Sunday 1 May 2016

Prohibited Ways of Reciting the Qur'aan Word Outline Notes

This word document was based on my original PowerPoint slides. Click here for Powerpoint

Download Word Document Click here



Contents

1.     Introduction
2.     Correct Belief in the Qur’aan
2.1.                      Learning Eemaan before Qur’aan
3.     Beautifying the Voice
3.1.                      Elements involved in Reciting the Qur’aan
3.2.                      Ten Methods of Reciting (Qiraa’aat)
3.3.                      Is Tajweed Obligatory?
3.3.1.  Obligatory Aspects of Tajweed to Preserve the Meaning
3.3.2.  Recommended Aspects of Tajweed
4.     Mistakes in Reciting
4.1.                      Major Mistakes
4.2.                      Minor Mistakes
4.3.                      The Scholars’ statements about going to excesses in reciting the Qur’aan
4.4.                      Going to Excesses – Takalluf
4.5.                      Maqaamaat – Musical Patterns
4.6.                      The 8 Prohibited Ways of Reciting the Qur’aan taken from an Nashr by Ibnul Jazaree
4.7.                      The 14 Most Important Mistakes the one who recites Qur’aan Using Musical Patterns Makes
4.8.                      Types of Reciters in relation to Musical Maqaamaat
4.9.                      Qiraa’ah Tafseeriyyah
5.     Listening to the Qur’aan and Learning Qur’aan
5.1.                      Occasions for Reciting the Qur’aan
5.2.                      Media and their Role in Spreading Recitations
5.3.                      Standard Recitation and Taraaweeh Recitation
5.4.                      The difference between Murattal and Mujawwad Recordings
5.5.                      Listening to the  Recitation of the People of Innovation
5.6.                      What is the Ruling on imitating the voice of a Reciter?
5.7.                      Shaykh Al Albaanee’s Advice regarding Reciters
5.8.                      Learning from a Qualified Qur’aan Teacher
5.9.                      Recommended reciters
5.10.                Names of Famous Reciters and their Nationalities
6.     Practical Innovations (bid’ah) regarding Reciting the Qur’aan
7.     Sources


بسم الله الرحمن الرحيم


1.         Introduction

Reciting the Qur’aan is an act of worship. Any act of worship has to be done according to two conditions: 1. Sincerity of Intention for Allaah (al Ikhlaas) and 2. Following the Sunnah (without innovating). Therefore reciting the Qur’aan should be learned from someone qualified in reciting without inventing new ways or innovating. The Qur’aan was recited from teacher to student throughout the ages right up to our time today. Firstly, the Qur’aan is the uncreated Speech of Allaah that He spoke to the angel Jibreel. Then the angel Jibreel orally passed on what he heard to the Prophet Muhammad صلى الله عليه وسلم  . The Prophet  صلى الله عليه وسلم  orally passed on the Qur’aan to his Companions and also asked certain literate Companions to write it down as it was revealed. So the Qur’aan was passed on orally and in writing. The way that it was recited was also passed on and has chains of narrations that go back to the Prophet صلى الله عليه وسلم  . There were people who tried to innovate ways of reciting like the Sufis but the scholars of the past such as Imaam Ahmad warned against them. They introduced reciting the Qur’aan like a song and musical patterns. Tajweed scholars also criticized these innovations and we have that as a guide to avoid falling into the same mistakes.

2.         Correct Belief Regarding the Qur’aan

The Qur’aan is the Speech of Allaah, uncreated.
It is an attribute of Allaah.
Some Deviant Sects believe that the Qur’aan is created and deny Allaah’s Attribute of Speech.
Imam Ahmad bin Hanbal was tortured due to this issue of the Qur’aan being ‘uncreated’.
Some deviant/ ignorant people say “My recitation of the Qur’aan is created/uncreated” This is very inaccurate and a potentially dangerous statement.

Ibn Abee Daawood mentions in his poem ‘Haa’iyyah

“And do not say that the Quran is created, meaning: its recitation, since the Speech of Allaah, through its recitation, is made clear.”

Ahlus Sunnah Say
 الصوت صوت القاري و الكلام كلام الباري

“The voice is the voice of the reciter and the speech is the Speech of the Originator (Al Baaree is one of the names of Allaah).” 

Meaning: That which is being recited is the Speech of Allaah, as for the recitation and the action (of recitation), then it is the speech of the creation, his voice is created and his pronunciation is created….. Those who recite the Qur’aan differ (from each other), some of them have been given beautiful voices whilst others have not been given that, but as for the Speech of Allah – Majestic and Most High – then of course it is of the highest perfection.
(Shaykh Fawzan’s explanation of the Haa’iyyah Poem by Ibn Abee Daawood)


2.1       Learning Eemaan Before Qur’aan

Jundub ibn 'Abdullaah (radiallaahu 'anhu) said:

"We were with the Prophet - sallallaahu 'alayhi wa sallam - while we were young boys, and we learned Eemaan before we learned the Qur`aan, and then we learned the Qur`aan and it increased us in Eemaan.“

 [Ibn Majah, authenticated by Al-Albaanee; rahimahumullaah]

'Abdullaah Ibn 'Umar (radiallaahu 'anhummaa) said:
"We lived during an instant of time in which one of us would receive Eemaan first before receiving the Qur`aan and, when the verses were revealed, we would learn what they permitted and what they prohibited and what they forbade and what they ordered and what stance one should have towards them. But I have seen many men from whom one is given the Qur`aan before Eemaan and he reads it from the opening of the Book to its closing and he does not know what it orders and what it forbids and what stance one should have towards it. He is like someone who is just throwing out dates [i.e. he does not get any benefit from his recital]."                     [Al Bayhaqee and Al Haakim who authenticated it; rahimahumullaah]

Shaikh Saalih Ibn Fawzaan al-Fawzaan (hafidhahullaah) said

The Prophet (sallallaahu 'alaihi wa sallam) said: Recite the Qur`aan before there comes a people who will straighten its letters just as an arrow is made straight; it [the Qur`aan] will not go beyond their collarbones. They will seek to bring its reward forward, and will not wait for its reward (in the Hereafter). [Saheehah 259]

“This hadeeth tells us that what is intended is not merely recitation of the Qur`aan; rather what is intended is recitation in order to act upon the Qur`aan. So the recitation is a means, and the goal is to act upon the Noble Qur`aan. The reward is therefore for the person who recites the Qur`aan and then acts upon it.”

3.         Beautifying the voice

“Allaah does not listen to anyone as He listens to a Prophet enhancing his voice with Qur’aan and reciting it beautifully.” (Abu Hurayrah, Bukhaaree and Muslim).

“Whoever does not beautify his voice when reciting the Qur’aan is not of us.” (Sa’d bin Abee Waqqaas, Abu Dawood).

Al Baraa’a bin Aazib رضي الله عنه  said that the Prophet  صلى الله عليه وسلم  said, “Beautify the Qur’aan with your voices.” 

‘Aaishaرضي الله عنها  said that the Prophet  صلى الله عليه وسلم  said, “One who is proficient in the Qur'an is associated with the noble, upright, recording angels; and he who falters in it, and finds it difficult for him, will have a double reward”.

In another hadeeth the Prophet صلى الله عليه وسلم   used to recite with madd (lengthening the vowels). Mu’aawiyyah heard the Prophet صلى الله عليه وسلم   reciting whilst on his riding animal the year of the Conquest and he was saying ‘aaa’ meaning that whilst he was reciting he lengthened the long vowel. So they said that it is possible the Prophet صلى الله عليه وسلم  lengthened the vowels (intentionally) or it is possible that it was due to the movement of the camel.

3.1       Elements involved in Reciting the Qur’aan

Arabic language                                                                                  Fixed
Tajweed rules                                                                                      Fixed
10 Qiraa’aat                                                                                         Fixed              
Natural Voice Presentation/intonation  Not fixed *      (Personal inherent unlearned style)

* This last element is where people justify the use of musical patterns (maqaamaat) to beautify the voice which is wrong.

3.2       The 10 Methods of Reciting (al Qiraa’aat):

The Names of the Famous Reciters (al Qurraa’)

1.         Naafi’ (70-169AH) Imaam Maalik used to recite with this Qiraa’ah and it was adopted by the people of Madeenah.
2.         Ibn Katheer (45-120 AH) Imaam Shaafi’ee used to recite this Qiraa’ah and it was adopted by the people of Makkah.
3.         Aboo ‘Amr (68-154 AH)
4.         Ibn ‘Aamir (8-118AH) It was adopted by the people of Syria.
5.         ‘Aasim * (80-127 AH) Imaam Abu Haneefa used to recite this Qiraa’ah and it was 2nd choice for Imaam Ahmad.
6.         Hamzah (80-156AH) His qiraa’ah was criticized by Imaam Ahmad.
7.         Al Kisaa’ee (119-189AH)
8.         Aboo Ja’far (d. 130) He was the teacher of Imaam Naafi’ number 1 above.
9.         Ya’qoob (d. 205AH)
10.       Khalaf (150-229AH)


3.3       Is Tajweed Obligatory?

Is the one who does not read Qur’aan with tajweed sinful?

Shaykh bin Baz, Shaykh al ‘Uthaymeen, Shaykh Fawzaan – tajweed is not obligatory but pronouncing the letters correctly is, according to the rules of the Arabic language which are the makhaarij (and this is part of learning tajweed).
Shaykh al Albaanee – highly recommended learning tajweed.
Shaykh Muqbil – tajweed not obligatory but recommended.
Dr. Ayman Swayd – not obligatory unless studying for an ijaza. However, learning the correct makhaarij is obligatory if it changes the meanings.

Shaykh Fawzaan - Tajweed

“As for tajweed which is: Lengthening (vowels) and merging and what is similar to that from the rules of tajweed, then this is from beautifying and improving the recitation and pronunciation. It is not obligatory. It is only recommended (mustahabb), without exaggerations and without intensifications in the rulings of tajweed….Whoever learns them (the rules of tajweed) and pronounces them, then that is good. And whoever is ignorant of them, then there is no harm upon him with the condition that he recites the Quran without grammatical errors, not making marfoo’ what should be mansoob, or making mansoob what should be marfoo’, or making majroor what should be mansoob, or other than that”. (Sharh Lum’atul I’tiqaad)

Shaykh al Albaanee - Tajweed

“Some of these tajweed rules, as is not hidden from you, are compulsory. Someone who does not follow them and leaves them is sinful. Some rules are from the Sunnah whereby if a person follows them they are rewarded and if he leaves them he is not punished. Some of these rules are an innovation (bid’ah) and opposite to the Sunnah.”
“I believe that the rules of recitation, the tajweed rules are learned from teacher to student orally (talaqqee). Tajweed rules are not taken directly from books like fiqh rulings can be when there is no shaykh well-grounded in the Book and the Sunnah to learn from.” (Silsilah al huda wan noor tape 372-3)

Shaykh al Albaanee’s Advice to the Youth

“We advise the youth to learn tajweed not to boast or be proud but to know how to read the Qur’aan well as it was sent down from Allaah, the Mighty and Majestic through the angel Jibreel to the Prophet  صلى الله عليه وسلم and how Jibreel taught it directly and presented it the Prophet صلى الله عليه وسلم  more than once which is found in the saheeh. Secondly, they should not use their knowledge of tajweed to criticise the scholars whose circumstances did not permit them to learn the recitation like they had learned it with ease. They criticise and mock these scholars for not reciting the Qur’aan well like they can recite but indeed, it may have been due to them that they had the chance to learn tajweed in the first place.”


Shaykh Muqbil - Tajweed

“So going to excesses in tajweed is blameworthy and on the other hand not paying any attention to it is also negligence. A person should go and learn from someone who is skilled in tajweed and benefit from him. As for believing that it is obligatory then no.”
“We should be eager to recite like the Prophet صلى الله عليه وسلم ,  the Companions and the Salaf. There is an enormous difference between a person who mumbles the recitation of the Qur’aan and the one who recites it clearly and beautifully. You are affected by the Qur’aan that is recited beautifully.”

Dr. Ayman Swayd

The makhaarij of the letters is obligatory upon you to pronounce correctly as any mistake in the makhraj of the letter changes the meaning (talaq with a taa instead of Taa).
The Sifaat - characteristics of the letters are divided into 3 categories:
1.         If a characteristic of a letter is changed it changes the letter completely. For example Saad into seen. Therefore this aspect of tajweed is obligatory.
2.         If a student is reading Qur’aan to his shaykh to obtain an ijaazah. Then it is obligatory upon him to recite with tajweed otherwise he will not be awarded his ijaazah as he does not fulfil the conditions of it.
3.         Beautifying and improving the sifaat of the letters comes under two categories:
a.         Reading Qur’aan for oneself: If a student knows the rules well and does not read with the rules then this is ‘ayb’ a deficiency on his part.
b.         If a common person reads without tajweed then he has left what is most complete but he is not sinful (as long as he pronounces the letters from the correct makhraj and the sifaat do not change the letter as in category 1 above).

3.3.1    Obligatory Aspects of Tajweed to preserve the Meanings

1.      Makhaarij and Sifaat: Pronounce letters accurately from their places of origin with their correct characteristics
2.      Shaddah letters (doubled)
3.      Waqf – stop in the right places
4.      Long and short vowels (natural madd)
5.      Correct harakaat
6.      Hamzah al Qata’ and hamzatul wasl

3.3.2    Recommended Aspects of Tajweed to Beautify your Recitation

1.      Rules of Noon and Meem Saakinah (idhgaam, ikhfaa, qalb, idhhaar)
2.      Correctly using fat and thin letters
3.      Mudood (the rest of the rules not including the natural madd which is compulsory)






4          Mistakes in Reciting (Lahn/alhaan)

لحن جلي Lahn Jalee: Major mistake
لحن خفي Lahn Khafee: Minor mistake

4.1       Major Mistakes

When the obligatory aspects mentioned above are not practised it is considered a major mistake.

Examples of major mistakes are:

1.      The incorrect pronunciation of letters leading to a change in meaning
2.      The vowels and I’raab are incorrect
3.      The long vowels are shortened
4.      The short vowels are lengthened
5.      Stopping in the wrong place or starting in the wrong place
6.      The shaddah is not pronounced properly leading to one letter of the Qur’aan being missed out.
7.      The Hamzah qat’ not being pronounced properly thereby changing it to an alif or ayn.
8.      The hamzatul wasl being pronounced when it should not be pronounced thereby adding a letter.

4.2       Minor Mistakes

These mistakes do not change the meaning or take or add anything to the Qur’aan. Only trained teachers will be able to recognize these mistakes. The correction of these mistakes would increase the beauty of the recitation and this is recommended (mustahab). As mentioned previously the correction of minor mistakes are not obligatory unless someone is studying for an ijaazah or wants to beautify their recitation and earn the rewards of doing something mustahab.

Examples of minor mistakes are:

1.      Rules of Noon and Meem Saakinah
2.      Mudood
3.      Fat and thin letters etc.
4.      Perfecting the vowel sounds (itmaam al harakaat)

4.3       The Scholars’ Statements about going to Excesses in Reciting the Qur’aan

Shaykh Muqbil said that,

“Ibnul Qayyim mentioned in his book ‘Ighaathatul Lahfaan’ that some of these reciters would repeat suratul Faatihah for a month, and that spit would fly from their mouths whilst reciting. Why? Because he would recite according to one of the Qiraa’aat. Anyway, this is considered something that takes you away from reflecting upon the meanings of the Qur’aan.
This going to extremes in tajweed is one of the plots of shaytaan. He also mentioned that some reciters would recite and it would look like they were vomiting (due to the excessive effort to pronounce words). Their cheeks would become inflated and their faces go red as if they were vomiting.”
(Shaykh Muqbil Fatwas 2528 & 2691)


4.4     Going to excesses Takalluf التكلف

All the following ways come under the category of 'going to excesses’.
These ways were not practised by the salaf or those that came after them.
These ways were criticised by the scholars of the past and present.
These ways do not come under the science of tajweed.
These ways do not fall under the category of ‘beautifying’ the voice.
Maqaamaat are going to excesses.

4.5       What are Musical Patterns? Maqaamaat

Recitation of the Qur’aan is an act of worship and a Sunnah to be followed. It is not allowed to deviate from the way it was passed on from one generation to another or introduce innovated ways (bid’ah). 

Maqaamaat are set musical patterns which have been applied to the Qur’aan. It was first introduced at the time of the Umayyad Dynasty from the Persians. The scholars throughout the ages have criticized this hateful practice. Allaah’s Speech is far removed from this evil association with music.

This practice is also referred to as alhaan.
These maqaamaat have different names such as: bayaat, hijaaz, rast, seeka, saba, ‘ajm, nahaawand, kurd.  They represent various emotions such as happiness, sadness, longing etc.

Institutes teaching these Maqaamaat

There are even schools and institutes now where the recitation of the Qur’aan is taught in these maqaamaat. Competitions are held to recite according to these musical patterns. Whereby a competitor will be asked to recite one ayah in all these different patterns. Focus is on the musical skills and not on the meaning, fiqh or practice of the sacred Speech of Allaah.
Some people learn music and have a trained music teacher to help them achieve the musical skills needed to recite these maqamaat for Qur’aan which is haram! Others just imitate the recordings of other famous reciters to achieve the same effect.
Some Qur’aan teachers hide the practice by saying they are teaching ‘presentation’ techniques. Raise your voice at this point…lower it at that one…

Imaam Ahmad made the ruling on ‘singing the Qur’aan’ Alhaan (maqaamaat) and said it was a Bid’ah – INNOVATION.

Reciting the Qur’aan musically is an innovation (bid’ah) unless it is a person’s natural voice such as was the case with Abu Moosaa.

Shaykh Fawzaan regarding Maqaamaat:

“Maqaamaat are the practices of the Soofees. They recite that way in their gatherings and their recitations.”
Someone asked a question whether it was permissible to go to neighbouring countries to learn ‘maqaamaat’ (reciting Qur’aan according to set musical patterns).

The Shaykh replied: “It is not allowed. It is not allowed to listen to them because they have taken the Qur’aan as songs.”

Taken from Shaykh Fawzaan’s Explanation of Zaad al Ma’aad Dars (38:30 mins and 1:04:30)





4.6     The 8 Prohibited Ways to Recite which fall under ‘going to excesses – Takalluf’

These ways are criticized by Ibnul Jazaree in his book an Nashr p214. He said that these ways are not part of Tajweed:

قال ابن الجزري
: فَلَيْسَ التَّجْوِيدُ بِتَمْضِيغِ اللِّسَانِ، وَلَا بِتَقْعِيرِ الْفَمِ، وَلَا بِتَعْوِيجِ الْفَكِّ، وَلَا بِتَرْعِيدِ الصَّوْتِ، وَلَا بِتَمْطِيطِ الشَّدِّ، وَلَا بِتَقْطِيعِ الْمَدِّ، وَلَا بِتَطْنِينِ الْغُنَّاتِ، وَلَا بِحَصْرَمَةِ الرَّاءَاتِ

1.         Tamdeegh
2.         Taq’eer al fam
3.         Ta’weej al fak
4.         Tar’eed as Sawt
5.         Tamteet ashadd
6.         Taqtee’ al madd
7.         Tatneen al ghunan
8.         Hasramah al raa’aat

Who was Ibnul Jazaree?

Muhammad bin Muhammad bin Muhammad bin Alee bin Yoosuf al Jazaree ad Dimashqee ash Shaafi’ee. (751-833 AH)
He was a scholar in many fields such as tafseer, hadeeth, fiqh, Usool, tawheed, balaagha, Arabic language and Qiraa’aat and tajweed. He became the Judge of Damascus in 793 AH. He wrote many books on various topics. He became the leading authority on tajweed and the science of Qiraa’aat of his time and up until the present day his works are taught and followed.
Although it seems that he had some of the ways of the Sufis. Allaah Knows best.

Explanation of these Prohibited Ways

Refer to my powerpoint explaining these ways and listen to the audio files demonstrating these mistakes. Download from www.quraanteacherresources.blogspot.com

1.         Tamdeegh التمضيغ
Reciting as if you have a morsel of food in your mouth.

2.         Taq’eer al Fam تقعير الفم
Reciting with extra pressure at the back of the throat as if the sound of the letter ‘ayn underlies the whole recitation.

3.         Ta’weej al fak تعويج الفك
Reciting with imaalah. The bottom chin in constantly lowered throughout the recitation.

4.         Tar’eed الترعيد  
Shaking the voice in an artificial way. Breaking up the speech.


5.         Tamteet التمطيط
Extending and stretching the doubled letters. (Tamteet can affect other areas also: tamteet of letters which adds extra letters, tamteet of short vowels which produce long vowels, tamteet of the shaddah, the ghunnah and of whole words)

6.         Taqtee’ al mad تقطيع المد
Breaking up the long vowel into separate entities and changing from one note to another. Ascending or descending a musical scale. This can produce extra letters and therefore changes the Qur’aan. It is also called tarjee’.
Eg.    يااااا ايها الذين آمنوووووو

7.         Tatneen al ghunan تطنين الغنن
Same method as number 6 above but this time used on the nasalized ghunnah letters. Shaking the voice. This can produce extra letters and therefore changes the Qur’aan.
Eg.       من الجننننة والنننناس

8.         Hasramah الحصرمة
Putting pressure on the letter raa’ to squash its sound. Jerking sound.


4.7       The 14 Most Important Mistakes the one who recites Qur’aan Using Musical Patterns Makes (taken from Dr. Ayman Swayd’s Video)

Long Vowels
1.         ترقيص أو ترعيد المدود  ‘Dancing’ vowels. The vowels are lengthened and are ‘sung’ ascending or descending a scale of musical notes. E.g. يعلمون/ يعلمووووون
2.         Lengthening the mudood more than the fixed limit in the tajweed rules. Eg. نذيرا/ نذييييراااا                 أفواجا /أفوااااجااا  
3.         Shortening the mudood less than the fixed limit in the rules
    E.g.   جعلنا   becomes جعلنَ

Nazalisation Ghunan
4.         Dancing ghunnah (nasalization) ascending or descending a scale of musical notes. Eg. إن/ إنننن
5.         Lengthening the ghunnah more than the fixed limit in the rules.
6.         Shortening the ghunnah less than the fixed limit in the rules.

Short Vowels
7.         Lengthening the short vowels until they become long vowels. This is very serious as it is adding extra letters to the Qur’aan.
For example, يُكَذِّبُ   becomes  يُكَذِّبُو
A category of this is tamteet : إنَّ  becomes إين  . The hamzah kasra ‘i’ turns into a long vowel hamzah kasra yaa sukoon ‘ee’.

8.         Shortening the vowels (ikhtilaas). 
غ
9.         Lengthening two letters with the characteristics of rhikwah and tawasut. Eg. مغضوب/ غ
Softening  - Tawheen
10.       توهين و تميي  Softening certain letters to fit into the musical rhythm you are following. This softening can change one letter into a completely different one and also change the meaning.
    E.g. مقتدر – مقتذر / د - ذ
Saving breath for long passages thereby changing the characteristics of letters
11.       Extra pressure on certain letters which changes the sound. Using one big breath to complete a long passage of the Qur’aan. Eg. يخرج / خ

Changing the origin of ikhfaa
to make the voice louder
12.       Producing a sound originating from the mouth instead of the nose when doing ikhfaa’ for ق / ك  in order to be louder and reach the audience.
من قبل
إن كان

Repeating phrases in different rhythms to delight the audience
13.       Repeating certain phrases or passages many times without a valid reason in order to show off skills of changing from one musical rhythm to another in order to delight the audience.

Excessive Loudness
Tarab (reaching a state of sufi ecstacy)
14.       Going to excesses in musical rhythms by raising the voice to its utmost level above the ability of the reciter. This also leads to a state of ‘ecstasy’ of the Sufis.
This is the blameworthy going to excesses.
Imaam Ahmad said to beautify the voice without going to excesses.

4.8       Types of Reciters in relation to Musical Maqaamaat

1.         A reciter who beautifies his voice according to his natural inherent ability and follows the Tajweed Rules (Sunnah).
2.         A reciter who uses musical maqaamaat but he follows the tajweed rules if there is a conflict (Disliked – makrooh).
3.         A reciter who uses musical maqaamaat without raising the voice and going to excesses with the tune and he gives preference to the tune over the rules of tajweed (prohibited – haram).
4.         A reciter who uses musical maqaamaat and raises his voice, going to excesses with the tune and he gives preference to the tune over the rules of tajweed (prohibited – haram).
Both Reciter and Listener is Sinful

Dr. Ayman Swayd said that the reciters in numbers three and four above are sinful and the one who is pleased when listening to these reciters reciting this way is also sinful.
Imaam Nawawee mentioned this in ‘At Tibyaan’ p111.


4.9       Qiraa’ah Tafseeriyyah

Qiraa’ah tafseeriyyah is another method which is not allowed. The reciter recites the Qur’aan as if he is an actor acting out the meaning of the aayaat. He recites by raising and lowering the intonation for questions and stories trying to convey meanings by his voice. Some call it ‘tasweer al ma’na’.
The salaf did not do this.
Reciting the Qur’aan has turned into an entertainment business and has become one of the plots of shaytaan.

5       Listening to the Qur’aan and Learning the Qur’aan

5.1       Occasions for Reciting the Qur’aan

Prayer
Personal worship outside of prayer
Gatherings
Competitions
Deviant Gatherings – sufi mawlids, innovated celebrations etc.
Media – Radio and TV studio recordings.

5.2       Media and their Role in Spreading Recitations throughout the World

First came radio which made the Qur’anic recitations available to anyone with a radio. Then came cassette tapes, CDs, digital mp3s, internet etc.
This meant that people could imitate reciters from all corners of the globe. However, if the recitation was correct this was good. But if the recitation contained mistakes or forbidden practices then these practices were copied and passed on. Many professional reciters were not students of knowledge and they became ‘superstar reciters paid huge sums of money’. They were followers of sufi practices and clear innovations which can be seen in their photos or their interviews. Some professional reciters would study music and even play an instrument to help them train for Qur’aan recitation! Which is completely haram. Though some Sufis allowed it.



5.3       Standard Recitation and Recitation of the Haram/Imaams in Taraaweeh

Schools in Saudi follow the recitation rules of Hafs ‘an ‘Aasim by way of Tayyibatun Nashr.
This includes the lengthening of a long vowel between two words if the second word begins with a hamzah.
However, in the masaajid the Imaams recite the long vowel as two counts only which shortens the time needed to recite thereby making it easier upon those praying. The name of this recitation is: Shortening the separated madd absolutely
القراءة بقصر المنفصل مطلقا
طريق الحمامي عن الولي عن الفيل عن عمرو عن حفص …
By way of al Hamaami, from al Walee, from al Feel, from Amru, from Hafs.
There are other rules associated to this method of recitation.
Different Methods of recitation should not be mixed together.
Due to this reason, if a student is learning the rules of recitation in  a school then he/she is advised to listen to a reciter who follows the rules of his method of recitation. This is so he/she can follow and imitate the reciter. If he/she listens to the taraweeh reciters for example he/she might start shortening the madd and therefore not be following the rules of his/her method correctly.
As for listening to the taraweeh reciters generally and benefitting from them, then this is something very good and praiseworthy.

Example of Shortening the Madd

{وَمَا أُمِرُوا إِلَّا لِيَعْبُدُوا اللَّهَ مُخْلِصِينَ لَهُ الدِّينَ حُنَفَاءَ وَيُقِيمُوا الصَّلَاةَ وَيُؤْتُوا الزَّكَاةَ ۚ وَذَٰلِكَ دِينُ الْقَيِّمَةِ}
 [البينة : 5]

مآ أُمِرُوا (Taraaweeh = 2 counts; standard = 4/5 counts)
أُمِرُوآ إِلَّا (Taraaweeh = 2 counts; standard = 4/5 counts)

5.4       Difference between Murattal and Mujawwad Recordings

“The murattal style is private, quiet, and unornamented. It is primarily for the average Muslim, who does not recite professionally and publicly. It is instructional and devotional, and its main goal is clarity of text.
The mujawwad style, by contrast, is only for public performance. It is vocally virtuosic, extremely demanding and very taxing. It is improvisatory, and as such the reciter must have absolute command of the maqâmât. It is frequently accompanied by dramatic hand gestures and body movements, the most common of which is for the reciter to raise both of his hands to the sides of his face….. Mujawwad recitation is intensely musical, from a Western standpoint, but this is not to say that members of the Muslim community consider recitation of the Qur'an to be "music", in the conventional Western sense.”                
Definitation taken from Daniel Seriff (non Muslim Music Expert). 2001.

“In the mujawwad style of recitation, the reciter moves through the text bit by bit, repeating phrases freely. They don’t jump forward in the text, but often jump back.  They often insert long pauses. Traditionally, the listening context for that would be, for example, a funeral, or before Friday prayer, or before evening prayer, often between the maghrib (sunset) and the isha’ (evening) prayers, when there’s a gap, between an hour and an hour and a half, suitable for reciting. People gather around the reciter in an attitude of attentive listening, following the text, while being influenced by the melody, including taswir al-ma`na,  picturing of Koranic meaning through the melodic line. Some listeners become highly emotionally, to the point where some might make an analogy to musical tarab, ecstasy. They won’t call it tarab though; but rather prefer a religious term, such as spiritual refreshment (nashwa ruhiyya), or wajd (finding), a concept developed by the Sufis, the mystics of Islam.”
(Quote from Michael Frishkopf non Muslim music expert).

Abdul Basit Abdus Samad

His murattal recordings are correct from the angle of tajweed and performance.
However, his mujawwad recordings have tajweed mistakes due to following musical patterns and his performance goes to excesses.

One example (listen to this comparison from the original powerpoint):

Listen to Surah al Israa ayah 105 murattal by Abdul Basit.

Listen to Surah al Israa ayah 105 mujawwad by Abdul Basit

The Mujawwad audio clip is almost double the length of the murattal one.
The pitch of the mujawwad is much higher.
He inserts long pauses for extra effect.
He recites the word نذيرا  wrongly according to the tajweed rules. Both ya and alif should be the same length of 2 harakaat. He lengthens them beyond this in keeping with the musical pattern he is following which is prohibited to do and going to excesses. (See Ayman Swayd’s point 2 above on lengthening the mudood over their fixed limit – slide 24)

Shaykh Muqbil said:
“The same is for overzealous stretching. Sometimes if you listen to Abdul Basit you do not know whether he is singing or whether it is the Qur’aan. Why? Because he overstretches the sounds (tamteet).” Fatwa 2691

Mishari Rashid al Afasy

Shaykh Ubayd al-Jaabiree was asked (8th Jumadah al-Aakhirah 1428H)
What is the ruling on listening to the remembrances of the morning and evening (recited) in a melodious (entertaining) way, such as the cassette distributed now in the markets of al-Mishari al-Efasi?
The Shaykh responded: Mishari al-Efasi is from those put to trial by the way of the Mutasawwifah (Sufis). For this reason he takes the path of anaasheeds accompanied with acting and the likes of this is not permissible to listen to. Upon you is to (turn to) reciters from the Salafis such as Shaykh Ali al-Hudhayfi.


5.5       Listening to the Recitation of the People of Innovation

Question: Is it permissible to listen to the recitation cassettes of the people of innovation?

Shaykh Muhammad bin Haadee: By Allaah, it is more befitting that that is not done, because sometimes his heart may become attached to him, and it was said to Ibn Seereen, “Can I recite an aayah to you?”, and he said, “No, not even half an aayah”. Why? Because something of amazement with him might fall into his heart, and love of his recitation, and so he loves him from this angle, and thus he becomes a lover of the people of desires and innovations.          Source : Manhaj Q and A with Shaykh Muhammad bin Haadee

Shaykh Fawzan

Question: What's the ruling on seeking knowledge with a shaykh that differs with Ahulus-Sunnah wal Jamaat in tawheed al-Asmaa wa Sifaat? Benefit us and May Allaah benefit you.

Answer: Verily, choosing the teacher who is upright in his aqeedah and knowledge is an affair that is desired. If that is not possible and you found someone who has knowledge in fiqh (for example) or nahu (arabic grammar) and knowledge that is not related to aqeedah, there is no objection if you study with him in the sciences he specializes in. As for the aqeedah, do not study it except with the people who have the correct aqeedah.
*Al-Ajweebatul mufeedah an asilaat manaahijil jadeeda, Dar Manhaj, Cairo, Egypt, 4th Edition p. 184

Shaykh Hasan Al-Bannaa (salafi)

Question: In America we have individuals who teach Tajweedul-Qur'aan (recitation of the Qur'aan) and Al-Lugatul-Arabiyyahy (the Arabic language).  These individuals are not upon this blessed da'wah, Ad-Da'watus-Salafiyyah.  Are we able to sit with these individuals and learn what they are teaching.

Answer: Sitting with these individuals is allowed, if it is a dire need, and a necessity.  Learn from them, At-Tajweed and Arabic, and nothing else.  Sit with them and leave from their sitting after you have learned these two sciences and do not learn Al-Aqeedah (The Creed/Doctrine of Al-Islaam) or Al-Manhajj (The correct way of adhereing to Al-Islaam and implementing As-Sunnah).  Once again as long as it is necessary.  I understand the condition of the Muslims in America.  May Allah make it easy upon you all.








5.6       What is the ruling on Imitating the voice of a reciter?

Shaykh Muqbil:           I advise that you do not imitate them as this could busy you so that you neglect reflecting upon the Qur’aan. Allaah says,

{أَفَلَا يَتَدَبَّرُونَ الْقُرْآنَ أَمْ عَلَىٰ قُلُوبٍ أَقْفَالُهَا}
Then do they not reflect upon the Qur'an, or are there locks upon [their] hearts?
[Muhammad 47:24]
A person could busy himself in imitating the voice of so and so. What is worse than that is that a person may imitate someone who can hold his breath until he finishes an aayah but he cannot do it and he may go to excesses and harm himself. Having said this, it does not reach the limit of being prohibited but I do not advise people to imitate reciters.

5.7       Shaykh Al Albaanee’s Advice regarding Reciters

They should choose those who are closest to the Sunnah and not those who read the Qur’aan according to the rules of music. They raise the tone of their voices at certain aayaat and lower it at others. They lengthen vowels that should not be lengthened and shorten others etc. This is due to them following musical rhythms which is not allowed and the imams of the Sunnah forbade it. Such as Imaam Ahmad and others. He forbade the reading of Qur’aan in a singing voice, stretching the letters, in addition to other techniques that go against the correct recitation.  (Silsilah al Huda wan Noor Tape 373)

5.8       Learning from a Qualified Qur’aan Teacher

Not all Arabs can teach you the correct way of reciting the Qur’aan according to the rules. Only Arabs trained in recitation can teach you properly.
There are 22 different Arab countries and each country has their own dialect which is different to the original pure fusha (classical Arabic of the Qur’aan). Their dialect strongly influences them in their recitation. For example:
Egyptians change ق into ء, ج into geem, ظ into د, ث  into ت/س and so on.
Sudanese change ق into غ etc.
Moroccans change ذ into د etc.
Saudis change ق into ga, ض into ظ etc.

5.9       Recommended Reciters

In terms of Tajweed and no forbidden musicality

Hudhayfee:      ‘Alee bin ‘Abdur Rahmaan al Hudhayfee
Basfar:             ‘Abdullaah Basfar
Swayd:            Ayman Swayd
Husari (murattal recordings not mujawwad)              



5.10     Names of Famous Reciters and their Nationalities (information purposes only)

Egyptian Reciters

Husari
Menshawi
Abdul Baset
Tablawi


Saudi Reciters

Ali Hudthayfee
Abdullaah Basfar
Abdul Muhsin al Qaasim
Ibraheem al Akhdar

Reciters from other countries

Dr. Ayman Swayd (Syria)
Kanakary (Syria)
Khaleefa al Tunaiji (Emirates)


6          Practical Innovations (bid’ah) regarding Reciting the Qur’aan

Taken from a Masters’ Thesis in Arabic by Ahmad bin ‘Abdullaah bin Muhammad Aal ‘Abdul Kareem

Each Innovation is detailed in the book with full references and proofs:

Bid’ah:

1.      Standing for the Qur’aan before reading it
2.      Kissing the Qur’aan
3.      Du’aa before recitation
4.      Moving, swaying and shaking whilst reciting
5.      Placing the hands on one or both ears
6.      Reciting according to set musical patterns (maqaamaat)
7.      Going to excesses and exaggerating in producing the letters
8.      Reciting different Qiraa’aat and mixing them in one session  
9.      Reciting in turns
10.  Always saying ‘SadaqAllaahul ‘Adtheem’ after reciting
11.  Listeners making comments such as ‘Allaahu Akbar’ or ‘laa ilaaha illal Allaah whilst the reciter is reciting out of awe of his skills           
12.  Hiring reciters to read Qur’aan and paying them
Sources:

Books

البدع العملية المتعلقة بالقرآن الكريم  “Practical Innovations Relating to the Qur’aan” 
 by Ahmad bin Abdullaah bin Muhammad Aal ‘Abdul Kareem
البيان لحكم قراءة القرآن الكريم بالألحان
Clarification on the Ruling of reciting Qur’aan according to set Musical Patterns
by Dr. Ayman Swayd.
هدي المجيد في أحكام التجويد هدى العمروسي


Videos

المنهي عنه في التلاوة Video by Dr. Ayman Swayd  
أهم مخالفات قارئ القرآن بالمقامات الموسيقية Video by Dr. Ayman Swayd

Websites Used:

www.alalbany.net
www.alfawzan.af.org.sa
www.muqbel.net/fatwa.php?fatwa_id=2528
www.muqbel.net/fatwa.php?fatwa_id=2691
www.ajurry.com/vb/showthread.php?t=17569








Original PowerPoint and These Word Outline Notes designed by

Umm ‘Abdir Rahmaan Tara Hashim
Qualified Qur’aan and Arabic Teacher, Salafee.
Graduate of the Qur’aan Teacher’s Institute, Riyadh, Saudi Arabia.
1437AH/2015CE