): [0, 9, 16, 22, 31, 40, 47, 53]

Maqam Rast (descending): [0, 9, 16, 22, 31, 40, 44, 53]

Maqam Suznak: [0, 9, 16, 22, 31, 36, 48, 53]

Maqam Nayruz/Niriz: [0, 9, 16, 22, 31, 37, 44, 53]

Maqam Nishaburk: [0, 9, 16, 22, 31, 38, 44, 53]

Maqam Dalanshin: [0, 9, 16, 22, 31, 40, 47, 53, 58, 70, 75]

Maqam Ajam/Ajam Ushayran: [0, 9, 17, 22, 31, 40, 48, 53]

Maqam Sasgar/Sazkar: [0, 9, 17, 22, 31, 40, 48, 53]

Maqam Jiharkah (ascending): [0, 9, 17, 22, 31, 40, 47, 53]

Maqam Jiharkah (descending): [0, 9, 17, 22, 31, 40, 44, 53]

Maqam Shawk-Afza: [0, 9, 17, 22, 31, 36, 48, 53]

Maqam Suzdalara/Suzidil Ara (ascending): [0, 9, 17, 22, 31, 39, 44, 53]

Maqam Suzdalara/Suzidil Ara (descending): [0, 9, 16, 22, 31, 39, 44, 53]

Maqam Nahwand (ascending): [0, 9, 13, 22, 31, 36, 48, 53]

Maqam Nahwand (ascending alternate): [0, 9, 13, 22, 31, 40, 48, 53]

Maqam Nahwand (descending): [0, 9, 13, 22, 31, 35, 44, 53]

Maqam Nahwand (conjunct): [0, 9, 13, 22, 31, 35, 44, 53]

Maqam Ushaq Misri (ascending): [0, 8, 12, 22, 31, 37, 44, 53]

Maqam Ushaq Misri (descending): [0, 8, 12, 22, 31, 35, 44, 53]

Maqam Busalik (ascending): [0, 8, 12, 22, 31, 36, 48, 53]

Maqam Busalik (descending): [0, 8, 12, 22, 31, 35, 44, 53]

Maqam Sultani Yakah (descends): [0, 9, 13, 22, 31, 36, 48, 53]

Maqam Nahwand Murassa (ascending): [0, 9, 13, 22, 31, 36, 48, 53]

Maqam Nahwand Kabir: [0, 9, 13, 22, 31, 40, 44, 53]

Maqam Kurd: [0, 4, 13, 22, 31, 35, 44, 53]

Maqam Lami: [0, 4, 13, 22, 26, 35, 44, 53]

Maqam Tarz Nawin: [0, 4, 13, 22, 27, 39, 44, 53]

Maqam Hijaz (ascending): [0, 5, 17, 22, 31, 38, 44, 53]

Maqam Hijaz (descending): [0, 5, 17, 22, 31, 35, 44, 53]

Maqam Hijaz (ascending, alternate): [0, 5, 17, 22, 31, 37, 44, 53]

Maqam Hijaz (descending, alternate): [0, 5, 17, 22, 31, 35, 44, 53]

Maqam Zanjaran/Zankula: [0, 5, 17, 22, 31, 39, 44, 53]

Maqam Hijaz Kar: [0, 5, 17, 22, 31, 36, 48, 53, 62, 66, 75]

Maqam Shadd Araban (ascending): [0, 5, 17, 22, 31, 36, 48, 53]

Maqam Shadd Araban (descending): [0, 5, 17, 22, 31, 35, 44, 53]

Maqam Shehnaz (ascending): [0, 5, 17, 22, 31, 36, 48, 53, 62, 66, 75, 84]

Maqam Shehnaz (descending): [0, 5, 17, 22, 31, 40, 44, 53, 62, 66, 75, 84]

Maqam Suzidil/Suzdal: [0, 5, 17, 22, 31, 36, 48, 53]

Maqam Sikah Baladi v1: [0, 6, 16, 22, 31, 37, 47, 53, 62]

Maqam Sikah Baladi v2: [0, 7, 15, 22, 31, 38, 46, 53, 62]

Maqam Nawa Athar: [0, 9, 14, 26, 31, 36, 48, 53]

Maqam Hisar: [0, 9, 14, 26, 31, 36, 48, 53]

Maqam Nagriz/Nikriz/Nakriz: [0, 9, 14, 26, 31, 40, 44, 53]

Maqam Athar Kurd/Kurdili Nawa Athar: [0, 4, 13, 26, 31, 36, 48, 53]

Maqam Bayat/Bayati: [0, 6, 13, 22, 31, 35, 44, 53]

Maqam Mehayar Bayat/Muhayer (ascending): [0, 6, 13, 22, 31, 38, 44, 53]

Maqam Mehayar Bayat/Muhayer (descending): [0, 6, 13, 22, 31, 35, 44, 53]

Maqam Hoseni (ascending): [0, 6, 13, 22, 31, 37, 44, 53]

Maqam Hoseni (descending): [0, 6, 13, 22, 31, 35, 44, 53]

Maqam Bayat Shuri/Karjighar: [0, 6, 13, 22, 27, 39, 44, 53]

Maqam Ashiran/Hoseni Ushayran: [0, 6, 13, 22, 28, 35, 44, 53]

Maqam Nahoft/Nuhuft (ascending): [0, 6, 13, 22, 31, 39, 44, 53]

Maqam Nahoft/Nuhuft (descending): [0, 6, 13, 22, 28, 35, 44, 53]

Maqam Isfahan v1: [0, 9, 16, 22, 31, 35, 44, 53]

Maqam Isfahan v2: [0, 6, 13, 22, 31, 35, 44, 53]

Maqam Arazbar: [0, 6, 13, 22, 29, 35, 44]

Maqam Nawa: [0, 6, 13, 22, 31, 35, 44, 53]

Maqam Siga/Sikah (ascending): [0, 6, 15, 24, 31, 37, 46, 53]

Maqam Siga/Sikah (descending): [0, 6, 15, 24, 28, 37, 46, 53]

Maqam Huzam: [0, 6, 15, 20, 32, 37, 46, 53]

Maqam Rahat el Arwah: [0, 6, 15, 20, 32, 37, 46, 53]

Maqam Awshar: [0, 6, 15, 24, 28, 37, 46, 53]

Maqam Iraq: [0, 6, 15, 21, 28, 37, 46, 53]

Maqam Oj/Awj (descends): [0, 6, 15, 21, 28, 37, 46, 53]

Maqam Bastanikar/Basta Nikar: [0, 6, 15, 21, 28, 33, 45, 50]

Maqam Mustaar: [0, 10, 15, 24, 28, 37, 46, 53]

Maqam Awj Ara (ascending): [0, 6, 19, 22, 32, 37, 50, 53, 63, 68]

Maqam Awj Ara (descending): [0, 6, 19, 22, 32, 37, 50, 53, 59, 68]

Maqam Saba: [0, 6, 13, 18, 30, 35, 44, 48]

Maqam Saba Zamzama / Saba Kurd: [0, 4, 13, 18, 30, 35, 44, 48]

Maqam Saba Busalik: [0, 9, 13, 18, 30, 35, 44, 53]

Maqam Tarz Jadid: [0, 9, 17, 22, 34, 39, 48, 53]

Next I'm going to do some pitch analysis. Are there three different steps over middle C associated with Ed? Is E to F always a different number of steps from B to C? We're going to figure out the spacing of this guy's perdes and use that to solve the last few maqamat hopefully.

...

The good news for pitch analysis is that the tonics of these maqamat all come from this set: 

[C, D, Ed, F, G, A, Bb, Bd]

And those are the pitches of maqam Rast. So if we can trust that all of the maqamat actually start on pitches of Rast, instead of just beign notated that way but actually starting half a 53-EDO comma away or something, then we can figure out exact tunings for every maqam note relative to C. Like, not every Ed has to be the same across maqamat, but every maqam that starts on Ed has to start on the Ed of Rast. I think that's a reasonable starting point. I think I'm also going to assume that every pitch has perfect octave counterparts, i.e. G3 is actually P8 away from G4.

Here's a quick reference table with maqam tonics: 

"Rast (ascending)": C4,

"Rast (descending)": C4,

"Suznak": C4,

"Nayruz/Niriz": C4,

"Nishaburk": D4,

"Dalanshin": C4,

"Ajam/Ajam Ushayran": Bb3,

"Sasgar/Sazkar": F4,

"Jiharkah (ascending)": F4,

"Jiharkah (descending)": F4,

"Shawk-Afza": Bb3,

"Suzdalara/Suzidil Ara (ascending)": C4,

"Suzdalara/Suzidil Ara (descending)": C4,

"Nahwand (ascending)": C4,

"Nahwand (ascending alternate)": C4,

"Nahwand (descending)": C4,

"Nahwand (conjunct)": C4,

"Ushaq Misri (ascending)": D4,

"Ushaq Misri (descending)": D4,

"Busalik (ascending)": D4,

"Busalik (descending)": D4,

"Sultani Yakah (descends)": G3,

"Nahwand Murassa (ascending)": C4,

"Nahwand Kabir": C4,

"Kurd": D4,

"Hijaz Kar Kurd": C4,

"Lami": D4,

"Tarz Nawin": C4,

"Hijaz (ascending)": D4,

"Hijaz (descending)": D4,

"Hijaz (ascending, alternate)": D4,

"Hijaz (descending, alternate)": D4,

"Zanjaran/Zankula": C4,

"Hijaz Kar": C4,

"Shadd Araban (ascending)": G3,

"Shadd Araban (descending)": G3,

"Shehnaz (ascending)": D4,

"Shehnaz (descending)": D4,

"Suzidil/Suzdal": A3,

"Sikah Baladi": C4,

"Nawa Athar": C4,

"Hisar": D4,

"Nagriz/Nikriz/Nakriz": C4,

"Maqam Athar Kurd/Kurdili Nawa Athar": "C4",

"Bayat/Bayati": D4,

"Mehayar Bayat/Muhayer (ascending)": D4,

"Mehayar Bayat/Muhayer (descending)": D4,

"Hoseni (ascending)": D4,

"Hoseni (descending)": D4,

"Bayat Shuri/Karjighar": D4,

"Ashiran/Hoseni Ushayran": A3,

"Nahoft/Nuhuft (ascending)": A3,

"Nahoft/Nuhuft (descending)": A3,

"Isfahan": D4,

"Arazbar": D4,

"Nawa": D4,

"Rahaw": D4,

"Siga/Sikah (ascending)": Ed4,

"Siga/Sikah (descending)": Ed4,

"Huzam": Ed4,

"Rahat el Arwah": Bd3,

"Awshar": Ed4,

"Iraq": Bd3,

"Oj/Awj (descends)": Bd3,

"Bastanikar/Basta Nikar": Bd3,

"Mustaar": Ed4,

"Awj Ara (ascending)": Bd3,

"Awj Ara (descending)": Bd3,

"Saba": D4,

"Saba Zamzama / Saba Kurd": D4,

"Saba Busalik": D4,

"Tarz Jadid": Bb3,

Oh, I just realized a big problem. Not all the maqamt have their tonics as the lowest note, so I can't base the maqam pitches as being steps over the lowest note. Some of the stuff below might be wrong. I'll fix it soon.

...

Here's one octave of starting rast pitches in steps of 53 edo over perde Rast:

C4: 0

D4: 9,

Ed4: 16,

F4: 22,

G4: 31,

A4: 40,

Bb4: 44,

Bd4: 47,

So far so good. Now I'm going to do something weird. Perde Yegah = G3 is the lowest note in the Arabic gamut of pitches. So instead of notating pitches relative to  perde Rast and having some negative, I'll just notate them all relative to perde Yegah. This means adding 22\53 steps to each interval above. That way G4 becomes 

31\53 + 22\53 = 53\53

i.e. an octave over G3. So here are pitches to steps of 53-EDO over Yegah:

"G3": 0,

"A3": 9,

"Bb3": 13,

"Bd3": 16,

"C4": 22,

"D4": 31,

"Ed4": 38,

"F4": 44,

"G4": 53,

"A4": 62,

"Bb4": 66,

"Bd4": 69,

At least we're treating these as valid for maqam tonics.

I migth have a few errors to fix in transcribing the maqamat, but at the moment it looks like Braustein uses pitches on all of these steps above Yegah:

0: G3

5: Ab3_shadd araban

9: A3

13: Bb3

14: Bb4_suzidil

15: Bd4_ashiran

16: Bd3

17: B3_shadd araban

22: C4

26: C#4_suzidil

27: Db4_zanjaran

28: Dd4_sikah baladi v1

29: Dd4_sikah baladi v2

30: D4_ajam

31: D4

35: Ed4_ajam

36: Ed4_sultani

37: Ed4_bayat

38: Ed4

39: E4_suzdalara

40: E4_nishaburk

43: F4_ushaq misri

44: F4

45: F4_suzidil

47: Ft4_nishaburk

48: F#4_sultani

49: Gb4_tarz nawin

52: G4_tarz jadid

53: G4

57: Ab4_nahwand descending

58: Ab4_nahwand ascending

59: Ad4_nayruz

60: Ad4_arazbar

61: A4_ajam

62: A4

66: Bb4

67: Bd4_busalik ascending

68: Bd4_ushaq misri

69: Bd4

70: B4_suznak

71: B4_shehnaz

75: C5

79: C#5_busalik

80: Db5_dalanshin

84: D5

88: Eb5_jiharkah descending

91: Ed5_jiharkah ascending

92: E5_dalanshin

93: E5_shehnaz

97: F5

106: G5

115: A5

For pitches that aren't in Maqam Rast, I write an underscore and the name of a maqam that includes it. Some of these pitches are found in many maqamat, some are only found in one. But if you've ever been frustrated to read that different maqamat are played with different neutral thirds over C, but not which maqamat are played with which neutral thirds, well, here are four different neutral thirds for you.

35: Ed4_ajam

36: Ed4_sultani

37: Ed4_bayat

38: Ed4

and you can find these four steps in the data for many different maqamat above. Hopefully they're true to Syrian practice. At the very least, we can say "Here's an array of neutral thirds over C according to one source", which is about as much consensus as you ever get in middle eastern music. 

...

Oh no. Braunstein has a page on his site with a keyboard that plays scales. I looked in the javascript source code, and he has his scales written out in commas. I could have just copied that instead of trascribing. Well, let's see how we compare. Here are his scales in commas:

"Rast": [9, 7, 6, 9, 9, 7, 6],

"Rast (both forms)": [9, 7, 6, 9, 9, 4, 3, 6],

"Mahur": [9, 7, 6, 9, 9, 4, 4, 5],

"Suznak": [9, 7, 6, 9, 5, 12, 5],

"Nayruz": [9, 7, 6, 9, 7, 6, 9],

"Dalanshin": [5, 4, 7, 6, 9, 9, 7, 6],

"Ajam": [9, 8, 5, 9, 9, 8, 5],

"Jiharkah": [9, 8, 5, 9, 9, 4, 3, 6],

"Shawk-Afza": [9, 8, 5, 9, 5, 12, 5],

"Suzdalara": [9, 7, 1, 5, 9, 8, 5, 9],

"Nahwand": [9, 4, 9, 9, 4, 1, 8, 4, 5],

"Nahwand (alternate)": [9, 4, 9, 9, 4, 5, 4, 4, 5],

"Ushaq Misri": [8, 4, 10, 9, 4, 2, 7, 9],

"Busalik": [8, 4, 10, 9, 4, 1, 8, 4, 5],

"Sultani Yakah": [9, 4, 9, 9, 5, 12, 5],

"Nahwand Murassa": [9, 4, 9, 5, 4, 5, 3, 5, 4, 5],

"Nahwand Kabir": [9, 4, 9, 9, 9, 4, 9],

"Kurd": [4, 9, 9, 9, 4, 9, 9],

"Hijaz Kar Kurd": [4, 1, 8, 4, 5, 9, 4, 1, 8, 4, 5],

"Lami": [4, 9, 9, 4, 9, 9, 9],

"Tarz Nawin": [4, 9, 9, 5, 12, 5, 9],

"Hijaz": [5, 12, 5, 9, 4, 3, 6, 9],

"Zanjaran": [5, 12, 5, 9, 8, 5, 9],

"Shadd Araban": [5, 12, 5, 9, 4, 1, 8, 4, 5],

"Shehnaz": [5, 4, 4, 4, 5, 9, 5, 4, 4, 4, 5],

"Sikah Baladi": [6, 10, 6, 9, 6, 10, 6],

"Sikah Baladi X": [7, 8, 7, 9, 7, 8, 7],

"Nawa Athar": [9, 5, 12, 5, 5, 12, 5],

"Nikriz": [9, 5, 12, 5, 9, 4, 9],

"Athar Kurd": [4, 9, 13, 5, 5, 12, 5],

"Bayat": [6, 7, 9, 9, 4, 9, 9],

"Mehayar": [6, 7, 9, 9, 4, 3, 6, 9],

"Hoseni": [6, 7, 9, 9, 4, 2, 7, 9],

"Shuri": [6, 7, 9, 5, 12, 5, 9],

"Ashiran": [6, 7, 9, 6, 7, 9, 9],

"Nahoft": [6, 7, 9, 6, 3, 4, 4, 5, 9],

"Isfahan": [6, 3, 4, 3, 6, 9, 4, 9, 9],

"Arazbar": [6, 7, 9, 7, 6, 9, 9],

"Rahaw": [6, 7, 9, 8, 1, 4, 3, 6, 9],

"Siga": [6, 9, 9, 4, 3, 6, 9, 4, 3],

"Huzam": [6, 9, 5, 12, 5, 9, 4, 3],

"Iraq": [6, 9, 6, 7, 9, 9, 7],

"Bastanikar": [6, 9, 6, 7, 5, 12, 5, 3],

"Mustaar": [6, 4, 5, 9, 4, 9, 9, 7],

"Awj Ara": [6, 4, 5, 4, 3, 10, 5, 13, 3],

"Saba": [4, 2, 3, 4, 5, 12, 5, 9, 4, 5],

"Tarz Jadid": [9, 8, 5, 12, 5, 9, 5],

What he calls Rast, I called Rast (ascending). Fine. He has a Mahur and I don't. From his comments, I thought it was the same as Rast for him, but he gives new commas which don't match any of the maqamat I wrote down. So we'll have to learn more about that. Suznak matches. Actually, let's first summarize the agreements:

[4, 9, 13, 5, 5, 12, 5]: Athar Kurd

[4, 9, 9, 4, 9, 9, 9]: Lami

[4, 9, 9, 5, 12, 5, 9]: Tarz Nawin

[4, 9, 9, 9, 4, 9, 9]: Kurd

[6, 9, 6, 7, 9, 9, 7]: Iraq

[9, 4, 9, 9, 9, 4, 9]: Nahwand Kabir

[9, 5, 12, 5, 5, 12, 5]: Nawa Athar

[9, 5, 12, 5, 9, 4, 9]: Nikriz

[9, 7, 6, 9, 5, 12, 5]: Suznak

[9, 8, 5, 12, 5, 9, 5]: Tarz Jadid

[9, 8, 5, 9, 5, 12, 5]: Shawk-Afza

[9, 8, 5, 9, 9, 8, 5]: Ajam

[5, 12, 5, 9, 8, 5, 9]: Zanjaran

[6, 7, 9, 6, 7, 9, 9]: Ashiran

[6, 7, 9, 9, 4, 9, 9]: Bayat

[9, 4, 9, 9, 5, 12, 5]: Sultani Yakah

Perfect.

His version of Maqam Hoseni has all the notes of my ascending and descending forms, but I prefer to separate them out.

What he calls Rast (both forms) includes all the notes of my Rast ascending and Rast descending. His Isfahan includes notes of my Isfahan v1 and Isfahan v2. 

His Suzdalara includes all the notes of my Suzdalara ascending and descending.

His Bastanikar scale in steps has an extra 3-step interval at the top that I don't have and that doesn't appear in his staff notation. The scale in his staff notation starts on Bd and ends on Bb, so I'm sure that last note is simply the octave, but I don't think you play the octave, so we shouldn't include it in the scale. 

Similarly his version of maqam Arazbar in steps has an extra 9-step interval compared to mine because his staff notation showed the scale going from D4 to C5, not reaching the octave and D5. I'm inclined to trust his staff notation more in this case as well, but it's certainly more plausible that you'd play the octave here with a melodic leap of 9-steps than that you'd play the octave in Bastanikar with a melodic leap of 3 steps.

His maqam Ushaq Misri in steps has extra notes to account for ascending and descending forms. Same for his maqam Busalik and his maqam Jiharkah.

His scales in terms of steps has maqam Shuri which matches my Bayat Shuri/Karjighar.

HIs maqam Shadd Araban has notes for ascending and descending forms, but otherwise matches mine. 

His maqam Mehayar includes all the notes from my Mehayar Bayat/Muhayer ascending and descending. Same with Nahoft.

His Awj Ara does not match mine and I want to figure out why:

Awj Ara (ascending) mine: [6, 13, 3, 10, 5, 13, 3, 10, 5]

Awj Ara (descending) mine: [6, 13, 3, 10, 5, 13, 3, 6, 9]

Awj Ara offtonic: [6, 4, 5, 4, 3, 10, 5, 13, 3]

His Dalanshin does not match  mine:

Dalanshin mine: [9, 7, 6, 9, 9, 7, 6, 5, 12, 5]

Dalanshin offtonic: [5, 4, 7, 6, 9, 9, 7, 6]

His Siga has extra notes [4, 3, 6] to cover [7, 6] or [4, 9] across the ascending and descending versions, but then he also splits the last 7-step interval into [4, 3] for some reason.

Siga/Sikah (ascending) mine: [6, 9, 9, 7, 6, 9, 7]

Siga/Sikah (descending) mine: [6, 9, 9, 4, 9, 9, 7]

Siga offtonic: [6, 9, 9, 4, 3, 6, 9, 4, 3]

His maqam Shehnaz is simply two successive ajnas Hijaz with the 12-step interval split into three, which is quite different from my stuff. 

Shehnaz (ascending) mine: [5, 12, 5, 9, 5, 12, 5, 9, 4, 9, 9]

Shehnaz (descending) mine: [5, 12, 5, 9, 9, 4, 9, 9, 4, 9, 9]

Shehnaz offtonic: [5, 4, 4, 4, 5, 9, 5, 4, 4, 4, 5]

...

Looking at the difference between his Huzam and mine, I notice that I could have done a better job. Here's what we see on the staff notation. There are two leading notes below the tonic. [C4, D#4]. Then we have jins Siga on Ed, [Ed4, F4, G4]. Then we have Hijaz on G, [G4, Ab4, B4, C5]. Then jins Rast on C, [C5, D5, Ed5, G5], with Ed5 being the high tonic. And then also there's one more note above, A5, with no annotated jins. When I described the scale initially, I just talked bout Ed4 to Ed5. We can make some guesses though. From C5 to Ed5, if these are the same as the versions in maqam Rast, we have a [9 + 7 = ] 16 step interval. Across all the pitches, an augmented unison is usually 4 steps and a diminished unison is usually -4 steps, so we can guess that the D# is [9 + 4 ]= 13 steps over perde Rast, and we have confirmation of this in Maqam Awj Ara, which has a D# 13 steps over perde Rast. So we're looking at [13, 3] for our relative steps beneat the tonic. From the tonic, the scale I specified before still seems right: [6, 9] + [5, 12, 5] + [9, 7] to reach the upper tonic, but then for ornamental notes above the tonic we could also say [6, 9]. I'm guessing that the A5 above G5 has the normal intonation 9 steps above. So all together that gives us,

(13, 3), [6, 9, 5, 12, 5, 9, 7], (6, 9)

Now here's maqam Huzam from Offtonic's javascript code:

[6, 9, 5, 12, 5, 9, 4, 3]

it deosn'tinclude the ornaments outside the main octave of the scale, but it does break the 7-step interval below the high tonic into two intervals, 4 and 3. I don't know why he does this. If you could replace jins Rast on C with jins Nahwand, that subdivision would make sense, but there's no reason to believe this, and in so much as maqam Huzam is the same as maqam Siga with jins Hijaz on G, we shouldn't expect jins Rast on C to be changeable.

...

He doesn't have a maqam Awshar specified in the javascript, but he says in the chapter that it's the same as Siga (descending) and it matches my Siga descending, so that's fine. He doesn't have a version of maqam Rahat el Arwah in the javascript, but he says in the chapter that it's just maqam Huzam down a fourth, and my Siga and Rahat el Arwah matched as

[6, 9, 5, 12, 5, 9, 7]

so I'm happy with that.

Just 38 maqamat left to analyze for correspondences and differences.

...