the rules of the letter Lam | Free Tajweed Course

rules of letter Lam - tajweed rules
rules of letter Lam - tajweed rules

Mastering the 'Lam' Letter:

A Comprehensive Tajweed Guide

1. Recitation of the Letter Lam (ل): Always Light, Without Emphasis

Recitation of the Letter Lam (ل) in the Arabic language carries its own set of intricate rules, ensuring the beauty and fluency of the spoken word. One fundamental rule is its generally light pronunciation, where it flows softly off the tongue, sans any stress or emphasis. This delicate articulation retains the fluidity and melody of the language, making Arabic recitation a harmonious experience.

 

However, this is with an interesting exception when it comes before certain words, adding depth to its application. When the Lam (ل) precedes the Majestic Name of Allah (اللَّه), for instance, its articulation undergoes a change, becoming a testament to the linguistic sophistication of Arabic.

 

As learners delve deeper into the nuances of recitation, they discover that mastering the lightness of Lam (ل) is pivotal. It’s not just about correct pronunciation; it’s about embodying the elegance and rhythm that Arabic so beautifully encapsulates. And while the general rule is for Lam to remain light and soft, knowing its exceptions, like when preceding the name of Allah, elevates one’s understanding and connection to the text.

 

When the Letter Lam (ل) Precedes the Majestic Name of Allah (اللَّه): An Exception in Recitation.

 

Example:

 

 

 

بِسْمِ اللَّهِ الرَّحْمَـٰنِ الرَّحِيمِ

 

 

In the name of Allah, the Entirely Merciful, the Especially Merciful. (1:1)

 

 

2. When the Letter Lam (ل) Follows a Letter with Fatha or Damma: Nuances in Recitation

The intricacies of Arabic recitation extend beyond just individual letters; they also encompass the interplay and relationships between them. Among these nuances is the specific rule governing the pronunciation of the Letter Lam (ل) when it directly follows a letter bearing a fatha (ـَ) or a damma (ـُ).

 

 

The fatha and damma, as short vowel markers, influence the sound and articulation of the succeeding letters, and Lam (ل) is no exception. When preceded by these diacritics, the Lam takes on a distinct pronunciation that’s different from its standard form. This slight alteration ensures that the flow and rhythm of the Arabic text remain harmonious, while also emphasizing the interconnectedness of its letters and sounds.

 

To truly appreciate and master the art of Quranic recitation or Arabic speech, understanding such subtleties is crucial. It underscores the meticulous nature of the Arabic language, where every letter and diacritic plays a pivotal role in the overall auditory experience. Delving into these nuances not only elevates the learner’s technical skills but also deepens their connection and appreciation for the beauty and precision inherent in the language.

 

 

It will be recited with emphasis – tafkheem.

 

 

Examples:   with a fatha:

 

 

قُلْ هُوَ اللَّهُ أَحَدٌ

 

 

Say, “He is Allah, [who is] One, (112:1)

 

 

 

  with a damma:  

 

إِذَا جَاءَ نَصْرُ اللَّهِ وَالْفَتْحُ

 

When the victory of Allah has come and the conquest, (110:1)

 

 

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules of the letter Hamza.

 

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Understanding the Role of Alif | Free Tajweed Lesson

Tajweed Rules: Understanding the Role of Alif

The Letter Alif (ا) in Tajweed: A Dual Pronunciation

 

In the realm of Tajweed, the science of Quranic recitation, the letter Alif (ا) takes on a unique role. It can be pronounced in two distinct ways, each with its significance:

 

1. Emphasis (Tafkheem): When reciting Alif with tafkheem, you give it an emphatic pronunciation. This means that you fill your mouth when saying it, with the mouth in a vertical position. This pronunciation carries a certain weight and resonance, which adds depth to the Quranic recitation.

 

2. Lightly, Softly (Tarqeeq): In contrast, when you choose to recite Alif lightly or with tarqeeq, you articulate it softly, without filling the mouth. Here, the mouth takes on a horizontal position. This lighter pronunciation conveys a sense of gentleness and delicacy to the recitation.

 

These two approaches to pronouncing Alif play a crucial role in the rhythm, melody, and overall eloquence of Quranic recitation. The choice between tafkheem and tarqeeq depends on the specific context and rules of Tajweed. Mastering these nuances enhances your ability to recite the Quran with precision and beauty, allowing you to convey its profound messages with reverence and authenticity.

1. When Alif (ا) Takes Emphasis: Its Pronunciation with the 7 Emphatic Letters

Exploring Emphatic Pronunciation: Alif (ا) and the 7 Emphatic Letters

 

In the intricate science of Tajweed, which governs the precise pronunciation of the Quran, the letter Alif (ا) holds a distinctive place. It is recited in two distinct ways, and one of those ways involves emphasis. Specifically, Alif (ا) is pronounced with emphasis, or tafkheem, when it is followed by one of the seven emphatic letters in the Arabic language.

 

Let’s explore this rule in more detail:

 

Emphatic Letters: The seven emphatic letters, known as الحروف القمرية (the lunar letters), are ق (Qāf), ط (Ṭā), ب (Bā), ج (Jīm), ض (Ḍād), ك (Kāf), and ف (Fā). These letters are characterized by their unique articulation and are pronounced with added emphasis.

 

Emphasis on Alif (ا): When Alif (ا) is followed by any of these emphatic letters, it takes on an emphatic pronunciation. This means that when you recite it, you give it a sense of weight and resonance by filling your mouth, with the mouth in a vertical position. This emphasizes the letter’s presence in the word, adding a distinct auditory dimension to its pronunciation.

 

Understanding when to apply tafkheem to Alif (ا) in conjunction with the emphatic letters is a fundamental aspect of Tajweed. It ensures that the Quranic text is recited with the precision and respect it deserves. Mastery of this rule allows learners to convey the Quran’s message with eloquence and reverence, capturing the essence of its linguistic and phonetic subtleties.

 

 

Example:

 

 

 صِرَاطَ الَّذِينَ أَنْعَمْتَ عَلَيْهِمْ غَيْرِ الْمَغْضُوبِ عَلَيْهِمْ وَلَا الضَّالِّينَ

 

 

 

The path of those upon whom You have bestowed favour, not of those who have evoked [Your] anger or of those who are astray. (1:7)

2. Alif Pronunciation: Light Recitation with the 22 Non-Emphatic Letters

Balancing Act in Tajweed: Alif’s Light Pronunciation with the 22 Non-Emphatic Letters

 

Within the intricate world of Tajweed, where precision in Quranic recitation is paramount, the letter Alif (ا) assumes a dual role. It can be pronounced lightly, known as tarqeeq, when it is followed by any of the remaining 22 non-emphatic letters in the Arabic alphabet.

 

Let’s explore this rule more comprehensively:

 

Light Pronunciation of Alif (ا): When Alif (ا) is paired with any of the 22 non-emphatic letters, it takes on a softer, gentler pronunciation. In this instance, you articulate it lightly, without fully filling your mouth, and with the mouth in a horizontal position. This light articulation brings a sense of delicacy to the pronunciation.

 

The 22 Non-Emphatic Letters: These letters differ from the emphatic ones and include الأبجدية العربية (the Arabic alphabet) with the exception of the seven emphatic letters: ق (Qāf), ط (Ṭā), ب (Bā), ج (Jīm), ض (Ḍād), ك (Kāf), and ف (Fā).

This rule highlights the meticulous nature of Tajweed, which ensures that every element of Quranic recitation, including the pronunciation of Alif (ا), is finely tuned. By mastering the art of tarqeeq with Alif, learners can elevate their Quranic recitation to convey the sacred text with grace and respect, preserving the beauty of its linguistic and phonetic intricacies.

 

 

Example:  

 

إِيَّاكَ نَعْبُدُ وَإِيَّاكَ نَسْتَعِينُ

 

 

It is You we worship and You we ask for help. (1:5)

 

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules of the letter Lam.

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Alhamdulillah I‘m very pleased with the arabic and Qur’an lessons I receive from teacher Umm Tasneem and I‘m also content with the al-dirassa administration team who were very quick in answering any questions I had. In a month I progressed a lot and I cannot wait to continue my studies with al-dirassa. May Allah reward everyone at al-dirassa.

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Mastering the Letter Ra (ر) | Free Tajweed Lesson

the rules of the letter Ra | tajweed rules
the rules of the letter Ra | tajweed rules

Mastering the Letter Ra ر | Free Tajweed Lesson

Exploring the Nuances of Pronouncing the Arabic Letter “Ra” (ر)

 

In the realm of Tajweed, the correct pronunciation of the Arabic letter “Ra” (ر) is a fundamental aspect of accurate recitation. When it comes to this letter, there are two distinct ways to pronounce it:

  1. Tafkheem (Emphasis): In this pronunciation, you fill your mouth when saying the letter, creating a vertical mouth shape. This technique is called “tafkheem” and involves emphasizing the letter “Ra” to create a bold and pronounced sound.

  2. Tarqeeq (Lightness): Conversely, you can read the letter “Ra” lightly, without filling your mouth. This results in a horizontal mouth shape and is referred to as “tarqeeq,” which signifies a more gentle and subtle pronunciation.

 

When encountering the letter “Ra” (ر) in Arabic words, three possibilities arise, depending on its vocalization or its position within the word:

 

  • With Tarqeeq: In some instances, the letter “Ra” is read with tarqeeq, signifying a light and gentle pronunciation.

  • With Tafkheem: On the other hand, there are scenarios where you should employ tafkheem, emphasizing the letter “Ra” with a fuller mouth shape, creating a pronounced and bold sound.

  • The Possibility of Both: In certain cases, the letter “Ra” may require a combination of both tarqeeq and tafkheem, depending on the rules of Tajweed and the surrounding context within the word.

 

Understanding the variations in the pronunciation of “Ra” is essential for precise and melodious Quranic recitation. By mastering these nuances, learners can uphold the beauty and accuracy of the Arabic language while engaging in the sacred act of reciting the Quran.

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1. Instances Requiring Gentle Pronunciation: Tarqeeq for the Letter 'Ra' (ر)

A. When the Letter 'Ra' (ر) is Accompanied by a Kasra

In the realm of Arabic phonetics and Tajweed rules, the letter ‘Ra’ (ر) is a vital component. It possesses a unique characteristic that warrants close attention—its interaction with the diacritic mark known as “Kasra.”

 

When you encounter ‘Ra’ with a Kasra, it signifies a specific phonetic scenario that plays a crucial role in Arabic pronunciation. This combination holds particular significance due to its impact on the sound and articulation of the letter.

 

The Kasra, represented by a slanted line beneath the letter ‘Ra’ (رِ), serves as a short vowel marker. It indicates that the ‘Ra’ is pronounced with a brief, crisp ‘i’ sound, akin to the ‘i’ in “sit.” This vowel sound is notably distinct from other vowel markers like Fatha or Damma, which impart different qualities to the pronunciation.

 

The interaction between ‘Ra’ and Kasra at various positions within words contributes to the melody and rhythm of the Arabic language. It influences the flow of spoken Arabic, whether in everyday conversations or in the recitation of the Quran.

 

Understanding when and how ‘Ra’ pairs with Kasra is crucial for mastering the correct pronunciation and cadence in Arabic. It is an essential component of Tajweed, which enhances the beauty and precision of Quranic recitation while maintaining the integrity of the Arabic language’s phonetic intricacies.

 

 

Example:

 

مِن شَرِّ الْوَسْوَاسِ الْخَنَّاسِ

 

 

From the evil of the retreating whisperer (114:4)

B. When the Letter 'Ra' (ر) Bears a Sukoon at the Word's End with a Preceding Kasra

When the letter ‘Ra’ (ر) appears at the end of a word with a sukoon (a diacritic indicating a complete lack of vowel sound), it is accompanied by a kasra, which is a short vowel mark denoted by a slanted line beneath the letter. This specific configuration at the word’s conclusion represents a notable aspect of Arabic phonetics.

 

In this context, the sukoon signifies that ‘Ra’ is pronounced without any added vowel sound, maintaining a silence or pause. The presence of the kasra before the sukoon ensures that the preceding vowel sound, if any, is a short ‘i’ sound.

 

This particular phonetic occurrence is integral to precise Arabic pronunciation and contributes to the rhythm and flow of spoken Arabic words. Understanding and correctly applying this sukoon-kasra combination is essential for accurate recitation and a deeper appreciation of the Arabic language’s rich phonological nuances.

 

 

Example:

 

 

يَا أَيُّهَا الْمُدَّثِّرُ ﴿١﴾ قُمْ فَأَنذِرْ ﴿٢﴾ وَرَبَّكَ فَكَبِّرْ

 

 

 

O you who covers himself [with a garment], Arise and warn, And your Lord glorify (74: 1 to 3)

C. Sukoon Placement in Arabic: 'ر' (Ra) with Original Kasra Preceding 'ه' (Ha) in Mid-Word

In the realm of Arabic phonetics and Tajweed rules, the precise placement of sukoon (a diacritic indicating a complete lack of vowel sound) is a pivotal aspect of accurate pronunciation and Quranic recitation. One particularly intriguing scenario involves the letter ‘ر’ (Ra) when it bears sukoon, occurring precisely in the middle of a word. This unique configuration is characterized by specific conditions:

 

  1. Sukoon on ‘ر’ (Ra): The presence of sukoon atop the letter ‘ر’ denotes that it is to be pronounced without any additional vowel sound.

  2. Original Kasra (Short ‘i’ Vowel): Immediately preceding the sukoon, there is an original kasra (a diacritic resembling a slanted line below the letter), indicating a short ‘i’ vowel sound. This kasra serves as the connector between the preceding and succeeding elements in the word.

  3. Non-Emphatic Letter ‘ه’ (Ha): Following the sukoon on ‘ر,’ you encounter the non-emphatic letter ‘ه’ (Ha), which is pronounced with a standard or neutral articulation, devoid of any emphasis.

 

This particular phonetic phenomenon has significant implications for the recitation of Arabic words and the Quran. It not only affects the cadence and rhythm of spoken Arabic but also contributes to the precision and beauty of Quranic recitation. Understanding the interplay of sukoon, kasra, and the non-emphatic ‘ه‘ in mid-word scenarios is crucial for mastering Tajweed rules and achieving eloquent Quranic recitation.

 

By delving into these intricacies, learners of Arabic can deepen their appreciation of the language’s rich phonological nuances and ensure the accurate and melodious recitation of sacred texts like the Quran.

 

 

Example:

 

 

فَسَبِّحْ بِحَمْدِ رَبِّكَ وَاسْتَغْفِرْهُ

 

 

 

Then exalt [Him] with praise of your Lord and ask forgiveness of Him. (110:3)

D. The Complex Articulation of 'ر' (Ra) with Sukoon: Preceded by Non-Emphatic Letter with Sukoon Following a Kasra

In the realm of Arabic phonetics and Tajweed, the accurate pronunciation of letters and diacritics is paramount. One intriguing aspect of Arabic phonology involves the letter ‘ر’ (Ra) when it carries sukoon—a diacritic indicating a complete lack of vowel sound. However, this complexity is compounded when ‘ر‘ is preceded by a non-emphatic letter, which also bears sukoon, following a kasra.

 

Let’s break down this intricate scenario:

 

  1. Sukoon on ‘ر‘ (Ra): When ‘ر‘ is adorned with sukoon, it signifies that the letter is pronounced without any additional vowel sound. This sukoon is essential in preserving the precise pronunciation of ‘ر.’

  2. Non-Emphatic Letter with Sukoon: Preceding ‘ر,’ there is a non-emphatic letter that also carries sukoon, denoting a pause or silence in its pronunciation. The nature of this letter is crucial in understanding the overall articulation.

  3. Kasra (Short ‘i’ Vowel): The presence of kasra, a diacritic resembling a slanted line below the letter, adds another layer of complexity. Kasra signifies a short ‘i’ vowel sound, which affects the transition between the non-emphatic letter and ‘ر.’

 

Navigating these intricacies is pivotal for achieving accurate Arabic pronunciation and mastering the art of Quranic recitation. This scenario highlights the precision and richness of the Arabic language’s phonological nuances. Understanding the interplay of sukoon, non-emphatic letters, and kasra is a fundamental aspect of Tajweed, ensuring that the Quran is recited with eloquence, precision, and reverence.

 

By delving into these complexities, Arabic learners and Quran reciters can deepen their understanding of phonetics and further appreciate the linguistic beauty of this sacred text.

 

 

Example:  

 

 

يُعَلِّمُونَ النَّاسَ السِّحْرَ 

 

 

 teaching people magic(2:102)

 

 

2. Emphasizing 'ر' (Ra): When Tafkheem Is Essential

A. When 'ر' (Ra) Bears a Damma

In the realm of Arabic phonetics and pronunciation, the diacritic known as “Damma” holds a significant place. This diacritic, represented as a small curve above the letter, serves to indicate a specific vowel sound. When this diacritic is applied to the letter ‘ر‘ (Ra), it introduces a unique phonetic scenario that is both distinctive and essential to accurate pronunciation.

 

Let’s break down this scenario:

 

Damma on ‘ر‘ (Ra): When the letter ‘ر‘ (Ra) carries a Damma, it implies that the letter is pronounced with a specific vowel sound. In this case, the Damma represents a short ‘u’ sound, akin to the ‘u’ in “put.” This vowel sound adds a unique auditory dimension to the pronunciation of ‘ر.’

 

Understanding when and how ‘ر‘ combines with Damma is crucial for Arabic learners and those studying Tajweed rules. It influences not only the correct articulation of the letter but also contributes to the rhythm and melody of spoken Arabic and Quranic recitation.

 

By exploring the intricacies of Damma with ‘ر‘ (Ra), learners can enhance their grasp of Arabic phonetics and enrich their ability to recite Arabic texts with precision and eloquence. It’s a nuanced aspect of the language that, when mastered, adds depth and beauty to both spoken and recited Arabic.

 

 

  Example:

 

 

إِذَا جَاءَ نَصْرُ اللَّهِ وَالْفَتْحُ

 

 

When the victory of Allah has come and the conquest, (110:1)

B. When 'ر' (Ra) Adopts a Fatha

In the realm of Tajweed, the meticulous science of Quranic recitation, every nuance of pronunciation is carefully considered to honor the sacred text. One such nuance involves the letter ‘ر‘ (Ra) when it adopts a Fatha diacritic.

 

Here, we will explore this phenomenon in depth:

 

Fatha on ‘ر‘ (Ra): When the letter ‘ر‘ (Ra) is adorned with a Fatha diacritic, it introduces a specific vowel sound. The Fatha represents a short ‘a’ sound, akin to the ‘a’ in “cat.” This vowel sound is a fundamental component of Arabic phonetics and is essential for the correct enunciation of words in the Quran.

 

In Tajweed, the precise pronunciation of ‘ر‘ with a Fatha holds profound significance. It allows the reciter to convey the intended meanings of Quranic verses with utmost clarity and reverence. Every vowel sound, including the ‘a’ introduced by the Fatha, contributes to the melodic and rhythmic flow of Quranic recitation, enhancing the overall beauty of the sacred text.

 

Understanding how ‘ر‘ combines with the Fatha diacritic is an essential aspect of Tajweed. It empowers learners to articulate Arabic words with precision and eloquence, ensuring that the Quran is recited with the utmost respect for its linguistic and phonetic intricacies.

 

By mastering this dimension of Tajweed, students of the Quran can deepen their connection to the text and communicate its message with reverence and authenticity. This harmonious integration of sound and meaning exemplifies the beauty of Quranic recitation, a practice that continues to inspire and move millions around the world.

 

 

  Example:

 

 

بِسْمِ اللَّهِ الرَّحْمَـٰنِ الرَّحِيمِ

 

 

In the name of Allah, the Entirely Merciful, the Especially Merciful. (1:1)

 

C. When 'ر' (Ra) Bears a Sukoon Preceded by a Damma

Within the intricate world of Arabic phonetics and Tajweed, the correct pronunciation of letters is paramount. One intriguing facet of Arabic phonology is the letter ‘ر‘ (Ra) when it carries sukoon—a diacritic indicating a complete lack of vowel sound—and is preceded by a Damma diacritic.

 

Let’s dissect this phonetic scenario:

 

Sukoon on ‘ر‘ (Ra): When ‘ر‘ (Ra) is graced with a sukoon, it implies that the letter is pronounced without any added vowel sound. This sukoon serves as a crucial element in ensuring the precise pronunciation of ‘ر.’

 

Preceding Damma: The presence of a Damma diacritic—a small curve above the letter that signifies a short ‘u’ vowel sound—before the sukoon on ‘ر‘ introduces a unique phonetic characteristic. This ‘u’ vowel sound subtly influences the transition from the preceding letter to ‘ر.’

 

Understanding the interaction between sukoon and Damma with ‘ر‘ is pivotal for achieving accurate Arabic pronunciation and mastering the art of Quranic recitation. This scenario highlights the nuanced and rhythmic nature of the Arabic language, as well as its rich phonological subtleties.

 

By exploring these intricacies, Arabic learners and Quran reciters can gain a deeper appreciation of the language’s phonetics and elevate their ability to recite Arabic texts with precision, fluency, and elegance. It is within these subtleties that the beauty of Arabic phonology truly shines, contributing to the richness of Quranic recitation.

 

 

Example:

 

أُولَـٰئِكَ يُجْزَوْنَ الْغُرْفَةَ بِمَا صَبَرُوا

 

 

Those will be awarded the Chamber for what they patiently endured (25:75)

D. When 'ر' (Ra) Bears a Sukoon Preceded by a Fatha

In the realm of Arabic phonetics and Tajweed, where precision in pronunciation is paramount, we encounter the letter ‘ر‘ (Ra) with a distinctive configuration: sukoon (a diacritic indicating a complete lack of vowel sound) preceded by a Fatha diacritic.

 

Let’s explore the intricacies of this phonetic scenario:

Sukoon on ‘ر‘ (Ra): When ‘ر‘ (Ra) carries a sukoon, it signifies that the letter is pronounced without any additional vowel sound. This sukoon serves as a fundamental component of Arabic phonetics, ensuring the letter is articulated precisely.

 

Preceding Fatha: The presence of a Fatha diacritic—a small slanted line above the letter that denotes a short ‘a’ vowel sound—before the sukoon on ‘ر‘ introduces a unique phonetic characteristic. This ‘a’ vowel sound affects the transition from the preceding letter to ‘ر,’ contributing to the word’s phonetic flow.

 

Understanding the interplay between sukoon and Fatha with ‘ر‘ is pivotal for accurate Arabic pronunciation and the mastery of Tajweed rules. This scenario exemplifies the nuanced nature of the Arabic language, where vowel placement and articulation are finely tuned.

 

By delving into these intricacies, Arabic learners and Quran reciters can elevate their understanding of Arabic phonology and enhance their ability to recite Arabic texts with precision and eloquence. It is within these subtleties that the beauty and richness of Arabic pronunciation come to life, ultimately enhancing the experience of Quranic recitation and the appreciation of the Arabic language.

 

 

Example:

 

 

وَأَرْسَلَ عَلَيْهِمْ طَيْرًا أَبَابِيلَ

 

 

And He sent against them birds in flocks, (105:3)

 

 

Within the realm of Tajweed, the science of precise Quranic recitation, intricate rules shape the pronunciation of Arabic letters. One such rule involves the letter ‘ر’ (Ra) when it carries sukoon (a diacritic indicating a complete lack of vowel sound) and is situated within the same word as an original kasra (short ‘i’ vowel) preceding it, followed by an emphatic letter.

 

Let’s explore this rule in depth:

 

Sukoon on ‘ر’ (Ra): The presence of sukoon on ‘ر’ signifies that the letter is pronounced without any additional vowel sound. This diacritic ensures the precise articulation of ‘ر.’

 

Original Kasra (Short ‘i’ Vowel): An original kasra, indicated by a slanted line beneath the letter, appears just before the sukoon on ‘ر.’ This kasra represents a short ‘i’ vowel sound, which is fundamental in Arabic phonetics.

 

Emphatic Letters: Following the sukoon on ‘ر,’ you encounter emphatic letters, which are characterized by their unique articulation and phonetic properties. These emphatic letters include ظ (Dhāl), خ (Kha), ص (Ṣād), ض (Dāl), غ (Ghain), ط (Ṭā), and ق (Qāf). Emphatic letters are pronounced with added emphasis and are an integral part of Arabic pronunciation.

 

Within the Holy Quran, there are specific instances where this rule comes into play, totaling five examples. Each example provides an opportunity to demonstrate the precision and beauty of Tajweed, ensuring that the Quran is recited with the utmost reverence and respect for its linguistic and phonetic nuances.

 

By exploring these intricacies, Quranic learners and reciters can deepen their understanding of the Quran’s recitation rules, allowing them to convey the divine message with accuracy and eloquence. Tajweed, with its delicate rules, adds to the timeless beauty and resonance of the Quran, captivating the hearts and minds of readers and listeners alike.

 

وَلَوْ نَزَّلْنَا عَلَيْكَ كِتَابًا فِي قِرْطَاسٍ

 

 

And even if We had sent down to you, [O Muhammad], a written scripture on a page (6:7)

 

 

 

وَإِرْصَادًا لِّمَنْ حَارَبَ اللَّهَ وَرَسُولَهُ مِن قَبْلُ

 

 

and as a station for whoever had warred against Allah and His Messenger before. (9:107)

 

 

 

فَلَوْلَا نَفَرَ مِن كُلِّ فِرْقَةٍ مِّنْهُمْ طَائِفَةٌ لِّيَتَفَقَّهُوا فِي الدِّينِ

 

 

For there should separate from every division of them a group [remaining] to obtain understanding in the religion (9:122)

 

 

 

إِنَّ جَهَنَّمَ كَانَتْ مِرْصَادًا 

 

 

Indeed, Hell has been lying in wait (78:21)

 

 

 

إِنَّ رَبَّكَ لَبِالْمِرْصَادِ 

 

 

Indeed, your Lord is in observation. (89:14)

 

E. When 'ر' (Ra) Bears a Sukoon Preceded by a Non-Original Kasra Due to Hamza al-Wasl

Within the realm of Tajweed, the art of Quranic recitation, every nuance in pronunciation holds profound significance. One such nuance involves the letter ‘ر‘ (Ra) when it carries sukoon (a diacritic indicating a complete lack of vowel sound) and is situated in the same word as a non-original kasra, a result of Hamza al-Wasl.

 

Let’s delve into the intricacies of this scenario:

 

Sukoon on ‘ر‘ (Ra): The presence of sukoon on ‘ر‘ signifies that the letter is pronounced without any additional vowel sound. This precise articulation of ‘ر‘ is fundamental to Tajweed.

 

Non-Original Kasra due to Hamza al-Wasl: The non-original kasra, often marked by a slanted line beneath the letter, is a result of Hamza al-Wasl. Hamza al-Wasl is an Arabic linguistic feature, and it introduces this short ‘i’ vowel sound at the beginning of certain words, which is not inherent in the word itself.

 

Understanding the coexistence of sukoon on ‘ر‘ with a non-original kasra due to Hamza al-Wasl is crucial for achieving correct Quranic pronunciation. This rule exemplifies the meticulous nature of Tajweed, ensuring that every vowel, letter, and diacritic is precisely enunciated.

 

In the Quran, specific instances present this unique rule, underscoring the importance of studying Tajweed rules for authentic Quranic recitation. By mastering this rule, learners can elevate their Quranic recitation, capturing the eloquence and spiritual essence of the divine text. Tajweed, with its intricate rules, serves as a bridge between the reciter and the profound messages of the Quran, enriching the experience of Quranic study and recitation.

 

 

Example:

 

 

ارْجِعِي إِلَىٰ رَبِّكِ رَاضِيَةً مَّرْضِيَّةً

 

 

Return to your Lord, well-pleased and pleasing [to Him], (89:28)

 

 

F. When 'ر' (Ra) Bears a Sukoon at a Pause, Preceded by a Non-Ya Sakeen Letter with Fatha or Damma

In the realm of Tajweed and Quranic recitation, every aspect of pronunciation and articulation is carefully studied to uphold the sanctity and precision of the Quran. One particular rule involves the letter ‘ر‘ (Ra) when it carries sukoon (a diacritic indicating a complete lack of vowel sound) at a pause or stop. This sukoon is often preceded by a non-Ya Sakeen letter and is accompanied by either a Fatha or Damma diacritic.

 

Let’s explore this rule in more depth:

 

Sukoon at a Pause on ‘ر‘ (Ra): When ‘ر‘ carries sukoon at a pause or stop, it signifies that the letter is pronounced without any added vowel sound. This is a critical aspect of Tajweed, especially during recitation pauses, to ensure the Quranic text is enunciated accurately.

 

Preceding Non-Ya Sakeen Letter: The letter before the sukoon on ‘ر‘ is a non-Ya Sakeen letter. This means it is any letter other than ‘ي‘ (Ya) that does not carry any inherent vowel sound.

 

Accompanied by Fatha or Damma: The presence of either a Fatha (a diacritic resembling a small slanted line above the letter, representing a short ‘a’ sound) or Damma (a diacritic resembling a small ‘u’ shape above the letter, representing a short ‘u’ sound) introduces specific vowel sounds to the pronunciation.

 

This rule highlights the meticulous nature of Tajweed, ensuring that every pause and pronunciation in the Quran is precise and reverent. It plays a crucial role in maintaining the rhythmic and melodic flow of Quranic recitation, adding depth and beauty to the sacred text.

 

By mastering this rule, Quranic learners and reciters can deepen their connection with the Quran, ensuring that its recitation is both accurate and imbued with the reverence it deserves. Tajweed, with its intricate rules, is a pathway to the spiritual richness and eloquence of Quranic recitation.

 

 

  Example:  

 

 

وَالْعَصْرِ

 

 

By the time, (103:1)

3. Variations in Pronunciation: When 'ر' (Ra) Can Be Articulated Lightly or with Emphasis

A. Sukoon on 'ر' (Ra) Preceded by a Kasra-Laden Letter and an Emphatic Letter with Kasra

This Rule Occurs Only Once in the Quran:

 

 

فَانفَلَقَ فَكَانَ كُلُّ فِرْقٍ كَالطَّوْدِ الْعَظِيمِ 

 

 

and it parted, and each portion was like a great towering mountain. (26:63)

 

 

If we continue the recitation, a choice emerges between a light (muraqaqa) and an emphatic (mufakhama) pronunciation, both of which are permissible:

 

  • Emphatic (Tafkheem): The letter ق, being a letter of al isti’la (always emphatic), supports this choice.

  • Light (Tarqeeq): The letter ق is weakened by the presence of a kasra, which favors this option.

 

However, if you choose to pause at the word فِرْقٍ:

 

In this scenario, the letter Ra (ر) becomes emphatic. This is because we encounter the specific case in which ‘ر’ carries a sukoon, is preceded by an original kasra within the same word, and is followed by an emphatic letter.

B. If you decide to pause at the word نُذُرِ in Surah al-Qamar, both tafkheem and tarqeeq pronunciations are valid options:

However, it is preferable to opt for tarqeeq over tafkheem in this context. The reason being that the original form of the word is نُذُرِي, and the use of tarqeeq serves as a reminder of the word’s origin.

 

 

كَذَّبَتْ عَادٌ فَكَيْفَ كَانَ عَذَابِي وَنُذُرِ

 

 

‘Aad denied, and how [severe] were My punishment and warning. (54:18)

C. When pausing at the words يَسْر and أَسْر, both the tarqeeq and tafkheem pronunciations of the letter Ra Sakina (رْ) are permissible.

When we pause on the letter Ra (ر) and it carries a sukoon, it’s important to note that in its original form, it should be followed by a letter ‘ya,’ which has been omitted.

 

وَاللَّيْلِ إِذَا يَسْرِ 

 

 

And [by] the night when it passes, (89:4)

 

D. When the letter ر carries a sukoon due to a pause, it is preceded by an emphatic letter in a non-vocalized state.

Scholars Differ: This Particular Case Occurs Just Four Times in the Holy Quran, Involving Only Two Words:

 

 

وَأَسَلْنَا لَهُ عَيْنَ الْقِطْرِ

 

 

and We made flow for him a spring of [liquid] copper. (34:12)

 

 

 

قَالَ ادْخُلُوا مِصْرَ إِن شَاءَ اللَّهُ آمِنِينَ

 

and said, “Enter Egypt, Allah willing, safe [and secure].” (12:99)

 

 

The Word مِصْرَ in the Quran: Sura Yunus (Verses 7 and 99) and Sura Zukhruf (Verse 51).

 

Scholarly Divergence: Approaches to Pronunciation:

 

In the Quranic context, specifically in the words مِصْرَ found in Sura Yunus (Verses 7 and 99) and Sura Zukhruf (Verse 51), there exists a difference of opinion among scholars regarding pronunciation.

 

Among these scholars, some advocate for tafkheem (emphatic pronunciation) of the letter ر when stopping at the word مِصْرَ, while others favor tarqeeq (light pronunciation). Notably, Al-Imam Ibn al Jazari has chosen the following approaches:

  • Tafkheem (Emphatic Pronunciation) when stopping at the word مِصْرَ.
  • Tarqeeq (Light Pronunciation) when stopping at the word قِطْرِ.

 

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules of the letter Alif ا.

 

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Unlocking Al-Qalqala: The Art of Resonance | Free Tajweed Rules Course

the vibration, resonance, al qalqala
the vibration, resonance, al qalqala

Unlocking Al-Qalqala: The Art of Resonance | Free Tajweed Rules Course

Qalqala: Resonance in Arabic Pronunciation

 

In the Arabic language, “qalqala” is a term that evokes a sense of restlessness, instability, and disturbance. Interestingly, this concept is not only linguistic but also acoustic in nature. Qalqala refers to a phenomenon that occurs with certain letters in the Arabic alphabet. When these letters bear either an original sukoon (indicating a natural lack of vowel) or a non-original sukoon (due to a grammatical judgment), they exhibit a distinct characteristic—a strong bounce or resonance.

 

This resonance, known as “qalqala,” serves a fundamental purpose in Arabic pronunciation. It enables listeners to distinguish these specific letters clearly, contributing to what is termed “tahqiq al-huruf,” or giving each letter its due in enunciation.

 

This phonetic rule of qalqala is applied by causing the letter to resonate at its point of articulation, without the addition of a vowel sound. Specifically, this rule is applied to the following five letters:

 

  • د (Dal)
  • ج (Jeem)
  • ب (Ba)
  • ط (Ta)
  • ق (Qaf)

 

A helpful mnemonic to remember these letters is the sentence: “قُطُبُ جَدٍ” (Qutubu Jad).

 

Technically, when these letters bear a sukoon, they should be pronounced with a distinct resonance, ensuring that the sound produced emanates clearly from their point of articulation.

 

There are three categories of qalqala, each denoting the degree of resonance:

 

  1. Small Resonance (Al-Qalqala Sughra): This category represents a subtle bounce or resonance in the pronunciation of the letter.

  2. Average Resonance (Al-Qalqala Kubra): In this category, the resonance becomes more pronounced, creating a distinct vibrational effect in the letter’s pronunciation.

  3. Great Resonance (Al-Qalqala Akbar): The highest degree of resonance, Al-Qalqala Akbar, results in a powerful bounce and a pronounced vibrational sound.

 

Understanding the nuances of qalqala is essential for achieving precise and eloquent Arabic pronunciation. It not only enriches the beauty of recitation but also ensures that the listener can discern each letter with clarity, thereby upholding the integrity of the Arabic language’s phonetic richness.

1. The Subtle Resonance: Al-Qalqala Sughra - الْقَلْقَلَةُ الصُّغْرَى

It manifests when one of the resonating letters remains unvoiced within a word, resulting in minimal vibration.

 

Example:  

 

لَقَدْ خَلَقْنَا الْإِنسَانَ فِي أَحْسَنِ تَقْوِيمٍ 

 

 

We have certainly created man in the best of stature; (95:4)

 

 

 

Alternatively, it can occur at the end of a word when followed immediately by the next word.

 

 

  Example:  

 

لَمْ يَلِدْ وَلَمْ يُولَدْ

 

 

He neither begets nor is born (112:3)

2. The Moderate Resonance: Al-Qalqala Kubra - الْقَلْقَلَةُ الْكُبْرَى

Al-Qalqala Kubra: The Notable Resonance at Word Endings

 

Al-Qalqala Kubra is a distinctive phonetic feature in Arabic pronunciation. It comes into play when resonating letters are found unvoiced at the end of a word, typically during a pause or a stop in speech.

 

In this scenario, the resonance of the letter becomes notably more pronounced compared to the subtle resonance of Al-Qalqala Sughra. The degree of vibration experienced in Al-Qalqala Kubra is medium in intensity.

 

This medium level of resonance adds depth and sonority to the Arabic language, making it an essential aspect of proper pronunciation and recitation. It’s important to recognize that Al-Qalqala Kubra occurs during brief pauses or at word endings, and mastering this linguistic subtlety enhances the beauty and clarity of spoken Arabic.

 

 

Example:

 

 

 

قُلْ هُوَ اللَّـهُ أَحَدٌ 

 

 

Say, “He is Allah, [who is] One, (112:01)

3. The Profound Resonance: Al-Qalqala Akbar - الْقَلْقَلَةُ الْاَكْبَر

Al-Qalqala Akbar: The Intensified Resonance at Word Endings

 

Al-Qalqala Akbar represents the pinnacle of resonance in Arabic phonetics. This phenomenon occurs when a resonating letter is positioned at the end of a word, coinciding with a pause or a stop in speech, and is indicated by the presence of a shadda (diacritic doubling mark).

 

In such instances, the letter is articulated with a powerful and heightened resonance, emphasized further by the shadda. This results in a maximum degree of vibration, creating a profound acoustic impact.

 

Mastering Al-Qalqala Akbar is crucial for achieving eloquent Arabic pronunciation and ensuring that the richness of the language is fully expressed. It is a testament to the precision and depth of the Arabic phonetic system, adding both clarity and a distinctive musical quality to spoken Arabic.

 

 

Example:

 

 

تَبَّتْ يَدَا أَبِي لَهَبٍ وَتَبَّ

 

 

 

May the hands of Abu Lahab be ruined, and ruined, is he. (111:1)

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules of the letter Ra ر.

 

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Tajweed Mastery: The Essentials of Prolongation Rules

les règles de la prolongation | regles de tajwid
les règles de la prolongation | regles de tajwid

Tajweed Mastery: The Essentials of Prolongation Rules

In the realm of the Arabic language, the term “madd” is used, which can be translated as “extension” or “prolongation”.

 

Within the framework of Tajweed rules, “madd” refers to the elongation of a sound when pronouncing certain letters.

 

The Arabic script is characterized by:

 

  • Three short vowel marks or ‘harakat’:

    1. Fatha (ـَ)
    2. Damma (ـُ)
    3. Kasra (ـِ)
  • Accompanying these, there are three long vowel indicators, pertaining to the elongation or “madd” of sounds:

    1. The letter alif (ا) when following a consonant that carries the fatha; this can manifest as alif maqsûra (ى) or as a regular alif.
    2. The letter ya (ي) when following a consonant with a kasra; essentially, the letter ي itself.
    3. The letter waw (و) when it comes after a consonant with the damma, which is represented by the و itself.

These long vowel indicators can be observed in various verses of the Quran, exemplifying their significant role in Arabic phonetics and pronunciation.

 

In the Quran, a verse beautifully exemplifies the use of all long vowel indicators:

 

قَالَ الَّذِي عِندَهُ عِلْمٌ مِّنَ الْكِتَابِ

 

 

Said one who had knowledge from the Scripture (27:40)

 

 

Prolongations in Tajweed are systematically organized into two primary categories, further delineated into ten subcategories:

  1. Natural Prolongation (al madd al aslee): This encompasses four distinct subcategories.
  2. Conditional Prolongation (al madd al far’ee): Specifically associated with either a hamza (ء) or a sukoon, it branches out into six subcategories.

 

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1. Fundamental Prolongation: المَدُّ الأَصْلِي

The Fundamental Prolongation, known as al madd al aslee, refers to an intrinsic elongation that arises independently, not influenced by the presence of a hamza (ء) or a sukoon.

 

By nature, it extends organically, distinguishing itself from the Conditional Prolongation – al madd al far’ee. The latter specifically elongates due to the intervention of a hamza (ء) or a sukoon.

 

The duration for this intrinsic elongation is consistently set at two counts, also known as harakatayn

A. Intrinsic Elongation: الْمَدُّ الأَصْلِي

The Intrinsic Elongation, termed as الْمَدُّ الأَصْلِي, is an elementary extension characterized by its unadorned nature and organic lengthening.

 

Distinctly, this elongation involves a long vowel that is not accompanied by either a hamza (ء) or a sukoon, before or after. The duration of this elongation consistently spans two counts, known as harakatayn, without exceeding this limit.

 

The pivotal letters forming the backbone of intrinsic elongation are Alif, Waw, and Ya:

 

ا – ي – و

 

This elongation manifests in three specific scenarios:

 

  1. When a consonant, bearing a short vowel fatha, precedes the Alif (ا).
  2. When a consonant, with the short vowel kasra, precedes the Ya (ي).
  3. When a consonant, carrying a short vowel damma, precedes the Waw (و).

 

صِرَاطَ الَّذِينَ أَنْعَمْتَ عَلَيْهِمْ غَيْرِ الْمَغْضُوبِ عَلَيْهِمْ وَلَا الضَّالِّينَ

 

 

The path of those upon whom You have bestowed favour, not of those who have evoked [Your] anger or of those who are astray. (1:7)

 

 

Observation: In certain versions of the mushaf, you may encounter the prolongation alif topped with a distinct circle. When presented with this notation, the elongation is reduced to a single count, rather than the typical two counts.

 

  Example:  

 

no prolongation in this verse

 

 

Nor will I be a worshipper of what you worship. (109:4)

 

 

Here, the Alif is not elongated.

 

 

there is no prolongation in this verse of sura at teen

 

 

So what yet causes you to deny the Recompense? (95:6)

 

 

 

At times, the circle atop the Alif may not be distinctly visible. In such instances, the elongation is executed for two counts.

B. Substitutive Elongation: المَدُّ الْبَدَلُ

When a hamza (ء) precedes the elongation marker, the duration of the vowel elongation is extended to two counts (harakatayn).

 

 

Examples

 

 

إِلَّا الَّذِينَ ءامَنُوا وَعَمِلُوا الصَّالِحَاتِ فَلَهُمْ أَجْرٌ غَيْرُ مَمْنُونٍ

 

 

So what yet causes you to deny the Recompense? (95:6)

 

 

 

عَلَّمَ الْقُرْآنَ

 

 

Taught the Qur’an, (55:2)

C. Minor Connective Elongation: الْمَدُّ الصِّلة صُغْرَى

Typically, when positioned at the end of a word, the letter Ha (ه) signifies the personal pronoun for the third person singular.

 

When the ه is preceded by a letter with a sukoon, a long vowel mark, or another letter that carries a sukoon, the pronunciation duration of the ه is confined to a single count (haraka)

 

Example:  

 

رَّضِيَ اللَّـهُ عَنْهُمْ وَرَضُوا عَنْهُ ۚ ذَٰلِكَ لِمَنْ خَشِيَ رَبَّهُ

 

 

 

Allah being pleased with them and they with Him. That is for whoever has feared his Lord. (98:8)

 

 

Commonly, when the letter Ha (ه) appears at the end of a word, it stands as the personal pronoun for the third person singular.

 

If the ه is preceded by a letter that has a sukoon, a long vowel mark, or another letter with a sukoon, its pronunciation is limited to a single count (haraka).

 

However, the letter’s elongation spans two counts when it isn’t succeeded by a hamza (ء), with three notable exceptions:

 

 

  1. When it follows a letter of prolongation.
  2. When the preceding letter has a sukoon.
  3. When the Ha (ه) itself carries a sukoon.

 

 

Example:

 

 

 فَأَثَرْنَ بِهِ نَقْعًا

 

 

 

Stirring up thereby [clouds of] dust, (100:4)

 

 

Observations on Madd as-Sila Sughra:

 

In various editions of the mushaf, one may observe a diminutive comma or loop adjacent to the letter ه. The specific annotation—whether a comma or loop—often depends on whether the ه is vocalized with a kasra or damma. This marking indicates the third person singular masculine pronoun, signaling the reader to elongate the pronunciation for two counts (harakatayn).

 

For instance, in Surah Al-Adiyat, verse 4, the ه is elongated with a kasra as seen in هِ:

 

 

 

here the prolongation must be made

 

 

Example sura Al Balad verse 8, prolongation of ه with a damma ُه:

 

 

here we make the prolongation of the letter ha

 

 

 

Have We not made for him two eyes? (90:8)

Exceptions to the Madd as-Sila Sughra Rule:

While general rules govern the elongation of the letter ه, it’s important to note that the Holy Qur’an sometimes presents exceptions to these conventions. The Qur’an, in its linguistic depth and divine wisdom, has its distinct phonetic and structural features, emphasizing the importance of accurate recitation. Such intricacies reinforce the uniqueness of the Qur’an and highlight the significance of studying Tajweed for a correct understanding and pronunciation.

 

 

Examples:  

 

قَالُوا أَرْجِهْ وَأَخَاهُ وَأَرْسِلْ فِي الْمَدَائِنِ حَاشِرِينَ

 

 

 

They said, “Postpone [the matter of] him and his brother and send among the cities gatherers (7:111)

 

 

 

يُضَاعَفْ لَهُ الْعَذَابُ يَوْمَ الْقِيَامَةِ وَيَخْلُدْ فِيهِ مُهَانًا

 

 

 

Multiplied for him is the punishment on the Day of Resurrection, and he will abide therein humiliated – (25:69)

 

 

وَإِن تَشْكُرُوا يَرْضَهُ لَكُمْ

 

 

And if you are grateful, He approves it for you (39:7)

 

 

 كَلَّا لَئِن لَّمْ يَنتَهِ لَنَسْفَعًا بِالنَّاصِيَةِ 

 

 

No! If he does not desist, We will surely drag him by the forelock – (96:15)

 

 

Subtleties in Applying the Madd as-Sila Sughra Rule in the Holy Qur’an:

 

While the Madd as-Sila Sughra rule generally mandates that the pronoun ه should be preceded by a vocalized (mutaharika) letter for elongation, there are instances in the Qur’an where this criterion is not strictly adhered to.

 

The Qur’an, with its profound linguistic layers and divine orchestration, sometimes deviates from conventional Tajweed norms. Such deviations not only emphasize the rich tapestry of the Qur’anic Arabic but also underscore the importance of in-depth Tajweed study to ensure proper recitation. It’s essential to approach the Qur’an with both understanding and respect for these specialized rules and their occasional exceptions.

 

 

Example:

 

 

يُضَاعَفْ لَهُ الْعَذَابُ يَوْمَ الْقِيَامَةِ وَيَخْلُدْ فِيهِ مُهَانًا

 

 

 

Multiplied for him is the punishment on the Day of Resurrection, and he will abide therein humiliated – (25:69)

 

D. Stabilizing Elongation: الَمَدُّ التَّمْكِيْن

Insights on the Stabilizing Elongation: الَمَدُّ التَّمْكِيْن

 

When two identical letters, either yâ (ي) or waw (و), succeed each other, and one of them serves as a letter of prolongation (like a yâ following a kasra or a waw following a damma), a distinctive articulation is required. Specifically, the elongation of the yâ or waw should be maintained for two counts (harakatayn).

 

It’s crucial to ensure this distinct elongation to prevent assimilation (known as al idgham) between the two letters. The emphasis on this separation reinforces the nuanced beauty and precision of Qur’anic recitation, preserving the unique sound and meaning of each word.

 

Examples:

 

 

 وَإِذَا حُيِّيتُم بِتَحِيَّةٍ فَحَيُّوا بِأَحْسَنَ مِنْهَا أَوْ رُدُّوهَا

 

 

 

And when you are greeted with a greeting, greet [in return] with one better than it or [at least] return it [in a like manner] (4:86)

 

 

 

 إِنَّ الَّذِينَ آمَنُوا وَعَمِلُوا الصَّالِحَاتِ

 

 

Indeed, those who believe and do righteous deeds  (2:277)

2. Conditional Elongation: الْمَدُّ الْفَرْعِي

When the elongation is succeeded by the letter hamza (ء), there are three distinct scenarios:

A. Compulsory Conjoined Elongation: الْمَدُّ الْوَاجِبُ المُتَّصِل

In instances within a single word where the elongation precedes the letter hamza (ء), the pronunciation can be extended for either four or five counts.

 

Example:

 

 

 الَّذِينَ هُمْ يُرَاءُونَ 

 

 

Those who make show [of their deeds] (107:6)

 

Insights on the Compulsory Conjoined Elongation:

 

  1. Mandatory Application: It’s vital to note that applying this elongation is not optional; it’s a compulsory aspect of correct recitation.

  2. Consistency in Count: While there’s flexibility in choosing between four or five counts for this elongation, it’s beneficial to remain consistent with your chosen count throughout the recitation. This consistency helps maintain rhythmic harmony and clarity in the recitation.

  3. Mushaf Annotations: In some versions of the mushaf, a distinctive wavy symbol placed above the letter indicates this specific elongation, signaling the reader that a four or five count elongation is required. Familiarizing oneself with these annotations is invaluable for ensuring accurate Qur’anic recitation.

 

Example:

 

Madd al Wajib al Muttasil

 

 

And your Lord has come and the angels, rank upon rank, (89:22)

 

 

 

B. Optional Detached Elongation: الْمَدُّ الْجَائِز الْمُنْفَصِلُ

Insights on the Optional Detached Elongation: الْمَدُّ الْجَائِز الْمُنْفَصِلُ

 

The Optional Detached Elongation occurs when the elongation is situated at the end of one word, and the subsequent word starts with the hamza (ء) letter.

 

  1. Duration of Elongation: In such cases, the reader has the choice to extend the pronunciation for either four or five counts. However, in specific readings or traditions, only a two-count elongation might be prescribed.

  2. Significance: This rule showcases the phonetic intricacy and rhythmic beauty of the Qur’anic recitation. The variation in the elongation counts, depending on the reading tradition, emphasizes the depth and breadth of the Qur’anic oral tradition.

 

Example:

 

 

لَا أَعْبُدُ مَا تَعْبُدُونَ 

 

 

 

I do not worship what you worship. (109:2)

 

 

Insight on Mushaf Annotations for the Optional Detached Elongation:

 

In the realm of Qur’anic recitation, annotations and symbols in the mushaf play an essential role in guiding the reader through the intricate nuances of Tajweed.

 

  • Wave Symbol: Specifically, in several versions of the mushaf, a subtle wavy line positioned above a letter indicates the necessity for elongation. This wavy symbol serves as a visual cue for the reader, signaling that an elongation of either four or five counts is warranted at that specific juncture.

  • Purpose: These annotations, like the wavy symbol for prolongation, ensure that the divine scripture is recited with the precision and respect it deserves. Familiarity with these symbols is instrumental for anyone aiming for an accurate and melodious Qur’anic recitation.

 

Example:

 

prolongation of Sura al Fajr

 

 

 

But when He tries him and restricts his provision, he says, “My Lord has humiliated me.” (89:16)

 

 

C. The Grand Detached Elongation: الْمَدُّ الضِّلَة كُبْرَى

Insights on the Grand Detached Elongation: الْمَدُّ الضِّلَة كُبْرَى

 

This elongation is particularly interesting due to its association with the masculine pronoun هُ in Arabic.

 

  1. Context of Occurrence: The Grand Detached Elongation comes into play when the masculine pronoun هُ is immediately followed by the letter hamza (ء). In such scenarios, the reader is guided to elongate the sound.

  2. Duration of Elongation: The prescribed elongation can span either four or five counts. The choice between these counts gives some flexibility to the reader, but it’s essential to be aware of traditional preferences.

  3. Scholarly Preference: Notably, many eminent scholars and experts in Qur’anic recitation (Ulemas) express a preference for the four-count elongation over the five-count in such cases. Their guidance is grounded in the traditions and established norms of Tajweed, aiming for a recitation that resonates with historical authenticity and melodic precision.

  4. Significance: Such nuances highlight the depth of the Qur’anic recitation tradition. Every sound, every elongation, is carefully considered to convey the intended meaning and beauty of the divine message. Adhering to these details ensures that the scripture is recited with the reverence and accuracy it warrants.

 

Example:

 

 

 يَحْسَبُ أَنَّ مَالَهُ أَخْلَدَهُ

 

 

 

He thinks that his wealth will make him immortal. (104:3)

 

 

 

Annotation Insights for the Grand Detached Elongation: الْمَدُّ الضِّلَة كُبْرَى

 

The Qur’anic mushaf is meticulously annotated with symbols and markings to aid readers in accurate recitation and understanding of Tajweed rules.

 

  • Wave Symbol: In various editions of the mushaf, a wavy line (similar to a tilde) positioned above a miniature waw (و) or beside a small comma near the letter ه serves as a visual guide. This specific annotation points to the occurrence of the Grand Detached Elongation associated with the third person masculine singular pronoun.

  • Purpose of the Mark: This symbol is not merely decorative; it holds significant instructional value. The wave directs the reader to elongate the associated sound for either four or five counts when reciting. Given the scholarly preference for a four-count elongation, this mark serves as a crucial reminder for the reader to adhere to the nuances of Tajweed.

  • Preservation of Tradition: Such annotations in the mushaf are a testament to the profound efforts taken historically to ensure that the Qur’an’s recitation remains consistent and precise. By following these marks, readers can align their recitation with the time-honored traditions and standards set by experts in Qur’anic phonetics.

 

 

  Example:  

 

Madd sila kubra

 

 

He thinks that his wealth will make him immortal. (104:3)

 

D. Three Instances Where Prolongation Precedes a Sukoon

The Temporary Pause Elongation: الْمَدُّ العارِضُ السُّكُون

This form of elongation occurs when a sukoon follows a prolongation, and it’s necessitated by pausing during recitation. The length of the elongation varies, influenced by the pacing of the reader:

 

  1. Dynamic Elongation: The madd (elongation) is adaptive and varies depending on the reading’s tempo.

  2. Count Durations:

    • Brief Recitation: When one is reading quickly, the elongation spans two beats.
    • Moderate Recitation: At a medium pace, the prolongation extends to four beats.
    • Deliberate Recitation: In a slow and contemplative recitation, the reader stretches the elongation to six beats.
  3. Practical Application: These variable lengths cater to different contexts of recitation. For instance, during regular daily recitations, one might opt for a quicker pace, but during a more meditative or ceremonial reading, extending the prolongations can add depth and resonance to the recitation.

  4. Purpose: The flexibility in this rule ensures the Qur’an’s recitation remains fluid and adaptable to various circumstances while still adhering to the guidelines of Tajweed.

 

 

Example:

 

 

بِسْمِ اللَّـهِ الرَّحْمَـٰنِ الرَّحِيمِ

 

 

 

In the name of Allah, the Entirely Merciful, the Especially Merciful. (1:1)

 

The Soft Elongation: الْمَدُّ اللِّين

This type of elongation arises when one pauses on a word where the second-to-last letter is either a waw و or ya ي. This letter carries a sukoon and is directly preceded by a letter with a fatha. The soft nature of these letters allows for a gentle extension in their pronunciation during such instances.

 

 

  1. Variable Length: Much like the previous rule, the duration of this elongation varies according to the reader’s pace.

  2. Count Durations:

    • Brief Recitation: In a swift reading, the elongation is two beats.
    • Moderate Recitation: For a medium-paced reading, it extends to four beats.
    • Deliberate Recitation: When recited slowly and with contemplation, the elongation can stretch up to six beats.
  3. Purpose: This rule emphasizes the softness and flexibility inherent in the Arabic letters waw and ya, especially when they appear in the mentioned configuration. This adaptive elongation enhances the beauty and rhythm of the Qur’anic recitation.

  4. Consideration: It’s essential for readers to be aware of such nuances, as they not only impact the aesthetics of the recitation but also ensure adherence to the intricacies of Tajweed.

 

Example:

 

 

لِإِيلَافِ قُرَيْشٍ

 

 

For the accustomed security of the Quraysh – (106:1)

The Compulsory Extension: الْمَدُّ الَّازِم

This elongation occurs when an obligatory sukoon follows a letter of prolongation within a single word. The significance of this rule lies in its strict and compulsory nature.

 

  1. Duration: It is mandatory to extend this elongation for precisely 6 beats. It’s crucial for readers to strictly adhere to this duration to maintain the integrity of the recitation.

  2. Visualization in the Mushaf: For the ease of reciters and to emphasize the importance of this rule, some editions of the mushaf denote this 6-beat prolongation with a small wave sign above the respective letter. This serves as a visual guide, ensuring that the reader is reminded of the required elongation.

  3. Purpose: The strictness of this rule underscores its significance in preserving the rhythm and melody inherent in the Qur’anic verses. By observing this compulsory extension, readers ensure they convey the intended flow and harmony of the text.

  4. Mastery: As with other tajweed rules, mastering the Compulsory Extension requires dedicated practice and attention to detail. Over time, this elongation becomes an integral part of a reader’s recitation style, enhancing their connection with the Divine text.

 

Examples:  

 

Madd al Lazeem - necassary prolongation

 

 

or of those who are astray. (1:7)

 

 

 

Madd -al lazeem - necessary prolongation sura al baqara

 

 

Alif, Lam, Meem. (2:1)

 

 

Al madd al lazeem is divided into four categories:

3. The Compulsory Extension: الْمَدُّ الَّازِم

A. The Weighted Compulsory Word-Based Extension: الْمَدُّ الَّازِم الكَلِمي المُثَّقَل

In this type of prolongation, the emphasis is within a single word. The term “muthaqqal” in Arabic translates to “weighted” or “heavy.”

 

Specifically, this occurs when the prolonged letter is immediately followed by a letter with a shadda (doubled consonant) within the same word. This shadda signifies the intensity or emphasis of the consonant, adding depth to the pronunciation. This weighted pronunciation adds a unique rhythm and cadence to the word, enhancing the beauty of its recitation.

 

 

Example:

 

    Madd al Lazeem - necassary prolongation

 

 

 

or of those who are astray. (1:7)

 

 

B. The Lightened Compulsory Word-Based Extension: الْمَدُّ الَّازِم الْكَلِمي المُخَّفَف

This type of prolongation is unique in its occurrence and application. In Arabic, “mukhaffaf” translates to “lightened” or “relieved.”

 

When this rule is applied, it means that a letter of prolongation is followed by a sukoon within the same word. What’s particularly intriguing about this rule is its rarity: it can only be found twice in the entirety of the Holy Qur’an. Both instances occur with the word آلْآنَ, which translates to “now.” Both appearances of this unique word and its associated rule can be found in the Sura Yunus. Readers and students of the Qur’an are advised to take note of this exception and pay special attention when encountering it.

 

 

 

أَثُمَّ إِذَا مَا وَقَعَ آمَنتُم بِهِ ۚ آلْآنَ وَقَدْ كُنتُم بِهِ تَسْتَعْجِلُونَ

 

 

Then is it that when it has [actually] occurred, you will believe in it? Now? And you were [once] for it impatient (10:51)

 

 

 

آلْآنَ وَقَدْ عَصَيْتَ قَبْلُ وَكُنتَ مِنَ الْمُفْسِدِينَ

 

 

Now? And you had disobeyed [Him] before and were of the corrupters? (10:91)

 

 

Note:An interesting observation can be made with the word آلْآنَ. While it appears in both Sura Yunus and Sura Yousuf (verse 51), its application differs based on the context. In Sura Yousuf, the term آلْآنَ is utilized in an affirmative statement rather than an interrogative one.

 

Due to this distinction, we do not employ the rule of “madd al lazeem al kalimee al mukhaffaf” in Sura Yousuf’s context. Instead, because the prolongation is immediately preceded by a hamza ء, we apply the rule of “madd al Badal,” which prescribes a prolongation of 2 beats. It’s essential for readers and scholars to be cognizant of these nuanced distinctions in the Qur’anic text to ensure accurate recitation and understanding.

 

 

 

قَالَتِ امْرَأَتُ الْعَزِيزِ الْآنَ حَصْحَصَ الْحَقُّ أَنَا رَاوَدتُّهُ عَن نَّفْسِهِ وَإِنَّهُ لَمِنَ الصَّادِقِينَ

 

 

The wife of al-‘Azeez said, “Now the truth has become evident. It was I who sought to seduce him, and indeed, he is of the truthful. (12:51)

 

 

 

 

C. Obligatory Letter-based Prolongation (Emphasized) - المَدُّ اللَّازِم الحَرْفِي المُثَّقَّل

The emphasized letter-based prolongation focuses on individual letters, and as the term “muthaqqal” suggests in Arabic, it refers to a weighty or emphasized sound. This unique form of prolongation is prominently observed in certain letters that mark the commencement of various Surahs in the Qur’an.

 

To better understand this concept, consider the structure of these letters when they are vocalized and expanded. They encompass three distinct letters, with the central one being a long vowel, followed by a third letter that gets emphasized by merging into the subsequent letter.

 

For this specific form of prolongation to be executed correctly, it should satisfy three prerequisites:

 

  1. The letter in its written form is constituted of three distinct phonemes. For instance, Lam (ل).
  2. Among these, the central phoneme must represent a long vowel. Once again, referring to Lam (ل).
  3. The third phoneme seamlessly merges (idgham) with the following one, exemplified by the sequence Lam Meem.

 

Thus, upon writing the letter as it gets pronounced, one can clearly observe a shadda succeeding the letter of prolongation.

 

Examples:

 

The combination الم, when expanded phonetically, reads as أَلِف لامِّ مِيْم. During recitation, it would sound like: [Here, the recitation is to be provided or continued.]

 

Note: Remember, the application of the correct pronunciation and prolongation is vital to ensure the essence and beauty of the Qur’an’s verses are maintained.

 

 

Madd -al lazeem - necessary prolongation sura al baqara

 

 

 

Alif, Lam, Meem. (2:1)

 

 

 

طسم is pronounced طَا سِين يمِّيم and recitated:

 

 

طسم 

 

 

Ta, Seen, Meem. (26:1)

 

D. Essential Lightweight Articulation - المد اللازم الحرفي المخفف

Madd Al-Mukhaffaf: Understanding the Nuances of Arabic Letter Prolongation

 

In the intricacies of Arabic pronunciation, the phenomenon known as “madd al-mukhaffaf” plays a significant role. This term refers to a particular type of letter prolongation that centers on a single letter within a word. In the Arabic language, “mukhaffaf” translates to “light,” which aptly describes the nature of this elongation.

 

When we delve into the specifics, we find that madd al-mukhaffaf is observed in individual letters, and its pronunciation includes three distinct elements, often with a long vowel sandwiched between unvocalized consonants.

 

The underlying rule governing madd al-mukhaffaf remains consistent with other madd types, with only the third condition differing from the standard rules:

 

  1. Letter Composition: The letter in question must be composed of three distinct letters. For example, the Arabic letter “ق” (Qaf) satisfies this condition.

  2. Middle Letter Long Vowel: The crucial feature of madd al-mukhaffaf is the presence of a long vowel sound positioned in the middle of the word. This long vowel disrupts the flow of otherwise unvocalized consonants. For instance, “ق” (Qaf) would be pronounced as “قُوْ” (Qoo), where the elongated “و” (oo) represents the middle long vowel sound.

  3. No Assimilation with Following Letter: Importantly, the third letter within the composition must not undergo assimilation into the following letter. In the case of “ق” (Qaf), it remains distinct and does not blend with the subsequent letter.

 

To illustrate this concept further, consider the Arabic letter “ن” (Nun). When applying madd al-mukhaffaf, it transforms as follows:

 

  • Standard Pronunciation: “ن” (Nun)
  • Madd Al-Mukhaffaf Pronunciation: “نُوْن” (Noon)

 

Here, we see how the otherwise single letter “ن” (Nun) experiences letter prolongation when adhering to the rules of madd al-mukhaffaf. The transformation from “ن” to “نُوْن” exemplifies the inclusion of a middle long vowel sound and the preservation of distinct phonetic elements within the word.

 

In summary, madd al-mukhaffaf is a fascinating aspect of Arabic phonetics, and understanding its rules can greatly enhance one’s grasp of proper pronunciation in the Arabic language. By recognizing the specific conditions governing this phenomenon, learners and enthusiasts alike can master the art of letter prolongation with precision and accuracy.

 

 

 

ن

 

Nun (68:1)

 

 

 

 

ق is pronounced قَاف:

 

 

ق

 

 

Qaf (50:1)

 

 

 

يس is pronounced يا سين:

 

 

يس

 

 

Ya, seen (36:1)

 

 

E. Distinguishing Madd: Al Madd al Farqee - المد الفرقي

The Significance of Sextuple Prolongation (Madd al-Farqee) in Arabic

 

In the realm of Arabic phonetics, a fascinating phenomenon known as “Madd al-Farqee” takes center stage. This particular type of prolongation occurs not just once, but six times within specific linguistic contexts. Understanding Madd al-Farqee is crucial, as it serves a distinctive purpose in the Arabic language—namely, to differentiate between interrogative forms that utilize the interrogative particles of the affirmative form when coupled with “hamzatu al-khabaree.”

 

This linguistic quirk carries significant importance in Arabic grammar. To grasp its essence, it’s essential to recognize the critical role it plays in distinguishing between two fundamental sentence structures:

 

  1. Interrogative Form: In Arabic, questions often incorporate interrogative particles. Madd al-Farqee, with its sixfold prolongation, comes into play here to indicate that a sentence is, indeed, a question. This extended prolongation marks the sentence as interrogative.

  2. Affirmative Form’s Interrogation Particles with Hamzatu al-Khabaree: In some cases, the Arabic language employs interrogation particles derived from the affirmative form when coupled with “hamzatu al-khabaree.” These particles, in conjunction with Madd al-Farqee, help clarify that a question is being posed, even when using the vocabulary of an affirmative statement.

 

The significance of Madd al-Farqee becomes evident when we consider the subtle nuances of Arabic grammar and the precision required for effective communication. It is a linguistic tool that enhances clarity and ensures that interrogative sentences are unmistakably distinguished from declarative ones, even when using similar vocabulary.

 

In summary, Madd al-Farqee, with its sixfold prolongation, serves as a distinctive feature in Arabic phonetics and grammar. Its role is to help differentiate interrogative forms that employ the vocabulary of affirmative sentences when paired with “hamzatu al-khabaree.” This linguistic subtlety is a testament to the intricacies and precision of the Arabic language, ensuring clear and unambiguous communication in various contexts.

 

 

Examples:

 

 

 

قُلْ آلذَّكَرَيْنِ حَرَّمَ أَمِ الْأُنثَيَيْنِ أَمَّا اشْتَمَلَتْ عَلَيْهِ أَرْحَامُ الْأُنثَيَيْ

 

 

Say, “Is it the two males He has forbidden or the two females or that which the wombs of the two females contain? (6:143)

 

 

 

قُلْ آللَّـهُ أَذِنَ لَكُمْ

 

 

Say, “Has Allah permitted you [to do so] (10:59)

 

 

 

آللَّـهُ خَيْرٌ أَمَّا يُشْرِكُونَ

 

 

Is Allah better or what they associate with Him?” (27:59)

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules of Qalqala.

 

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Guidelines for the Letter Meem As Sakeena

The rules of the letter Meem as Sakeena | tajweed rules
The rules of the letter Meem as Sakeena | tajweed rules

Guidelines for the Letter Meem As Sakeena

The letter “Mim” ) and its variant, “Meem As Sakeena” (مْ), are both considered labial letters, which means they are articulated using the contact of the two lips. In the case of “Meem As Sakeena,” when it carries a sukoon and is followed by another letter, there are three fundamental rules that apply to its pronunciation:

 

 

  1. الإِخْفاء (Al Ikhfa – Concealment): This rule involves concealing or partially obscuring the pronunciation of the Meem As Sakeena when it is followed by certain letters. It results in a subtle and subdued pronunciation of the Meem As Sakeena without completely suppressing it. The specific letters that trigger Ikhfa are typically “ba” (ب), “ta” (ت), “tha” (ث), “jiim” (ج), “dal” (د), “dhal” (ذ), “ra” (ر), “za” (ز), “sin” (س), and “shin” (ش).

  2. الإدْغَام (Al Idgham – Assimilation): In this rule, the Meem As Sakeena is assimilated or merged with the following letter, resulting in a combined sound. The specific letters that trigger Idgham are “ba” (ب), “ta” (ت), “tha” (ث), “jiim” (ج), “dal” (د), “dhal” (ذ), “kha” (خ), “qaf” (ق), and “fa” (ف). The assimilation may vary in degree depending on the pronunciation style.

  3. الإظْهَار (Al Idhar – The Clarification): In Idhar, the Meem As Sakeena is pronounced clearly and distinctly when followed by certain letters. The letters that trigger Idhar are “lam” (ل), “mim” (م), “noon” (ن), “waw” (و), “ya” (ي), “ha” (هـ), and “ayn” (ع).

 

These rules are crucial in Tajweed (the science of Quranic recitation) to ensure accurate pronunciation and maintain the melodious flow of the Quranic verses. Proper application of these rules adds depth and precision to Quranic recitation, preserving the beauty and integrity of the holy text.

1. الإخْفاءُ الشَّفَوِي Al Ikhfa Ashafawee

The Oral Labial Concealment of the Letter Meem As Sakeena

This rule, known as “Al Ikhfa Ashafawee,” derives its name from the fact that it involves the interaction of two labial, or lip-produced, sounds.

 

While some scholars of Tajweed have suggested the possibility of applying “Al Idhar” (the clarification) in this context, it’s essential to note that this view remains a minority opinion.

 

The rule of Al Ikhfa Ashafawee comes into play when the letter “ba” (ب) immediately follows the Meem As Sakeena. In technical terms, this rule calls for the Meem As Sakeena to be pronounced in a manner that falls between “Al Idhar” (the clarification) and “Al Idgham” (assimilation). The key is to execute a full 2-beat nasalization during pronunciation.

 

Conversely, the vocalized letter “ba” (ب) is pronounced clearly without any nasalization or assimilation. In this case, the lips are positioned without exerting pressure on each other.

 

It’s important to acknowledge that there exists a scholarly difference of opinion, referred to as “ikhtilaf,” regarding the precise lip positioning in this context. Two methods are considered acceptable:

 

  1. Pressing the Lips Together: Some scholars advocate for a complete lip closure, where the upper and lower lips touch during pronunciation.

  2. Leaving a Minimal Gap: Others propose a minimal gap between the lips, akin to allowing a thin sheet to pass between them during articulation.

 

Example:

 

تَرْمِيهِم بِحِجَارَةٍ مِّن سِجِّيلٍ

 

Striking them with stones of hard clay, (105:4)

 

 

أَلَمْ يَعْلَم بِأَنَّ اللَّـهَ يَرَىٰ

 

Does he not know that Allah sees? (96:14)

 

2. الإِدْغَامُ الشَّفَوِي - Al Idgham Ashafawee

Labial Assimilation of the Letter Meem As Sakeena

This specific type of Idgham is known as “Al Idgham Al Mutamathilayn” or “Al Idgham Al Mithlayn as Sagheer,” which means the assimilation of two identical letters. This rule applies when the Meem As Sakeena is followed by another “م” (Meem) that carries a harakah, indicating a vowel sound (kasra, fatha, or damma).

 

Technically, in this case, the two Meem letters merge into one, and the resulting pronunciation includes a shadda (a diacritical mark indicating the doubling of a letter) and a full nasalization lasting for 2 beats. To achieve this, pressure is applied to both lips during pronunciation.

 

It’s important to note that while the second Meem carries a shadda in the Quranic script, Arabic words typically do not begin with a shadda. This serves as a visual cue in Quranic writing, indicating that the rule of “Al Idgham Ash-Shafawee” (labial assimilation) should be applied in pronunciation.

 

 

Example:

 

 

 فِي قُلُوبِهِم مَّرَضٌ فَزَادَهُمُ اللَّـهُ مَرَضًا

 

 

In their hearts is a disease, so Allah has increased their disease; (2:10)

 

 

 

 الَّذِي أَطْعَمَهُم مِّن جُوعٍ وَآمَنَهُم مِّنْ خَوْفٍ 

 

 

 

Who has fed them, [saving them] from hunger and made them safe, [saving them] from fear. (106:4)

 

 

 

إِنَّهَا عَلَيْهِم مُّؤْصَدَةٌ

 

 

 

Indeed, Hellfire will be closed down upon them (104:8)

3. الإِظْهارُ الشَّفَوِي - Al Idhar Ash-Shafawee

The Labial Clarification: of the Letter Meem As Sakeena

This rule, known as “Al Idhar Ash-Shafawee,” comes into play when the Meem As Sakeena is followed by any of the other 12 letters in the Arabic alphabet, which are as follows:

 

ا – ت – ث – ج – ح – خ – د – ذ – ر – ز – س – ش – ص ض – ط – ظ – ع – غ – ف – ق – ك – ل – ن – ه – و – ي

 

Technically, when the Meem As Sakeena is followed by any of these 12 letters, it is pronounced normally and distinctly without a 2-beat ghunna. The ghunna, in this case, is reduced or partial, and the following letter is pronounced with clarity.

 

This reduction in the ghunna occurs because the Meem As Sakeena and the remaining 12 letters share the same exit point or “makhradj.” This shared point of articulation allows for a smoother transition between the letters, resulting in a natural ghunna of 1 time.

 

Examples:

 

لَمْ يَلِدْ وَلَمْ يُولَدْ

 

 

 

He neither begets nor is born (112:3)

 

 

وَلَا أَنتُمْ عَابِدُونَ مَا أَعْبُدُ ﴿٥﴾ لَكُمْ دِينُكُمْ وَلِيَ دِينِ 

 

 

 

Nor will you be worshippers of what I worship. For you is your religion, and for me, is my religion.” (109-5 and 6)

 

 

Important Note: The strength of the clarification (Al Idhar) becomes more pronounced when the Meem As Sakeena is followed by the letters “waw” (و) and “fa” (ف). This is because both “waw” and “fa” share the same exit point, which is also the lips, making it easier for the reader to inadvertently conceal the letter “meem.”

 

As a result, when encountering the combination of Meem As Sakeena followed by “waw” (و) or “fa” (ف), special care should be taken to pronounce the Meem As Sakeena more distinctly. This emphasis helps avoid any accidental application of “ikhfa” (concealment).

 

 

Example:

 

تَلْفَحُ وُجُوهَهُمُ النَّارُ وَهُمْ فِيهَا كَالِحُونَ

 

 

 

The Fire will sear their faces, and they therein will have taut smiles. (23:104)

 

 

صِرَاطَ الَّذِينَ أَنْعَمْتَ عَلَيْهِمْ غَيْرِ الْمَغْضُوبِ عَلَيْهِمْ وَلَا الضَّالِّينَ

 

 

 

The path of those upon whom You have bestowed favour, not of those who have evoked [Your] anger or of those who are astray. (1:7)

 

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules of prolongations.

 

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Guidelines for the Meem and Noon with Shadda

the doubled meem and noon letters - tajweed rules
the doubled meem and noon letters - tajweed rules

Guidelines for the Meem and Noon with Shadda

The doubled letters “noon” (النون) and “meem” (المِيم) with a shadda, also known as “النون المشددة” and “المِيم المشددة,” are interesting features in Arabic pronunciation and phonetics. These letters exhibit a unique characteristic where they are originally composed of two similar letters, but one carries a sukoon (a diacritical mark indicating a complete absence of vowel sound), and the other carries a short vowel.

 

In the case of the doubled “meem” (مّ), this letter is essentially two meems merged into one, with the first having a sukoon and the second a short vowel. This assimilation creates what is called a “redoubled letter.” When pronouncing the doubled “meem,” it’s essential to perform a 2-beat ghunna, a specific nasalization of the sound, and to emphasize the letter’s pronunciation. This nasalization should last for a duration of 2 beats to ensure accurate pronunciation.

 

Consequently, the doubled “meem” is sometimes referred to as the “redoubled nasalized letter.”

 

Similarly, the redoubled “noon” (نّ) consists of two noon letters, one with a sukoon and the other with a short vowel. To correctly pronounce the redoubled “noon,” it is mandatory to apply nasalization for a duration of 2 beats and reinforce the letter’s sound. This particular type of nasalization is essential to capture the distinctive quality of these letters. As a result, the doubled “noon” is also called the “redoubled nasalized letter.”

 

Understanding and correctly pronouncing these doubled letters is crucial for achieving precise Arabic pronunciation and recitation, especially in contexts like Quranic recitation, where proper pronunciation is highly valued.

Doubled Noon and Meem Letters in the Holy Quran: Illustrative Instances

In the case of the doubled “meem” (مّ), this letter is essentially two meems merged into one, with the first having a sukoon and the second a short vowel. This assimilation creates what is called a “redoubled letter.” When pronouncing the doubled “meem,” it’s essential to perform a 2-beat ghunna, a specific nasalization of the sound, and to emphasize the letter’s pronunciation. This nasalization should last for a duration of 2 beats to ensure accurate pronunciation.

 

Consequently, the doubled “meem” is sometimes referred to as the “redoubled nasalized letter.”

 

Similarly, the redoubled “noon” (نّ) consists of two noon letters, one with a sukoon and the other with a short vowel. To correctly pronounce the redoubled “noon,” it is mandatory to apply nasalization for a duration of 2 beats and reinforce the letter’s sound. This particular type of nasalization is essential to capture the distinctive quality of these letters. As a result, the doubled “noon” is also called the “redoubled nasalized letter.”

 

Understanding and correctly pronouncing these doubled letters is crucial for achieving precise Arabic pronunciation and recitation, especially in contexts like Quranic recitation, where proper pronunciation is highly valued.

 مَلِكِ النَّاسِ

 

 

The Sovereign of mankind. (1-2)

 

 

 

 فَجَعَلَهُمْ كَعَصْفٍ مَّأْكُولٍ

 

 

And He made them like eaten straw. (105-5)

Conclusion

This Tajweed rules lesson has concluded. Insha’Allah, the next lesson will cover the rules pertaining to the letter Meem As Sakeena.

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Mastering Noon Sakeena and Tanween: A Tajweed Overview

The Noon Sakeena and Tanween | tajweed rules
The Ghunna with the letters Noon and Meen

Mastering Noon Sakeena and Tanween: A Tajweed Overview

The letter noon – نْ when unvoweled is termed “noon as sakeena.” In Arabic, ‘tanween’ refers to the double vocalization at word endings, producing a sound akin to the noon as sakeena.

 

 

ٌ   ً ٍ

 

The symbol for tanween is a duplicated vowel (either two dammas, two fathas, or two kasras). While the noon as sakeena isn’t visible in writing, its presence is articulated when spoken.

 

Examples:

 

أَلِيْمًا is pronounced Aleeman

أَلِيمٍ is pronounced Aleemeen

أَلِيمٌ is pronounced Aleemoon

 

 

 

The unvoweled letter noon and tanween share two points of articulation and adhere to the same Tajweed guidelines:

 

  • For a clear pronunciation of نْ: The tip of the tongue rests against the root of the upper front teeth.
  • For concealed or nasalized pronunciation (ghunna): The tongue remains mid-mouth without touching the gums.

 

There are four specific Tajweed rules for noûn sâkina or tanwîn, contingent on the subsequent letter from the alphabet:

 

  • الإِظهَار (al idhar), the clarification
  •  الإدْغَامُ (al idgham), assimilation
  •   الإِقْلابُ(al iqlab), the substitution
  •   الإِخْفَاءُ (al ikhfa), concealment

1. الإِظْهَارُ الْحَلْقِي - al-Idhar Halqi: Pharyngeal Clarification

In Arabic, ‘al-idhar’ denotes illumination or clarity. This Tajweed rule is invoked when the noon as sakeena or tanween precedes any of the six guttural or throat letters:

 

 

أ – ه – ع – ح – غ – خ

 

 

Technically, the presence of these letters doesn’t alter the pronunciation of the noon as sakeena or tanween.

 

They should be distinctly pronounced before these letters, either within the same word (for noon as-sakeena) or spanning two words (for both noon as sakeena and tanween). Here, the ghunna (nasalization) is only partial.

 

A. Implementing Al-Idhar with Noon As-Sakeena Within a Single Word:

Examples:  

 

وَهُمْ يَنْهَوْنَ عَنْهُ وَيَنْأَوْنَ عَنْهُ ۖ وَإِن يُهْلِكُونَ إِلَّا أَنفُسَهُمْ وَمَا يَشْعُرُونَ

 

 

And they prevent [others] from him and are [themselves] remote from him. And they do not destroy except themselves, but they perceive [it] not. (6:26)

 

 

 

صِرَاطَ الَّذِينَ أَنْعَمْتَ عَلَيْهِمْ غَيْرِ الْمَغْضُوبِ عَلَيْهِمْ وَلَا الضَّالِّينَ

 

 

The path of those upon whom You have bestowed favour, not of those who have evoked [Your] anger or of those who are astray. (1:7)

B. Applying Al-Idhar with Noon As-Sakeena Across Two Words:

Examples:

 

تَنزِيلٌ مِّنْ حَكِيمٍ حَمِيدٍ

 

 

from a [Lord who is] Wise and Praiseworthy. (41:42)

 

 

 

إِنَّ الَّذِينَ آمَنُوا وَالَّذِينَ هَادُوا وَالنَّصَارَىٰ وَالصَّابِئِينَ مَنْ آمَنَ بِاللَّـهِ وَالْيَوْمِ الْآخِرِ وَعَمِلَ صَالِحًا

 

 

Indeed, those who believed and those who were Jews or Christians or Sabeans [before Prophet Muhammad] – those [among them] who believed in Allah and the Last Day and did righteousness  (2:62)

 

 

C. Executing Al-Idhar with Tanween:

Examples:  

 

 

فَبَدَّلَ الَّذِينَ ظَلَمُوا قَوْلًا غَيْرَ الَّذِي قِيلَ لَهُمْ فَأَنزَلْنَا عَلَى الَّذِينَ ظَلَمُوا رِجْزًا مِّنَ السَّمَاءِ بِمَا كَانُوا يَفْسُقُونَ

 

 

And [recall] when We said, “Enter this city and eat from it wherever you will in [ease and] abundance, and enter the gate bowing humbly and say, ‘Relieve us of our burdens.’ We will [then] forgive your sins for you, and We will increase the doers of good [in goodness and reward].” (2:58)

 

 

 

وَاللَّـهُ عَلِيمٌ حَكِيمٌ 

 

 

 And Allah is Knowing and Wise. (4:26)

 

 

D. Al-Idhar in the Quran: Noon As-Sakeena and Tanween with the Letter أ

 

وَهُمْ يَنْهَوْنَ عَنْهُ وَيَنْأَوْنَ عَنْهُ ۖ وَإِن يُهْلِكُونَ إِلَّا أَنفُسَهُمْ وَمَا يَشْعُرُونَ

 

 

And they prevent [others] from him and are [themselves] remote from him. And they do not destroy except themselves, but they perceive [it] not. (6:26)

 

 

 

وَلَمْ يَكُن لَّهُ كُفُوًا أَحَدٌ

 

 

Nor is there to Him any equivalent.” (112:4)

 

 

E. Al-Idhar in the Quran: Articulating Noon As-Sakeena and Tanween with the Letter ح

 

فَصَلِّ لِرَبِّكَ وَانْحَرْ

 

 

So pray to your Lord and sacrifice [to Him alone]. (108:2)

 

 

 

وَاللَّـهُ عَلِيمٌ حَكِيمٌ 

 

 

And Allah is Knowing and Wise. (4:26)

 

 

F. Al-Idhar in the Quran: Expressing Noon As-Sakeena and Tanween with the Letter خ

 

الَّذِي أَطْعَمَهُم مِّن جُوعٍ وَآمَنَهُم مِّنْ خَوْفٍ

 

 

Who has fed them, [saving them] from hunger and made them safe, [saving them] from fear. (106:4)

 

 

 

إِنَّ اللَّـهَ كَانَ عَلِيمًا خَبِيرًا

 

 

 Allah is ever Knowing and Acquainted [with all things]. (4:35)

 

 

 

فَسَيُنْغِضُونَ إِلَيْكَ رُءُوسَهُمْ وَيَقُولُونَ مَتَىٰ هُوَ

 

 

Then they will nod their heads toward you and say, “When is that?” (17:51)

 

 

G. Al-Idhar in the Quran: Emphasizing Noon As-Sakeena and Tanween with the Letter ع

 

صِرَاطَ الَّذِينَ أَنْعَمْتَ عَلَيْهِمْ غَيْرِ الْمَغْضُوبِ عَلَيْهِمْ وَلَا الضَّالِّينَ

 

 

The path of those upon whom You have bestowed favour, not of those who have evoked [Your] anger or of those who are astray. (1:7)

 

 

 

وَلَهُمْ عَذَابٌ عَظِيمٌ

 

 

And for them is a great punishment. (2:7)

 

 

H. Al-Idhar in the Quran: Articulating Noon As-Sakeena and Tanween alongside the Letter هـ

 

وَهُمْ يَنْهَوْنَ عَنْهُ وَيَنْأَوْنَ عَنْهُ ۖ وَإِن يُهْلِكُونَ إِلَّا أَنفُسَهُمْ وَمَا يَشْعُرُونَ

 

 

And they prevent [others] from him and are [themselves] remote from him. And they do not destroy except themselves, but they perceive [it] not. (6:26)

 

 

 

 سَلَامٌ هِيَ حَتَّىٰ مَطْلَعِ الْفَجْرِ

 

 

Peace it is until the emergence of dawn. (97:2)

 

2. الإِدْغَامُ - al-Idgham: Merging and Assimilation

In Arabic, ‘al-idgham’ signifies intertwining or integration. This Tajweed rule comes into play when the noon as sakeena or tanween is followed by one of the six idgham letters:

 

 

ر – ل – م – ن – و – ي

 

 

Technically, al-idgham merges the noon as sakeena or tanween with one of these six vocalized (mutaharika) letters, resulting in a single emphasized letter (mushadada).

 

 

Al-idgham can be categorized into:

 

 

  1. الإدْغَام بغُنَّة: Idgham accompanied by nasalization (ghunna).
  2. الإدْغَام بغَيْرِ غُنَّة: Idgham without nasalization.

A. الإدْغَام بغُنَّة: Idgham with Nasalization (Ghunna)

Known as “naqees,” this type of idgham retains the nasal sound (ghunna) characteristic of noon as-sakeena and tanween during the merger.

 

While these rules are consistent across most readings, there are exceptions. In the Khalaf rendition of Hamza’s reading, the ghunna is omitted during idgham with wâw و and yâ ي. Similarly, yâ ي in the Doury version of Al Kassai’s reading, following Abi Othman Ad Dareer’s method, diverges. However, in other readings like Hafs from ‘Asim and Warsh from Nafi’, there’s unanimous agreement. Allah possesses supreme knowledge.

 

This specific idgham occurs between two words when noon as-sakeena or tanween is succeeded by:

 

م – ن – و – ي

 

In this context, the noon as-sakeena and tanween vanish, but the subsequent letter retains a full nasal sound lasting two counts or harakatayn (equivalent to the pronunciation of two vowels).

Example: Implementing Al-Idgham with Noon As-Sakeena and Tanween Using the Letter ن

وَمَا بِكُم مِّن نِّعْمَةٍ فَمِنَ اللَّـهِ

 

 

And whatever you have of favour – it is from Allah. (16:53)

 

 

 

عَامِلَةٌ نَّاصِبَةٌ

 

 

Working [hard] and exhausted. (88:3)

Example: Applying Al-Idgham with Noon As-Sakeena and Tanween Using the Letter م

 

أَيَحْسَبُونَ أَنَّمَا نُمِدُّهُم بِهِ مِن مَّالٍ وَبَنِينَ

 

 

Do they think that what We extend to them of wealth and children (23:55)

 

 

 

فِي عَمَدٍ مُّمَدَّدَةٍ

 

 

In extended columns. (104:9)

 

Example: Demonstrating Al-Idgham with Noon As-Sakeena and Tanween via the Letter و

وَمَا لَكُم مِّن دُونِ اللَّـهِ مِن وَلِيٍّ وَلَا نَصِيرٍ

 

 

And you have not other than Allah any protector or any helper. (29:22)

 

 

 

تَبَّتْ يَدَا أَبِي لَهَبٍ وَتَبَّ 

 

 

May the hands of Abu Lahab be ruined, and ruined, is he. (111:1)

 

Example: Showcasing Al-Idgham with Noon As-Sakeena and Tanween Using the Letter ي

وَمَن يَعْمَلْ مِنَ الصَّالِحَاتِ وَهُوَ مُؤْمِنٌ فَلَا يَخَافُ ظُلْمًا وَلَا هَضْمًا

 

 

But he who does of righteous deeds while he is a believer will neither fear injustice nor deprivation. (20:112)

 

 

 

 يَوْمَئِذٍ يَصْدُرُ النَّاسُ أَشْتَاتًا لِّيُرَوْا أَعْمَالَهُمْ

 

 

That Day, the people will depart separated [into categories] to be shown [the result of] their deeds. (99:6)

 

 

 

 

Note: This rule is applied across two distinct words: the first word concludes with a noon as-sakeena or tanween, and the subsequent word initiates with an al-idgham letter.

 

However, if within a single word the noon as-sakeena or tanween precedes one of the six idgham letters, the al-idgham rule is bypassed in favor of al-idhar.

Four exceptional words in the Holy Quran are:

The word الدُّنْيَا:

 

 

بَلْ تُؤْثِرُونَ الْحَيَاةَ الدُّنْيَا

 

 

But you prefer the worldly life, (87:16)

 

 

 

The word قِنْوَانٌ:

 

 

وَمِنَ النَّخْلِ مِن طَلْعِهَا قِنْوَانٌ دَانِيَةٌ وَجَنَّاتٍ مِّنْ أَعْنَابٍ

 

 

And from the palm trees – of its emerging fruit are clusters hanging low. And [We produce] gardens of grapevines (6:99)

 

 

 

The word صِنْوَانٌ:

 

 

وَنَخِيلٌ صِنْوَانٌ وَغَيْرُ صِنْوَانٍ يُسْقَىٰ بِمَاءٍ 

 

 

and palm trees, [growing] several from a root or otherwise, watered with one water; (13:4)

 

 

 

The word بُنْيَانٌ:

 

 

إِنَّ اللَّـهَ يُحِبُّ الَّذِينَ يُقَاتِلُونَ فِي سَبِيلِهِ صَفًّا كَأَنَّهُم بُنْيَانٌ مَّرْصُوصٌ

 

 

Indeed, Allah loves those who fight in His cause in a row as though they are a [single] structure joined firmly. (61:4)

B. الإدْغَام بغَيْرِ غُنَّة: Idgham Without Nasalization

Known as “kaameel” (complete), this type of idgham leads to the total disappearance of the noon as-sakeena and its associated characteristic during the merging process, specifically when followed by these two letters:

 

ر – ل

 

Technically, with this idgham rule, the noon as-sakeena or tanween gets omitted. The pronunciation progresses directly to the subsequent letter, bypassing the ghunna. There’s an absence of ghunna, and the letters lâm ل or râ ر are accentuated with a shadda. Essentially, the letter noon ن seamlessly integrates into the following letter.

Example: Demonstrating Al-Idgham Without Ghunna Using Noon As-Sakeena and Tanween with the Letter ر

أُولَـٰئِكَ عَلَىٰ هُدًى مِّن رَّبِّهِمْ

 

 

Those are upon [right] guidance from their Lord, (2:5)

 

 

 

فَهُوَ فِي عِيشَةٍ رَّاضِيَةٍ

 

 

He will be in a pleasant life. (101:7)

 

Example: Demonstrating Al-Idgham Without Ghunna Using Noon As-Sakeena and Tanween with the Letter Lam ل

 

وَلَمْ يَكُن لَّهُ كُفُوًا أَحَدٌ 

 

 

Nor is there to Him any equivalent.” (112:4)

 

 

 

وَدَمٍ لَّبَنًا خَالِصًا سَائِغًا لِّلشَّارِبِينَ 

 

 

And blood – pure milk, palatable to drinkers. (16:66)

3. الإقْلابُ: The Transformation

In traditional tajweed teachings, while many recognize the rule as “iqlab”, the more classically accurate term, as emphasized by tajweed scholars, is “al qalb”.

 

The proximity of the noon as-sakeena or the tanween and the letter ba ب in terms of pronunciation points explains why the transformation occurs exclusively with the letter ba ب.

 

To simplify articulation, noon as-sakeena or tanween is converted into meem م.

 

Technically, al iqlab involves substituting the noon as-sakeena or tanween with a meem م, accompanied by ikhfa, when it precedes the letter ba ب. This results in a complete ghunna lasting two beats. In essence, the noon is replaced by a concealed meem accentuated with ghunna.

 

During pronunciation, the lips should press together for the meem, and then part distinctly (idhar) without any ghunna.

 

In classical Arabic, “al iqlab” refers to the alteration of an entity from its original state or the transformation of its inherent nature.

Example: Demonstrating Al-Iqlab (الإِقْلاب) with Noon As-Sakeena

 

 كَلَّا ۖ لَيُنبَذَنَّ فِي الْحُطَمَةِ 

 

 

No! He will surely be thrown into the Crusher. (104:4)

 

 

 

لَئِن لَّمْ يَنتَهِ لَنَسْفَعًا بِالنَّاصِيَةِ

 

 

No! If he does not desist, We will surely drag him by the forelock – (96:15)

4. الإِخْفَاءُ (Al-Ikhfa): The Art of Concealment

Al-Ikhfa (الإِخْفَاءُ) signifies the intermediate pronunciation of noon as sakeena or tanween, falling between al-idhar and al-idgham. It retains the full ghunna, equivalent to the duration of two vowel sounds (harakatayn).

 

When noon as sakeena or tanween is followed by any of the subsequent 15 letters, after omitting the letters associated with al-idhar, al-idgham, and al-iqlab:

 

ج – ذ – د – ث – ت – ض – ص – ش – س – ز – ك – ق – ف – ظ – ط

 

In practice, the pronunciation of noon as sakeena or tanween under al-ikhfa is nuanced: it doesn’t reach the clarity of al-idhar nor the merging of al-idgham. Instead, it carries a pronounced nasal resonance (ghunna) of two beats’ duration. The subsequent letter from the list of 15 is then articulated with clarity. This rule applies within single words and across word boundaries.

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ت

وَلَا أَنتُمْ عَابِدُونَ مَا أَعْبُدُ

 

 

Nor are you worshippers of what I worship. (109:3)

 

 

 

 وَأَعَدَّ لَهُمْ جَنَّاتٍ تَجْرِي تَحْتَهَا الْأَنْهَارُ خَالِدِينَ فِيهَا أَبَدًا

 

 

and He has prepared for them gardens beneath which rivers flow, wherein they will abide forever. (9:100)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ث

فَأَمَّا مَن ثَقُلَتْ مَوَازِينُهُ 

 

 

Then as for one whose scales are heavy [with good deeds], (101:6)

 

 

 

 تَائِبَاتٍ عَابِدَاتٍ سَائِحَاتٍ ثَيِّبَاتٍ وَأَبْكَارًا

 

 

repentant, worshipping, and travelling – [ones] previously married and virgins. (66:5)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter د

وَقَدْ خَابَ مَن دَسَّاهَا 

 

 

And he has failed who instills it [with corruption]. (91:10)

 

 

 

وَمِنَ النَّخْلِ مِن طَلْعِهَا قِنْوَانٌ دَانِيَةٌ وَجَنَّاتٍ مِّنْ أَعْنَابٍ

 

 

And from the palm trees – of its emerging fruit are clusters hanging low. And [We produce] gardens of grapevines (6:99)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ذ

 مَن ذَا الَّذِي يَشْفَعُ عِندَهُ إِلَّا بِإِذْنِهِ

 

 

Who is it that can intercede with Him except by His permission? (2:255)

 

 

 

سَيَصْلَىٰ نَارًا ذَاتَ لَهَبٍ

 

 

He will [enter to] burn in a Fire of [blazing] flame (111:3)

 

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ج

الَّذِي أَطْعَمَهُم مِّن جُوعٍ وَآمَنَهُم مِّنْ خَوْفٍ

 

 

Who has fed them, [saving them] from hunger and made them safe, [saving them] from fear. (106:4)

 

 

 

فَصَبْرٌ جَمِيلٌ

 

 

so patience is most fitting (12:83)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ز

قَدْ أَفْلَحَ مَن زَكَّاهَا

 

 

He has succeeded who purifies it, (91:9)

 

 

 

يَوْمَ يُنفَخُ فِي الصُّورِ ۚ وَنَحْشُرُ الْمُجْرِمِينَ يَوْمَئِذٍ زُرْقًا

 

 

 

The Day the Horn will be blown. And We will gather the criminals, that Day, blue-eyed. (20:12)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter س

 إِنَّ الْإِنسَانَ لَفِي خُسْرٍ

 

 

Indeed, mankind is in loss, (103:2)

 

 

 

 تَائِبَاتٍ عَابِدَاتٍ سَائِحَاتٍ ثَيِّبَاتٍ وَأَبْكَارًا

 

 

 

repentant, worshipping, and travelling – [ones] previously married and virgins. (66:5)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ش

مِن شَرِّ مَا خَلَقَ

 

 

From the evil of that which He created (113:2)

 

 

 

وَمِنكُم مَّن يُتَوَفَّىٰ وَمِنكُم مَّن يُرَدُّ إِلَىٰ أَرْذَلِ الْعُمُرِ لِكَيْلَا يَعْلَمَ مِن بَعْدِ عِلْمٍ شَيْئًا

 

 

 

And among you is he who is taken in [early] death, and among you is he who is returned to the most decrepit [old] age so that he knows, after [once having] knowledge, nothing. (22:5)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ص

الَّذِينَ هُمْ عَن صَلَاتِهِمْ سَاهُونَ

 

 

[But] who are heedless of their prayer – (107:5)

 

 

 

 وَأَمَّا عَادٌ فَأُهْلِكُوا بِرِيحٍ صَرْصَرٍ عَاتِيَةٍ 

 

And as for ‘Aad, they were destroyed by a screaming, violent wind (69:6)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ض

لَّيْسَ لَهُمْ طَعَامٌ إِلَّا مِن ضَرِيعٍ

 

 

For them there will be no food except from a poisonous, thorny plant (88:6)

 

 

 

وَالَّذِينَ اتَّخَذُوا مَسْجِدًا ضِرَارًا وَكُفْرًا

 

 

And [there are] those [hypocrites] who took for themselves a mosque for causing harm and disbelief  (9:107)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ط

فَأَمَّا مَن طَغَىٰ

 

 

So as for he who transgressed (79:37)

 

 

 

 يَا أَيُّهَا النَّاسُ كُلُوا مِمَّا فِي الْأَرْضِ حَلَالًا طَيِّبًا

 

 

O mankind, eat from whatever is on earth [that is] lawful and good (2:168)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ظ

فَلْيَنظُرِ الْإِنسَانُ مِمَّ خُلِقَ

 

 

So let man observe from what he was created. (86:5)

 

 

 

مَثَلُ مَا يُنفِقُونَ فِي هَـٰذِهِ الْحَيَاةِ الدُّنْيَا كَمَثَلِ رِيحٍ فِيهَا صِرٌّ أَصَابَتْ حَرْثَ قَوْمٍ ظَلَمُوا أَنفُسَهُمْ فَأَهْلَكَتْهُ

 

 

The example of what they spend in this worldly life is like that of a wind containing frost which strikes the harvest of a people who have wronged themselves and destroys it. (3:117)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ف

وَتَكُونُ الْجِبَالُ كَالْعِهْنِ الْمَنفُوشِ 

 

 

And the mountains will be like wool, fluffed up. (101:5)

 

 

 

وَعِلْمًا فَاغْفِرْ لِلَّذِينَ تَابُوا 

 

 

and knowledge, so forgive those who have repented (40:7)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ق

 إِلَّا الَّذِينَ تَابُوا مِن قَبْلِ أَن تَقْدِرُوا عَلَيْهِمْ

 

 

Except for those who return [repenting] before you apprehend them. (5:34)

 

 

 

وَاشْتَرَوْا بِهِ ثَمَنًا قَلِيلً

 

 

and exchanged it for a small price (3:187)

Al-Ikhfa (الإِخْفَاءُ) with Noon as-Sakeena or Tanween followed by the letter ك

أَرَأَيْتَ إِن كَانَ عَلَى الْهُدَىٰ

 

 

Have you seen if he is upon guidance (96:11)

 

 

 

وَمَغْفِرَةٌ وَرِزْقٌ كَرِيمٌ 

 

 

 and forgiveness and noble provision. (8:4)

Notes on Al-Ikhfa:

 

  1. During the execution of al-ikhfa, the tongue shouldn’t touch the roof of the mouth during the ghunna.
  2. This rule strikes a balance between al-idgham and al-idhar, making its implementation slightly intricate.
  3. One challenging aspect is navigating the tongue from the articulation point of the letter noon to the next letter’s point without actually touching.
  4. The distance maintained by the tongue from the articulation point should be optimal – neither too proximate nor too remote.
  5. The ghunna’s pronunciation depends on the subsequent letter’s nature, either being emphatic (tafkhim) or light (tarqiq).
  6. Emphatic ghunna corresponds to following emphatic letters: ظ, ط, ق, ض, and ص.
  7. Light ghunna corresponds to: ف, ج, ذ, د, ث, ت, ش, س, ز, and ك.
  8. Specifically, when noon as-sakeena or tanween precedes either ق or ك, the sound should solely emanate from the nasal passage, distinguishing it from other letters.

Conclusion

This lesson on tajweed rules has concluded. Insha’Allah, our next session will delve into the rules governing the letters Meem and Noon when adorned with a shadda.

 

At the Al-dirassa Institute, we provide an accessible path to mastering Tajweed under the guidance of skilled instructors. Should you wish to pursue this further, we warmly invite you to reach out to us.

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Exploring Ghunna: Delving into the Nuances of Noon and Meem

The Ghunna with the letters Noon and Meen
The Noon Sakeena and Tanween | tajweed rules

Exploring Ghunna: Delving into the Nuances of Noon and Meem Letters

Ghunna, a nasalization feature, is essential for the letters Noon ن and Meem م. This holds true irrespective of their pronunciation state, be it vocalized, with a sukoon, during idhar, idgham, or even following ikhfa tajweed rules. Its sound originates from the nose, known as خَيْشُوم.

1. Nuances and Levels of Ghunna in Arabic Letters

A. In Idgham or Shadda

The most pronounced and elongated form of ghunna is observed in idgham or shadda.

 

Example:

 

 

وَمَا أَنزَلَ اللَّـهُ مِنَ السَّمَاءِ مِن مَّاءٍ فَأَحْيَا بِهِ الْأَرْضَ

 

 

and what Allah has sent down from the heavens of rain (2:164)

 

 

قُلْ أَعُوذُ بِرَبِّ النَّاسِ

 

 

Say, “I seek refuge in the Lord of mankind, (114:1)

 

 

وَمَا مُحَمَّدٌ إِلَّا رَسُولٌ قَدْ خَلَتْ مِن قَبْلِهِ الرُّسُلُ

 

 

Muhammad is not but a messenger. [Other] messengers have passed on before him. (3:144)

 

B. During Ikhfah

Example:

 

إِنَّا أَنزَلْنَاهُ فِي لَيْلَةِ الْقَدْرِ 

 

 

Indeed, We sent the Qur’an down during the Night of Decree. (97:1)

 

C. With a Sukoon

 Examples:  

 

 كَيْفَ تَكْفُرُونَ بِاللَّـهِ وَكُنتُمْ أَمْوَاتًا فَأَحْيَاكُمْ

 

 

How can you disbelieve in Allah when you were lifeless, and He brought you to life; (2:28)

 

 

 

بَلْ تُؤْثِرُونَ الْحَيَاةَ الدُّنْيَا

 

 

But you prefer the worldly life (87:16)

 

 

 

صِرَاطَ الَّذِينَ أَنْعَمْتَ عَلَيْهِمْ غَيْرِ الْمَغْضُوبِ عَلَيْهِمْ وَلَا الضَّالِّينَ

 

 

The path of those upon whom You have bestowed favour, not of those who have evoked [Your] anger or of those who are astray. (1:7)

 

 

 

كُلٌّ آمَنَ بِاللَّـهِ وَمَلَائِكَتِهِ وَكُتُبِهِ وَرُسُلِهِ

 

 

All of them have believed in Allah and His angels and His books and His messengers, (2:285)

 

D. Least Intense Ghunna: The Nasalization of Vocalized Meem and Noon (Mutaharika)

 Example:  

 

وَنَادَىٰ أَصْحَابُ النَّارِ أَصْحَابَ الْجَنَّةِ أَنْ أَفِيضُوا عَلَيْنَا مِنَ الْمَاءِ أَوْ مِمَّا رَزَقَكُمُ اللَّـهُ

 

 

And the companions of the Fire will call to the companions of Paradise, “Pour upon us some water or from whatever Allah has provided you.” (7:50)

 

2. Clarifying the Duration of Ghunna in Noon and Meem with Shadda

A common belief is that the ghunna of noon and meem with shadda lasts for “harakatayn” or the span of two vowels. However, Dr. Aymen Sued, in his chapter on the duration of ghunna, posits that its duration extends beyond this commonly held belief.

 

In terms of technique:

 

  1. Ghunna Naqis (Partial Nasalization): The lips should slightly part, akin to the space needed for a leaf to pass through.

  2. Ghunna Kamil (Complete Nasalization): The lips should meet but without excessive pressure to ensure the subsequent letter is articulated accurately.

 

A note on practice: While many integrate ghunna into their recitation for all letters, it’s essential to ensure the nasal septum is closed during the pronunciation of all letters, exempting meem and noon.

Conclusion

This Tajweed rules lesson has come to a conclusion. Insha’Allah, our next lesson will delve into the intricacies of  Noon Sakeena and Tenween.

 

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Al isti’adha and al basmala | Tajweed rules

Al isti’adha and al basmala tajweed rules
Al isti’adha and al basmala tajweed rules

Understanding Al Isti’adha and Al Basmala: An In-depth Exploration

1. Delving into Al Isti'adha: Its Significance and Usage

Allah instructs us that before we embark on reciting His Sacred Book, we should seek His refuge against the accursed Satan, ensuring that we are under His divine guidance and protection. As expressed in His esteemed Book:

 

 

 

 

 فَإِذَا قَرَأْتَ الْقُرْآنَ فَاسْتَعِذْ بِاللَّـهِ مِنَ الشَّيْطَانِ الرَّجِيمِ

 

 

So when you recite the Qur’an, [first] seek refuge in Allah from Satan, the expelled [from His mercy]. (16-98)

 

 

 

This verse emphasizes the significance of seeking Allah’s refuge when delving into the recitation of the Holy Qur’an. To invoke this protection from the accursed Satan, one uses the following formula:

 

 

أَعُوذُ بِاللَّـهِ مِنَ الشَّيْطَانِ الرَّجِيمِ

 

 

“I seek refuge with Allah against satan the accursed”

 

 

Scholars universally agree upon the importance of this formulation when one initiates the recitation of the Qur’an. Most experts in the field of qiraa deem it as ‘mustahabb’ (recommended). However, a few scholars regard it as obligatory. One can choose to pause after reciting al isti’adha or continue seamlessly into the next part, be it the basmala or another verse from the Holy Qur’an. Both methods are valid and authentic, but it is preferable to connect al isti’adha with the subsequent verse.

 

 

Based on the context, al isti’adha may be recited either audibly or in a subdued tone. Reciting al isti’adha audibly is recommended in two scenarios:

 

  1. When the recitation is intended to be heard by others.
  2. Within a study group, if the reciter is the first to begin reading, they should pronounce it out loud. Subsequent readers in the group can then omit it, as the initial recitation covers them.

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A. Reciting al isti’adha quietly is recommended in the following four scenarios:

Reciting al isti’adha quietly is practiced in the following situations:

 

  1. During prayers, whether recited audibly or silently.
  2. When an individual is quietly reciting the Holy Qur’an in public settings, such as on a train.
  3. In a group reading session, when a person isn’t the first to recite, ensuring the flow of the group’s recitation remains uninterrupted.
  4. During solo recitation of the Holy Qur’an.

 

Additional Pointers:

 

  • If one intends to recite a section from the middle of a sura, it’s appropriate to begin with the al-‘isti’adha.
  • However, it’s advisable not to immediately follow al-‘isti’adha with a verse if doing so might distort the verse’s meaning.

 

For instance: Considering Sura Al-Baqara verse 255 (ayat al-kursiy), it begins with:

 

 اللَّـهُ لَا إِلَـٰهَ إِلَّا هُوَ الْحَيُّ الْقَيُّومُ

 

 

Directly connecting the word الرَّحِيْمِ with the name of Allah اللَّـهُ can lead to a misinterpretation. Therefore, Imam Ash-Shâtibi advised reciting al-basmala following al-‘isti’adha to ensure clarity and proper understanding.

B. Various Methods of Connecting Al 'Isti'adha with the Basmala

Complete Connection

Seamless Integration: Linking al-‘isti’adha, basmala, and the start of a surah without interruption. This approach is considered valid. For instance, using Surah Al Ikhlas verse 1:

 

al isti'adah | full injunction

 

Complete separation

We pause briefly after reciting al isti’adha and then after the basmala, before commencing with the sura. This method is the most prevalent.

 

Example:

al 'isti'adha - complete separation

al 'isti'adha and the basmala Connection

ou seamlessly connect al isti’adha with the basmala, pause momentarily, and then initiate the sura’s recitation.

Example:

 

al 'isti'adha and the basmala  bond  

Pausing after Al 'Isti'adha and Linking the Basmala with the Surah's Opening Verse

We recite Al ‘Isti’adha and pause, then continue by joining the Basmala with the starting verse of the Surah.

 

Example:

 

al isti'adha  

2. Understanding Al-Basmala (البَسْمَلَة): Its Significance and Usage

The Basmala refers to the utterance of:

 

بِسْمِ اللَّـهِ الرَّحْمَـٰنِ الرَّحِيمِ

 

 

In the name of Allah, the Entirely Merciful, the Especially Merciful.

 

 

It is unanimously agreed upon that it constitutes a verse in Surah An-Naml, specifically verse 30:

 

 

إِنَّهُ مِن سُلَيْمَانَ وَإِنَّهُ بِسْمِ اللَّـهِ الرَّحْمَـٰنِ الرَّحِيمِ

 

 

 

Indeed, it is from Solomon, and indeed, it reads: ‘In the name of Allah, the Entirely Merciful, the Especially Merciful, (27:30)

 

The status of the basmala at the start of each sura sparks varied opinions among scholars and Qur’an reciters. The Kufa and Mecca readers, along with Imam Ach-Châfi’i, perceive it as a distinct verse for every sura.

 

In contrast, the reciters from Medina, Basra, and Sham, supported by Imam Malik, see it not as a stand-alone verse but as a separator between suras, serving as a blessing at each sura’s commencement.

 

Imam Hafs recognizes the basmala of each sura as a distinct verse. Several reciters, including Ibn Kathir, Asim, Al-Kasahi, Abu Jafar, Qalun, and Warsh (via the Asbahany route), intone the basmala between two suras, with the exception of the transition between suras Al-Anfal and At-Tawbah.

 

On the other hand, Hamza transitions between two suras without uttering the basmala. Khalaf is known to have practiced this as well, although it’s noted that at times, he made a subtle pause—reading the final verse of one sura and the initial verse of the next without a basmala and without breaking his breath.

 

Other reciters, namely Abu Amru, Ibn Amr, Yaqub, and Warsh (following the Al-Azraq route), demonstrated three approaches:

 

  1. Pronouncing the basmala between suras.
  2. Maintaining silence without the basmala.
  3. Merging two suras without the basmala.

 

Notably, all reciters unanimously agree that there’s no basmala between sura barâa, also known as At-Tawbah, and its preceding sura.

 

Variations in Reading the Basmala Between Two Suras: The Hafs Perspective

Complete Connection

Consecutively Reading the End of One Sura to the Beginning of the Next via the Basmala Without Pause.”

 

Example from Sura Al Falaq (verse 5) to Sura An Nas (verse 1):

the coplete tie of the basmala

Complete separation

Pausing After Both Al Isti’adha and the Basmala Before Commencing the Sura.

 

Example illustrating this common practice:

 

basmala - complete separation

 

Pausing After the Final Verse Before Continuing

Concluding One Sura and Seamlessly Transitioning to the Next with Basmala.

 

Example:

basmala - break on the last verse

The Prohibition of Linking the Final Verse with the Basmala Followed by a Pause

It is not permissible to connect the final verse of a sura with the basmala and then pause before commencing the first verse of the subsequent sura. This is because the basmala signifies the commencement of a sura, not its conclusion.

 

 

Example:

interndiction tie of the basmala

 

Key Points:

 

  • Al-basmala is advised to be recited at the start of every sura with the exception of Sura At-Tawbah.
  • If a reader starts reading from a point within a sura, the decision to recite al-basmala is discretionary.
  • Should a reader choose to pair the reading of al-basmala with a verse mid-sura, it’s crucial to ensure clarity of meaning, similar to the considerations given for al-‘isti`adha.

Closing Remarks

Our lesson on tajweed rules has come to a conclusion. Insha’Allah, our next session will delve into the ghunna of the letters Noon and Meem.

 

At Al-dirassa Institute, we provide a streamlined approach to mastering tajweed rules with the guidance of proficient instructors. If you’re keen on furthering your knowledge, please reach out to us.

 

 

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