‫أصداء اإللهام التجويد المبسط‬

Echoes of the divine Tajweed Simplified

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Introduction to the History and Compilation of the Quran

Before diving into the study of the recitation according to Hafs, it is

essential to understand the history of the Quran's revelation, compilation,
and the significant figures involved in its preservation and teaching.

Revelation and Compilation of the Quran

1. Revelation:
o The Quran was first revealed to Prophet Muhammad ‫ ﷺ‬on the
27th night of Ramadan. The first verses were from Surah Al-
Alaq, marking the beginning of a 23-year period during which
the Quran was revealed in stages.
2. Preservation during Prophet Muhammad’s ‫ ﷺ‬Lifetime:
o Initially, the Quran was preserved through memorization due
to the strong oral tradition among the Arabs. To ensure
accuracy, Prophet Muhammad ‫ ﷺ‬also instructed certain
companions (Sahabah ‫ )رضي الله عنه‬to write down the verses.
They used various materials such as bones, wood, and cloth to
record the revelations.

Compilation after Prophet Muhammad’s ‫ ﷺ‬passing:

 After the death of Prophet Muhammad ‫ﷺ‬, Hadhrat Abu Bakr ‫رضي‬
‫ الله عنه‬became the first caliph. Following the martyrdom of many
Qur'an memorizers in the battle against Musailamah al-Kazzhab,
Hadhrat Umar ‫ رضي الله عنه‬advised Hadhrat Abu Bakr ‫ رضي الله عنه‬to
compile the Quran into a single format to preserve it. Initially
hesitant, Hadhrat Abu Bakr ‫ رضي الله عنه‬eventually agreed and
appointed Zaid ibn Thabit ‫ رضي الله عنه‬to compile the Quran.
 Zaid ibn Thabit ‫ رضي الله عنه‬compiled the Quran in small booklets.
This compilation remained with Hadhrat Abu Bakr ‫رضي الله عنه‬, then
passed to Hadhrat Umar ‫رضي الله عنه‬, and finally to his daughter,
Hadhrat Hafsah ‫رضي الله عنها‬.

Standardization during Hadhrat Uthmaan ‫’رضي الله عنه‬s Caliphate:

 During Hadhrat Uthmaan ‫’رضي الله عنه‬s caliphate, differences in

Quranic recitations among various regions became apparent,
leading to concerns about potential disunity. Hadhrat Uthmaan ‫رضي‬
‫ الله عنه‬ordered the creation of standardized copies of the Quran. He
consulted Hadhrat Hafsah ‫ رضي الله عنها‬for the compilation, then
formed a committee to prepare several copies, which were sent to
key regions to ensure uniformity in recitation.

1. Inclusion of Dots and Harakaat:

 o Initially, the Quran did not include dots or harakaat (diacritical
marks). As Islam spread, non-Arabic speakers found it
challenging to read the Quran. To address this, Abul Aswad Al-
Doe’li ‫ رضي الله عنه‬was tasked with introducing a system of
dots. This system was later refined by scholars like Nasr ibn
Asim Laithi and Yahya ibn Ya’mar Adwani. Despite some
regional variations, this system helped standardize the
Quran’s reading.

Scribes of the Quran

Several notable companions of the Prophet ‫ ﷺ‬served as scribes of the

Quran, recording its verses during and after the Prophet’s lifetime. Among
the most distinguished scribes were:

 Hadhrat Uthman ‫رضي الله عنه‬

 Hadhrat Ali ‫رضي الله عنه‬
 Hadhrat Zaid ibn Thabit ‫رضي الله عنه‬
 Hadhrat Ubayy ibn Ka’b ‫رضي الله عنه‬
 Hadhrat Abbaan ibn Sa’eed ‫رضي الله عنه‬
 Hadhrat Khalid Sa’eed ibnul Aas ‫رضي الله عنه‬
 Hadhrat Mu’awiyah ibn Abi Sufiyan
 Hadhrat Ala ibn Hadhrami ‫رضي الله عنه‬
 Hadhrat Hanzalah ibn Rabi’ ‫رضي الله عنه‬

Basic Introduction to the Ten Qiraats and Seven Ahruf

What is Qiraat?

 Qiraat refers to the various accepted methods of reciting the

Quran, each associated with a prominent Qari (reciter). There are
ten authentic Qiraats, each with its own set of rules for tajweed
(pronunciation). These Qiraats ensure the Quran's recitation is
preserved accurately across different traditions.

The term "Rawi" refers to someone who preserves and transmits the
Qiraat, or methods of reciting the Quran, from their teacher. This role is
crucial in maintaining the integrity and authenticity of the Quranic
recitations passed down through generations.

In the context of Qiraat, Murattal and Mujawwad refer to different styles

of recitation:
  Murattal: This style involves reciting the Quran in a melodic voice,
often with a slower pace and a focus on clarity, but not necessarily
with the same level of precision for every vowel as in Mujawwad.
 Mujawwad: This style involves a more deliberate and precise
pronunciation of every vowel and consonant, emphasizing
correctness and clarity in the recitation.

Understanding Ahruf

 The Quran was revealed in seven Ahruf (modes), which allowed for
variations in recitation to accommodate different linguistic and
dialectal practices of the Arab tribes. These variations were part of
the Quran's divine flexibility to address the diverse needs of its early
audience.

Conclusion

Understanding the history of the Quran's revelation, compilation, and the

various Qiraats enriches our appreciation of its preservation and the
meticulous efforts of early Muslims. Each step, from the initial revelations
to the final standardization, reflects a commitment to preserving the
Quran’s authenticity and ensuring its accessibility for all Muslims.
 1. Imaam Naafi

Imaam Naafi’ ibn ‘Abdir Rahmaan ibn Abi Nu’aym Al Madani holds a
distinguished place in the history of Islamic scholarship, especially in the
field of Qira’at, or Quranic recitation. Known as the Imaam of Darul Hijrah,
he was renowned for his deep knowledge of the Quran and Hadith, having
studied under around 70 Taabi’een (successors of the Companions of the
Prophet ‫)ﷺ‬.

Key Details about Imaam Naafi’:

 Birth and Death: Imaam Naafi’ was born in 70 Hijri in Madinah and
passed away in 169 Hijri, making him 99 years old at his death. He
was buried in Jannatul Baqee’, the famous cemetery in Madinah.
 Scholarship: He was a student of numerous scholars, including Abu
Ja’far Yazeed ibn Qa’qaa’, Shaybah ibn Nassaah Al-Qadhi, ‘Abdur
Rahmaan ibn Hurmuz Al-A’raj, Muslim ibn Jundub Al-Huzali, and
Yazeed ibn Roomaan. These Taabi’een had received their
knowledge from notable Companions like Abu Hurairah, Ibn ‘Abbaas,
and ‘Abdullaah ibn ‘Ayyaash, who had learned from Ubayy ibn Ka’b
and ultimately from the Prophet Muhammad ‫ﷺ‬.
 Teaching and Influence: Imaam Naafi’ was highly respected for
his expertise in Qira’at and Rasmul Khatt (the script of the Quran).
He spent around 70 years teaching the Quran and became a central
figure in the field after the era of the Taabi’een. His students
included prominent figures like Imaam Maalik, indicating his
significant influence on later generations.
 Recognition: Sa’eed ibn Mansoor reported that Imaam Malik ibn
Anas regarded Naafi’s Qira’at as in accordance with the Sunnah.
Similarly, Abdullaah ibn Ahmad ibn Hanbal mentioned that his father
preferred the Qira’at of Madinah (Imaam Naafi’s Qira’at) and, if
unavailable, preferred the Qira’at of Imaam ‘Aasim.
 Miraculous Incident: There is a notable account that when Imaam
Naafi’ spoke, a sweet fragrance emanated from his mouth. He
attributed this to a dream in which he saw the Prophet ‫ ﷺ‬reciting to
him, which led to the persistent fragrance.
 Students: Two of Imaam Naafi’s most well-known students are
Qaaloon and Warsh, who transmitted his Qira’at, which continues to
be recited in various parts of the Muslim world.

Imaam Naafi’s legacy remains influential in the study and practice of

Quranic recitation, and his contributions to the science of Qira’at are
deeply respected within the Islamic scholarly tradition.
Qaaloon (Abu Musa ‘Eesaa ibn Meena Al-Madani)

Background and Life:

 Name and Title: The name ‘Eesaa ibn Meena is complemented by

the title "Qaaloon," which reflects the exceptional quality and
beauty of his recitation. The title "Qaaloon" means something
beautiful and exemplary in recitation.
 Birth and Death: Qaaloon was born in 120 Hijri and lived until 220
Hijri, reaching the age of 100. His longevity is notable, and it
allowed him to have a significant impact on Quranic recitation.
 Early Life and Adoption: He was the adopted son of Imaam
Naafi’, one of the seven canonical Qaris of the Quran. This
connection with Imaam Naafi’ was crucial in his early education and
training in Quranic recitation.

Notable Attributes:

 Deafness: Despite his profound deafness—being unable to hear

even the sound of thunder—Qaaloon’s recitation of the Quran was
renowned for its clarity and beauty. This remarkable ability
highlights the deep spiritual and intellectual connection he had with
the Quran, transcending physical limitations.
 Position in Madeenah: After Imaam Naafi’, Qaaloon became one
of the leading Qaris in Madeenah Munawwarah. His position was not
just a formal role but a reflection of his expertise and revered status
in the Islamic scholarly community.
 Legacy: Qaaloon's recitation style is part of the Warsh An-Nafi’
Qira’at (one of the ten canonical recitations of the Quran), and he is
highly regarded in the traditions of Quranic recitation.

Death and Burial:

 Place of Death: Qaaloon passed away in Madeenah Munawwarah,

where he had lived most of his life.
 Burial: He is buried in Jannatul Baqee’, a historical cemetery in
Madeenah known for being the final resting place of many early
Islamic figures and companions of the Prophet Muhammad (peace
be upon him).

Warsh (Abu Sa’eed ‘Uthmaan ibn Sa’eed Al-Misri)

Background and Life:

 Name and Title: Warsh, whose real name was ‘Uthmaan ibn
Sa’eed, was given this title due to his fair complexion. The term
"Warsh" conveys the idea of something white or clear, fitting his
reputation for clarity in recitation.
  Birth and Death: Born in 110 Hijri and passing away in 197 Hijri at
the age of 87, Warsh lived a full life dedicated to the study and
teaching of the Quran.
 Education: Warsh travelled from Misr (Egypt) to Madeenah
Munawwarah to study under Imaam Naafi’. This journey reflects his
dedication to mastering the art of Quranic recitation and ensuring
the authenticity of his knowledge.

Notable Contributions:

 Teaching Career: After completing his studies, Warsh returned to

Misr and spent 42 years teaching the Quran. His role as a teacher
was instrumental in spreading the knowledge and proper recitation
of the Quran in Egypt.
 Recitation Style: Warsh’s style is known for its specific
pronunciation and recitation rules, which have been preserved in
the tradition of the Quranic recitation that bears his name. The
Warsh An-Nafi’ Qira’at is one of the widely recognized recitation
styles in the Islamic world.

Legacy:

 Impact in Egypt: Warsh’s influence extended throughout Egypt

and the broader Islamic world. His recitation style remains a
prominent and respected method of Quranic recitation in many
parts of the Muslim world.
 Historical Significance: The journey and dedication of Warsh
exemplify the importance of preserving and transmitting the
Quranic tradition through rigorous study and teaching.

In summary, both Qaaloon and Warsh played crucial roles in the

development and transmission of Quranic recitation. Qaaloon’s life
exemplifies overcoming personal challenges to achieve spiritual
excellence, while Warsh’s journey reflects a commitment to education and
the preservation of Quranic traditions across regions. Their contributions
continue to impact the practice of Quranic recitation to this day.
 2. Ibn Katheer

Early Life and Education Ibn Katheer

Background

Ibn Katheer was born in 45 Hijri (665 CE) in Makkah, a city renowned for
its deep connection with Islamic tradition and scholarship. His full name,
Abdullah ibn Katheer ibn Amr ibn Faizaan Al-Makki At-Taabi’ee, indicates
his lineage and his status within the Islamic scholarly tradition.

Education

Growing up in Makkah, a centre of early Islamic scholarship, Ibn Katheer

was well-placed to receive a robust education in the Qur'an and related
sciences. He studied under several notable scholars:

 Abdullaah ibn Saaib Al-Makhzoomi: A respected scholar known

for his knowledge of Qur'anic recitation.
 Mujaahid ibn Jubair: An influential figure in Qur'anic exegesis
(Tafsir), who was a direct student of Ibn Abbas.
 Dirbaas Mawlaa Ibn Abbaas: Another key scholar with
connections to the family of Ibn Abbas, offering insights into the
transmission of Qur'anic teachings.

These teachers were themselves students of key figures like Ibn Abbas, a
cousin of the Prophet Muhammad ‫ ﷺ‬and a major transmitter of Qur'anic
knowledge. This connection emphasizes the authenticity and depth of Ibn
Katheer’s learning.

Qira'at and Transmission

Qira'at

Ibn Katheer’s recitation of the Qur'an, known as Qira'at Ibn Katheer, is one
of the seven canonical Qira’at. These seven recitations are widely
accepted and practiced in the Islamic world, each with its own unique
style and rules of pronunciation. Ibn Katheer’s method is distinguished by
its adherence to the principles laid out by the Prophet Muhammad ‫ ﷺ‬and
his companions.

Transmission

The authenticity of Ibn Katheer's Qira'at is established through two

primary chains of narrators (Isnaad) that trace back to the Prophet
Muhammad ‫ﷺ‬. These chains validate the transmission and preservation
of his recitation method, ensuring that it remains a reliable source for
Qur'anic reading and memorization.

Legacy

Influence on Jurisprudence

Ibn Katheer’s influence extends beyond Qur'anic recitation. His student,

Imaam Al-Shafi’ee, is a monumental figure in Islamic jurisprudence,
having established one of the four main schools of Islamic law (madhabs).
Al-Shafi’ee’s education under Ibn Katheer highlights the latter’s profound
impact on Islamic scholarship.

Continued Relevance

Ibn Katheer’s contributions to Qur'anic recitation are still vital in Islamic

education. His method is practiced by many Muslims around the world,
and his name is often mentioned in discussions of the canonical Qira’at.
His work ensures the preservation and continued study of Qur'anic
recitation methods, which are essential for maintaining the integrity and
clarity of the Qur'an.

Conclusion

Ibn Katheer’s role in the history of Qur'anic recitation is pivotal. His

education under prominent scholars, his transmission of a canonical
Qira'at, and his influence on figures like Imaam Al-Shafi’ee underscore his
significance. His legacy is a testament to his dedication to preserving the
Qur'an and his impact on Islamic scholarship, ensuring that his
contributions continue to benefit the Muslim community.
3. Abul Hasan Ahmad ibn Muhammad Al-Bazzi (Bazzi)

1. Role and Influence:

 Position: Bazzi was a prominent figure in the religious life of

Makkah. As the Muezzin and Imaam of the Haram, his role was
crucial in leading prayers and calling the faithful to prayer.
 Qari of Makkah: After the renowned Ibn Katheer, Bazzi became
the leading Qari (reciter) of Makkah, further establishing the
transmission and teaching of the Qira’at.

2. Education and Transmission:

 Primary Teachers: Bazzi studied under Ikrimah ibn Sulaymaaan

Al-Makki, who was a well-respected scholar in his own right.
 Chain of Narration: His Qira’at is connected to Ibn Katheer
through two narrators, which highlights his adherence to the
authentic tradition of Quranic recitation.
 Students: Bazzi’s influence continued through his students,
ensuring the preservation and transmission of the Qira’at of Ibn
Katheer.

3. Historical Context:

 Era: Bazzi lived during the early Abbasid period when Makkah was a
central hub for Islamic scholarship.
 Contribution: His efforts contributed to the standardized
transmission of Quranic recitation, maintaining the integrity of the
Qira’at tradition.

Abu Amr Muhammad ibn Abdir Rahmaan (Qunbul)

1. Role and Influence:

 Position: Qunbul succeeded Bazzi as the Qari of Hijaaz. His long

tenure and position signified his prominence and authority in the
field of Quranic recitation.
 Title Meaning: The name “Qunbul” signifies something hard and
strong, reflecting his firm and authoritative standing in the field.

2. Education and Transmission:

 Primary Teachers: Qunbul learned from Abul Hasan Ahmad ibn

Muhammad Qawwaas, who had a lineage of scholars connecting
back to Ibn Katheer.
  Chain of Narration: His Qira’at is connected to Ibn Katheer
through four narrators, showcasing a more extended chain of
transmission compared to Bazzi.
 Students and Legacy: Qunbul’s teachings continued to influence
later generations, contributing to the development of Qira’at
traditions in Hijaaz.

3. Historical Context:

 Era: Qunbul lived during the late Abbasid period and the early years
of the Islamic Golden Age, a time of great intellectual and religious
development.
 Contributions: His long life and significant age (96 years) indicate
his deep knowledge and substantial impact on Quranic recitation.

Comparison and Significance:

1. Link to Ibn Katheer:

 Bazzi: His Qira’at is connected through two narrators, making it a

more direct, though slightly shorter, chain of transmission.
 Qunbul: His Qira’at has a more extended chain of four narrators,
which can offer a broader perspective on the transmission and
interpretation of Ibn Katheer’s recitation.

2. Regional Impact:

 Bazzi: Focused primarily on Makkah, which was a central location

for Islamic learning.
 Qunbul: Had a wider impact on the Hijaaz region, influencing the
recitation practices in a broader area.

Both scholars played pivotal roles in the preservation and transmission of

Quranic recitation, ensuring that the recitations followed the traditions of
Ibn Katheer and maintaining the scholarly heritage of their time.
 4. Abu Amr

Abu Amr's Background:

 Name: Abu Amr Zubbaan ibn Alah ibn Abdillaah Al-Basri

 Title: Al-Basri, indicating his association with Basrah, a city
renowned for its scholarly contributions to Islam.
 Lifespan: Specific dates of birth and death are not well-
documented, but he lived during the 7th and 8th centuries CE.

Education:

 Abu Amr studied under several influential scholars of his time. His
education in Qur'anic recitation was comprehensive, covering
various aspects of the science.
 Teachers:
o Abu Ja’far Yazeed ibn Qa’qaa: Known for his deep
understanding of Qur'anic recitation.
o Hasan al-Basri: A prominent scholar and a well-respected
figure in early Islamic scholarship.
o Shaybah ibn Nassaah: Another significant teacher with
expertise in Qur'anic studies.
o Ikrimah ibn Khaalid: A renowned scholar of his time.
o Sa’eed ibn Jubair: A notable student of Ibn Abbas, known for
his knowledge of the Qur'an and Hadith.

These scholars, in turn, had learned from earlier generations, linking Abu
Amr’s knowledge to the early companions of the Prophet Muhammad ‫ﷺ‬.

Qira'at of Abu Amr

Recitation Style:

 Abu Amr’s recitation is part of the Basri Qira'at, one of the seven
canonical recitations of the Qur'an. His style is distinguished by its
adherence to specific rules of pronunciation and articulation.
 Characteristics:
o His recitation maintains a balance between the clarity of
pronunciation and the fluidity of the recitation.
o It emphasizes proper articulation of Arabic letters and adheres
closely to the grammatical rules of Classical Arabic.
Transmission Chain:

 Abu Amr’s recitation is linked to the Prophet Muhammad ‫ ﷺ‬through

a rigorous chain of narrators:
o He learned from his teachers, who in turn learned from Abul
Aaliah.
o Abul Aaliah had studied under Umar ibn Khattaab and Ubayy
ibn Ka’b, both of whom were direct companions of the Prophet
‫ﷺ‬.
o This chain highlights the authenticity and reliability of Abu
Amr’s recitation.

Linguistic Expertise

Nahw (Grammar):

 Abu Amr was an expert in Nahw, the grammar of Classical Arabic,

which is essential for understanding the structure and syntax of the
language.
 His contributions helped in the preservation and interpretation of
the Qur'an, ensuring that the language's rules were applied
correctly in recitation.

Syntax and Lughah:

 Syntax: His knowledge of syntax (the arrangement of words and

phrases) ensured that recitations adhered to grammatical
correctness.
 Lughah: His understanding of the Arabic lexicon (vocabulary)
enriched his recitation, making it precise and meaningful.

Students and Legacy

Major Students:

 Doori: One of Abu Amr’s primary transmitters. His work was crucial
in preserving and disseminating Abu Amr’s recitation style.
 Soosi: Another significant transmitter. His role, alongside Door,
ensured that Abu Amr’s recitation was passed down accurately
through generations.

Impact:

 Abu Amr’s recitation has been preserved and practiced by his

students and continues to be one of the recognized styles in
Qur'anic recitation today.
 His contributions to both Qur'anic recitation and Classical Arabic
have left a lasting legacy in Islamic scholarship.
Conclusion

Abu Amr Zubbaan ibn Alah ibn Abdillaah Al-Basri's contributions to

Qur'anic recitation and Arabic grammar are profound. His meticulous
approach to both fields ensured that his recitation style and grammatical
insights were preserved and passed on accurately. Through his students
and their students, the impact of his scholarship continues to be felt in the
study and practice of the Qur'an and Arabic linguistics.

Abu Amr Hafs ibn Umar ibn Abdil Aziz ibn Sahbaan Al Azdi
An-Nahwi (Doori)

 Birth and Early Life: Doori was born around 150 Hijri in a region
known for its scholarly tradition. His full name reflects his lineage
and tribal affiliation, linking him to the Azd tribe, which had a
historical role in early Islamic scholarship.
 Blindness and Scholarship: Despite his blindness, Doori became
a prominent scholar. His condition did not hinder his pursuit of
knowledge, and he was known for his exceptional memory and
recitation skills.
 Teacher and Transmission: Doori studied under Yahyaa Al-
Yazeedi, who was a student of Abu Amr Al-Basri. This direct
connection to Abu Amr Al-Basri, a key figure in Quranic recitation,
ensured that Doori transmitted a highly authentic and reliable
version of the Quranic recitation.
 Contributions: Doori is noted for being the first to compile a book
on the various modes of Quranic recitation (Qira’at). His work was
instrumental in preserving the different ways the Quran was recited
and transmitted, which is crucial for understanding the diverse
traditions within Quranic exegesis.
 Death: Doori passed away in Makkah around 246 or 250 Hijri. His
legacy lived on through his students and his compilation of Qira’at,
which influenced future generations of scholars.

Abu Shuaib Salah ibn Ziyaad ibn Abdillaah ibn Ismaa’eel

as-Soosi (Soosi)

 Birth and Early Life: Soosi was born around 171 Hijri. His family
name, as-Soosi, indicates his association with the region of Soss (a
city in modern-day Tunisia), which was known for its scholarly
activity.
 Teacher and Transmission: Like Doori, Soosi studied under
Yahyaa Al-Yazeedi. Their shared teacher, Abu Amr Al-Basri, was a
pivotal figure in the transmission of the Quranic recitation traditions.
This close connection ensured that Soosi’s recitation was also
rooted in the authentic practices of Abu Amr Al-Basri.
  Contributions: Soosi is known for his role in transmitting the
Qira’at of Abu Amr Al-Basri. His contributions include teaching and
spreading this recitation style, which became one of the recognized
methods in the Quranic tradition.
 Death: Soosi passed away in 261 Hijri at the age of about 90. His
death marked the end of a significant era in the transmission of
Quranic recitation.

Both Doori and Soosi played critical roles in preserving and transmitting
the Quranic recitation tradition. Their efforts contributed significantly to
the rich diversity of recitations that are studied and practiced today

5. imam Ibn Aamir

 Full Name: Abdullaah ibn Aamir ibn Yazeed ibn Rabee’ah Al-
Yahsabi
 Popular Name: Ibn Aamir
 Birth: 8 Hijri (approximately 629 CE)
 Death: 118 Hijri (approximately 736 CE)
 Place of Death: Damascus, Syria

Contributions and Significance

1. Role in Damascus:
o Imaam of the Jami’ Masjid: Ibn Aamir served as the Imaam
(prayer leader) of the main mosque in Damascus, which was a
significant position given the city’s prominence in the early
Islamic world.
o Qaadhi (Judge): He was also appointed as a judge for the
masjid, highlighting his role in not only leading prayers but
also in administering justice based on Islamic principles.
o Qaari (Reciter): As the Qaari of Damascus, Ibn Aamir was
renowned for his expertise in the recitation of the Qur’an,
which was a highly respected position, emphasizing his
mastery in Qur'anic recitation.
2. Qur’anic Recitation:
o Connection to Prophet Muhammad ‫ﷺ‬: Ibn Amir’s
recitation is notable for its direct chain of transmission back to
Prophet Muhammad ‫ﷺ‬. He learned the Qur'an from Uthmaan
ibn Affaan, who was a companion of the Prophet ‫ ﷺ‬and one of
the early codifiers of the Qur'an. This makes Ibn Amir’s
recitation a direct link to the Prophet ‫ﷺ‬, albeit through a
single intermediary.
o Qira’at (Recitation Style): His recitation style is one of the
ten recognized Qira’at of the Qur’an, which are various modes
of recitation that reflect the linguistic and phonetic diversity of
the early Islamic period.
3. Students and Legacy:
 o Famous Students: Among his students, two notable figures
emerged:
 Hishaam: Known for his contributions in preserving and
transmitting Ibn Amir’s recitation style.
 Ibn Zakwaan: Another prominent student who played a
key role in maintaining and disseminating Ibn Amir’s
method of Qur’anic recitation.
o Impact on Islamic Scholarship: The Qira’at of Ibn Aamir, as
preserved through his students, continues to be a significant
part of Qur'anic recitation traditions.
4. Historical Context:
o Time Period: Ibn Aamir lived during the Umayyad Caliphate,
a period marked by significant development in Islamic
jurisprudence, theology, and recitation of the Qur'an. His work
reflects the rich scholarly environment of Damascus during
this era.
5. Longevity:
o Age at Death: Ibn Aamir lived to be around 110 years old,
which was a remarkable age for that time. His long life
allowed him to contribute extensively to Islamic scholarship
and to train many students.

Conclusion

Ibn Aamir was a highly respected scholar in the early Islamic period,
particularly known for his role in the Qur’anic recitation and judicial duties
in Damascus. His connection to the Prophet Muhammad ‫ ﷺ‬through
Uthmaan ibn Affaan underscores the authenticity and esteemed status of
his recitation style. His contributions have had a lasting impact on Islamic
scholarship, especially through his students who continued to spread and
preserve his legacy.

Hishaam ibn Ammaar ibn Sulami Ad-Dimashqi

Background and Early Life:

 Full Name: Hishaam ibn Ammaar ibn Sulami Ad-Dimashqi

 Birth: 153 Hijri (769 CE)
 Death: Around 245 Hijri (859 CE) in Damascus

Education and Training:

 Primary Teacher: Yahyaa ibn Harith Az-Zimmaari, who was a

prominent Quranic scholar of his time.
 Teacher’s Teacher: Yahyaa ibn Harith AZ-Zimmaari learned from
Ibn Aamir Ash-Shami, linking Hishaam’s recitation directly to Ibn
Aamir Ash-Shami by a single narrator.
Contributions:

 Role in Damascus: Hishaam was a significant religious figure in

Damascus, holding positions as a Qari (reciter), Muhaddith (hadith
scholar), and Mufti (jurisprudence). His authority in these roles
made him a central figure in the Islamic scholarly community.
 Qira’at: His recitation style is considered a variant of the Qira’at
tradition and is one of the well-recognized methods of reciting the
Quran. His recitation preserved the classical pronunciation and
intonation of the Quranic text.

Legacy:

 Hishaam's recitation style was influential in the Islamic world,

especially in the region of Damascus. His scholarship and teachings
contributed to the preservation and dissemination of the Quranic
text and its correct recitation.

Abdullaah ibn Ahmad ibn Basheer ibn Zakwaan Al-

Qurayshi Ad-Dimashqi (Ibn Zakwaan)

Background and Early Life:

 Full Name: Abdullaah ibn Ahmad ibn Basheer ibn Zakwaan Al-
Qurayshi Ad-Dimashqi
 Popularly Known As: Ibn Zakwaan
 Birth: 173 Hijri (789 CE)
 Death: 242 Hijri (856 CE) in Damascus

Education and Training:

 Primary Teacher: Ayyub ibn Tamim at-Tammi, who was a notable

scholar in the transmission of Quranic recitation.
 Teacher’s Teacher: Ayyub ibn Tamim at-Tammi learned from
Yahyaa ibn Harith AZ-Zimmaari, creating a connection to Ibn Aamir
Ash-Shami through two narrators.

Contributions:

 Role in Damascus: After Hishaam, Ibn Zakwaan became the

prominent Qari of Damascus, continuing the tradition of Quranic
recitation in the city. His role was critical in maintaining the
standards of recitation and interpretation of the Quran during his
time.
 Qira’at: Ibn Zakwaan's recitation was also recognized and
respected in the Islamic scholarly community. His lineage of
recitation connected him to the foundational traditions of Quranic
transmission.
Legacy:

 Ibn Zakwaan's contributions to the Quranic recitation tradition

helped ensure the continuity and preservation of the recitation
methods established by his predecessors. His role as a leading
reciter and scholar in Damascus influenced subsequent generations
of Quranic scholars and reciters.

Historical Context

Both Hishaam ibn Ammaar and Ibn Zakwaan lived during a time when the
transmission of the Quran and its recitation methods were being
formalized and standardized. Their work was crucial in preserving the
Quranic text and ensuring its accurate recitation, which was essential for
maintaining the integrity of Islamic teachings.

Their roles in Damascus also highlight the city's importance as a centre of

Islamic scholarship during the Abbasid period, a time when the sciences of
Quranic recitation and hadith were flourishing.
 6. Imam Aasim

 Birth and Early Life: Imam ‘Aasim ibn Nujud al-Kufi was born in
Kufa, a prominent city in Iraq known for its scholarly community. His
precise date of birth is not well-documented, but his contributions
span the early Islamic centuries.
 Education in Quranic Recitation:
o Abu ‘Abdir Rahmaan ibn Habeeb AsSulami: Imam ‘Aasim
studied under Abu ‘Abdir Rahmaan ibn Habeeb, a
distinguished scholar in Quranic recitation who had direct
access to the traditions of Hadhrat ‘Uthmaan ibn Affaan (RA),
one of the Prophet ‫'ﷺ‬s close companions. This link establishes
a chain connecting Imam ‘Aasim directly to the Prophet ‫ﷺ‬.
o Other Key Teachers: Imam ‘Aasim also learned from
Hadhrat ‘Ali ibn Abi Talib (RA), Ubayy ibn Ka’b (RA), ‘Abdullaah
ibn Mas’ood (RA), and Zaid ibn Thaabit (RA), who were all
notable companions and Quranic scholars with direct
connections to the Prophet ‫ﷺ‬.

2. Contribution to Quranic Recitation

 Qira’at of Imam ‘Aasim:

o Imam ‘Aasim’s recitation is one of the seven canonical Qira’at
recognized in Islamic tradition. His approach to recitation is
known for its accuracy and adherence to the grammatical and
phonetic rules of the Quran.
o His recitation style is characterized by its clarity, precision,
and adherence to the rules of Tajweed (the art of Quranic
pronunciation). This has made it a preferred method for many
Muslims worldwide.
 Transmission and Preservation:
o The recitation of Imam ‘Aasim was preserved through his two
main students: Shu’bah ibn ‘Aasim and Hafs ibn
Sulayman. Among these, Hafs is the most widely recognized
and used today.
o Hafs ibn Sulayman: Hafs is particularly prominent because
his narration of Imam ‘Aasim’s Qira’at is the most widely used
and known throughout the Muslim world. The “Hafs an
‘Aasim” recitation is the standard form of recitation in many
parts of the world.
 o Shu’bah ibn ‘Aasim: Though less widely known today,
Shu’bah’s transmission of Imam ‘Aasim’s recitation was also
influential.

3. Legacy and Influence

 Legacy in Quranic Studies:

o Imam ‘Aasim’s recitation played a crucial role in preserving
the Quranic text as it was revealed. His meticulous attention
to detail in pronunciation and grammar has had a lasting
impact on Quranic recitation and memorization.
o His Qira’at is still taught and practiced in various parts of the
Islamic world, underscoring his lasting influence.
 Death:
o Imam ‘Aasim passed away around 127 AH (Islamic calendar),
which places him in the early generations of Islamic
scholarship.

4. Significance in Islamic Tradition

 Connection to the Prophet ‫ﷺ‬:

o The direct chain of transmission from Imam ‘Aasim to the
Prophet ‫ ﷺ‬through multiple esteemed companions highlights
the authenticity and revered status of his recitation.
 Scholarly Impact:
o His work has been critical in the field of Quranic studies, both
for its theoretical contributions and practical applications. His
approach to recitation remains a model for students and
scholars of Tajweed.

Imam ‘Aasim ibn Nujud al-Kufi’s contributions to the field of Quranic

recitation are deeply esteemed within Islamic tradition, and his legacy
continues to be honoured through the practice of his recitation method.

Shu’bah ibn ‘Ayyaash (d. 193 hijri)

 Full Name: Abu Bakr Shu’bah ibn ‘Ayyaash ibn Saalim Al-Asadi
 Birth: 95 hijri, in Kufah, Iraq.
 Death: 193 hijri, in Kufah, Iraq.
 Age at Death: 98 years

Background and Contributions:

 Shu’bah was a prominent scholar of Hadith and Qur’anic recitation.

He was known for his deep knowledge and stringent standards in
the transmission of both Hadith and Qur’anic recitations.
  He was a student of various scholars, including his teacher, Al-
Sha'bi, and others who played pivotal roles in the early Islamic
scholarly tradition.
 His recitation was part of the Qira'at (method of recitation) that was
transmitted through him, though it is not the one that gained
widespread use compared to the Qira'at of Hafs.
 His rigorous approach to verifying recitations and narrations made
him a respected figure in his field. His memory and dedication were
legendary, as evidenced by the claim of having completed the
recitation of the Qur'an eighteen thousand times, which underscores
his devotion.

Legacy:

 Shu’bah’s recitation was known for its precision, and his

contributions are documented in the classical sources of Qur’anic
studies. Despite not being as widely adopted as the Qira'at of Hafs,
his work remains a significant part of Islamic scholarship.

Hafs ibn Sulaymaan (d. 180 hijri)

 Full Name: Abu ‘Amr Hafs ibn Sulaymaan Al-Kufi

 Birth: 90 hijri, in Kufah, Iraq.
 Death: 180 hijri, in Kufah, Iraq.
 Age at Death: 90 years

Background and Contributions:

 Hafs was the adopted son of the famous Qur'anic scholar Imaam
‘Aasim ibn Abi al-Najud, from whom he learned the recitation of the
Qur'an.
 His recitation, known as Hafs an ‘Asim, is one of the most widely
used methods of reciting the Qur'an today. It represents one of the
ten canonical readings (Qira'at) that were established early in
Islamic history.
 Haff’s recitation is characterized by its clarity and consistency. His
transmission method was rigorously preserved and became the
standard for much of the Muslim world, especially in regions like the
Middle East and parts of Asia.
 His recitation was endorsed by many scholars and became the
dominant method of Qur’anic recitation due to its widespread
adoption and the rigorous methodology used in its transmission.

Legacy:

 The Hafs an ‘Asim recitation has had a profound impact on the

practice of Qur’anic recitation across the globe. It is the most
commonly used version in printed Qur'ans and audio recitations.
  Haff’s influence extends beyond just his recitation; his method has
shaped the way the Qur'an is memorized, taught, and recited in
various communities worldwide.

Both Shu’bah and Hafs played crucial roles in the preservation and
transmission of the Qur'an, each contributing uniquely to the rich tradition
of Islamic scholarship.

Early Life and Background

 Birth and Lineage: Imam Hamzah was born in 80 Hijri (699 CE) in
Kufah, a city renowned for its Islamic scholarship. His full name is
Hamzah ibn Habeeb ibn ‘Ammaarah ibn Zayyaat At-Tameemi. He
belonged to the Tamimi tribe, which was known for its piety and
scholarship.

Education and Scholarly Development

 Qur'anic Recitation: Imam Hamzah was a prominent Qari (reciter)

of the Qur'an. He learned his Qira'at from several esteemed
scholars, establishing a chain of transmission that reaches back to
the Prophet Muhammad ‫ﷺ‬. His chain is as follows:
o Abu Muhammad Sulaymaan ibn Mahraan Al-A’mash: A
renowned scholar of Qur'anic recitation and Hadith.
o Abu Muhammad Yahyaa ibn Withaab: A notable reciter
who transmitted Al-A’mash's recitation.
o Abu Shibl ‘Alqamah ibn Qays: A distinguished companion
of ‘Abdullaah ibn Mas’ood.
o ‘Abdullaah ibn Mas’ood: One of the Prophet's close
companions and an early reciter of the Qur'an.

This chain of transmission reflects the authenticity and authority of

Imam Hamzah's recitation.

 Other Sciences: Besides Qira'at, Imam Hamzah was well-versed in

Hadith, Nahw (Arabic grammar), and Meeraath (inheritance laws).
His expertise in these areas made him a well-rounded scholar of his
time.

Contributions and Legacy

 Qira'at of Imam Hamzah: Imam Hamzah’s recitation is one of the

ten canonical Qira'ats of the Qur'an. His method of recitation is
distinct and has specific rules and characteristics that differ from
other Qira'ats. His Qira'at is still practiced and taught in various
parts of the Muslim world.
  Piety and Character: Imam Hamzah was known for his deep piety
and ascetic lifestyle. His devotion to the Qur'an and Islamic sciences
was matched by his personal integrity and adherence to Islamic
principles.
 Influence on Others: Imam Abu Haneefah, one of the foremost
Islamic jurists, acknowledged Imam Hamzah’s superiority in both
the fields of Qira'at and Faraaidh (inheritance laws). This recognition
highlights Imam Hamzah’s significant role in Islamic scholarship.

Death and Legacy

 Passing Away: Imam Hamzah passed away in 156 Hijri (773 CE) in
Kufah. He lived a long and influential life, contributing extensively to
Islamic scholarship and Qur'anic recitation.
 Famous Narrators: His most famous narrators include:
o Al-Kisai: Known for his role in transmitting Imam Hamzah’s
Qira'at.
o Al-Susi: Another notable figure who transmitted Imam
Hamzah's recitation.

Imam Hamzah's legacy continues through his recitation and scholarly

contributions, and he is remembered as a key figure in the preservation
and transmission of the Qur'an and Islamic knowledge.
 o 7. Khalaf ibn Hishaam

 Full Name: Abu Muhammad Khalaf ibn Hishaam ibn Tha’lab Al-
Bazzaar
 Birth and Death: Born in 150 Hijri and passed away around 220
Hijri.
 Age at Death: Approximately 70 years old.
 Reputation: Khalaf was a prominent scholar and reciter in the
tradition of the Quranic recitation known as the Qira’at of Hamzah.
His recitation method is part of the seven canonical Qira'at, which
are the various accepted ways of reciting the Quran.
 Education: Khalaf learned the Quran from Sulaym ibn Al-Mughirah,
who himself was a student of Imaam Hamzah. This places Khalaf's
recitation in a direct line of transmission from Hamzah with only one
intermediary.
 Significance: Khalaf's recitation method is known for its distinctive
characteristics and has been preserved and passed down through a
network of students and scholars.

2. Abu ‘Eesaa Khallaad ibn Khaalid as-Sairafi

 Popularly Known As: Khallaad

 Death: Passed away in 220 Hijri.
 Education: Like Khalaf, Khallaad studied the Quran from Sulaym
ibn Al-Mughirah, who was a student of Imaam Hamzah. Thus,
Khallaad also has a direct transmission from Hamzah with only one
narrator in between.
 Significance: Khallaad is well-regarded in the transmission of the
Hamzian Qira’at, and his recitations have contributed significantly to
the preservation of this particular style of Quranic recitation.

Context of Qira'at

In the context of Quranic recitation:

 Imaam Hamzah: A renowned Quranic reciter whose style is one of

the seven canonical Qira'at. His method of recitation is distinguished
by specific phonetic and grammatical rules.
 Sulaym ibn Al-Mughirah: A key transmitter who learned from
Hamzah and passed on his recitation style to subsequent scholars,
including Khalaf and Khallaad.

The significance of Khalaf and Khallaad lies in their role in preserving and
transmitting the Qira'at of Hamzah, which is one of the major recitation
methods recognized in Islamic tradition. Their scholarly work ensured that
the recitation was preserved accurately and transmitted across
generations, contributing to the rich tradition of Quranic recitation.
 8. Imam Al-Kisaa’ee

 Birth and Background: Imaam Al-Kisaa’ee was born in 119 Hijri in

Kufa, a city known for its scholarly community and contributions to
Islamic jurisprudence and grammar.
 Education: He received his education in both the recitation of the
Quran and Arabic grammar in Kufa, a hub of knowledge during his
time. He studied under prominent scholars, including those who
taught him the Quranic recitations and the rules of Arabic syntax.
Contributions to Quranic Recitation

 Qira'at: Al-Kisaa’ee was one of the seven famous Qaris of the

Quran, known for his unique style of recitation. His recitation style is
one of the recognized Qira'ahs or readings of the Quran, known for
its clarity and precision.
 Narrations: He read the Quran four times to Imaam Hamzah,
another notable Qari, and their recitations were mutually influential.
His recitation is characterized by its adherence to specific phonetic
rules and pronunciation, which played a significant role in
preserving the Quranic text's authenticity.

Contributions to Arabic Grammar

 Nahw (Grammar): Al-Kisaa’ee was also a renowned grammarian.

He contributed significantly to the development and codification of
Arabic grammatical rules. His works in nahw were crucial in
formalizing the rules of Arabic syntax and morphology.
 Influence: His expertise in grammar was instrumental in ensuring
that the linguistic aspects of the Quran were preserved and
understood correctly.

Notable Events

 Journey with Haaroon Ar-Rasheed: Al-Kisaa’ee final journey with

the Abbasid Caliph Haaroon Ar-Rasheed to Khuraasaan is a
significant event in his life. It highlights his respected status and the
recognition of his scholarly contributions.
 Death and Burial: He passed away in 189 Hijri. His burial alongside
his cousin, Imaam Muhammad, who was a respected faqeeh,
underscores the esteem in which he was held. The comment by
Haaroon Ar-Rasheed about burying both the Quran and fiqh reflects
the high regard for their combined contributions to Islamic
scholarship.

Legacy

 Narrators: Al-Kisaa’ee had two famous narrators who played a vital

role in preserving and transmitting his recitation and grammatical
interpretations. These narrators helped ensure that his teachings
continued to influence Islamic scholarship.
 Impact on Islamic Scholarship: The contributions of Imaam Al-
Kisaa’ee to Quranic recitation and Arabic grammar left a lasting
impact on Islamic education and scholarship. His work remains
influential in the study of the Quran and the Arabic language.

Overall, Imaam Al-Kisaa’ee is remembered as a scholar who bridged the

worlds of Quranic recitation and Arabic grammar, leaving a profound
legacy in both fields.
Abul Harith Layth ibn Khaalid Al-Marwazi Al-Baghdadi

Full Name: Abul Harith Layth ibn Khaalid Al-Marwazi Al-Baghdadi

Birth and Death: He was born in Marw and later moved to Baghdad,
where he passed away in 240 AH (853 CE).

Reputation: Abul Harith was renowned for his expertise in the recitation
of the Quran. He was especially noted for his association with Imaam
Kisaa’ee, who was one of the seven famous Qaris (reciters) of the Quran.
Imaam Kisaa’ee is known for his distinctive style of Quranic recitation, and
Abul Harith's close relationship with him indicates his significant role in
the transmission of this style.

Contributions: His work primarily revolved around the science of Quranic

recitation (Tajweed) and Hadith. His transmission of Quranic recitations
was highly regarded, and he was a key figure in preserving and
disseminating the recitation traditions of that time.

Legacy: Although his recitations are not as widely known today as those
of some other Qaris, his role in the early preservation and teaching of
Quranic recitation remains important in the history of Islamic scholarship.

Abu ‘Umar Hafs ibn ‘Umar Ad-Doori

Full Name: Abu ‘Umar Hafs ibn ‘Umar Ad-Doori

Birth and Death: Details about his exact birth and death dates are not
well-documented, but he lived during the 8th to 9th centuries AH (14th to
15th centuries CE).

Reputation: Hafs ibn ‘Umar Ad-Doori is most renowned for his

transmission of the Quranic recitation of Abu ‘Amr Al-Basri. Abu ‘Amr Al-
Basri was one of the prominent Quranic reciters of his time, and Hafs ibn
‘Umar’s transmission (known as "Hafs An Aasim") has become one of the
most widely accepted and used methods of reciting the Quran.

Contributions: His most significant contribution is the transmission of the

recitation style of Abu ‘Amr Al-Basri. This style, known as the "Hafs An
Aasim" recitation, is distinguished by its accuracy and adherence to the
rules of Tajweed (Quranic pronunciation and articulation). It is one of the
ten canonical Qira'at (recitation styles) of the Quran.

Legacy: The recitation transmitted by Hafs ibn ‘Umar Ad-Doori, known as

"Hafs an Aasim," is the most widely used recitation style in the Muslim
world today. This widespread adoption underscores the importance of his
role in preserving and transmitting the Quranic tradition.

Both Abul Harith and Hafs ibn ‘Umar Ad-Doori played crucial roles in the
preservation and transmission of Quranic knowledge and recitation,
impacting the way the Quran is read and understood in the Islamic
tradition.

o 9. imam Abu Ja’far

 Name and Lineage: His full name was Yazeed ibn Al-Qa'qaa' ibn
Al-Makhzoomi Al-Madani. He is often referred to as Abu Ja'far, which
was his kunya (a form of address in Arabic culture based on the
name of one's first-born son or a title of respect).
 Origins: He was from the Makhzoomi tribe, which was a prominent
tribe in Mecca and had a distinguished lineage. His family was
known for its status and influence in early Islamic society.

Scholarship and Contributions

  Hadith and Fiqh Expertise: Imaam Abu Ja'far was recognized for
his profound knowledge in Hadith (sayings and traditions of the
Prophet Muhammad) and fiqh (Islamic jurisprudence). He was a
respected scholar of Madinah, a city that was a centre of Islamic
learning and scholarship.
 Legal Verdicts: He was known for his ability to issue legal verdicts
based on his understanding of Islamic law. His knowledge and
rulings were highly regarded and influential.

Practices and Devotion

 Fasting: His practice of fasting every other day (known as the fast
of Dawood) was a means of spiritual training and self-discipline. He
believed that this practice helped him maintain humility and train
himself in serving Allah’s creation.
 Night Prayers: Imaam Abu Ja'far was known for his devotion
during the night. He would pray four rakaats (units of prayer) in the
middle of the night, reciting Surah Al-Fatihah (the Opening Surah of
the Quran) and a chapter from the "Tuwaal Al-Mufassal" (the longer
chapters of the Quran). His prayers were accompanied by
supplications for himself, the Muslims, his students, and those who
recited his Qiraa'ah (recitation).

Relations with Other Scholars

 Zaid ibn Thaabit: He was known to have recited the Quran to Zaid
ibn Thaabit, one of the prominent companions of the Prophet
Muhammad who was also a leading authority on the Quran and
Hadith. Zaid ibn Thaabit's respect for Abu Ja'far is highlighted by the
fact that he took him to Ummu Salamah, the wife of the Prophet
Muhammad, who prayed for his goodness.
 Ibn 'Umar: Abu Ja'far prayed behind Ibn 'Umar, another esteemed
companion of the Prophet. This connection indicates his standing
among the early Muslim scholars and his alignment with the
traditions of the Prophet.

Students and Legacy

 Students: Among his notable students was Imaam Naafi, a well-

known scholar and Quranic reciter. Ibn Wirdaan and Ibn Jammaaz
were also key figures who preserved his Qiraa'ah. His students
carried forward his teachings and contributions to Islamic
scholarship.
 Spiritual Sign: After his death in 130 A.H., it was reported that
when he was washed for burial, a page-like light resembling part of
the Quran was seen between his throat and chest. This phenomenon
was interpreted by those present as a sign of his deep connection
with the Quran and his piety.
Death

 Date of Death: Imaam Abu Ja'far passed away in 130 A.H., leaving
behind a legacy of scholarship and devotion. His death marked the
end of a significant era of early Islamic scholarship, but his
teachings and practices continued to influence Islamic thought and
practice.

Overall, Imaam Abu Ja'far was a significant scholar whose life and work
left a lasting impact on Islamic jurisprudence and Quranic recitation. His
commitment to knowledge, piety, and teaching continues to be a source
of inspiration for Muslims.

'Eesaa ibn Wirdaan Al-Madani (Abul Harith, Al-Hazzaa)

 Full Name: 'Eesaa ibn Wirdaan Al-Madani

 Agnomen (Kunya): Abul Harith
 Title: Al-Hazzaa
 Background:
o 'Eesaa ibn Wirdaan was a renowned scholar and reciter of the
Qur'an from Medina, a city known for its rich tradition in
Islamic scholarship.
o His title "Al-Hazzaa" suggests that he was known for his
precise and skilful recitation.
 Education and Influence:
o He was a student and classmate of Imaam Naafi', one of the
seven canonical Qur'anic reciters. Imaam Naafi' is known for
his distinctive style of recitation, which influenced many
scholars and reciters.
o 'Eesaa ibn Wirdaan played a significant role in preserving and
transmitting the Qur'anic recitation tradition.
 Notable Students:
o His notable student was Imaam Qaloon, who is a significant
figure in the history of Qur'anic recitation. Imaam Qaloon is
one of the well-known reciters who followed the tradition of
Imaam Naafi'.
 Death: He passed away in the 160s AH (around the 8th century
CE).

Abu Rabee’ Sulaimaan ibn Muhammad ibn Muslim ibn

Jammaaz Az-Zuhri Al-Madani

 Full Name: Abu Rabee’ Sulaimaan ibn Muhammad ibn Muslim ibn
Jammaaz Az-Zuhri Al-Madani
 Background:
 o Abu Rabee’ Sulaimaan ibn Muhammad was also a scholar
from Medina, reflecting the city's prominent role in early
Islamic scholarship.
 Recitation and Influence:
o He was known for reciting the Qur'an in the Ahruf (different
modes or styles of recitation) of Imaam Abu Ja'far and Imaam
Naafi'. Imaam Abu Ja'far is another significant Qur'anic reciter
whose recitation style is part of the canon of the ten readings.
o His practice of reciting in the Ahruf of both Imaam Abu Ja'far
and Imaam Naafi' indicates his broad knowledge and expertise
in Qur'anic recitation.
 Death: He passed away in the late 170s AH (around the 8th century
CE).

Both of these scholars contributed significantly to the preservation and

dissemination of the Qur'anic recitation tradition, each playing a role in
shaping the diverse and rich history of Qur'anic scholarship.

o 10. Imaam Yaqub ibn Ishaq ibn Zaid ibn

'Abdillaah ibn Abi Is'haaq Al-Hadhrami Al-Basri

Early Life and Background:

 Birth: Imaam Yaqub was born in 167 A.H. in Basrah, a prominent

city known for its scholarly and theological traditions.
 Family: His father, Ishaq, and his grandfather, Zaid, were also
known for their scholarly contributions, living to the age of 88, a
detail noted as significant in the family’s history.
Education and Scholarship:

 Teachers: He studied under notable scholars including Imaam

Hamzah and Imaam Kisaa’ee, both of whom were significant figures
in the field of Qira’at. These teachers helped shape his expertise in
the various modes of Qur'anic recitation.
 Expertise: Imaam Yaqub was highly learned in Qira’at (different
ways of reciting the Qur'an), Riwayah (transmission of Hadith),
Arabic language and eloquence, and Islamic jurisprudence.
 Role in Basrah: He served as the Imaam of Jaami' Al-Basrah for
many years, succeeding Imaam Abu 'Amr in the position of Qaari
(reciter) of Basrah, which was a prestigious role involving leading
the community in prayer and guiding the recitation of the Qur'an.

Character and Integrity:

 Piety: Imaam Yaqub was renowned for his god-fearing nature and
piety. His story about the stolen cloak highlights his devotion and
detachment from worldly possessions.
 Reputation: He was respected not only for his scholarship but also
for his moral and ethical conduct.

Legacy and Death:

 Students: Many students learned from him, including notable

figures such as Abu Haatim As-Sijistaani and Abu 'Umar Ad-Doori.
His two most famous narrators were Ruwais and Rawh.
 Death: Imaam Yaqub passed away in 250 A.H. at the age of 88,
reflecting the longevity of his family line and his own life dedicated
to scholarship.

1. Imaam Ruwais (Abu Abdillaah Muhammad ibn Al-

Mutawakkil Al-Luluee Al-Basri)

 Background: Imaam Ruwais, commonly known as Ruwais, was a

distinguished scholar from Basrah, known for his proficiency in the
science of Hadith and Qur’anic recitation. His name is often
associated with a notable lineage of scholars in Basrah, a city known
for its rich Islamic scholarly tradition.
 Education and Influence: He was a prominent student of Imaam
Ya'qoob ibn Ibrahim Al-Hadrami, who was a significant scholar in the
field of Hadith. Imaam Ruwais was noted for his deep knowledge
and understanding of Hadith and his contributions to its
transmission. His work was influential in the spread and
preservation of Hadith literature.
 Death: Imaam Ruwais passed away in Basrah in 238 A.H., which is
roughly equivalent to 852 CE. His death marked the end of a notable
 period of scholarship in Basrah, but his legacy continued through his
students and his contributions to Islamic knowledge.

2. Imaam Rawh (Abul Hasan Rawh ibn 'Abdil Mumin Al-

Huzali Al-Basri AnNahwi)

 Background: Imaam Rawh was also a scholar from Basrah, and his
contributions are recognized in the fields of Hadith and Qur'anic
recitation. His surname, AnNahwi, indicates his expertise in Arabic
grammar (Nahw).
 Education: Imaam Rawh studied under prominent scholars like
Ahmad ibn Moosa and 'Abdullaah ibn Mu'aaz, who were themselves
students of Abu 'Amr Al-Basri. This lineage of learning highlights the
high calibre of scholarship that Rawh was a part of. Abu 'Amr Al-
Basri was a well-regarded authority in Qur’anic recitation and
grammar.
 Hadith Transmission: Imaam Rawh's work is significant in the
realm of Hadith. His narrations are included in the Sahih of Imaam
Al-Bukhari, which is one of the most esteemed collections of Hadith
in Sunni Islam. This inclusion underscores his credibility and the
respect he garnered as a transmitter of Hadith.
 Death: There is some ambiguity regarding the exact year of his
death, with sources indicating either 234 A.H. or 235 A.H. His
passing was a notable event for the scholarly community in Basrah
and beyond.

Both Imaam Ruwais and Imaam Rawh played critical roles in the
development and preservation of Islamic scholarship, particularly in the
transmission and understanding of Hadith and Qur'anic recitations. Their
contributions have left a lasting impact on Islamic scholarship.

o imam Khalaf ibn Hishaam ibn Tha’lab Al-Bazzaar

Full Name: Abu Muhammad Khalaf ibn Hishaam ibn Tha’lab Al-Bazzaar

Role: Hadith Narrator (Rawi)

Time Period: He lived during the early Islamic centuries, but specific
dates are less well-documented.

Background:
  Khalaf ibn Hishaam was known for his role as a hadith narrator,
which means he transmitted sayings, actions, and approvals of the
Prophet Muhammad and early Islamic figures.
 He was a contemporary and a student of Imam Hamzah al-Zaiyatt
(or al-Zayyat), who was a well-regarded scholar and hadith
transmitter himself.

Connection to Imam Hamzah:

 Khalaf ibn Hishaam is recognized as a transmitter of hadith from

Imam Hamzah. His narrations helped preserve the sayings and
teachings of the Imam, contributing to the body of hadith literature.
 Imam Hamzah was noted for his knowledge and transmission of
hadith, and Khalaf's role as a transmitter means he contributed to
the spread and preservation of these teachings.

Contributions:

 As a hadith narrator, Khalaf ibn Hishaam’s role was crucial in

ensuring the accurate transmission of the Prophet’s sayings and
actions. His narrations would have been part of the scholarly work of
compiling and verifying hadith.
 His association with Imam Hamzah suggests that he was involved in
a scholarly tradition that valued both the preservation and critical
examination of hadith.

Historical Context:

 The period during which Khalaf ibn Hishaam lived was a formative
time for hadith scholarship. This was a time when the transmission
and collection of hadith were being formalized, and scholars were
actively working to compile and authenticate the traditions of the
Prophet Muhammad.

Khalaf ibn Hishaam’s role as a hadith narrator helps us understand the

complex network of transmission that contributed to the preservation of
Islamic teachings. His work, along with that of many others, played a
crucial role in maintaining the integrity and accuracy of hadith literature.

First Rawi: Abu Ya’qoob Is'haaq ibn Ibrahim ibn 'Uthmaan

ibn 'Abdillaah Al-Marwazi Al-Baghdadi Al-Warraaq

1. Background and Expertise:

 Full Name: Abu Ya’qoob Is'haaq ibn Ibrahim ibn 'Uthmaan ibn
'Abdillaah Al-Marwazi Al-Baghdadi Al-Warraaq.
  Origin: He hailed from Marw but was associated with Baghdad,
which was a significant centre of Islamic scholarship during his time.
 Expertise: He was known for his expertise in the Qiraa'ah
(recitation of the Quran) transmitted from Imaam Khalaf. His
knowledge was highly respected in the field of Quranic recitation.

2. Contributions:

 Transmission: He played a key role in transmitting the Qiraa'ah of

Imaam Khalaf. His work contributed significantly to the preservation
and teaching of the Quranic recitations.
 Literary Work: Although not as much is recorded about his
personal literary works, his influence is noted through his students
and their contributions.

3. Students:

 Muhammad (his son): Followed in his footsteps and continued his

scholarly work.
 Muhammad ibn 'Abdillaah AnNaqqaash: Known for his own
contributions to the field of Qiraa'ah.
 Ibn Shanabooz: A significant scholar who also studied under the
second Rawi.

4. Death:

 Date: Passed away in 286 AH. His death marked the end of an
important era in the transmission of Quranic recitations.

Second Rawi: Abul Hasan Idris ibn 'Abdil Kareem Al-

Haddaad Al-Baghdadi

1. Background and Expertise:

 Full Name: Abul Hasan Idris ibn 'Abdil Kareem Al-Haddaad Al-
Baghdadi.
 Origin: Born in Baghdad, which was a major hub for Islamic
scholarship and learning.
 Expertise: He was known for transmitting both the Qiraa'ah and
Riwayah (narrations of Hadith) from Imaam Khalaf, indicating a
broad scope of scholarly work.

2. Contributions:

 Transmission of Qiraa'ah: Like the first Rawi, Idris was

instrumental in preserving and teaching the Qiraa'ah of Imaam
Khalaf.
  Riwayah: In addition to Qiraa'ah, he contributed to the
transmission of Hadith, which suggests his involvement in multiple
scholarly traditions.
 Scholarly Influence: His work influenced many later scholars and
contributed to the development of Islamic jurisprudence and
Quranic studies.

3. Students:

 Muhammad ibn Ahmad ibn Shanabooz: A significant scholar in

his own right, continuing the legacy of Qiraa'ah.
 Moosa Al-Khaaqaani: Known for his scholarly contributions in
various Islamic sciences.
 Muhammad Al-Bukhaari: Although not the famous Hadith
compiler, this student may refer to a scholar with contributions to
Islamic studies.
 Muhammad Ar-Raazi: Another notable student who carried
forward the scholarly tradition.

4. Death:

 Date: Passed away on Eid Al-Adhaa in 293 AH. His death marked
the end of a notable era in the scholarly transmission of Islamic
teachings.

Summary:

Both figures were crucial in the transmission and preservation of Quranic

recitations. The first Rawi, Abu Ya’qoob Is'haaq, was an early transmitter
whose students continued his work. The second Rawi, Abul Hasan Idris,
had a broader scholarly impact, contributing to both Qiraa'ah and Hadith,
and his students carried on this legacy. Their contributions are a
testament to the rich scholarly tradition of Islamic education and the
preservation of Quranic and Hadith sciences.
Historical Context

The Quran was revealed in a language that was rich with various dialects
and phonetic nuances. During the time of the Prophet Muhammad ‫ﷺ‬,
different tribes and regions of the Arabian Peninsula had their own ways of
reciting the Quranic text. To preserve the Quran's authenticity while
accommodating these linguistic variations, several modes of recitation
were established.

The Ten Qiraat

1. Foundational Scholars:
o Hafs ibn Suleiman: A student and son-in-law of Imam Asim
ibn Abi al-Nujud, Hafs transmitted his teacher's recitation
style, which eventually became the most widely adopted
method.
o Imam Asim ibn Abi al-Nujud: He is one of the seven
canonical reciters and his style was preserved through Hafs
and Shu'bah, his two primary students.
o Other prominent reciters include Nafi', Ibn Kathir, Abu 'Amr,
and others, each of whom had students who transmitted their
unique recitation styles.
2. Qiraat Diversity:
o Qiraat Sab'ah (Seven Readings): These were the initial
major recitations recognized and transmitted during the early
Islamic period. They include the recitations of the seven
scholars like Nafi', Ibn Kathir, Abu 'Amr, and so on.
o Qiraat 'Asharah (Ten Readings): In addition to the seven
primary recitations, three more were added later, including
the recitations by Al-Kisai, Hamzah, and others.

Principles of Qiraat

1. Tawaatur (Authenticity):
o All ten Qiraat are established through Tawaatur, meaning they
are transmitted through multiple, independent chains of
narrators, ensuring their authenticity. This is a rigorous
standard that reflects the consensus of the early Muslim
community regarding these recitations.
2. Sanad (Chain of Narration):
o Each Qiraat has a detailed and verified chain of transmission
back to the Prophet Muhammad ‫ﷺ‬. The reliability of this chain
is crucial in validating the recitation method.
3. Mutawaatir (Mass Transmitted):
o Qiraat that are Mutawaatir are those that have been
transmitted by so many people that their authenticity is
beyond doubt. The ten Qiraat fall into this category,
 confirming their acceptance and authenticity within Islamic
tradition.

Significance of Different Qiraat

1. Preservation of the Quran:

o The different Qiraat reflect the Quran's preservation in its
various linguistic forms, showcasing its adaptability and
richness. Each Qiraat adheres to the rules of Arabic grammar
and phonetics, representing different dialects and
pronunciations.
2. Flexibility in Practice:
o The existence of multiple Qiraat provides flexibility for
recitation, catering to the diverse linguistic and cultural
contexts of the Muslim world. This diversity enriches the
recitation and memorization of the Quran.
3. Spiritual and Ritual Aspects:
o Each Qiraat has its own rhythm and phonetic style, which can
influence the spiritual experience of recitation. Practicing
various Qiraat can enhance one's understanding and
connection to the Quran.

Addressing Misconceptions

1. Exclusivity of Hafs' Recitation:

o The notion that only Hafs' recitation is valid and that others
are abrogated is incorrect. This misunderstanding disregards
the historical and scholarly acceptance of the other Qiraat.
The Quran in all ten Qiraat is considered authentic and a part
of the divine revelation.

Conclusion

The science of Qiraat is a testament to the Quran’s profound and multi-

faceted nature. Imam Hafs ‫ رحمه الله‬played a crucial role in popularizing
one of the canonical methods, but the other nine Qiraat are equally valid
and integral to the Quranic tradition. Understanding and respecting the
diversity within Qiraat not only honours the historical richness of Islamic
scholarship but also enriches our engagement with the Quran. The study
and teaching of all Qiraat are essential for preserving the full heritage of
Quranic recitation and for fostering a deeper connection to the Quran.

Virtues of Reciting and Memorizing the Qur'an

 1. The Best Among Us:
o Hadith: "The best amongst you is he who learns the Qur’an
and teaches it." (Bukhari – Muslim)
o Explanation: This Hadith highlights the high status of those
who engage deeply with the Qur'an, both by learning it and by
teaching it to others. It underscores the Qur'an's central role
in a Muslim's life and how its mastery is highly esteemed.
2. Divine Reward:
o Hadith: "If anybody finds no time for my remembrance and
for begging favours of me because of his remaining occupied
with the Qur’an, I shall grant him more than I give to all those
who beg favours of me." (Tirmizi – Darami – Baihaqi)
o Explanation: This Hadith illustrates that engaging with the
Qur'an can be so rewarding that Allah will grant more
blessings to those who are absorbed in reciting and learning
it, beyond the rewards given to those who simply seek His
favours.
3. Honour for Reciters and Memorizers:
o Hadith: "Whoever reads and memorizes the Qur’an and acts
upon that which is contained in it, his parents will be made to
wear a crown on the Day of Qiyamah, the brilliance of which
will excel that of the sun." (Abu Dawood – Ahmed)
o Explanation: This Hadith emphasizes the immense reward
not only for the reciter but also for their parents. It points to
the high status of those who both memorize and act upon the
teachings of the Qur'an.
4. Intercession and Entry into Jannah:
o Hadith: "Whoever reads the Qur’an and memorizes it, and
regards its lawful as binding and its unlawful as forbidden will
be admitted into Jannat by Allah ‫ﷻ‬." (Tirmizi – Ahmed)
o Explanation: Memorizing and living by the Qur'an leads to
entry into Jannah and even the ability to intercede on behalf
of ten family members. This highlights the profound impact
and reward of being a Hafiz (one who has memorized the
Qur'an).

Warnings against Neglect

1. Neglecting the Qur'an:

o Hadith: "Most certainly recite the Qur’an in your homes,
because the homes in which the Qur’an is not recited is
likened to a deserted, barren land."
o Explanation: This Hadith warns against neglecting the
recitation of the Qur'an, comparing homes that do not engage
with the Qur'an to graveyards. It serves as a reminder of the
spiritual desolation that can result from not incorporating the
Qur'an into daily life.
2. Impact of Neglect:
 o Explanation: The neglect of the Qur'an leads to spiritual and
moral decay. It results in homes devoid of blessings, guidance,
and protection from the influences of shaitan. The
consequences include an erosion of values, ethical standards,
and overall well-being.

Practical Takeaways

1. Daily Recitation: Incorporate the Qur'an into your daily routine.

Even short recitations can bring immense rewards and spiritual
benefits.
2. Memorization: Aim to memorize parts of the Qur'an. This act not
only brings personal rewards but also benefits your family and
community.
3. Application: Strive to live by the teachings of the Qur'an.
Understanding and applying its guidance is crucial for spiritual
growth and ensuring that the benefits of recitation and
memorization are realized.
4. Avoid Neglect: Ensure that your home is not spiritually barren by
making the Qur'an a regular part of your life and surroundings.

By embracing these practices, you align yourself with the teachings of

Prophet Muhammad ‫ ﷺ‬and draw closer to the divine blessings and
guidance offered through the Qur'an.

1. The Sin of Forgetting the Qur'an:

 Hadith: Hadhrat Anas RA reports that Rasulullah SAW said, “The

sins of the whole Ummah were presented to me. I did not see a
greater sinner than that person who learnt any part of the Qur’an-e-
Kareem and he forgot it.”
 Detail: This hadith highlights a significant issue regarding the
memorization and retention of the Qur'an. It suggests that among
the various sins of the Ummah, the act of learning the Qur'an and
then forgetting it is among the gravest. The severity of this sin can
be attributed to the sacredness and importance of the Qur'an. It is
not just a book but a divine guidance that requires active
engagement and commitment. Forgetting it after having learned it
can indicate a lack of respect and dedication towards the divine
message. The Prophet’s statement serves as a strong admonition,
stressing that retaining and practicing the Qur'an is crucial.

2. The Need for Constant Recitation:

 Hadith: Hadhrat Abu Musa Ash’ari RA narrates that Muhammad ‫ﷺ‬

said, “Be watchful over the Qur’an. I swear by Him in whose control
 my life is, the Qur’an is apt to escape from a person’s heart more
rapidly than the camels from their reins.” (Bukhari – Muslim)
 Detail: This hadith uses a vivid analogy to emphasize the
importance of regularly engaging with the Qur'an. Camels escaping
from their reins represent something that is difficult to control and
quickly lost. Similarly, if one does not actively and regularly recite
and remember the Qur'an, it can quickly fade from memory. This
serves as a reminder that constant engagement with the Qur'an is
necessary to preserve it in one's heart and mind. The hadith
underscores the dynamic nature of memory and the need for
continual effort to maintain one's connection with the Qur'an.

3. Consequences of Forgetting the Qur'an:

 Hadith: It is reported from Hadhrat Saa’d ibn Ubadah RA that

Muhammad ‫ ﷺ‬said, “The person who learnt the Qur’an and forgot
it, will appear before Allah as a leper.” (Abu Dawood)
 Detail: The comparison to leprosy here is a strong metaphor for the
spiritual condition of those who forget the Qur'an after learning it.
Leprosy, being a visible and distressing affliction, symbolizes the
spiritual and moral blemish associated with neglecting the Qur'an.
The hadith indicates that forgetting the Qur'an is not a trivial matter
but a serious spiritual ailment. It highlights the importance of
maintaining the Qur'an in one’s memory and practice, reflecting its
status as a vital component of a believer’s faith and spiritual health.

4. Blessings of Reciting the Qur'an in the Home:

 Hadith: It is reported by Hadhrat Abu Hurairah RA that Muhammad

‫ ﷺ‬said, “The house in which the Qur’an is recited becomes
spacious, ample, and comfortable. Blessings for its inhabitants
increase. The Mala’ikah (Angels) frequent such houses... And the
house in which the Qur’an-e-Majeed is not recited becomes narrow
and uncomfortable for its inhabitants...”
 Detail: This hadith describes the positive and transformative effects
of reciting the Qur'an in one's home. The reference to the house
becoming “spacious, ample, and comfortable” metaphorically
signifies increased tranquillity, harmony, and divine blessings. The
presence of angels and the departure of shayateen (devils) further
symbolize the spiritual elevation and protection that comes from
engaging with the Qur'an. Conversely, a home devoid of Qur'anic
recitation experiences a lack of divine blessings and comfort. This
underscores the Qur'an’s role in not just personal spiritual growth
but also in creating a positive and blessed environment within the
home.

Summary
These hadiths collectively emphasize the centrality of the Qur'an in a
Muslim’s life. They underscore the importance of memorization, regular
recitation, and active engagement with the Qur'an, while warning against
neglect and forgetting it. The effects of recitation on both personal
spirituality and the atmosphere of the home highlight the Qur'an’s
profound impact on a believer’s life.

Aadaab (etiquette) related to the Qur’an are crucial for truly benefiting
from and respecting this holy text. Imam Ghazali's explanation of the ayah
underscores the multi-faceted nature of recitation and engagement with
the Qur'an. Here’s a detailed breakdown of the etiquettes based on his
insights:

1. Action of the Tongue:

o Proper Pronunciation: Ensure that each letter is
pronounced correctly from its Makharij (articulation points).
This includes being mindful of the nuances of Tajweed, which
dictates how letters should be articulated, lengthened, and
emphasized.
o Fluency and Accuracy: Recite with fluency, ensuring that
the words are pronounced correctly without errors that could
alter meanings.
2. Action of the Mind:
o Understanding the Meanings: Engage with the Qur'an by
studying its meanings and interpretations. This involves
learning the context of the verses (Asbab al-Nuzul), historical
background, and the general message of the text.
o Reflection: Contemplate the teachings and guidance
provided in the Qur'an. This helps in internalizing its message
and applying it to one's life.
3. Action of the Heart:
o Awareness and Intention: Approach the Qur'an with a
sincere intention and mindfulness. The Qur'an should be read
not just as a ritual but as a source of spiritual nourishment and
guidance.
o Taking Lessons: Reflect on the lessons, warnings, and
stories within the Qur'an. Use its teachings to reform oneself
and to foster a deeper connection with Allah.

Additional Etiquettes to Consider:

 Purity: Ensure physical and spiritual purity before handling or

reciting the Qur'an. This includes being in a state of Wudu (ablution)
and having a clear, focused mind.
 Respect: Handle the Qur'an with reverence. Keep it in a clean place
and treat it with the utmost respect.
  Consistency: Engage with the Qur'an regularly. Set aside time for
recitation and reflection, making it a consistent part of your daily
routine.
 Seeking Refuge: Begin recitation by seeking refuge in Allah from
Shaitan, as mentioned in the Basmalah: "Bismillah r-Rahman r-
Rahim" (In the name of Allah, the Most Gracious, the Most Merciful).
 Listening Attentively: When listening to the Qur'an, do so with full
attention and contemplation, allowing its words to penetrate your
heart and mind.

Incorporating these etiquettes will help in fostering a deeper, more

meaningful connection with the Qur'an and its teachings.

These Aadaab (etiquette) for reciting the Qur'an reflect the respect and
reverence one should have while engaging with the holy text. Here's a
brief summary of each point, emphasizing their importance:

1. State of Wudhu: It is preferable to be in a state of Wudhu

(ablution) while reciting the Qur'an, although it is permissible to
recite from memory without Wudhu.
2. Use of Miswak: Using a miswak (a natural teeth-cleaning stick)
before recitation is recommended. It is also beneficial to recite
specific supplications when using it.
3. Clean Clothes: Wearing clean and pure clothes is a sign of respect
for the Qur'an.
4. Use of Perfume: Applying perfume before recitation is encouraged
if it is available.
5. Facing the Qibla: It is preferable to face the Qibla (direction of
Mecca) while reciting the Qur'an.
6. Clean Place: Reciting in a clean place, ideally a Masjid (mosque), is
preferred.
7. State of Impurity: It is not permissible to recite or handle the
Qur'an if one is in a state of major impurity (requiring Ghusl).
8. Humility and Reverence: Recite with humility and recognize that
the Qur'an is the word of Allah.
9. Awareness of Allah’s Presence: Always remember that you are
reciting in the presence of Allah, who is listening to you.
10. Concentration (Khusho): Recite with full concentration,
avoiding distractions.
11. Respectful Behaviour: Avoid joking, laughing, or engaging
in unrelated talk during recitation.
12. Respectful Interruption: If you need to speak, close the
Qur'an out of respect and repeat the Bismillah ( ‫ )ِبْس ِم الَّلِه‬when
resuming recitation.
13. Audible or Soft Recitation: Recite either audibly or softly
depending on the context and surroundings.
14. Tarteel (Measured Recitation): Recite slowly and clearly,
not hastily.
 15. Emotional Reflection: Allow yourself to shed tears while
reciting, reflecting on the meanings.
16. Seeking Blessings and Protection: Request Allah’s mercy
when reciting verses of mercy and seek His protection during verses
about punishment.
17. Grandeur of the Qur'an: Recognize the high status and
greatness of the Qur'an.
18. Pondering and Reflection: Reflect on the meanings and
teachings of the Qur'an.
19. Love for the Qur'an: Cultivate a deep love and connection
with the Qur'an.
20. Enjoyment of Recitation: Find joy and pleasure in reciting
the Qur'an.
21. Melodious Voice: Recite in a beautiful, melodious voice to
enhance the experience and understanding.

These etiquettes underscore the deep respect and mindfulness that

should accompany the recitation of the Qur'an, ensuring that it is
approached with the reverence and devotion it deserves.

Significance of Beautiful Recitation

1. Emotional and Spiritual Impact:

o Prophet Muhammad ‫ﷺ‬: The Prophet Muhammad ‫ﷺ‬
emphasized the beauty of Qur’anic recitation. Hadiths
highlight his appreciation for those who recite the Qur’an
melodiously. One notable Hadith is when he asked Hadhrat
Ibn Mas’ood RA to recite for him, which made him weep due to
the beauty and sincerity of the recitation.
o Spiritual Connection: A melodious recitation touches the
hearts of both the reciter and the listeners, fostering a deeper
spiritual connection with the Qur’an.
2. Encouragement from Hadith:
o Beautify Your Voice: Several Hadiths encourage Muslims to
recite the Qur’an with a beautiful tone. For example, "Beautify
the Qur’an with your voices" underscores the importance of
vocal beauty in recitation.
o Prophetic Example: The Prophet ‫’ﷺ‬s preference for listening
to beautiful recitation reflects the importance of this practice.

Examples of Influential Figures

1. Hadhrat Ibn Mas’ood RA:

o Expert Reciter: Hadhrat Ibn Mas’ood RA was known for his
deep knowledge and beautiful recitation of the Qur’an. He
memorized approximately seventy Surahs directly from the
Prophet ‫ﷺ‬.
 oInfluence on Others: His remark about Zazaan’s voice,
encouraging him to use it for Qur’anic recitation, led to
Zazaan’s transformation from a singer to a devoted reciter
and scholar. This illustrates the impact of beautiful recitation
on inspiring others.
2. Hadhrat Abu Musa Ash’ari RA:
o Admired Recitation: Hadhrat Abu Musa Ash’ari RA’s
recitation was so admired by Hadhrat Umar RA that he
encouraged others to emulate his style. This reflects the high
regard for beautiful and effective recitation in early Islamic
history.

Rules of Tajweed

1. Importance of Tajweed:
o Correct Pronunciation: Tajweed rules ensure that each
letter and sound of the Qur’an is pronounced correctly,
preserving the sacred text’s meaning and beauty.
o Avoiding Major and Minor Sins: Neglecting Tajweed rules
can lead to major sins if it distorts the meaning, or minor sins
if it simply affects the recitation’s quality.
2. Balancing Beauty with Accuracy:
o Combining Both Aspects: It is crucial to achieve both a
beautiful voice and correct Tajweed. This balance ensures that
the recitation is both aesthetically pleasing and accurate,
adhering to the correct pronunciation and articulation of each
letter.
o Training and Practice: Mastering Tajweed rules while
developing a melodious voice requires dedicated practice.
Many scholars and reciters spend years perfecting their
recitation to achieve this balance.

Practical Tips for Achieving Beautiful and Correct

Recitation

1. Learn and Practice Tajweed Rules:

o Study Tajweed: Seek guidance from knowledgeable teachers
or use reputable resources to understand and apply Tajweed
rules.
o Practice Regularly: Consistent practice helps internalize the
rules and improve pronunciation.
2. Developing a Beautiful Voice:
o Vocal Training: Engage in exercises to improve vocal quality,
clarity, and modulation.
o Listening to Experts: Listen to accomplished Qur’anic
reciters to learn techniques and styles.
3. Integrating Both Aspects:
o Rehearse with Intent: Focus on applying Tajweed rules
while practicing recitation with a beautiful tone.
 o Seek Feedback: Obtain feedback from knowledgeable
individuals to ensure that both beauty and accuracy are
maintained.

Conclusion

The recitation of the Qur’an with a beautiful voice, combined with proper
adherence to Tajweed rules, represents an ideal practice that enhances
both personal spirituality and the communal experience. Following the
examples of revered companions and scholars, and striving for excellence
in both aspects, reflects a deep respect for the Qur’an and its divine
message.

Attributes to be Discouraged or Avoided in Recitation

1. Tamteet: Exaggerating the slow reading of the Qur’an. Makrooh

(disliked).
2. Takhleet: Reading too quickly, causing distortion of letters and
words. Haraam (forbidden).
3. Tarqees: Unnecessarily wavering the voice during recitation.
Makrooh.
4. Tatreeb: Adding MADD (lengthening) where it doesn’t belong or
reciting in a singing tone. Haraam.
5. Tahzeen: Reciting with a crying tone without genuine sorrow or
fear. Reprehensible; shows ostentation.
6. Taqti’: Making pauses and breaks that disjoint letters and words.
Haraam.
7. Tanfeesh: Incompletely pronouncing the Harakât (vowel signs).
Makrooh.
8. Tamdeegh: Distorting and chewing letters and words to make them
unclear. Makrooh.
9. Tatneen: Reciting with a nasal sound for all letters. Makrooh if due
to health reasons; otherwise, Haraam.
10. Tahmeez: Pronouncing all letters with a Hamza sound.
Haraam.
11. Ta’weeq: Stopping in the middle of a word and continuing
later. Haraam.
12. An’anah: Producing the sound of a ‫( ع‬Ayn) incorrectly.
Haraam.

Common Mistakes in Recitation

1. ‫( اللحن اْلَج ِلى‬Al-Lahn al-Jali):

o Description: Changing a letter, sign (harakah), or
adding/omitting letters of MADD in a way that alters the
meaning of the ayah.
o Examples:
 Reading ‫ الَّض اِّليَن‬as ‫الظالين‬.
 Reading ‫ ُثَّم‬as ‫ثوَّم‬.
 Category: Haraam (forbidden).

2. ‫( اللحن الَخِف ى‬Al-Lahn al-Khafi):

o Description: Ignoring Ghunnah (nasalization) or subordinate
MADD, which is disliked but can become Haraam if continued.
o Category: Makrooh (disliked), but may become Haraam
with persistence.

This summary should help in understanding the key attributes and

common mistakes in Qur’anic recitation, as well as their respective
classifications.

Lesson 1

Ta'awwuth (Seeking Refuge)

1. Protection from Shaitan:

o The primary purpose of Ta'awwuth is to seek Allah's
protection from Shaitan (Satan) who is known to be an enemy
of mankind. Shaitan's role is to mislead and distract people
from following the right path, so seeking refuge from him is a
necessary step before engaging in the recitation of the Quran.
‫َأ‬
o The phrase "‫ " ُعوُذ ِبالَّلِه ِمَن الَّش ْيَطاِن الَّرِج يِم‬translates to "I seek
refuge in Allah from the accursed Shaitan." It acknowledges
Allah’s power and protection against all forms of evil.
2. Spiritual Cleanliness:
o By reciting Ta'awwuth, a person is spiritually cleansing
themselves and preparing their heart and mind to engage
with the sacred text. It emphasizes the need for purity and
focus when approaching the Quran.

Historical Context:

1. Revelation Context:
o The instruction to seek refuge in Allah comes from Surah An-
Nahl (16:98). This Surah was revealed in the later part of the
Prophet Muhammad's (peace be upon him) life, during a time
when the importance of safeguarding oneself from
distractions and evil influences became crucial.
o This practice was also followed by the Prophet Muhammad
(peace be upon him) and his companions, demonstrating its
importance and authenticity.
2. Practice Among Early Muslims:
o The early Muslim community, including the Prophet
Muhammad (peace be upon him), consistently practiced
Ta'awwuth as a way to seek Allah's protection before
 engaging in the recitation of the Quran. This practice became
an integral part of Islamic ritual and reverence.

Practical Application:

1. Routine Recitation:
o It’s recommended to recite Ta'awwuth quietly before
beginning the Quranic recitation. This practice helps in
mentally preparing for the spiritual engagement with the
Quran.
2. Repetition in Case of Distraction:
o If a person is distracted or breaks their focus due to worldly
matters while reciting, repeating Ta'awwuth before continuing
helps in re-establishing a protective barrier against any
further distractions.

Tasmiyah (In the Name of Allah)

Theological Implications:

1. Invocation of Blessings:
o Tasmiyah invokes the blessings of Allah (SWT) by starting any
recitation or task in His name. This act is believed to bring
divine mercy and success, making the endeavour spiritually
blessed and fruitful.
2. Emphasis on Divine Attributes:
o The phrase "‫ "ِبْس ِم الَّلِه الَّر ْح َمٰـِن الَّر ِح يِم‬highlights two of Allah’s
most important attributes: Ar-Rahman (The Most Beneficent)
and Ar-Rahim (The Most Merciful). This invocation reflects the
essential nature of Allah’s compassion and mercy, which is
integral to the Quran’s teachings.

Historical Context:

1. Revelation Context:
o The practice of reciting Tasmiyah is rooted in the Sunnah of
the Prophet Muhammad (peace be upon him), who
emphasized starting important tasks with the name of Allah.
This practice aligns with the Quranic guidance and Hadiths
that underscore the significance of invoking Allah’s name in all
actions.
2. Exceptions in Surah At-Tawbah:
o Surah At-Tawbah (Surah 9) is unique in that it does not begin
with Tasmiyah. This Surah was revealed in a context that
involved severe warnings and declarations against the
disbelievers and hypocrites. The absence of Tasmiyah at the
beginning of this Surah reflects its specific thematic content
and context.
Practical Application:

1. Recitation before Each Surah:

o When beginning the recitation of any Surah (except Surah At-
Tawbah), reciting Tasmiyah is a common practice. This act is
performed before each Surah to seek Allah’s blessings and
help in understanding the verses being recited.
2. Beginning Tasks:
o Tasmiyah is not limited to Quranic recitation. It is also
recommended to start any significant task, whether personal
or professional, with Tasmiyah to ensure it is blessed and
conducted in alignment with divine will.

Integration of Ta'awwuth and Tasmiyah in Daily Practice:

1. Consistency in Practice:
o Regularly reciting Ta'awwuth and Tasmiyah before recitation
helps in maintaining consistency in spiritual practice and
reinforces one’s connection with Allah.
2. Educational and Spiritual Benefits:
o Learning and applying these practices not only enhances
one’s Quranic recitation but also deepens one’s understanding
and reverence of the sacred text. It fosters a mindful approach
to engaging with the Quran and reinforces the believer’s faith
and devotion.
Lesson 2

Makharij (Articulation Points) of Arabic Letters

Understanding where and how each letter is articulated is crucial for

correct pronunciation. Here’s a more detailed look at the articulation
points for the letters you’ve listed:

1.1. Points of Articulation:

1. ‫( ر‬Raa):
o Point of Articulation: The tip of the tongue touches the
upper gums just behind the upper front teeth.
o Characteristics: It has a trilled or flapped sound, which is
somewhat like the Spanish "r" in "perro".
2. ‫( ذ‬Thaal):
o Point of Articulation: The tongue lightly touches the upper
front teeth.
o Characteristics: It has a soft, dental sound similar to the
English "th" in "that".
3. ‫( د‬Daal):
o Point of Articulation: The tip of the tongue contacts the
gum ridge directly behind the upper front teeth.
o Characteristics: This is a voiced sound with a clear, hard "d"
sound, similar to "d" in "dog".
4. ‫( خ‬Khaa):
o Point of Articulation: Produced from the throat, specifically
the pharynx.
o Characteristics: It has a guttural, harsh sound, similar to the
"ch" in German "Bach".
5. ‫( ح‬Haa):
 o Point of Articulation: Articulated from the lower part of the
throat, with no vocal cord vibration.
o Characteristics: It is a voiceless, pharyngeal sound,
somewhat like a breathy "h".
6. ‫( ج‬Jeem):
o Point of Articulation: The middle of the tongue touches the
roof of the mouth near the hard palate.
o Characteristics: It has a sound similar to the English "g" in
"giant" but is often pronounced like "s" in "measure" in many
dialects.
7. ‫( ث‬Thaa):
o Point of Articulation: The tongue touches the upper front
teeth lightly.
o Characteristics: It has a soft, dental sound similar to the
English "th" in "think".
8. ‫( ت‬Taa):
o Point of Articulation: The tip of the tongue touches the
upper gum.
o Characteristics: This is a clear, hard "t" sound, like in "top".
9. ‫( ب‬Baa):
o Point of Articulation: Produced by bringing both lips
together.
o Characteristics: It has a voiced "b" sound, similar to "b" in
"bat".
10. ‫( ا‬Alif):
o Point of Articulation: It doesn’t have a specific articulation
as it is a vowel.
o Characteristics: It is a long vowel that often precedes or
follows consonants, and can indicate a pause or prolongation
in pronunciation.

1.2. Manner of Articulation:

1. FAA (‫)ف‬: Labiodental. The lower lip touches the upper teeth.
2. Ghayn (‫)غ‬: Velar. Articulated in the back of the throat with a
guttural sound.
3. Ahyn (‫)ع‬: Pharyngeal. Produced deep in the throat, creating a
distinct, throaty sound.
4. Tho (‫)ظ‬: Dental. Similar to "Dh" but with a thicker, more resonant
quality.
5. Toh (‫)ط‬: Pharyngeal. It has a heavier, emphatic sound produced in
the throat.
6. Dhad (‫)ض‬: The sound is produced with emphasis and pressure in
the throat.
7. Soad (‫)ص‬: Emphatic, pharyngeal sound, resonating from the
throat.
8. Sheen (‫)ش‬: Alveolar. The tongue touches the area just behind the
teeth, creating a hissing sound.
 9. Seen (‫)س‬: Alveolar. Similar to "sh" but without the emphatic
quality.

2. Vowel Combinations

2.1. Vowel Marks:

1. Fatha (‫)ِا‬:
o Description: A short "a" sound.
o Examples:
 ‫( ِاْب‬Ib): As in "bit" but shorter.
2. Dhamma (‫)ُا‬:
o Description: A short "u" sound.
o Examples:
 ‫( ُاْب‬Ub): As in "book" but shorter.
3. Kasra (‫)ِا‬:
o Description: A short "i" sound.
o Examples:
 ‫( ِاْب‬Ib): As in "bit" but shorter.

2.2. Vowel and Consonant Combinations:

1. ‫( ِاْب‬Ib):
o Vowel Mark: Kasra with the consonant "Baa".
o Sound: A short "i" followed by "b", similar to "ib".
‫ُا‬
2. ‫( ْب‬Ub):
o Vowel Mark: Dhamma with the consonant "Baa".
o Sound: A short "u" followed by "b", similar to "ub".
3. ‫( َاْب‬Ab):
o Vowel Mark: Fatha with the consonant "Baa".
o Sound: A short "a" followed by "b", similar to "ab".

3. Complex Consonant-Vowel Combinations

3.1. Examples:

1. ‫( ِاْع‬I’):
o Vowel Mark: Kasra with the consonant "Ain" (‫ )ع‬and a
sukoon.
o Sound: A short "i" sound followed by the "ain" sound without
a vowel.
2. ‫( ِاْغ‬Igh):
o Vowel Mark: Kasra with the consonant "Ghayn" (‫ )غ‬and a
sukoon.
o Sound: A short "i" sound followed by the guttural "ghayn"
sound.
3. ‫( ِاْف‬If):
o Vowel Mark: Kasra with the consonant "Faa" (‫ )ف‬and a
sukoon.
 o Sound: A short "i" sound followed by "f", similar to "if".
4. ‫( ِاْق‬Iq):
o Vowel Mark: Kasra with the consonant "Qaaf" (‫ )ق‬and a
sukoon.
o Sound: A short "i" sound followed by "q", similar to "iq".
5. ‫( ِاْك‬Ik):
o Vowel Mark: Kasra with the consonant "Kaaf" (‫ )ك‬and a
sukoon.
o Sound: A short "i" sound followed by "k", similar to "ik".
6. ‫( ِاْم‬Im):
o Vowel Mark: Kasra with the consonant "Meem" (‫ )م‬and a
sukoon.
o Sound: A short "i" sound followed by "m", similar to "im".
7. ‫( ِاْء‬I’):
o Vowel Mark: Kasra with Hamza (‫ )ء‬and a sukoon.
o Sound: A short "i" sound followed by the glottal stop of
Hamza.
8. ‫ْو‬ ‫ِا‬ (Iw):
o Vowel Mark: Kasra with Waw (‫ )و‬and Dhamma.
o Sound: A short "i" sound followed by "w" and a slight "u"
sound, like "iw".
9. ‫ْي‬ ‫ِا‬ (I):
o Vowel Mark: Kasra with Yaa (‫ )ي‬and a long vowel sound.
o Sound: A long "i" sound, similar to "see".

Understanding these details will help you pronounce Arabic words more
accurately and fluently. Practice with these articulation points and vowel
combinations regularly to build proficiency.

Lesson 3

1. Huroofe Hawa’iyyah (Airy Letters)

 ‫( ا‬Alif), ‫( و‬Waw), ‫( ي‬Yaa)

o Makhraj: These letters are unique because they don't have a
specific place of articulation in the mouth. Instead, they are
produced by the shape and positioning of the mouth:
 Alif (‫)ا‬: Pronounced by creating an open space in the
mouth.
 Waw (‫)و‬: Pronounced by rounding the lips, with no
specific contact within the mouth.
 Yaa (‫)ي‬: Pronounced with the tongue in a high position,
but not touching the roof of the mouth.

2. Huroofe Halqee (Throat Letters)

 ‫( غ‬Ghayn), ‫( خ‬Khaa), ‫( ع‬Ayn), ‫( ح‬Haa), ‫( ء‬Hamza), ‫( ه‬Haa)

o Hamza (‫ )ء‬and Haa (‫)ه‬:
  Makhraj: Produced from the back of the throat,
specifically from the pharynx (the area of the throat
nearest to the chest).
 Hamza is a glottal stop, and Haa is a breathy sound
made with the vocal cords slightly open.
o Ayn (‫ )ع‬and Haa (‫)ح‬:
 Makhraj: Originates from the middle of the throat,
involving a deep constriction in the pharynx. Ayn
involves vocal cord vibration, while Haa is breathy and
involves more of the pharynx.
o Ghayn (‫ )غ‬and Khaa (‫)خ‬:
 Makhraj: Produced from the back of the throat, but
Ghayn is articulated slightly closer to the mouth
compared to Khaa. Ghayn involves vibration of the
vocal cords, while Khaa is a voiceless fricative.

3. Huroofe Lahwiyah (Uvular Letters)

 ‫( ق‬Qaaf) and ‫( ك‬Kaaf)

o Qaaf (‫)ق‬:
 Makhraj: Produced when the back of the tongue rises
and makes contact with the soft palate (the velum). This
contact is more forceful and creates a deep, guttural
sound.
o Kaaf (‫)ك‬:
 Makhraj: Similar to Qaaf, but the contact is slightly
closer to the front of the mouth. It is articulated with the
back of the tongue but not as deep as Qaaf.

4. Huroofe Shajariyyah (Palatal Letters)

 ‫( ج‬Jeem), ‫( ش‬Sheen), ‫( ي‬Yaa)

o Makhraj: These letters are articulated by raising the middle
part of the tongue to the hard palate (the part of the roof of
the mouth towards the front). This creates a more centralized
sound:
 Jeem (‫)ج‬: A voiced postalveolar fricative.
 Sheen (‫)ش‬: A voiceless postalveolar fricative.
 Yaa (‫)ي‬: A high front vowel, where the tongue is close
to the roof of the mouth without touching it.

5. Huroofe Tarfiyah (Tip of the Tongue Letters)

 ‫( ل‬Laam), ‫( ن‬Noon), ‫( ر‬Raa)

o Makhraj: Produced when the tip of the tongue touches or
comes close to the hard palate right behind the upper front
teeth:
 Laam (‫)ل‬: The tip of the tongue lightly touches the
hard palate, creating a lateral sound.
  Noon (‫)ن‬: Produced with the tip of the tongue touching
the hard palate and allowing air to flow through the
nasal cavity.
 Raa (‫)ر‬: The tip of the tongue taps or lightly touches
the hard palate, creating a rolled or trilled sound.

6. Huroofe Natiyyah (Dental Letters)

 ‫( ت‬Taa), ‫( د‬Daal), ‫( ط‬Toh)

o Makhraj: These letters are articulated by placing the tip of
the tongue against the upper front teeth:
 Taa (‫)ت‬: A voiceless dental stop.
 Daal (‫)د‬: A voiced dental stop.
 Toh (‫)ط‬: A voiceless emphatic dental stop, with a
stronger articulation compared to Taa and Daal.

7. Huroofe Lathwiyyah (Dental Edge Letters)

 ‫( ظ‬Taa), ‫( ذ‬Thaal), ‫( ث‬Tha)

o Makhraj: Produced when the tip of the tongue touches the
edge of the upper front teeth:
 Zaa (‫)ظ‬: A voiced dental fricative.
 Thaal (‫)ذ‬: A voiced dental fricative.
 Tha (‫)ث‬: A voiceless dental fricative.

8. Huroofe Safeer (Whistling Letters)

 ‫( ز‬Zaa), ‫( س‬Seen), ‫( ص‬Saad)

o Makhraj: These letters are articulated with the tip of the
tongue near the edge of the bottom front teeth, lightly
touching the upper front teeth, producing a whistling or
hissing sound:
 Zaa (‫)ز‬: A voiced alveolar fricative.
 Seen (‫)س‬: A voiceless alveolar fricative.
 Saad (‫)ص‬: A voiceless emphatic alveolar fricative.

9. Faa

 ‫( ف‬Faa)
o Makhraj: Produced when the inner part of the bottom lip
touches the edge of the upper front teeth, creating a friction
between the lip and the teeth:
 FAA (‫)ف‬: A voiceless labiodental fricative.

10. Baa, Meem, Waw

 ‫( ب‬Baa), ‫( م‬Meem), ‫( و‬Waw)

 o Baa (‫)ب‬: Produced by bringing the top lip into contact with
the moist part of the bottom lip, creating a voiced bilabial
stop.
o Meem (‫)م‬: Produced by bringing the top lip into contact with
the dry part of the bottom lip, creating a voiced bilabial nasal
sound.
o Waw (‫)و‬: Produced by rounding the lips, creating a voiced
bilabial glide.

Lesson 4 Rules of Noon Mushaddad ‫ ّن‬and Meem ‫ّم‬

Mushaddad

Mushaddad refers to a consonant in Arabic that has a shadda (‫ )ّـ‬on top

of it. The shadda indicates that the consonant is doubled or intensified,
which means it has to be pronounced with a specific emphasis and length.

In Arabic script:

 Noon Mushaddad: ‫ّن‬

 Meem Mushaddad: ‫ّم‬

Rules for Pronouncing Mushaddad

1. Gunnah (Nasalization):
o Both Noon Mushaddad ( ‫ )ّن‬and Meem Mushaddad ( ‫ )ّم‬involve a
nasal sound known as Gunnah. This means that the sound
is emitted through the nose.
 2. Stretching:
o When encountering a Mushaddad letter, it should be
pronounced with extra length—specifically, for about two
seconds, known as two harakaat. This lengthening helps to
emphasize the doubled nature of the consonant.

Detailed Pronunciation

1. Noon Mushaddad ( ‫)ّن‬:

 The sound of Noon Mushaddad involves a nasal resonance. When

pronouncing ‫ّن‬, you should make sure that the sound resonates
through the nasal cavity. The sound is prolonged for about two
seconds.

Example:

 ‫( ِاَّن َر َّبَک َلِبا ۡلِم ۡرَص اِد‬Surah Al-Fajr, 15)

o Here, ‫ ِاَّن‬contains Noon Mushaddad. You should pronounce it
with an emphasis on the nasal sound and stretch it for about
two seconds.

2. Meem Mushaddad ( ‫)ّم‬:

 Similarly, Meem Mushaddad also involves nasalization. When

pronouncing ‫ّم‬, you emphasize the sound through the nose and
stretch it for about two seconds.

Example:

 ‫( َو َخ َلَق ا ۡلَج ٓاَّن ِم ۡن َّم اِرٍج ِّم ۡن َّناٍر‬Surah Ar-Rahman, 16)

o In this verse, ‫ ِّم ۡن َّم اِرٍج‬contains Meem Mushaddad. The sound
should be prolonged and nasalized.

Applying the Rules in Recitation

1. Identify the Mushaddad Letters:

 Look for letters with a shadda (‫)ّـ‬. When you see ‫ ّن‬or ‫ ّم‬with a
shadda, you know you need to apply the rules of gunnah and
stretching.

2. Pronounce with Gunnah:

 For both Noon Mushaddad and Meem Mushaddad, ensure that you
produce the sound through the nasal cavity. The pronunciation
should be clear and audible.

3. Apply the Stretching:

  Stretch the sound of the Mushaddad letter for about two seconds.
This elongation is crucial for correct pronunciation and is one of the
key rules of Tajweed.

Practical Tips

 Practice with a Tutor: Practicing with a knowledgeable teacher

can help you perfect the pronunciation.
 Listen to Qaris: Listening to skilled reciters can help you
understand the correct pronunciation and length.
 Record Yourself: Recording your recitation and comparing it to
standard recitations can help you adjust your pronunciation.

By following these guidelines, you will ensure that you are reciting with
proper Tajweed, making your recitation of the Quran more accurate and
harmonious.

Lesson 5 Ikhfaa

What is Ikhfaa?

Ikhfaa is a rule in Tajweed that refers to a specific way of pronouncing

the letter Noon Saakin ( ‫ )ْن‬or Tanween (‫ )ـًــ ٍــ ٌـ‬when it is followed by
certain letters. The term "Ikhfaa" means "concealment" or "hiding" in
Arabic, and it describes the partial concealment of the Noon sound.

Characteristics of Ikhfaa

1. Nasal Sound: The Noon sound should be nasalized, but the

nasalization is lighter compared to Idgham (where the Noon is
merged with the following letter) and more pronounced than
Ishmaal (where the Noon is pronounced clearly).
2. Partial Concealment: In Ikhfaa, the Noon is not pronounced fully
nor is it completely hidden. Instead, it is pronounced with a nasal
quality that is intermediate in visibility.
3. Duration: The sound is extended for approximately two harakaat,
which means it lasts for about two counts or beats.
Letters of Ikhfaa

Ikhfaa occurs when Noon Saakin or Tanween is followed by one of the

following letters:

 ‫( ت‬Taa)
 ‫( ث‬Thaa)
 ‫( ج‬Jeem)
 ‫( د‬Daal)
 ‫( ذ‬Dhaal)
 ‫( ز‬Zay)
 ‫( س‬Seen)
 ‫( ش‬Sheen)
 ‫( ص‬Saad)
 ‫( ض‬Daad)
 ‫( ط‬Taa)
 ‫( ظ‬Dhaa)
 ‫( ف‬Faa)
 ‫( ق‬Qaaf)
 ‫( ك‬Kaaf)

How to Apply Ikhfaa

1. Start with the Noon Sound: Begin with the nasal sound of Noon.
2. Transition Smoothly: Move smoothly towards the following letter,
making sure that the Noon sound is subtly nasalized.
3. Avoid Overemphasis: The Noon should not be overly pronounced.
It should blend smoothly into the following letter.

Practical Examples from the Quran

Let’s examine the specific examples you provided and identify the Ikhfaa
instances:

1. ‫( َلَق ۡد َخ َل ۡقَنا ا ۡلِا ۡنَس اَن ِف ۡی َکَبٍد‬Surah Al-Balad, 90:5)

o ‫ا ۡلِا ۡنَس اَن‬: The Noon in ‫ ِا ۡنَس اَن‬is followed by ‫( س‬Seen), so Ikhfaa
is applied.
2. ‫( َو َت ۡکُتُم وا ا ۡلَح َّق َو َا ۡنُت ۡم َت ۡع ُم ۡوَن‬Surah Al-Baqarah, 2:143)
‫َل‬
o ‫َا ۡنُت ۡم‬: The Noon in ‫ َا ۡنُت ۡم‬is followed by ‫( ت‬Taa), so Ikhfaa should
be used.
3. ‫( َق اَل َا ۡنِظ ۡرِن ۤۡی ِاٰلی َی ۡوِم ُی ۡبَعُث ۡوَن‬Surah Al-Hijr, 15:36)
o ‫َا ۡنِظ ۡرِن ۤۡی‬: The Noon in ‫ َا ۡنِظ ۡرِن ۤۡی‬is followed by ‫( ظ‬Dhaa), so Ikhfaa
is applied here.
4. ‫( َالّٰل ُہ َی ۡعَلُم َم ا َت ۡحِم ُل ُکُّل ُا ۡنٰثی َو َم ا َتِغ ۡیُض ا ۡلَا ۡرَح اُم َو َم ا َت ۡزَداُد‬Surah
Luqman, 31:34)
o ‫ُا ۡنٰثی‬: The Noon in ‫ ُا ۡنٰثی‬is followed by ‫( ث‬Thaa), thus Ikhfaa is
used.
5. ‫( َفُق ۡل َہ ۡل َّلَک ِا ٰۤلی َا ۡن َتَز ی‬Surah Al-Nazi’at, 79:19)
‫ّٰک‬
 o ‫َا ۡن َتَز ّٰکی‬: The Noon in ‫ َا ۡن َتَز ّٰکی‬is followed by ‫( ت‬Taa), making
Ikhfaa necessary.
6. ‫( َءَا ۡنُت ۡم َاَش ُّد َخ ۡلًق ا َاِم الَّس َم ٓاُء‬Surah An-Nazi'at, 79:28)
o ‫َا ۡنُت ۡم‬: The Noon in ‫ َا ۡنُت ۡم‬is followed by ‫( ت‬Taa), so Ikhfaa should
be applied here as well.

Summary

Ikhfaa is an important aspect of Tajweed, ensuring that the Noon Saakin

or Tanween blends smoothly into the following letters with a nasal quality
that is neither too pronounced nor too hidden. Mastering this rule
contributes to the fluidity and accuracy of Quranic recitation.

Lesson 6 Izhaar

Understanding Izhaar Halqi

Izhaar Halqi refers to the clarity in the pronunciation of Noon Saakin and
Tanween when they are followed by one of the six throat letters ( ‫حروف‬
‫)الحلق‬. The term "Izhaar" means "to reveal" or "to make clear," and "Halqi"
relates to the throat. Therefore, Izhaar Halqi implies that Noon Saakin and
Tanween are pronounced clearly without the nasal sound (Ghunnah) when
followed by the throat letters.

The Six Throat Letters (‫)حروف الحلق‬

These six letters are:

1. ‫( ء‬Hamzah)
2. ‫( ه‬Haa)
3. ‫( ع‬Ain)
4. ‫( ح‬Haa)
5. ‫( غ‬Ghain)
6. ‫( خ‬Khaa)

Pronunciation Rules
 1. No Ghunna (Nasal Sound): When Noon Saakin or Tanween comes
before any of these throat letters, the Noon sound is pronounced
clearly and without the nasal sound. The nasal sound (Ghunna) is a
characteristic feature of the Noon Saakin and Tanween when they
are not followed by the throat letters.
2. Clarity in Pronunciation: The Noon Saakin and Tanween should
be pronounced from their respective points of articulation without
merging into a nasal sound.

Examples

1. Noon Saakin ( ‫)ْن‬:

o ‫( ِم ْن‬min) followed by a throat letter:
 ‫( ِم ْن َا ْہِل‬min ahli) – Here, ‫ ْن‬is pronounced clearly
without Ghunna.
o ‫( ٰذِلَک ِلَم ن َخ ِش َی‬Dhālika liman khashiya) – The ‫ ْن‬in ‫ ِلَم ن‬is
pronounced clearly before the throat letter ‫خ‬.
2. Tanween (ً ٌ ٍ):
o ‫( َیْوَم ِئٍذ َعَلْی َہا‬yawma'idhin 'alayha) – The ٍ in ‫ َیْوَم ِئٍذ‬is pronounced
clearly before the throat letter ‫ع‬.
o ‫( َعْبًدا ِإَذا َص َّلى‬abdān idhā ṣallā) – The ً‫ ا‬in ‫ َعْبًدا‬is pronounced
clearly before the throat letter ‫ع‬.

Key Points to Remember

1. No Ghunnah for Throat Letters: The key feature of Izhaar Halqi is

that it eliminates the nasal sound (Ghunnah) that is usually present
with Noon Saakin and Tanween.
2. Clear Pronunciation: Ensure that Noon Saakin and Tanween are
articulated clearly and distinctly when followed by one of the throat
letters.
By applying Izhaar Halqi, the recitation adheres to proper Tajweed rules,
enhancing the clarity and correctness of Quranic pronunciation.

Lesson 7 Iqlaab
Understanding Iqlaab
Iqlaab means "to turn over" or "to change." In Tajweed (the rules of Quranic
recitation), Iqlaab refers specifically to the phonetic transformation that occurs
when a Noon Saakin ( ‫ )ْن‬or Tanween (ً, ٍ, ٌ) is followed by the letter ‫( ب‬Baa).
When Iqlaab Occurs:
 If a Noon Saakin ( ‫ )ْن‬or Tanween (ً, ٍ, ٌ) is followed directly by the letter ‫ب‬
(Baa), the Noon sound is converted into a hidden Meem (‫ )م‬sound. This
is done to facilitate smoother pronunciation and to avoid a clashing of
sounds.
How to Pronounce Iqlaab
1. Transformation to Meem: The Noon Saakin or Tanween is replaced with
a hidden Meem sound. You do not pronounce the Noon explicitly; instead,
you produce a sound similar to the letter Meem.
2. Articulation: When pronouncing this hidden Meem, the lips come close
together but do not completely close. This is known as "joining of lips"
because the sound is produced with the lips almost touching, without fully
closing them as in the regular pronunciation of Meem.
3. Ghunna (Nasalization): You should perform a Ghunna (nasal sound) for
approximately 2 Harakaat (beats). Ghunna is a nasal sound that is
 characteristic of the letter Meem, and it adds to the flow and rhythm of the
recitation.

Examples of Iqlaab with Noon Saakin

1. ‫( َف َا ۡنَب ۡتَنا ِف ۡی َہا َحًّبا‬Surah Abasa 80:28)
o Here, the Noon Saakin in "‫ "َفَا ۡنَب ۡتَنا‬is followed by the ‫ ب‬in "‫"َحًّبا‬. So,
instead of pronouncing the Noon, it is transformed into a hidden
Meem sound, pronounced with Ghunna.
2. ‫( ِااَّل اَّلِذ ۡیَن َتاُب ۡوا ِم ۢۡن َب ۡعِد ٰذِلَک َو َا ۡصَلُح ۡوا‬Surah Al-Furqan 25:71)
o In this verse, "‫ "ِم ۢۡن َب ۡعِد‬involves a Noon Saakin followed by ‫ب‬, so you
apply Iqlaab here.
Examples of Iqlaab with Tanween
1. ‫( َو ِج ٓۡیَء َی ۡوَم ِئ ٍۭذ ِبَج َہَّنَم‬Surah Al-Nazi'at 79:36)
o The Tanween "‫ "َیۡوَمِئ ٍۭذ‬is followed by ‫ ب‬in " ‫"ِبَج َہَّنَم‬. Here, apply Iqlaab by
converting the Tanween into a hidden Meem sound.
2. ‫( َلَن ۡسَف ًۢعا ِبالَّناِص َی ِۃ‬Surah Al-Alaq 96:16)
o In this verse, the Tanween in "‫ "َلَن ۡسَف ًۢعا‬is followed by ‫ ب‬in "‫"ِبالَّناِصَی ِۃ‬, so
you transform the Tanween into a hidden Meem with proper
Ghunna.
Summary
Iqlaab is a crucial rule for smooth and correct recitation of the Quran. By
converting Noon Saakin or Tanween into a hidden Meem when followed by ‫ب‬,
and performing the Ghunna for 2 Harakaat, you maintain the harmony and
clarity of the Quranic recitation. This rule helps in maintaining the correct
pronunciation and ensuring the recitation flows naturally and correctly.

Lesson 8 Idghaam

Idghaam is an important concept in Tajweed, the rules governing the

correct pronunciation of Quranic Arabic. It refers to the merging of a
sakin (non-vowel) letter into a Mutaharrik (moving) letter that follows it,
resulting in a single, intensified sound. Here’s a deeper dive into its types
and application:

Types of Idghaam

1. Idghaam with Ghunnah

Ghunnah is a nasal sound that is produced while articulating

certain letters. When Noon Saakin ( ‫ )ْن‬or Tanween (ً ٍ ٌ) is followed by
any of the following letters, Idghaam is done with Ghunnah:

o ‫( ي‬Ya)
o ‫( و‬Waw)
o ‫( م‬Meem)
o ‫( ن‬Noon)

Pronunciation: The Noon or Tanween is not pronounced

separately; instead, the nasal sound is combined with the next letter
for 2 harakaat (lengths of time). The articulation is smooth and
nasalized.
 Examples:

oNoon Saakin
 ‫َذَّر ٍۃ َخ ۡیًر ا َّیَر ٗہ‬
"Dharraṭin khayran ya'rahu"
(Surah Al-Insan 76:8)
 ‫ِف ۡی ِج ۡیِد َہا َح ۡبٌل ِّم ۡن َّمَس ٍد‬
"Fi jidiha ḥablun min masad"
(Surah Al-Masad 111:6)
 ‫َف ُذ ۡوُق ۡوا َف َل ۡن َّنِز ۡیَدُک ۡم ِااَّل َعَذاًبا‬
"Fadhūqū falan naẓīdu kum illā ʿadhāban"
(Surah Al-Naba 78:30)
o Tanween
 ‫اَل َیُذ ۡوُق ۡوَن ِف ۡی َہا َب ۡرًدا َّو اَل َش َر اًبا‬
"Lā yaẓūqūna fīhā bardan wa lā sharāban"
(Surah An-Naba 78:25)
 ‫َجَز ٓاًء ِّم ۡن َّر ِّبَک َعَطٓاًء ِح َس اًبا‬
"Jazāan min rabbika ʿaṭā'an ḥisāban"
(Surah Al-Insan 76:37)
 ‫ُق ُل ۡوٌب َّی ۡوَم ِئٍذ َّو اِج َف ٌۃ‬
"Qulūbun yawmā’idhin wājifatun"
(Surah Al-Qiyama 75:9)
2. Idghaam without Ghunnah

For this type, the Noon Saakin ( ‫ )ْن‬or Tanween (ً ٍ ٌ) is followed by:

o ‫( ل‬Laam)
o ‫( ر‬Ra)

Pronunciation: The Noon or Tanween is not pronounced; instead,

the following letter (Laam or Ra) is pronounced clearly without
Ghunnah.

Examples:

o Noon Saakin
 ‫َکاَّل َلِئ ۡن َّل ۡم‬
"Kallā lā'in lam"
(Surah Al-Qiyama 75:34)
 ‫َع ۡن َّر ِّب ِہ ۡم َی ۡوَم ِئٍذ َّلَم ۡحُج ۡوُب ۡوَن‬
"ʿAn rabbihim yawmā’idhin lamḥajūbūn"
(Surah Al-Mutaffifin 83:16)
o Tanween
 ‫ِا ۡن ُہَو ِااَّل ِذ ۡکٌر ِّل ۡلٰع َلِم ۡیَن‬
"In huwa illā dhikrul lil-‘ālamīn"
(Surah Al-Anbiya 21:24)
 ‫َلَر ُء ۡوٌف َّر ِح ۡیٌم‬
"Laroofun raḥīm"
(Surah Al-Baqarah 2:143)
Rules for Idghaam

1. Sequence: Ensure that Idghaam is applied only when the Noon

Saakin or Tanween is followed directly by the Idghaam letter.
2. Application: Idghaam with Ghunnah should be done for 2 harakaat.
For Idghaam without Ghunnah, the pronunciation should be smooth
and clear without nasalization.

Understanding and applying Idghaam correctly ensures clarity and

precision in reciting the Quran, and it reflects the beauty of Tajweed in
preserving the phonetic qualities of the Arabic language.

Lesson 9 Al Qalqalah

What is Qalqalah?

Qalqalah occurs when a letter with a Sukoon (a diacritical mark indicating

the absence of a vowel sound) is pronounced with a slight echo or bounce
at the end of its pronunciation. This echo is a distinctive feature that helps
to make the letter sound more pronounced and clear, especially when it
appears at the end of a word or when stopping.

Conditions for Qalqalah

1. The Letter Must Be Saakin: Qalqalah is only applied to letters

that are Saakin, meaning they have a Sukoon on them or are
inherently Saakin due to a stop (Waqf). If a letter is not Saakin,
Qalqalah does not apply.
2. The Letter at the End of a Word: Typically, Qalqalah is more
noticeable when the Saakin letter is at the end of a word, especially
if the word is followed by a pause or stop.

Letters of Qalqalah

The letters that exhibit Qalqalah are:

 ‫( ق‬Qaf)
 ‫( ط‬Ta)
 ‫( ب‬Ba)
 ‫( ج‬Jeem)
 ‫( د‬Dal)

These letters can be remembered using the mnemonic phrase "‫"قطب جد‬
(Qutb Jad).

How to Pronounce Qalqalah

When pronouncing a Saakin Qalqalah letter, produce a slight bounce or
echo. This can be thought of as a slight burst of sound that makes the
pronunciation of the letter more distinct.

Examples from the Quran

Let’s break down a few examples to illustrate Qalqalah:

1. ‫َق اَل َأَن ۠ا َخ ْيٌر ِّم ْنُه َخ َلْق َتِنى ِم ن َّناٍر َو َخ َلْق َتُه ۥ ِم ن ِطيٍن‬
o The letter ‫ ق‬in " ‫ "َقاَل‬and " ‫( "َقاَل‬pronounced with an echo at
the end due to Sukoon) demonstrates Qalqalah.
2. ‫ِإاَّل َمْن َخِطَف ٱْلَخ ْطَف َة َف َأْتَبَع ُه ۥ ِش َه اٌب َثاِق ٌب‬
o The letter ‫ ط‬in " ‫ "َخِطَف‬and " ‫ "ٱْلَخ ْطَفَة‬and ‫ ق‬in " ‫ "َثاِقٌب‬are
pronounced with an echo.
‫ُظ‬
3. ‫َف ِإَّنَم ا ِه َى َز ْج َر ٌة َٰو ِح َدٌة َف ِإَذا ُه ْم َين ُر وَن‬
o The letter ‫ د‬in "‫ "َزْج َر ٌة‬and "‫ "َٰوِح َدٌة‬and ‫ ج‬in " ‫ "َينُظُر وَن‬are
pronounced with an echo.
4. ‫َف َم ن َف َر َض ِف يِه َّن ٱْلَحَّج َف اَل َر َف َث َو اَل ُف ُس وَق َو اَل ِج َداَل ِف ى ٱْلَحِّج‬
o The letter ‫ ج‬in " ‫ "ِج َداَل‬and ‫ د‬in " ‫ "َفَرَض‬are pronounced with
Qalqalah.

Summary

Qalqalah is an important aspect of Tajweed that ensures clarity and

proper pronunciation of certain letters when they are Saakin. By applying
Qalqalah, one maintains the correct articulation and phonetic
distinctiveness required in Quranic recitation.
 Lesson 10 Laam of Allah

1. Full Mouth (Mouth-Heavy Laam) with Fatha or Dhamma

Rule:
 When the word "Allah" (‫ )الّٰلہ‬or "Allahum" (‫ )الّٰل ُہم‬is preceded by a Fatha
(Zabar) or a Dhamma (Pesh) in the text, the Laam (‫ )ل‬of Allah should be
pronounced with a full mouth (heavy articulation).
Explanation:
 Fatha (Zabar) is a diacritical mark placed above the letter, making an "a"
sound.
 Dhamma (Pesh) is placed above the letter, making a "u" sound.
 When either of these marks appears before "Allah," it affects the
pronunciation of the Laam in "Allah," causing it to be pronounced with the
mouth rounded and fuller.
Examples:
 ‫"( َا ۡن َاُّد ۤۡوا ِاَلَّی ِع َباَد الّٰل ِہ‬Indeed, my servants who have believed in Allah...")
o Here, " ‫( "ِاَلَّی‬ilaayya) has a Fatha, leading to a heavy Laam in " ‫الّٰل ِہ‬."

 ‫"( َّو َا ۡن اَّل َت ۡعُل ۡوا َعَلی الّٰل ِہ‬And do not speak of Allah except in truth...")
o "‫( "َعَلی‬ala) has a Fatha, leading to a heavy Laam in " ‫الّٰل ِہ‬."

 ‫"( َو الّٰل ُہ ُمِح ۡی ٌۢط ِبا ۡلٰکِفِر ۡیَن‬And Allah is encompassing of the disbelievers...")
o " ‫( "ِبا ۡلٰکِفِر ۡیَن‬bilkaafireena) has a Dhamma, causing the Laam in " ‫"الّٰل ُہ‬
to be pronounced heavily.
2. Empty Mouth (Light Laam) with Kasrah
Rule:
 When the word "Allah" (‫ )الّٰلہ‬or "Allahum" (‫ )الّٰل ُہم‬is preceded by a Kasrah
(Zer), the Laam of "Allah" should be pronounced with an empty mouth
(light articulation).
Explanation:
 Kasrah (Zer) is a diacritical mark placed below the letter, making an "i"
sound.
  When "Allah" follows a Kasrah, the Laam in "Allah" should be pronounced
lightly, without the full rounding of the lips.
Examples:
‫َا‬ ‫ّٰل‬
 ‫"( ِل ِہ َما ِفی الَّس ٰمٰوِت َو َما ِفی ا ۡل ۡرِض‬To Allah belongs whatever is in the heavens
and whatever is on the earth...")
o Here, "‫( "ِلّٰل ِہ‬lillah) follows " ‫( "ِل‬li), which has a Kasrah.
‫َا‬ ‫ّٰل‬
 ‫"( َسَّبَح ِل ِہ َما ِفی الَّس ٰمٰوِت َو َما ِفی ا ۡل ۡرِض‬Glorify to Allah what is in the heavens
and what is on the earth...")
o The Kasrah in "‫ "ِلّٰل ِہ‬makes the Laam light.

 ‫"( َو اَّلِذ ۡیَن ٰاَمُنۡوا ِبالّٰل ِہ َو ُر ُس ِل ٖۤہ‬And those who have believed in Allah and His
messengers...")
o Here, "‫( "ِبالّٰل ِہ‬billahi) follows a Kasrah.

3. Heavy Laam When Starting with the Name of Allah

Rule:
 When a recitation begins with the name "Allah" ( ‫)الّٰلہ‬, the Laam in "Allah"
should be pronounced heavily, regardless of the preceding vowel.
Explanation:
 This rule is specific to when you start a verse or section with "Allah." The
Laam is pronounced with a heavier, fuller sound to emphasize the
significance and reverence of the name.
Examples:
 If you start a recitation with a phrase like ‫"( ِبْس ِم الّٰل ِہ الَّر ْح َٰمِن الَّر ِحيِم‬In the
name of Allah, the Most Gracious, the Most Merciful"), the Laam in " ‫"الّٰل ِہ‬
should be pronounced heavily.
Understanding these rules helps in maintaining the correct pronunciation
and respect when reciting the Qur'an, aligning with the rules of Tajweed.
 Lesson 11 Rules of RAA

1. Raa with Fatha (Zabar) or Dhamma (Pesh):

When ‫( ر‬Raa) is followed by a Fatha (‫ )َـ‬or a Dhamma (‫)ُـ‬, or when it is ‫ر‬
(Raa) Saakin (i.e., ‫ ر‬with no vowel mark) and it is preceded by a Fatha or
Dhamma, it is pronounced with a "full mouth" or "heavy" articulation. This is
known as "‫( "مفخم‬Mufakhkam).
Characteristics of Full Mouth Articulation:
 The tongue is raised slightly, and the mouth is more rounded.
 This articulation gives the ‫( ر‬Raa) a heavier sound compared to the
"empty mouth" pronunciation.
 It is sometimes described as "emphasized" or "thick" pronunciation.
Examples:
1. ‫( َاَل ۡم َتَر‬Surah Al-Fil, Ayah 2) – Here, ‫( ر‬Raa) in " ‫ "َتَر‬has a Fatha, thus
pronounced with full mouth.
2. ‫( َو َثُم ۡوَد‬Surah Al-Fajr, Ayah 10) – Here, ‫( ر‬Raa) in "‫ "َثُم ۡوَد‬is followed by a
Dhamma.
3. ‫( َو َم ۤا َا ۡدٰر ٮَک‬Surah Al-Haaqqa, Ayah 4) – Here, the ‫( ر‬Raa) in "‫ "َا ۡدٰر ٮَک‬is
preceded by a Fatha.
4. ‫( َف َہ ۡل َتٰر ی‬Surah Al-Ghashiya, Ayah 9) – Here, the ‫( ر‬Raa) in "‫ "َتٰر ی‬is preceded
by a Fatha.
2. Raa with Kasrah (Zayr):
When ‫( ر‬Raa) is followed by a Kasrah (‫)ِـ‬, or if it is ‫( ر‬Raa) Saakin and is
preceded by a Kasrah, it is pronounced with an "empty mouth" or "light"
articulation. This is known as "‫( "َمْر ُقوق‬Marqooq).
Characteristics of Empty Mouth Articulation:
 The tongue is in a lower position, and the mouth is less rounded.
 This pronunciation results in a lighter, softer sound compared to the full
mouth articulation.
 Examples:
1. ‫( َو َج ٓاَء‬Surah Al-Qamar, Ayah 10) – Here, ‫( ر‬Raa) in "‫ "َج ٓاَء‬is followed by a
Kasrah.
2. ‫( َو َقاُل ۡوا‬Surah Al-Mulk, Ayah 11) – Here, ‫( ر‬Raa) in "‫ "َقاُل ۡوا‬is followed by a
Kasrah.
3. ‫( ٰۤیَاُّی َہا‬Surah Al-Muddathir, Ayah 2) – Here, ‫( ر‬Raa) in "‫ " ٰۤیَاُّی َہا‬is preceded by a
Kasrah.
4. ‫( َفٰذِلَک‬Surah Al-Balad, Ayah 10) – Here, ‫( ر‬Raa) in "‫ "َفٰذِلَک‬is preceded by a
Kasrah.
Additional Points to Remember:
 Raa Saakin: When ‫( ر‬Raa) is Saakin, the rule is based on the vowel that
precedes it, rather than the vowel that follows it.
 Emphasis on Tajweed: Following these pronunciation rules ensures that
the recitation of the Quran is accurate and preserves the intended
meanings and qualities of the words.
Understanding and practicing these rules helps achieve correct
pronunciation in Quranic recitation, reflecting respect for the sacred text and its
proper delivery.
 Lesson 12 Ikhfaa Shafawi

Ikhfaa Shafawi is a specific rule in Tajweed, the science of Quranic

recitation. It pertains to the pronunciation of the letter Meem (‫ )م‬when it is
followed by the letter Ba (‫)ب‬. Here’s a deeper breakdown of the rule and its
application:

Definition and Pronunciation

 Ikhfaa Shafawi literally means "hidden labial assimilation." It is a Tajweed
rule that applies when the letter Meem (‫ )م‬is followed by the letter Ba (‫)ب‬.
 Pronunciation: In this rule, the Meem (‫ )م‬is pronounced in a way that the
lips do not come into complete contact. Instead, the sound of Meem is
slightly concealed, and a nasal sound called Ghunnah (a nasalization) is
produced.
 Ghunnah: This nasal sound should be held for approximately two counts
(harakaat). It is not pronounced as clearly as in its usual form but is
slightly hidden or softened.
Explanation of the Rule
1. When to Apply: This rule is applied specifically when Meem (‫ )م‬is followed
by Ba (‫ )ب‬in a word. The standard practice is to not let the lips touch
completely when pronouncing Meem, instead creating a nasalized sound.
2. Why Apply: The rule aims to make the recitation smoother and more
melodious by blending the sounds together while maintaining a clear
distinction between the two letters.
 Examples
Here’s how Ikhfaa Shafawi is applied in the given examples:
1. )15( ‫َاَل ۡم َی ۡعَل ۡم ِبَاَّن الّٰل َہ َیٰر ی‬
o In this verse, the word ‫ ِبَاَّن‬contains Meem Sakin ( ‫ )َاَّن‬followed by Ba (
‫)ب‬. According to Ikhfaa Shafawi, the Meem (‫ )م‬is pronounced with a
slight nasal sound without the lips coming into full contact.
2. ‫َر ُّب ُہ ۡم ِبَذ ۢۡنِب ِہ ۡم َفَس ّٰوٮ َہا‬
o In this phrase, the word ‫ ِبَذ ۢۡنِب ِہ ۡم‬contains Meem Sakin ( ‫ )ِبَذ ۢۡنِب ِہ ۡم‬followed by
Ba (‫)ب‬. Here, the Meem is pronounced with a Ghunnah, meaning
the sound is nasalized and the lips are not fully touching.
3. ‫ۚ َّن اَّلِذ ۡیَن ٰاَمُنۡوا َو َعِمُلوا الّٰصِلٰحِت َیۡہِد ۡی ِہ ۡم َر ُّب ُہ ۡم ِبِا ۡیَماِن ِہ ۡم‬
o In this verse, the phrase contains Meem Sakin ( ‫ )ِبِا ۡیَماِن ِہ ۡم‬followed by
Ba (‫)ب‬. The Meem here should be pronounced with Ikhfaa Shafawi,
ensuring a smooth transition between the Meem and Ba with a
nasal sound.
Practice Tips
 Listening and Mimicking: Listen to proficient Quranic reciters who follow
Tajweed rules. Try to mimic their pronunciation of Meem when followed by
Ba.
 Consistent Practice: Practice reading and reciting with the Ikhfaa Shafawi
rule to get used to the nasal sound and the subtle difference in
pronunciation.
 Seek Feedback: If possible, have a teacher or a knowledgeable person
listen to your recitation and provide feedback to ensure proper application
of the rule.
By mastering Ikhfaa Shafawi, you will enhance the beauty and accuracy of
your Quranic recitation, reflecting a deep understanding of Tajweed rules.
 Lesson 13 Idghaam Mutamathelyne Sagheer

Idghaam Mutamathelyne Sagheer, also known as Idghaam with the same

letter (Idghaam Mutamathelyne Sagheer), is a specific type of Idghaam in
Tajweed, the rules of Qur'anic recitation. It refers to the "merging" of one letter
into another when they are the same and when the first letter is in a state of
being sakin (silent). Here's a more detailed breakdown:
Concept:
 Idghaam means "to mix" or "to merge." In the context of Tajweed, it
involves the assimilation or blending of one letter into another.
 Mutamathelyne Sagheer specifically refers to the case where the merging
occurs between two instances of the same letter. In this case, it's about
the letter '‫( 'م‬meem) followed by another '‫( 'م‬meem).
Mechanism:
 Meem Saakin ( ‫ )ّم‬is a meem that is not pronounced with a vowel, and it is
found in its silent form.
 When this silent meem ( ‫ )ّم‬is followed by another meem (‫)م‬, the second
meem is pronounced with a nasal sound (‫ )ُغَّنة‬and with two counts of
length (harakaat). The nasal sound is a distinctive characteristic of
Idghaam Mutamathelyne Sagheer.
Pronunciation:
 Ghunnah: This is a nasal sound that is pronounced through the nose,
adding a slight humming quality to the sound. It is articulated by bringing
the vocal cords close together, creating a nasal resonance.
 2 Harakaat: This refers to the length of the pronunciation, which is
equivalent to two beats or counts.
 Examples:
1. ‫َاْطَعَمُهْم ِّمْن ُج وٍع‬
o In this example, you see the meem saakin ( ‫ )ْم‬followed by another
meem (‫)م‬. The pronunciation would involve merging the first meem
into the second meem, making the second meem pronounced with
ghunnah and stretching it for two harakaat.
2. ‫َأَّنُهْم َّمْبُعوُثوَن‬
o Similarly, in this example, the meem saakin ( ‫ )ْم‬is followed by
another meem (‫)م‬. The merging process is applied as described,
where the second meem is pronounced with nasal resonance and
extended duration.
Application:
 The rule is applied when the meem sakin is followed by another meem in
the same word or in connected words. It is important to maintain the nasal
quality and the correct length to ensure accurate and beautiful recitation.
By following these rules, the recitation maintains a smooth and
harmonious flow, adhering to the principles of Tajweed.

Lesson 14 Izhaar Shafawi

What is Izhaar Shafawi?

 Izhaar Shafawi is a rule in Tajweed (the art of Quranic recitation) that
deals with the pronunciation of the Meem Saakinah (a letter ‘‫ ’م‬with a sukoon or
absence of vowel). When the letter Meem Saakinah is followed by certain other
letters, it is pronounced with clarity, ensuring that the sound is not obscured or
assimilated.
Letters of Izhaar Shafawi
The rule applies specifically when the Meem Saakinah is followed by any
letter other than the letters ‘‫( ’ب‬Baa) or ‘‫( ’م‬Meem). The letters that fall under
the rule of Izhaar Shafawi are:
،‫ ن‬،‫ ل‬،‫ ك‬،‫ ق‬،‫ ف‬،‫ غ‬،‫ ع‬،‫ ظ‬،‫ ط‬،‫ ض‬،‫ ص‬،‫ ش‬،‫ س‬،‫ ز‬،‫ ر‬،‫ ذ‬،‫ د‬،‫ خ‬،‫ ح‬،‫ ج‬،‫ ث‬،‫ ت‬،‫أ‬
‫ ي‬،‫ و‬،‫ه‬
These letters are not part of the Meem's nasalization or assimilation rules
and thus require clear enunciation of the Meem sound.
How to Pronounce Izhaar Shafawi
1. Complete Contact of Lips: When the Meem Saakinah is followed by one
of these letters, you need to make a complete closure of the lips to
pronounce the Meem sound clearly. This means that the sound of Meem
should be fully articulated and should not blend into the following letter.
2. Avoid Nasalization or Assimilation: Unlike other rules where Meem
Saakinah might blend with or be nasalized into the next letter, Izhaar
Shafawi requires the clear enunciation of the Meem sound, without
blending it into the next letter.
Examples
Let’s look at some examples you’ve provided:

1. Example 1:
 o Text: ٦﴿ ۙ ‫﴾َصاَل ِتِه ۡم َس اُهوَن‬

o Explanation: Here, the Meem Saakinah in ‫ َص اَل ِتِه ۡم‬is followed by the
letter ‫( س‬Seen). According to Izhaar Shafawi, the Meem sound
should be pronounced clearly and distinctly with a complete closure
of the lips before moving to the next letter.
2. Example 2:
o Text: ٣﴿ ۙ ‫﴾َأَل ۡم َي ۡجَع ۡل َكْيَدُه ۡم ِف ۡي َت ۡضِليٍل‬

o Explanation: In ‫ َك ۡیَدُه ۡم‬the Meem Saakinah is followed by ‫( ف‬Fa).

The clear pronunciation of the Meem sound is required before
articulating the Fa.
Summary
In summary, Izhaar Shafawi is a Tajweed rule ensuring that the Meem
Saakinah is pronounced clearly and distinctly when followed by any letter other
than ‘Baa’ or ‘Meem’. It emphasizes a full closure of the lips and avoids
nasalization or blending with the subsequent letter, ensuring clarity in Quranic
recitation.

Lesson 15 Types of Madd

1. Madd Alif
o Definition: Madd Alif occurs when an Alif (‫ )ا‬is preceded by a Fatha
(‫ )زبر‬and is not followed by a Hamza or a Saakin letter.
o Example: The word "‫( "َما‬maa), where the Alif is preceded by a
Fatha, resulting in a Madd Alif. This Madd is extended for 2
harakaat.
2. Madd Waaw
o Definition: Madd Waaw occurs when there is a Waaw (‫ )و‬with a
Dhamma (‫ )پیش‬before it and the Waaw is Saakin (i.e., it does not
have a vowel sign on it).
o Example: The word " ‫( "ُقُرْوٍن‬qurūn), where the Waaw is preceded by
a Dhamma and is Saakin. This results in a Madd Waaw that is also
extended for 2 harakaat.
3. Madd Yaa
o Definition: Madd Yaa occurs when a Yaa (‫ )ى‬with a Kasrah (‫)زیر‬
comes before it and the Yaa is Saakin.
o Example: The word "‫( "ِبْئٍر‬bi’r), where the Yaa is preceded by a
Kasrah and is Saakin. This results in a Madd Yaa, extended for 2
harakaat.
MADD Tabee’ee (Natural Madd)
 Definition: Madd Tabee’ee refers to the natural stretching of a Madd
letter, which occurs without any specific conditions affecting the
lengthening. This Madd is simply the lengthening of the letter when it is a
Madd letter (‫ ى‬,‫ و‬,‫ )ا‬not followed by a Hamza or a Saakin letter.
 Length: It is extended for 2 harakaat, which is considered the natural
length.

 Examples:
 1. ‫َّم ۡاُک ۡوٍل‬: Here, the Madd Alif (‫ )ا‬is preceded by a Fatha (‫ )زبر‬and is not
followed by a Hamza or Saakin letter.
2. ‫َت ۡرِم ۡی ِہ ۡم‬: In this example, the Madd Yaa (‫ )ى‬follows a Kasrah (‫ )زیر‬and is
Saakin.
3. ‫ِبِح َج اَر ٍۃ‬: This example features a Madd Yaa (‫ )ى‬that follows a Kasrah (
‫ )زیر‬and is Saakin.
Summary
 Madd Alif: Alif (‫ )ا‬with a Fatha (‫ )زبر‬before it, not followed by Hamza or
Saakin.
 Madd Waaw: Waaw (‫ )و‬with a Dhamma (‫ )پیش‬before it and Saakin.
 Madd Yaa: Yaa (‫ )ى‬with a Kasrah (‫ )زیر‬before it and Saakin.
 Madd Tabee’ee: The natural extension of a Madd letter for 2 harakaat
without additional rules affecting it.
Understanding these rules helps in accurate pronunciation and recitation
of Quranic text, ensuring that the intended meanings and phonetic nuances are
preserved.

Lesson 16 Different types of Madd

 Madd Al-Badal

Definition: Madd Al-Badal occurs when a Hamza (‫ )ء‬is followed by a Madd

letter (‫ ي‬,‫و‬, or ‫)ا‬. It is not followed by a Saakin letter or another Hamza. This type
of Madd is stretched for 2 harakaat (units of time).

Examples and Explanation:

1. ‫ٱَّلِذٓى َأْطَعَمُه م ِّم ن ُج وٍع َو َءاَم َنُه م ِّمْن َخ ْو ٍۭف‬
o In this verse, the word "‫ "َءاَمَنُهم‬contains the Hamza followed by the
Madd letter Alif (‫)ا‬, hence it’s read with Madd Al-Badal.
2. ‫ِإَّن ٱَّلِذيَن َءاَم ُنو ۟ا َو َعِم ُلو ۟ا ٱلَّص ٰـِلَح ٰـِت َيْه ِديِه ْم َر ُّبُه م ِبِإيَم ٰـِنِه ْم ۖ َتْج ِر ى ِم ن َتْح ِتِه ُم‬
‫َأْل‬
‫ٱ ْنَه ٰـُر ِفى َجَّنٰـِت ٱلَّنِعيِم‬
o Here, "‫ "َءاَمُنو ۟ا‬follows the same rule with Madd Al-Badal as the Hamza
is followed by the Madd letter ‫و‬.

Madd Aiwadh
 Definition: Madd Aiwadh occurs when a Tanween (ً) with a Fatha at the
end of a word is replaced by an Alif (‫ )ا‬when stopping at it. This type of Madd is
also stretched for 2 harakaat.
Examples and Explanation:
1. ‫ُک ۡنُت ُتٰر ًبا‬
o When stopping on the word "‫ُتٰر ًبا‬," the Tanween (ً) at the end is
replaced by an Alif, leading to "‫ "ُتٰر ًبا‬being read as "‫ُتٰر َبا‬."
2. ‫َم ٓاًء‬
o Here, the Tanween (ً) at the end of "‫ "َمٓاًء‬is replaced with an Alif,
making it "‫َمٓاَءا‬."
3. ‫َس ۡبًع ا‬
o Similarly, in "‫َس ۡبًعا‬," the Tanween (ً) is replaced by an Alif when
stopping, becoming "‫َس ۡبَعًا‬."
4. ‫َص ًّف ا‬
o In the case of "‫َصًّفا‬," stopping on it, the Tanween (ً) is replaced with
an Alif, which reads as "‫َصًّفا‬."
Understanding these rules helps in proper Quranic recitation and ensures
that the text is read accurately and beautifully.

Lesson 17 Aridh Li-Sukoon

What is Madd Aridh Li-Sukoon?

 Madd Aridh Li-Sukoon (‫ )مد عارض للسكون‬is a type of elongation or
prolongation that occurs when you stop at a word in recitation, and the last letter
of that word is temporarily made "saakin" (having a sukoon, or silence). This
temporary sukoon happens because the reader is pausing or stopping at the end
of the word.
Key Points:
1. Temporary Nature: Madd Aridh Li-Sukoon occurs only when you stop at
the end of the word. If you continue reading without pausing, the word is
recited with the standard Madd Tabee’ee (which is a regular elongation).
2. Prolongation: The elongation for Madd Aridh Li-Sukoon is generally 4 beats
(or harakaat), but it can also be prolonged for 2 or 6 beats depending on
the style of recitation and the preference of the reader.
3. Difference from Madd Tabee’ee: Madd Tabee’ee is the natural elongation
of a letter that carries a sukoon in the middle of a word (without any pause
involved), and it is generally prolonged for 2 beats.

Examples and Explanation:

Let’s break down the examples you provided:
1. ‫( َتْر ِميِهْم ِبِح َج اَر ٍة ِّمْن ِسِّج يٍل‬Surah Al-Fil, Ayah 5):
o Here, the last letter in the word ‫( ِسِّج يٍل‬Sijjeel) is a jeem with a
sukoon due to the stop. If you pause here, you should elongate the
sukoon by 4 beats (Madd Aridh Li-Sukoon).
2. ‫( َعَّم َیَتَس آُلوَن‬Surah An-Naba, Ayah 2):
 o The last letter ‫( َیَتَس آُلوَن‬Yatasaa’lūn) has a sukoon when you stop.
Here, the elongation should be 4 beats. Without a pause, it would
be recited as Madd Tabee’ee.
3. ‫( الرحمُن‬Surah Ar-Rahman, Ayah 2):
o When stopping on ‫( الرحمُن‬Ar-Rahman), the last letter noon is saakin
due to the pause, so you would elongate this with Madd Aridh Li-
Sukoon for 4 beats.
4. ‫( َقِلياًل َّما َتَذَّكُر وَن‬Surah Al-Muzzammil, Ayah 17):
o The word ‫( َتَذَّكُر وَن‬Tadhakkarūn) has a saakin due to stopping.
Prolong the last letter for 4 beats if you stop.
Recitation Practice:
To practice Madd Aridh Li-Sukoon:
1. Identify the Words: Look for words where a stop leads to a temporary
sukoon.
2. Practice Stopping: Recite the words, making sure to stop clearly to apply
the elongation.
3. Use the 4 Beats: Count 4 beats during the elongation when you stop at the
saakin letter.
Summary:
Madd Aridh Li-Sukoon is a special form of prolongation applied when
stopping at a word with a temporary sukoon. This prolongation adds depth to
Qur'anic recitation and follows the specific rules of Tajweed, enhancing the
beauty and accuracy of the recitation.

Lesson 18 Madd Al-Leen (‫)َم ّد ٱْلِلين‬

Definition:
 Madd Al-Leen refers to the prolongation of Leen letters (‫ و‬or ‫ )ى‬in specific
situations.
Conditions for MADD Al-Leen:
1. Leen Letters: The letters involved are:
o Waaw (‫ )و‬and Yaa (‫)ى‬.

2. Saakin Condition: The Leen letter must be followed by a letter with a

Sukun (‫)َح َر َكًة َس ِكيَنًة‬, especially when it’s the end of a word.
3. Prolongation: When the Leen letter is followed by a letter with a Sukun due
to a stop, you prolong the Leen letter. This can be extended for 2, 4, or 6
Harakaat.
Examples:
1. ۴﴿ ۙ ‫﴾َف ۡلَی ۡعُبُد ۡوا َر َّب ٰہَذا ا ۡلَب ۡیِت‬
o Leen letter: ‫ و‬in "‫"َف ۡلَی ۡعُبُد ۡوا‬

o Prolongation: The ‫ و‬is followed by a ‫ َس ِكيَنًة‬and thus requires

prolongation.
2. ۳﴿ ۚ ‫﴾ ٖاٰلِف ِہ ۡم ِر ۡحَل َۃ الِّش َتٓاِء َو الَّص ۡیِف‬
o Leen letter: ‫ و‬in " ‫"الِّش َتٓاِء َو الَّص ۡیِف‬

o Prolongation: The ‫ و‬is followed by a ‫ َس ِكيَنًة‬in the context of the

verse.
3. ۵﴿٪ ‫﴾َّو ٰاَمَن ُہ ۡم ِّم ۡن َخ ۡوٍف‬
o Leen letter: ‫ و‬in "‫"َّو ٰاَمَن ُہ ۡم‬

o Prolongation: The ‫ و‬is followed by a ‫َس ِكيَنًة‬, which necessitates the

elongation.
Madd Waajib Muttasil (‫)َمّد ٰوِج ب ُّمَّتِصل‬
Definition:
 Madd Waajib Muttasil refers to the mandatory prolongation of the MADD
letter when it is followed by a Hamza (‫ )ء‬within the same word.
Conditions for MADD Waajib Muttasil:
1. Madd Letters: The letters involved are:
o ‫( ا‬Alif), ‫( و‬Waaw), ‫( ى‬Yaa).

2. Presence of Hamza: The MADD letter must be followed by a Hamza in the

same word.
3. Prolongation: The elongation required is typically 4-5 Harakaat.
Examples:
1. ‫ُاوٰٓلِئَک َعٰلی ُہًدی ِّم ۡن َّر ِّب ِہ ۡم ٭‬
o Madd letter: ‫ ا‬in "‫"ُاوٰٓلِئَک‬

o Hamza: The Hamza follows the MADD letter within the same word.

2. ‫ؕ ٰاَمَن الُّس َف َہٓاُء‬

 o Madd letter: ‫ ا‬in " ‫"ٰاَمَن‬

o Hamza: The Hamza is within the same word.

3. ۲۳ۚ﴿ ‫﴾َّو َج ٓاَء َر ُّبَک َو ا ۡلَمَلُک َصًّفا َصًّفا‬

o Madd letter: ‫ و‬in "‫"َّو َج ٓاَء‬

o Hamza: The Hamza follows the MADD letter within the same word.

4. ۲۴ؕ﴿ ‫﴾َو ِج ٓی َء َیۡوَمِئ ٍۭذ ِبَج َہَّنَم ۙ۬ َیۡوَمِئٍذ َّیَتَذَّکُر ا ۡلِا ۡنَس اُن َو َاّٰنی َل ُہ الِّذ ۡکٰر ی‬
o Madd letter: ‫ و‬in "‫"َو ِج ٓی َء‬

o Hamza: The Hamza follows the MADD letter within the same word.

Summary
 Madd Al-Leen involves prolonging the Leen letters (‫ و‬and ‫ )ى‬when followed
by a letter with Sukun at the end of a word due to stopping. The
elongation can vary between 2, 4, or 6 Harakaat.
 Madd Waajib Muttasil requires elongating the MADD letters (‫ ى‬,‫ و‬,‫ )ا‬by 4-5
Harakaat when followed by a Hamza in the same word, making it a
mandatory type of MADD.
Understanding these rules enhances the accuracy of Quranic recitation,
reflecting both proper pronunciation and adherence to Tajweed rules.

Lesson 19 Madd Munfasil

Madd Munfasil is a type of elongation (Madd) rule in the recitation of the

Qur'an. The term "Munfasil" means "separated," and it refers to the fact that this
rule applies when two separate words are involved.
Rule Definition:
Madd Munfasil occurs when a Madd letter (‫ ا‬- Alif, ‫ و‬- Waw, or ‫ ى‬- Ya)
appears at the end of one word, and the next word begins with a Hamza (‫)ء‬.
The reader must elongate the Madd letter for 2-4 Harakaat (some scholars
extend it up to 5 Harakaat depending on the mode of recitation or Qira’at being
followed).
Harakaat:
 Harakaat refers to the amount of time the sound of the Madd letter is
extended. 1 Harakah is the time it takes to open a finger, so 2-4 Harakaat
would take roughly 2-4 times that.
Example Breakdown:
1. ‫ِاَّن ۤا َا ۡنَز ۡلٰن ُہ ِف ۡی َل ۡیَل ِۃ ا ۡلَق ۡدِر‬
o Madd Munfasil on "‫ "ِاَّن ۤا َا ۡنَز ۡلٰن ُہ‬because there's an Alif (‫ )ا‬at the end of
the word ‫ ِاَّنا‬followed by Hamza (‫ )ء‬at the start of ‫َا ۡنَز ۡلٰن ُہ‬. The reader
must elongate the Alif.
2. ‫اَّلِذ ۤۡی َا ۡنَق َض َظ ۡہَر َک‬
o Madd Munfasil on " ‫ "اَّلِذ ۤۡی َا ۡنَق َض‬where Ya (‫ )ى‬at the end of ‫ اَّلِذ ۡی‬is
followed by Hamza (‫ )ء‬at the beginning of ‫َا ۡنَق َض‬.
3. ‫اَّلِذ ۤۡی َا ۡطَع َم ُہ ۡم ِّم ۡن ُج ۡوٍع ۙ۬ َّو ٰاَم َن ُہ ۡم ِّم ۡن َخ ۡوٍف‬
o Madd Munfasil on " ‫ "اَّلِذ ۤۡی َا ۡطَع َم ُہ ۡم‬as there is a Madd letter at the end of
‫ اَّلِذ ۡی‬followed by Hamza (‫ )ء‬at the start of ‫َا ۡطَع َم ُہ ۡم‬.
4. ‫َف َیُق ۡوُل َر ِّب ۤۡی َا ۡکَر َم ِن‬
o Madd Munfasil on " ‫َر ِّب ۤۡی َا ۡکَر َم ِن‬," with Ya (‫ )ى‬in ‫ َر ِّبی‬followed by
Hamza (‫ )ء‬in ‫َا ۡکَر َم ِن‬.
Recitation Guidelines:
 In each of these cases, the reciter must prolong the Madd letter for 2-4
Harakaat because of the presence of the Hamza at the start of the next
word.
 This prolongation provides a unique and beautiful rhythm in the recitation
of the Qur'an and emphasizes the connection between the two words
despite their separation.

Lesson 20 Madd Lazim Kalimee Muthaqqal

Madd Lazim Kalimee Muthaqqal occurs when a Madd letter (‫ ا‬- Alif, ‫و‬
- Waw, or ‫ ى‬- Ya) is followed by a Mushaddad letter (a letter with a
Shaddah indicating it is doubled) within the same word. The reader is
required to prolong the Madd letter for 6 Harakaat without exception.
This is one of the most emphasized rules of elongation in Qur'anic
recitation.
Rule Explanation:

 When a Madd letter is followed by a Mushaddad letter in the same

word, the Madd letter must be stretched for a long duration (6
Harakaat).
 Harakaat are units of time or counts used in Tajweed to measure
how long a sound is held. In Madd Lazim Kalimee Muthaqqal, the
elongation is mandatory and fixed at 6 counts.

Why It's Called "Kalimee" and "Muthaqqal":

 Kalimee (word-related) indicates that this rule occurs within the

same word, as opposed to Madd that involves two separate words.
 Muthaqqal (heavy) refers to the presence of a Mushaddad letter,
which creates a heavier or intensified pronunciation due to the
double consonant.

Examples:

1. ‫َو َو َجَدَک َض ٓااًّل َف َہٰدی‬

o Madd Lazim Kalimee Muthaqqal is applied in " ‫"َض ٓااًّل‬
because the Alif (‫ )ا‬in ‫ َض ٓااًّل‬is followed by a Laam
Mushaddad ( ‫)ّل‬. The Alif must be elongated for 6 Harakaat.
2. ‫الَّطٓاَّم ُۃ ا ۡلُک ۡبٰر ی‬
o In "‫الَّطٓاَّم ُۃ‬," the Alif (‫ )ا‬is followed by a Meem Mushaddad (
‫)ّم‬, making this a case of Madd Lazim Kalimee Muthaqqal.
The Alif is prolonged for 6 Harakaat.
3. ‫الَّص ٓاَّخ ُۃ‬
o The word "‫ "الَّص ٓاَّخ ُۃ‬has Madd Lazim Kalimee Muthaqqal
because the Alif (‫ )ا‬is followed by a Khaa Mushaddad ( ‫)ّخ‬,
requiring the reader to prolong the Madd letter for 6 Harakaat.

Recitation Guidelines:

 The Madd letter must be elongated for exactly 6 Harakaat.

 There is no flexibility in the duration of this elongation; it is always 6
Harakaat regardless of the mode of recitation.
 This elongation gives a distinct rhythmic effect in the recitation,
emphasizing the Mushaddad letter and making the pronunciation
more "heavy" and deliberate.

Significance:

This rule helps add clarity, rhythm, and emphasis to certain words in the
Qur'an, enhancing the beauty of the recitation while ensuring that the
words are pronounced with the correct intonation and timing.
Lesson 21 Madd Lazim Kalimee Mukhaffaf

Madd Lazim Kalimee Mukhaffaf is a special type of mandatory

elongation (Madd) in Qur'anic recitation. This rule applies when a Madd
letter (‫ ا‬- Alif, ‫ و‬- Waw, or ‫ ى‬- Ya) is followed by a Saakin letter (a
consonant that has a Sukoon, meaning it is not pronounced with a vowel)
within the same word. Unlike other types of Madd, the letter that follows
the Madd is not doubled (does not carry a Shaddah), making this a
"lighter" form of elongation compared to Muthaqqal.

Term Breakdown:
  Madd: Elongation of a vowel sound.
 Lazim: Mandatory, meaning the rule must always be applied.
 Kalimee: Related to a single word (the rule occurs within the same
word).
 Mukhaffaf: Light, because the letter following the Madd is Saakin
but not doubled (not Mushaddad).

Rule Explanation:

This rule occurs when:

 A Madd letter is followed by a Saakin letter (a letter with Sukoon)

within the same word.
 The reader is required to prolong the Madd letter for 4-6
Harakaat. The elongation is lighter (Mukhaffaf) because the
following letter is not doubled with a Shaddah, but still significant as
it involves a Saakin letter.

Harakaat:

 Harakaat represent units of time in Tajweed for measuring how

long a sound is held.
 In Madd Lazim Kalimee Mukhaffaf, the Madd letter is prolonged
for 4-6 Harakaat, similar to other forms of mandatory elongation.

Examples:

There are only two instances of Madd Lazim Kalimee Mukhaffaf in the
entire Qur'an, and both occur in the word " ‫آآْل َن‬."

1. ‫آآْل َن َو َق ْد َعَص ْيَت َق ْبُل َو ُكنَت ِم َن اْلُم ْف ِس ِديَن‬

o The word ‫ آآْل َن‬contains Madd Lazim Kalimee Mukhaffaf
because the Alif (‫ )ا‬is followed by a Laam Saakin ( ‫)ْل‬. The
Alif must be elongated for 4-6 Harakaat.
2. ‫آآْل َن َو َق ْد ُكنُتم ِبِه َتْس َتْعِج ُلوَن‬
o The same rule applies in ‫ آآْل َن‬in this verse, as the Alif (‫ )ا‬is
followed by a Laam Saakin ( ‫)ْل‬, requiring the reader to
elongate the Madd letter for 4-6 Harakaat.

Why It's Called "Mukhaffaf" (Light):

The term Mukhaffaf means "light" because the letter that follows the
Madd letter is Saakin (silent) but not doubled with a Shaddah. This
makes the elongation lighter than Muthaqqal (where the following letter
is doubled and creates a heavier sound).

Recitation Guidelines:
  In Madd Lazim Kalimee Mukhaffaf, the MADD letter must be
prolonged for 4-6 Harakaat.
 The elongation is lighter compared to Madd Lazim Kalimee
Muthaqqal because the letter following the Madd is Saakin but not
Mushaddad.
 This type of elongation is rare, as it occurs only in two specific
instances in the Qur'an.

Significance:

Even though it only appears twice, this rule adds a unique rhythm to these
verses, ensuring the proper flow and beauty of Qur'anic recitation. The
light elongation helps distinguish the sound while maintaining smooth
recitation.

Lesson 22 MADD Lazim Harfee Muthaqqal

Rule Explanation:

The Madd Lazim Harfee Muthaqqal occurs when:

 A Madd letter (Alif, Waw, or Ya) is part of a disjointed letter, such

as ‫آلـّٓم‬.
 The Madd letter is followed by a Mushaddad letter (a letter
carrying a Shaddah, which doubles the sound of the letter).

When this happens, the reader is required to prolong the Madd letter
for 6 Harakaat.
Harakaat:

 Harakaat are units of time used in Tajweed to indicate how long a

sound is held.
 In Madd Lazim Harfee Muthaqqal, the Madd letter must be
prolonged for 6 Harakaat.

Why It's Called "Harfee" and "Muthaqqal":

 Harfee (letter-related) means that the rule applies to individual

disjointed letters (Huruf Muqattaʿat).
 Muthaqqal (heavy) refers to the fact that a Mushaddad letter
follows the Madd letter, making the sound more intense due to the
doubled pronunciation of the letter.

Examples:

1. ‫( آلـّٓم‬Alif-Lam-Meem) – Surah Al-Baqarah (2:1)

o In this group of disjointed letters, Madd Lazim Harfee
Muthaqqal occurs in the letter Lam (‫ )ل‬because it contains a
Madd Alif (‫ )ا‬followed by a Meem Mushaddad ( ‫)ّم‬. The Alif
is elongated for 6 Harakaat.
2. ‫( آلـّٓمٰر‬Alif-Lam-Meem-Ra) – Surah Al-A'raf (7:1)
o In ‫آلـّٓم‬, the Lam (‫ )ل‬contains a Madd Alif (‫ )ا‬followed by
Meem Mushaddad ( ‫)ّم‬, which makes this a case of Madd
Lazim Harfee Muthaqqal. The Madd letter is prolonged for 6
Harakaat.

How It Works:

 Huruf Muqattaʿat are individual letters that are recited separately.

For instance, ‫ آلـّٓم‬is pronounced as "Alif, Laam, Meem."
 When the Madd letter (in this case, Alif) is followed by a Mushaddad
letter (such as Meem Mushaddad ( ‫))ّم‬, the sound of the Madd
letter must be prolonged for 6 Harakaat.
 This creates a heavier sound because of the doubling of the
Mushaddad letter.

Recitation Guidelines:

 The Madd letter must be elongated for exactly 6 Harakaat.

 The sound is heavier due to the Mushaddad letter, giving the
recitation a more deliberate and melodic rhythm.

Significance:

 Madd Lazim Harfee Muthaqqal adds a distinctive rhythm and

emphasis to the recitation of disjointed letters, especially at the
beginning of surahs.
  It ensures that the MADD letter is properly prolonged, giving the
Qur'an a unique melodic tone that enhances the beauty of
recitation.

Lesson 23 Madd Lazim Harfee Mukhaffaf

Madd Lazim Harfee Mukhaffaf is a rule in Tajweed that applies to

specific disjointed letters (Huruf Muqattaʿat) found at the beginning of
certain surahs in the Qur'an. This rule occurs when a Madd letter is
followed by a Saakin letter (a letter with Sukoon, meaning it is silent)
within the same disjointed letter.

Rule Explanation:

This rule applies when:

  A Madd letter (Alif, Waw, or Ya) is part of a disjointed letter.
 The Madd letter is followed by a Saakin letter (a letter with
Sukoon) within the same letter.

When this happens, the Madd letter must be prolonged for 6 Harakaat.
The difference between this and Madd Lazim Harfee Muthaqqal is that
the following letter is Saakin but not Mushaddad (not doubled).

Harakaat:

 Harakaat are units of time used in Tajweed to measure how long a

sound should be held.
 In Madd Lazim Harfee Mukhaffaf, the Madd letter is elongated
for 6 Harakaat.

Why It's Called "Mukhaffaf" (Light):

 The term Mukhaffaf means "light" because the letter following the
Madd letter is Saakin (silent) but not doubled with a Shaddah. This
makes the elongation lighter compared to Madd Lazim Harfee
Muthaqqal, where the following letter is Mushaddad (doubled).

Examples:

1. ‫( ٓک ٰہٰیٓع ٓص‬Kaaf-Ha-Ya-ʿAyn-Saad) – Surah Maryam (19:1)

o In the disjointed letter ‫( ٓع‬ʿAyn), the Madd letter Ya (‫ )ی‬is
followed by a Saakin letter Saad ( ‫)ٓص‬. Since the Saad is
Saakin but not Mushaddad, this is an example of Madd Lazim
Harfee Mukhaffaf, and the Ya (‫ )ی‬must be prolonged for 6
Harakaat.
2. ‫( آلـّٓمٓص‬Alif-Lam-Meem-Saad) – Surah Al-A'raf (7:1)
o In the disjointed letter ‫( ٓص‬Saad), the Madd letter is
followed by a Saakin letter, and since the following letter is
not Mushaddad, this also represents Madd Lazim Harfee
Mukhaffaf. The Madd letter is prolonged for 6 Harakaat.

How It Works:

 This type of elongation occurs in specific disjointed letters at the

start of surahs, where a Madd letter is followed by a Saakin letter
(a letter with Sukoon) within the same letter.
 The reciter must elongate the Madd letter for 6 Harakaat to apply
the rule correctly.

Recitation Guidelines:

 The Madd letter in the disjointed letter must be elongated for 6

Harakaat.
  The sound is lighter than in Madd Lazim Harfee Muthaqqal
because the following letter is Saakin but not doubled (Mushaddad).

Significance:

 Madd Lazim Harfee Mukhaffaf ensures the correct elongation of

disjointed letters in Qur'anic recitation, giving a unique flow and
rhythm to the beginning of certain surahs.
 The application of this rule helps maintain the beauty and precision
of Tajweed, ensuring that the recitation of the Qur'an is performed
according to its proper rules.

Lesson 24 the Permanent Qualities with Opposites

Hams

 Literal Meaning: Concealment.

 Technical Meaning: Hams is characterized by the continuation of
breath when pronouncing certain letters. This occurs due to the
weakness in the letter’s articulation, which results in a softer and
less forceful sound. The letter's reliance on its Makhraj (point of
articulation) is diminished, leading to a more subtle pronunciation.
 Letters with Hams: The letters that possess this quality are:
o ‫( ف‬Fa)
o ‫( ح‬Ha)
o ‫( ث‬Thaa)
o ‫( ه‬Ha)
 o ‫( ش‬Sheen)
o ‫( ك‬Kaf)

These letters require the speaker to maintain breath throughout their

pronunciation, making them sound softer.

Jahr

 Literal Meaning: To be apparent or clear.

 Technical Meaning: Jahr refers to the cessation of breath when
pronouncing certain letters. This is due to the strength in the letter’s
articulation, which allows for a more robust and defined sound. The
letter heavily relies on its Makhraj, resulting in a firmer and clearer
pronunciation.
 Letters with Jahr: All other letters in the Arabic alphabet exhibit this
quality, producing a more pronounced and clearer sound.

Summary of Opposites:

 Hams: Represents a soft articulation with the continuation of breath,

making the sound less pronounced. It applies to the letters: ,‫ ث‬,‫ ح‬,‫ف‬
‫ ك‬,‫ ش‬,‫ه‬.
 Jahr: Represents a strong articulation with the cessation of breath,
resulting in a more defined sound. This applies to all other letters in
the Arabic alphabet.

Importance:

Understanding these qualities is essential for proper pronunciation in

Tajweed, enhancing the clarity and beauty of Qur'anic recitation.

Lesson 25 Rikhwah
 Literal Meaning: Softness.
 Technical Meaning: Rikhwah refers to the continuation of sound while
pronouncing specific letters. This quality leads to a weakness in the
letter’s reliance on its Makhraj (point of articulation), resulting in a softer
and less defined pronunciation. Letters that exhibit Rikhwah allow the
sound to flow more gently.
 Letters with Rikhwah: This quality is primarily found in the letters of
Shiddah (strong letters), meaning it applies to all letters except those
that possess the quality of Shiddah.
At-Tawassut
 Literal Meaning: Moderation.
  Technical Meaning: At-Tawassut represents a balanced state between
strength (Shiddah) and softness (Rikhwah). In this quality, the sound is
partially pronounced with a sense of strength while also maintaining a
degree of softness, resulting in a sound that is neither fully continuous nor
completely disconnected. It occupies a middle ground between the two
qualities.
 Letters with At-Tawassut: This quality is found in the following letters:
o ‫( ل‬Laam)

o ‫( ن‬Noon)

o ‫( ع‬Ayn)

o ‫( م‬Meem)

o ‫( ر‬Raa)

Summary:
 Rikhwah: Indicates softness and the continuation of sound, leading to
a weaker articulation. This quality is found in all letters other than those
exhibiting Shiddah.
 At-Tawassut: Represents a moderate articulation that balances
between strength and softness. It applies specifically to the letters ,‫ ن‬,‫ل‬
‫ ر‬,‫ م‬,‫ع‬.
Importance:
Understanding Rikhwah and At-Tawassut is crucial for accurate
pronunciation in Tajweed, ensuring the clarity and beauty of Qur'anic recitation.

Lesson 26 Shiddah
 Literal Meaning: Strength.
 Technical Meaning: Shiddah refers to the strength in the articulation of
certain letters, causing the sound to be pronounced with
discontinuation. This quality results in a firm reliance on the Makhraj
(point of articulation), making the sound more defined and forceful.
Letters with Shiddah are articulated in a way that requires the speaker to
completely stop the breath during their pronunciation.
 Letters with Shiddah: The following letters possess this quality:
o ‫( أ‬Alif)

o ‫( ج‬Jeem)
 o ‫( د‬Daal)

o ‫( ك‬Kaaf)

o ‫( ت‬Taa)

o ‫( ق‬Qaf)

o ‫( ط‬Taa)

o ‫( ب‬Baa)

Summary:
 Shiddah signifies strength in pronunciation, characterized by a
discontinuation of breath. This quality leads to a clear and forceful
articulation of the sound, relying heavily on its Makhraj.
Importance:
Understanding the quality of Shiddah is essential for accurate
pronunciation in Tajweed, contributing to the clarity and impact of Qur'anic
recitation.

Lesson 27 Isti’laa
 Literal Meaning: Elevation.
 Technical Meaning: Isti’laa refers to the elevation of the back of the
tongue towards the roof of the mouth when pronouncing certain letters.
This elevation creates a distinct resonance and sound quality, making
these letters stand out. The letters that possess this quality are:
o ‫( خ‬Khaa)

o ‫( ص‬Saad)

o ‫( ض‬Dhaad)

o ‫( غ‬Ghayn)

o ‫( ط‬Taa)
 o ‫( ق‬Qaf)

o ‫( ظ‬Thaa)

Istifaal
 Literal Meaning: Lowering or dropping.
 Technical Meaning: Istifaal refers to keeping the tongue lowered from
the roof of the mouth while pronouncing a letter. This quality leads to a
more relaxed articulation, allowing for a softer sound. All letters other than
those exhibiting Isti’laa possess the quality of Istifaal.
Summary:
 Isti’laa: Signifies the elevation of the back tongue when pronouncing
specific letters, resulting in a stronger and more resonant sound. The
letters are: ‫ ظ‬,‫ ق‬,‫ ط‬,‫ غ‬,‫ ض‬,‫ ص‬,‫خ‬.
 Istifaal: Indicates the lowering of the tongue from the roof of the mouth,
resulting in a softer articulation. This quality applies to all letters that are
not part of Isti’laa.
Importance:
Understanding Isti’laa and Istifaal is essential for proper pronunciation in
Tajweed, ensuring the clarity and richness of Qur'anic recitation.

Lesson 28 Itbaaq
 Literal Meaning: Adhesion.
 Technical Meaning: Itbaaq refers to the adhesion of the tongue to the
roof of the mouth when pronouncing specific letters. This quality causes a
distinct sound as the tongue presses against the palate, creating a more
pronounced articulation. The letters that exhibit this quality are:
o ‫( ص‬Saad)

o ‫( ض‬Dhaad)

o ‫( ط‬Taa)

o ‫( ظ‬Dhaa)

Note: These letters also possess the quality of Isti’laa, as they involve
the elevation of the back of the tongue.
Infitaah
  Literal Meaning: Separation.
 Technical Meaning: Infitaah refers to keeping the tongue separated
from the roof of the mouth while pronouncing a letter. This quality
allows for a more open and relaxed articulation, resulting in a softer
sound. All letters that do not exhibit the quality of Itbaaq possess the
quality of Infitaah.
Summary:
 Itbaaq: Signifies the adhesion of the tongue to the roof of the mouth
during the pronunciation of specific letters (‫ ظ‬,‫ ط‬,‫ ض‬,‫)ص‬, leading to a
more distinct sound. These letters also show Isti’laa.
 Infitaah: Indicates the separation of the tongue from the roof of the
mouth, allowing for softer articulation. This quality applies to all letters
that are not part of Itbaaq.
Importance:
Understanding Itbaaq and Infitaah is crucial for accurate pronunciation in
Tajweed, ensuring the clarity and richness of Qur'anic recitation.

Lesson 29 Idhlaq
 Literal Meaning: Fluency; purity in speech.
 Technical Meaning: Idhlaq refers to the articulation of letters with
utmost ease from the sides of the tongue or lips, creating a smooth and
effortless sound as if the letters are slipping away. This quality enhances
the clarity and fluidity of pronunciation, allowing for a natural flow in
speech.
 Letters with Idhlaq: The following letters exhibit this quality:
o ‫( ف‬Fa)

o ‫( ر‬Raa)

o ‫( م‬Meem)

o ‫( ن‬Noon)

o ‫( ل‬Laam)

o ‫( ب‬Baa)

Summary:
  Idhlaq signifies a fluent and pure articulation of certain letters, resulting
in a smooth and effortless pronunciation. The quality enhances clarity and
fluidity in speech.
Importance:
Understanding Idhlaq is essential for accurate and expressive
pronunciation in Tajweed, contributing to the beauty and clarity of Qur'anic
recitation.

Lesson 30 Ismaat
 Literal Meaning: Desistance.
 Technical Meaning: Ismaat refers to the articulation of letters with
utmost strength and stability from their Makhraj (point of
articulation). This quality ensures that the letters are pronounced clearly
and firmly; without this strength, the letters may not be articulated
correctly. Ismaat emphasizes the importance of fully utilizing the
articulation points to produce a distinct sound.
 Quality of Other Letters: All letters in the Arabic alphabet possess this
quality, as each letter requires a certain level of strength and stability in
its articulation to be pronounced accurately.
Summary:
 Ismaat signifies the strength and stability required in the pronunciation
of letters from their Makhraj, ensuring clear articulation.
Importance:
Understanding Ismaat is essential for proper pronunciation in Tajweed, as
it contributes to the clarity and precision necessary for effective Qur'anic
recitation.
 Lesson 31 Qalqalah
 Literal Meaning: To echo.
 Technical Meaning: Qalqalah is a permanent quality that produces an
echoing sound or slight vibration at the Makhraj (point of articulation)
of certain letters. This quality adds a distinctive sound to the pronunciation
of the affected letters, making them stand out in recitation.
 Letters with Qalqalah: The following five letters exhibit this quality:
o ‫( ق‬Qaf)

o ‫( ط‬Taa)

o ‫( ب‬Baa)

o ‫( ج‬Jeem)

o ‫( د‬Daal)

These letters can be remembered with the phrase "‫"قطب جد‬.

Levels of Qalqalah
Qalqalah can be categorized into three levels based on the strength of its
pronunciation:
1. Weak: When the Sakin letter of Qalqalah is in the middle of a word. The
echoing sound is less pronounced.
 o Example:

 ‫( ۙ َاَل ۡم َن ۡشَر ۡح َلَک َص ۡدَر َک‬Surah Ash-Sharh, 94:2)

2. Strong: When making Waqf (a pause) on a Sakin letter of Qalqalah. The

echoing sound is more noticeable and defined.
o Example:

 ‫( ۚ ُق ۡل ُہَو الّٰل ُہ َاَحٌد‬Surah Al-Ikhlas, 112:2)

3. Strongest: When making Waqf (stopping) on a Mushaddad letter of
Qalqalah. The echoing sound is at its most pronounced and vibrant.
o Example:

 ‫َف َم ن َف َر َض ِفيِه َّن ٱْلَحَّج َف اَل َر َف َث َو اَل ُف ُس وَق َو اَل ِج َداَل ِفى ٱْلَحّج‬
(Surah Al-Baqarah, 2:197)
Summary:
 Qalqalah creates an echoing sound or vibration in the Makhraj of
specific letters (‫ د‬,‫ ج‬,‫ ب‬,‫ ط‬,‫)ق‬.
 It has three levels of strength: Weak (middle of a word), Strong (Waqf on
a Sakin letter), and Strongest (Waqf on a Mushaddad letter).
Importance:
Understanding Qalqalah is crucial for proper pronunciation in Tajweed,
ensuring clarity and distinctiveness in Qur'anic recitation.
 Lesson 32 As-Safeer
 Literal Meaning: The whistle.
 Technical Meaning: As-Safeer refers to the natural occurrence of a
whistle-like sound emitted while pronouncing specific letters. This
quality is characterized by a clear, sharp, and high-pitched sound that
resembles a whistle, enhancing the distinctiveness of the affected letters.
 Letters with As-Safeer: The following letters exhibit this quality:
o ‫( س‬Seen)

o ‫( ص‬Saad)

o ‫( ز‬Zaa)

Summary:
 As-Safeer produces a whistle-like sound during the articulation of the
letters ‫ ص‬,‫س‬, and ‫ز‬, adding clarity and expressiveness to their
pronunciation.
Importance:
Understanding As-Safeer is essential for accurate pronunciation in
Tajweed, contributing to the beauty and clarity of Qur'anic recitation.
 Lesson 33 Al-Leen
 Literal Meaning: Softness.
 Technical Meaning: Al-Leen refers to the articulation of specific
letters from their Makhraj (point of articulation) with a natural ease
and softness. This quality allows these letters to be pronounced smoothly
and gently, enhancing the fluidity of speech.
 Letters with Al-Leen: The following letters exhibit this quality:
o ‫( و‬Waw) when it is Sakinah (unvoiced) and has a Fatha on the
letter before it.
o ‫( ي‬Yaa) when it is Sakinah (unvoiced) and has a Fatha on the
letter before it.
Summary:
 Al-Leen signifies the softness and ease of articulation for the letters ‫و‬
and ‫ ي‬when they appear in specific contexts, resulting in a gentle and
smooth pronunciation.
Importance:
Understanding Al-Leen is essential for accurate pronunciation in Tajweed,
contributing to the overall beauty and fluidity of Qur'anic recitation.
 Lesson 34 Al-Inhiraf
 Literal Meaning: To deviate.
 Technical Meaning: Al-Inhiraf refers to the slight deviation of the
tongue towards the Makhraj (point of articulation) of Raa (‫ )ر‬while
pronouncing Laam (‫)ل‬, and vice versa, towards Laam while pronouncing
Raa. This quality creates a unique sound characteristic, distinguishing
these letters in pronunciation.
 Letters with Al-Inhiraf: This quality is found only in the following two
letters:
o ‫( ل‬Laam)

o ‫( ر‬Raa)

Summary:
 Al-Inhiraf indicates a slight deviation in tongue placement that
enhances the articulation of the letters ‫ ل‬and ‫ر‬, contributing to their
distinct sounds.
Importance:
Understanding Al-Inhiraf is essential for accurate pronunciation in
Tajweed, ensuring clarity and precision in Qur'anic recitation.
 Lesson 35 At-Takreer
 Literal Meaning: Repetition.
 Technical Meaning: At-Takreer refers to the trilling of the tongue
while pronouncing a letter, resulting in the letter being pronounced more
than once in quick succession. This quality is specifically associated with
the letter ‫( ر‬Raa).
 Important Note: Unlike other qualities, it is important to avoid
excessive trilling when pronouncing the letter ‫ر‬. The correct
pronunciation should be a controlled and moderate trill, rather than an
overly pronounced repetition.
Summary:
 At-Takreer signifies the trilling of the tongue when articulating ‫ر‬, but
care must be taken to ensure that it is not pronounced excessively.
Importance:
Understanding At-Takreer is crucial for proper Tajweed, ensuring that the
pronunciation of ‫ ر‬is clear and accurate in Qur'anic recitation without being
overly exaggerated.
 Lesson 36 At-Tafasshy
 Literal Meaning: To spread around.
 Technical Meaning: At-Tafasshy refers to the spreading of the sound
of the letter in the mouth while pronouncing it. This quality creates a
distinct and expansive resonance, allowing the sound to be more
pronounced and rich.
 Letter with At-Tafasshy: This quality is found only in the letter ‫ش‬
(Sheen).
Summary:
 At-Tafasshy signifies the spreading of the sound during the articulation
of ‫ش‬, enhancing its clarity and resonance in pronunciation.
Importance:
Understanding At-Tafasshy is essential for accurate Tajweed, ensuring that
the sound of ‫ ش‬is pronounced distinctly and beautifully in Qur'anic recitation.
 Lesson 37 Istitaalah
 Literal Meaning: Prolongation.
 Technical Meaning: Istitaalah refers to the prolongation of the sound
of the letter ‫( ض‬Dhaad) throughout its Makhraj (point of articulation) from
the beginning to the end. This quality is characterized by a smooth and
continuous sound that lasts approximately 1.5 to 1.75 Harakaat.
 Contexts of Istitaalah: This quality is specifically observed when the
letter ‫ ض‬is in the state of Sukoon (unvoiced) or Shaddah (doubled).
Summary:
 Istitaalah signifies the prolongation of the sound of ‫ ض‬during its
articulation, enhancing its distinctiveness and clarity in pronunciation.
Importance:
Understanding Istitaalah is crucial for accurate Tajweed, ensuring that the
pronunciation of ‫ ض‬is smooth and properly extended in Qur'anic recitation.
 Lesson 38
‫( سکته‬Saktah)
 Definition: Saktah is the practice of pausing during recitation without
breaking the breath. It involves terminating the voice while allowing the
breath to continue, creating a brief moment of silence that enhances the
clarity and flow of the recitation.
Importance of Saktah:
Saktah serves as a useful tool in Qur'anic recitation, providing a moment
for the reader to pause and emphasize important parts of the text. This
technique helps to maintain the rhythm and enhances comprehension.
Wajib Saktah in the Qur'an:
According to the Riwayah of Hafs, there are four places in the Qur'an
where Saktah is Wajib (compulsory):
1. Surah Yasin:
o Verse: ‫ِم ن َّم ۡرَق ِدَن ۜاۗ‌ َهٰـَذا‬

o Context: This Saktah emphasizes the transition between thoughts,

enhancing the impact of the message.
2. Surah Al-Kahf:
o Verse: ‫) َق ِّي ً۬ما‬١( ‫ِع َو َج ۜا‬

o Context: The Saktah here helps to separate the description,

allowing the reader to reflect on the quality being mentioned.
3. Surah Al-Qiyamah:
o Verse: )٢٧( ‫َو ِق يَل َم ۜۡن َر ا ٍ۬ق‬

o Context: The pause allows for a dramatic effect, emphasizing the

questioning tone of the verse.
4. Surah Al-Mutaffifeen:
o Verse: )١٤( ‫َكاَّل اۖ‌ َب ۜۡل َر اَن َعَلٰى ُق ُلوِب ِہم َّم ا َكاُنوْا َي ۡكِس ُبوَن‬

o Context: The Saktah here enhances the gravity of the statement,

underscoring the consequences of their actions.
Summary:
Saktah is an essential technique in Tajweed that allows for a pause
without breaking the breath, emphasizing key points in the recitation. In the
Riwayah of Hafs, there are four specific instances in the Qur'an where Saktah is
compulsory, each serving to enhance the meaning and impact of the verses.
Importance:
 Understanding and implementing Saktah correctly is vital for maintaining
the rhythm and clarity of Qur'anic recitation, allowing the reader to convey the
intended message effectively.

Lesson 39 The Method of Pronouncing the ‫( حركات‬Harakaat)

 Definition:
‫( حركة‬Harakah) refers to a vowel sound pronounced on a letter, essential for
accurate pronunciation in Arabic. There are three primary Harakaat:
1. ‫( فتح‬Fatha):
o Pronunciation: Achieved by opening the mouth and releasing
the voice.
o Sound: Represents an “a” sound.

2. ‫( كسرة‬Kasrah):
o Pronunciation: Made by leaning the lips and mouth
downward.
o Sound: Represents an “i” sound.

3. ‫( ضمة‬Dhammah):
o Pronunciation: Produced by rounding the lips.

o Sound: Represents a “u” sound.

Relation between Harakaat and Madd

 Relation: According to some scholars, a Harakah is considered half of a
Madd letter, while others view Madd as double the Harakah.
 Type of Relationship:
o ‫( أصلية‬Asliyyah): Refers to the primary relationship between
Harakah and Madd.
o ‫( فرعية‬Far’iyyah): Refers to the secondary relationship when a
Harakah is pronounced between itself and another Harakah.
 Example:
o Fatha (‫ )فتحة‬relates to Alif (‫)ا‬.

o Dhammah (‫ )ضمة‬relates to Waw (‫)و‬.

o Kasrah (‫ )كسرة‬relates to Yaa (‫)ي‬.

Imalah (‫)إمالة‬
 Definition: Imalah is the phonetic leaning of the Alif toward Yaa and
Fatha toward Kasrah during pronunciation.
 Types:
o Imalatul Kubrah: Occurs when the effect of Kasrah is stronger
than Fatha.
 Example: Found in the word ‫ مجريها‬in Surah Hud according
to the Riwayah of Hafs.
o Imalatul Sughrah (or Taqleel): Happens when the effect of Fatha
is stronger than Kasrah, as read in other Riwayahs.
 Summary
 Harakaat are essential vowel sounds that influence pronunciation in
Arabic.
 There are three primary Harakaat: Fatha, Kasrah, and Dhammah, each
with distinct pronunciations and effects.
 The relationship between Harakaat and Madd is crucial for understanding
Arabic phonetics.
 Imalah represents a nuanced aspect of pronunciation that involves
leaning sounds, affecting how certain words are articulated based on their
context.
Importance
Understanding the Harakaat and their relationships is vital for accurate
pronunciation and recitation in Arabic, especially in Qur'anic reading. Mastery of
these elements enhances both clarity and beauty in spoken Arabic.

Lesson 40 Kayfiyyati Waqf

The term "Kayfiyyati Waqf" refers to specific methods of pausing or
stopping (Waqf) in Quranic recitation, where the treatment of the last letter of a
word is important. There are three types of Waqf under Kayfiyyati Waqf, which
involve specific conditions regarding how the last letter is pronounced or treated
when stopping:
1. Waqf Bill Iskaan (‫)وقف باالسكان‬:
This type of Waqf involves stopping at the end of a word in such a way
that the last letter becomes sakin (silent) regardless of the harakah (vowel) that
was originally on it. Here are its key features:
 The harakah (vowel sound) is completely removed, and the letter is made
silent (no vowel is pronounced).
 There is no indication toward the harakah, meaning no rounding of the
lips or any movement that might indicate the original vowel (no
ishmaam).
This type of Waqf can be applied on words ending with Fathah (Zabar),
Kasrah (Zayr), or Dhammah (Pesh). It is possible whether the harakah is Asli
(original) or Aridh (temporary), and it can also apply to words ending with
Tanween.
Examples:
 ‫ َم اٱلَّطاِر ُق ۝‬becomes ‫( َم اٱلَّطاِر ۡق‬the Qaf becomes silent, without any vowel
sound).
 ‫ َف َص ۡبٌر َجِم يٌل ۝‬becomes ‫َف َص ۡبٌر َجِم ي ۡل‬.
 ‫ َأَباِبيَل ۝‬becomes ‫َأَباِبي ۡل‬.
 ‫ َو َش اِهٍدَوَم ۡشُه وٍد ۝‬becomes ‫َو َش اِهٍدَوَم ۡشُه و ۡد‬.
2. Waqf Bill Ishmaam (‫)وقف باإلشمام‬:
Waqf Bill Ishmaam involves making Waqf on the last letter of the word,
specifically when it has a Dhammah (Pesh). The last letter is made sakin, but
immediately after that, the lips are rounded to indicate the presence of the
Dhammah that was originally on the letter. This rounding of the lips (ishmaam) is
a subtle visual indication of the Dhammah, even though it is not pronounced.
Important Notes:
 Ishmaam is possible only on words ending with a Dhammah.
Examples:
 ‫ – َو ٱلَّلُه َعِز يٌز َحِكيٌم‬Here, when stopping at " ‫"َحِكيٌم‬, the lips are rounded after
stopping to indicate the Dhammah.
 ‫ – َر َّبَنا ٱ ۡغِف ۡر ِلى َو ِلَو ٲِلَدَّى َو ِل ۡلُم ۡؤِم ِنيَن َي ۡوَم َيُق وُم ٱ ۡلِح َس اُب‬A Waqf is made on " ‫"َيُقوُم‬,
with a rounding of the lips after making the Qaf silent to indicate the
original Dhammah.
 ‫َو ُه َو ٱلَّس ِم يُع ٱ ۡلَبِص يُر‬.
 ‫ِإَّن ٱلَّلَه ُه َو ٱ ۡلَغ ُف وُر ٱلَّر ِحيُم‬.
3. Waqf Bir Rome (‫)وقف بالروم‬:
 Waqf Bir Rome involves stopping on the last letter of a word in a way that
a third of the harakah is recited softly, enough that only those nearby can
hear it. This Waqf gives a very subtle and soft indication of the harakah that was
present on the last letter.
Important Notes:
 Rome can be applied only to words ending in a Dhammah (Pesh) or a
Kasrah (Zayr), but not on Fathah (Zabar).
Examples:
 ‫ – ِإَّياَك َن ۡعُبُد َو ِإَّياَك َن ۡسَتِعيُن‬The Kasrah on " ‫ "َن ۡسَتِعيُن‬is pronounced softly when
making Waqf.
 ‫ – َم ٰـِلِك َي ۡوِم ٱلِّديِن‬The Waqf is made on " ‫"ٱلِّديِن‬, where the Kasrah on the last
letter is recited very softly.
Summary:
 Waqf Bill Iskaan: The last letter becomes silent, and no indication of the
harakah is made (applicable to Zabar, Zayr, Pesh, and Tanween).
 Waqf Bill Ishmaam: The last letter becomes silent, but the lips are
rounded to indicate the original Dhammah (only possible on words ending
in Dhammah).
 Waqf Bir Rome: The last letter’s harakah is recited softly, only a third of
the sound is heard (possible on Dhammah and Kasrah).
These methods add beauty and precision to Quranic recitation,
maintaining the integrity of the text and pronunciation while following specific
rules for stopping.

Lesson 41 Mahala Waqf

The four types of Mahala Waqf (places where pausing is allowed or
restricted during recitation) are categorized based on the relationship between
the sentence before the stop and the sentence that follows. Here's a detailed
explanation of each type:
1. Waqf E Taam (‫)وقف تام‬
 Definition: Waqf E Taam is to make Waqf (stop) at a point where the
sentence is completely finished, and there is no connection—neither in
the meaning nor in the words—between the sentence you stopped at and
the one that follows.
 When to Use: It is used when the meaning is complete, and there’s no
dependence on the following sentence. You can start the recitation from
the next sentence without having to repeat anything.
Example:
 )٥( ‫ِإَّياَك َن ۡعُبُد َو ِإَّياَك َن ۡسَتِعيُن‬
o This sentence completes the idea of worship and seeking help, and
the next sentence has no direct connection in words or meaning.
 )٥( ‫َو ُأْو َلٰٓـِٕٮَك ُه ُم ٱ ۡلُم ۡفِلُح وَن‬
o This is a separate idea of the successful people.

2. Waqf E Kafi (‫)وقف كاف‬

 Definition: Waqf E Kafi is to make Waqf where the sentence is complete
in terms of its structure, but there is still a connection in meaning
between the sentence you stopped at and the one that follows. However,
there is no connection in the actual words.
 When to Use: You can stop here, as the sentence makes sense on its
own. However, the meaning is still linked to what follows. After stopping,
the recitation can continue from the next sentence without having to go
back.
Example:
 )٢( ‫ُه ً۬دى ِّل ۡلُم َّتِق يَن‬
o This verse talks about the guidance for the God-conscious, a
complete idea.
 )٣( ‫َر َز ۡقَنٰـُه ۡم ُينِف ُق وَن‬
o Although it's a different sentence, it is connected to the qualities of
the God-conscious, referring to how they spend from what they are
given.
3. Waqf E Hasan (‫)وقف حسن‬
 Definition: Waqf E Hasan is to make Waqf where the sentence is
complete in structure, but there is a connection in both the words and
meaning between the sentences you stopped at and the one that follows.
The Waqf still makes sense, but continuing without stopping would provide
a fuller meaning.
  When to Use: It’s acceptable to stop here, but if it’s not at the end of an
ayah (verse), you will need to go back and repeat from the earlier
sentence to maintain the flow. If it is at the end of an ayah, you can
continue from the next ayah without repeating.
Example:
 ‫َذٲِلَك ٱ ۡلِڪَتٰـُب‬
o This is a complete phrase, but it is tied to the next phrase in
meaning.
 ‫ٱ ۡلَح ۡمُد ِلَّلِه‬
o This also completes a thought, but the sentence that follows
expands or complements it.
4. Waqf E Qabeeh (‫)وقف قبيح‬
 Definition: Waqf E Qabeeh is to make Waqf at a point where the
sentence is incomplete, and there is a strong connection in both the
meaning and the words between the part you stopped at and the one
that follows. Stopping here would distort or misrepresent the meaning.
 When to Avoid: This Waqf should be avoided as it leaves the sentence
unfinished, potentially leading to a misunderstanding or distortion of the
message. If Waqf E Qabeeh is made, it is necessary to go back and
repeat from the earlier part to restore the meaning.
Example:
 ۞ ‫ِإَّن ٱلَّلَه اَل َي ۡسَت ۡحِى ۤۦ‬
o If you stop here, the meaning would be distorted because the
sentence continues with an important clarification of what Allah
does not refrain from.
Stopping here would lead to confusion or misunderstanding about the
intended meaning, so it's considered a Qabeeh stop, and the reader must
repeat from before.
Summary:
 Waqf E Taam: A complete stop with no connection to the following
sentence (in both meaning and words).
 Waqf E Kafi: A stop where the sentence is complete, but there is a
connection in meaning to the next one.
 Waqf E Hasan: A stop where the sentence is complete, but there is a
connection in both words and meaning; if it's not an ayah, you must go
back when continuing.
 Waqf E Qabeeh: A stop at an inappropriate point, leaving the sentence
incomplete and distorting the meaning; you must go back and repeat from
before.
 These rules ensure clarity and preserve the integrity of the Quranic
recitation, as they help the reciter pause in appropriate places to maintain the
correct meaning of the verses.

Lesson 42 1. Waqf E Ikhtiyari (‫)وقف اختياري‬

 Definition: Waqf E Ikhtiyari is a voluntary stop, made intentionally by
the reciter. It is usually performed to pause for a breath or to mark a
pause in the recitation where the reciter chooses to stop. This type of
Waqf is under the control of the reciter, allowing them to manage their
breathing or to highlight a point of reflection.
 Purpose: To take in a breath, or to pause intentionally without any
external interruptions.
2. Waqf E Ikhtibari (‫)وقف اختباري‬
 Definition: Waqf E Ikhtibari is an informative stop made to explain how
a stop is performed on a particular word. It is often used when teaching or
demonstrating the rules of recitation, specifically to show how the last
letter of a word should be treated when making Waqf (i.e., whether it
becomes silent, or requires a specific type of Waqf like Ishmaam or Rome).
 Purpose: To demonstrate or explain how to stop on a word in different
contexts, particularly in an instructional setting or when examining rules of
Tajweed.
3. Waqf E Idhtirari (‫)وقف اضطراري‬
 Definition: Waqf E Idhtirari is an involuntary stop caused by
circumstances beyond the reciter’s control, such as an unintentional
pause due to coughing, running out of breath, or forgetting the next part
of the verse. This stop is not planned and happens due to an unforeseen
need.
 Purpose: To deal with an unexpected situation like a physical limitation
(e.g., shortness of breath, coughing, or other interruptions) that forces the
reciter to stop.
4. Waqf E Intizhari (‫)وقف انتظاري‬
 Definition: Waqf E Intizhari is a stop made repeatedly on a particular
place in the recitation to complete the various Qira’at (different modes of
recitation). The reciter pauses at specific points to highlight the variations
in how different Qira’at approach the same verse, allowing them to repeat
the verse with the different recitations in mind.
 Purpose: To explore and demonstrate the differences between the
various Qira’at of the Quran, making multiple stops at the same place to
recite it in different styles.
Summary:
 Waqf E Ikhtiyari: A voluntary stop for taking a breath or a deliberate
pause.
 Waqf E Ikhtibari: An informative stop to teach or demonstrate how a
stop is made on the last letter.
 Waqf E Idhtirari: An involuntary stop caused by external interruptions
like coughing or forgetting.
  Waqf E Intizhari: A stop made to demonstrate the various Qira’at by
repeatedly stopping at the same point in the recitation.
These types of Waqf help accommodate the reciter's physical needs,
instructional purposes, or demonstrate the various forms of Quranic recitation.

Lesson 43 rules and signs of stopping (Waqf)

 1. Waqf e Lazim (‫ )م‬- The Compulsory Stop
 Meaning: This stop is mandatory. The reciter must pause here because
not stopping could significantly alter the meaning of the sentence.
Example:
o ‫ؕ َو ِاٰلی َثُم ۡوَد َاَخا ُہ ۡم ٰصِلًح ا ۘ َقاَل ٰیَق ۡوِم ا ۡعُبُدوا الّٰل َہ َما َلُک ۡم ِّم ۡن ِاٰل ٍہ َغ ۡیُر ٗہ‬

2. Waqf e Mutlaq (‫ )ط‬- The Absolute Pause

 Meaning: It is highly recommended to stop here to take a brief pause and
fully absorb the meaning before moving on to the next part. This stop aids
in understanding the meaning.
Example:
o ۱۲﴿ ‫﴾َفَسَجُد ۤۡوا ِا َّل ِا ۡبِل ۡیَس ؕ َل ۡم َیُک ۡن ِّمَن الّٰسِج ِد ۡیَن‬

3. Waqf e Jaaiz (‫ )ج‬- The Permissible Stop

 Meaning: This sign indicates that it is permissible to stop. The sentence
or thought is complete, and stopping here would help absorb the meaning,
but it is not obligatory.
Example:
o ۹﴿ ‫﴾َو ا ۡلَو ۡزُن َیۡوَمِئِذ ِن ا ۡلَح ُّق ۚ َفَم ۡن َثُقَل ۡت َمَواِز ۡیُن ٗہ َفُاوٰٓلِئَک ُہُم ا ۡلُم ۡفِلُح ۡوَن‬

4. Waqf e Mujawwaz (‫ )ز‬- Continue Reading

 Meaning: It is advised to continue reading without stopping, though
stopping is not prohibited.
Example:
o ۴۲﴿ ‫﴾َو اَل َت ۡشَتُر ۡوا ِبٰاٰیِت ۡی َثَمًنا َقِل ۡیاًل ز َّو ِاَّیاَی َفاَّتُق ۡوِن‬

5. Waqf e Murakh-khas (‫ )ص‬- The Licensed Pause

 Meaning: This pause is allowed when the reciter is tired or needs a break.
It is better to continue reading if possible, but the sign permits stopping.
Example:
o ۱۷﴿ ‫﴾ُاوٰٓلِئَک اَّلِذ ۡیَن ا ۡشَتَرُوا الَّضٰلَل َۃ ِبا ۡل ُہٰدی ص َفَما َرِبَح ۡت ِّتَج اَر ُت ُہ ۡم َو َما َکاُنۡوا ُم ۡہَتِد ۡیَن‬

6. Al-wasl Awlaa (‫ )صلي‬- Preference for Continuation

 Meaning: The preferred action is to continue without stopping, as the
meaning flows smoothly into the next verse.
Example:
o ‫ِا ۡذ َقاَلِت ا ۡلَمٰٓلِئَک ُۃ ٰیَم ۡرَیُم ِاَّن الّٰل َہ ُیَبِّش ُر ِک ِبَکِلَم ٍۃ ِّم ۡن ُہ ۖ٭ ا ۡسُم ُہ‬

7. Qeela Alayhil-Waqf (‫ )ق‬- Better not to Stop

 Meaning: It is better not to stop, though there may be differing
opinions on whether a stop can be made. The recommendation is to
continue reading.
Example:
o ۶﴿ ‫﴾ُاوٰٓلِئَک َعٰلی ُہًدی ِّم ۡن َّر ِّب ِہ ۡم ق َو ُاوٰٓلِئَک ُہُم ا ۡلُم ۡفِلُح ۡوَن‬

8. Qad Yusal (‫ )صل‬- The Permissible Pause

 Meaning: It indicates that stopping here is allowed, though continuing
without stopping is also an option. The reader has the choice.
Example:
o ‫َو ِا ۡن ُک ۡنُت ۡم ِف ۡی َر ۡیٍب ِّمَّما َنَّز ۡلَنا َعٰلی َع ۡبِدَنا َف ۡاُتۡوا ِبُس ۡوَر ٍۃ ِّم ۡن ِّم ۡثِل ٖہ صل‬

9. Qif (‫ )قف‬- The Anticipation Mark

 Meaning: This sign instructs the reciter to stop in anticipation of
continuing the recitation, as it helps clarify the meaning.
Example:
o ‫ُاوٰٓلِئَک َعَلۡی ِہ ۡم َصَلٰوٌت ِّم ۡن َّر ِّب ِہ ۡم قف َو َر ۡحَم ٌۃ‬

10. Saktah (‫ )س‬- The Silence Symbol

 Meaning: The reciter should make a brief pause without taking a breath.
The pause is short, and the recitation continues seamlessly.
Example:
o ۲۸﴿ ‫ َر اٍق‬ٜ ‫﴾َو ِق ۡیَل َم ۡن س‬

11. Waqfah (‫ )وقفتہ‬- The Longer Pause

 Meaning: A longer pause than Saktah, but the reciter should still not
break their breath during the pause.
Example:
o ‫ َو ا ۡرَح ۡمَنا‬ٝ ‫ َو ا ۡغِف ۡر َلَنا‬ٝ ‫ َو ا ۡعُف َعَّنا‬ٝ

12. Laa (‫ )ال‬- No Need of Stopping

 Meaning: Do not stop at this sign, as stopping here could change the
meaning. However, if it appears at the end of an ayah, it is acceptable to
stop.
Example:
o ‫ُاِج ۡیُب َد ۡعَو َۃ الَّداِع ِاَذا َدَعاِن‬
13. Kadhaalik (‫ )ك‬- Similar Meaning as Previous Sign
 Meaning: The symbol signifies that the action indicated by the previous
sign should be followed, meaning the rule remains the same.
Example:
 o ‫الّٰل ُہ َل ِاٰل َہ ِااَّل ُہَو ۙ ا ۡلَح ُّی ا ۡلَقُّیۡوُم‬
14. Mu’aanaqah (∴) - The Embracing Stop
 Meaning: When this sign appears, the reciter should stop at one of the
two places indicated by the triplet, but not at both.
Example:
o ‫ۙ ٰذِلَک ا ۡلِکٰتُب اَل َر ۡیَب ۛۚ ِف ۡی ِہ ۛۚ ُہًدی ِّل ۡلُمَّتِق ۡیَن‬
15. Waqf-un-Nabi (‫ )وقف النبی‬- The Pause of the Prophet PBUH
 Meaning: These are places where the Prophet Muhammad ‫ ﷺ‬is
reported to have paused during his recitation of the Quran. It is significant
for following the Prophet's method of recitation.
Example:
o ‫ُق ۡل ٰہِذ ٖہ َسِب ۡیِل ۤۡی َا ۡدُع ۤۡوا ِاَلی الّٰل ِہ ؔ۟ َعٰلی َبِص ۡیَر ٍۃ‬

16. Waqf e Ghufraan (‫ )وقف غفران‬- The Sign of Supplication

 Meaning: The reciter and listeners are encouraged to stop and make a
supplication (dua) to Allah at this point.
Example:
o ‫ؔۘ ٰۤیَاُّی َہا اَّلِذ ۡیَن ٰاَمُنۡوا اَل َتَّتِخُذوا ا ۡلَی ُہ ۡوَد َو الَّنٰص ٰۤری َاۡوِلَیٓاَء‬

17. Waqf e Manzil (‫ )وقف منزل‬- The Pause Sign of Jibrael A.S
 Meaning: These signs indicate places where Angel Jibrael paused while
revealing the Quran to the Prophet Muhammad ‫ﷺ‬.
Example:
o ‫َو َقاَلِت ا ۡلَی ُہ ۡوُد َیُد الّٰل ِہ َم ۡغُل ۡوَل ٌۃ‬

In
the Name of Allah, the Most Merciful, the Most compassionate.
 O Allah, we come before you as humble servants, recognizing your
greatness and our own shortcomings. We acknowledge that any good in this
work comes solely from you, and any mistakes are from our own weaknesses. O
Allah, if there are any errors or faults in this book, we ask you to forgive us and
guide us to correct them. For you are the All-Knowing and All-Wise, and we are
ever in need of Your mercy and guidance.
Ya Allah, we are deeply grateful to You for granting us the ability and
strength to complete this work. It is only by Your grace that we were able to take
part in this noble effort of honouring and sharing the verses of Your Holy Book.
We thank You, O Allah, for allowing us to be part of the blessed chain of those
who teach and spread the Quran. We know that teaching even a single letter of
the Quran holds immense reward, and we ask You to accept this humble
contribution as a form of Sadaqah Jariyah for us, our families, and our loved
ones.
O Allah, we are weak and imperfect, but You are the Most Merciful and
Perfect. We ask You to overlook our shortcomings, to purify our intentions, and to
accept this work solely for Your sake. Ya Allah, allow it to be a means of
spreading knowledge and bringing hearts closer to You. Let every reader who
benefits from this work be a source of ongoing reward for us, and let every word
that is read be a light in this world and the next.
Ya Allah, we pray that this effort brings You pleasure and helps us draw
closer to You. Make it a means of forgiveness for us on the Day when we will
stand before You, and grant us the honour of being among those who serve Your
Book with sincerity. We know that any success we have achieved is purely from
You, and we humbly ask You to increase us in sincerity, humility, and
understanding.
O Allah, bless everyone who contributed to this work, whether through
knowledge, effort, or support. Bless our families, our teachers, and our
communities, and grant them goodness in this life and the next. Protect us all
from pride and arrogance, and keep us grounded in humility and devotion to
You.
Ya Allah, we ask You to make this work a means of continuous reward for
all involved and a source of guidance and benefit for those who read it. Let it
bring clarity to those who seek Your words and inspire hearts to act upon the
message of Your Holy Quran.
We turn to You, O Allah, with full trust and reliance, knowing that You
alone can accept our deeds. Accept this dua, O Most Merciful, and grant us the
strength to continue serving Your religion with sincerity and devotion.
Ameen, Ya Rabb al-Alameen.

May Allah ‫ ﷻ‬accept our efforts, and for the sake of Allah ‫ﷻ‬, if
there are any mistakes, we kindly ask for guidance and correction.
Indeed, Allah ‫ ﷻ‬knows best.
 We express our deepest gratitude to Allah ‫ ﷻ‬for granting us the privilege
of honouring the sacred verses of the Quran. As Allah ‫ ﷻ‬has stated, teaching
even a single letter of the Quran holds immense reward and virtue. It is narrated
that the Prophet Muhammad ‫ ﷺ‬said:
"The best among you are those who learn the Quran and teach it."
(Sahih al-Bukhari)
This noble endeavour serves as a form of Sadaqah Jariyah (continuous
charity), where the benefits continue to flow even after one's lifetime. We pray
that Allah ‫ ﷻ‬accepts this work, making it a means of ongoing reward for all
involved.
May this humble effort serve to spread the light of the Quran, and may it
inspire others to seek knowledge and grow closer to Allah ‫ﷻ‬. We entrust any
good in this work to Him, and we ask for His forgiveness for any shortcomings.
Allah ‫ ﷻ‬knows best.

Copyright © [Year] by Ahmed.

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or
transmitted in any form by any means, electronic, mechanical, photocopying, recording, or
otherwise, without prior permission of the author.
 Table of Contents

Dedication

This book is dedicated to [Name or People] whose support made this possible.
Foreword

[Write a foreword text here from someone else or a general introduction]

Preface

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Introduction

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Epigraph

[Include a meaningful quote, verse, or message here]