Al-Madd Al-Tamkeen

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Have you ever come across something so simple that you’ve thought it’s too insignificant to consider… or take note of?

Many tajweed books nowadays have omitted this madd because of it’s necessity that comes naturally when reciting. Yet, I thought I should post it here so that you can all be more aware that such a rule exists.

Al-Madd Al-Tamkeen [1]: occurs when a yaa mushaddadah with a kasr is followed by a yaa saakinah. This occurs only within a word, as words cannot start with a sukoon.

To be more specific: within a word, you notice a yaa that has a shaddah, and a kasra, this generally looks like this:

ــيِّــ

then you notice that after this yaa is another one, which has sukoon on it. Naturally as you pronounce this word, you are sounding this rule, al-madd al-tamkeen.

Examples of where this occurs in the Quran are as follow:

 

 

wa ithaa huyyeetum

wa khaatama al-nabiyyeen

wal-ummiyyeen

As you may have noticed, sometimes it is written as two yaa-s, or sometimes only one yaa is written and the “mini” symbol for the second yaa (the yaa saakinah) is drawn.

That’s it for al-madd al-tamkeen! Can you guess why it’s classed as a madd?

Look up the shaddah and sukoon on the resources page by following the link below.

Resources Link:

– Sukoon [Gatway To Arabic: page 48]

– Shaddah [Tajweed Basics: Foundations and More: page 2]

[Gatway To Arabic: page 49]

Note, these documents are found on the resources page.



[1] Al-Madd Al-Tamkeen: المد التمكين

 

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Al-Madd Al-Badal

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This madd is very simple. Almost as simple as the madd tabee‘ee, in fact. You might just be surprised to know you have been doing this madd since you first started reading Quran without even realising it… Have a read for yourself….

long picture

Al-Madd Al-Badal: substituted prolongation occurs when a hamza (ء) preceeds a harf madd (ا    or     ي     or    و).

This madd is sounded for two counts when continuing recitation or stopping after the word with the madd.

This madd is only found within one word, and occurs when the hamza has the respective diacritic on it, e.g. if the harf madd ‘waaw’ follows a hamza, the hamza has a dammah on it.

Examples of al-madd al-badal:

Aadama

Ootoo

Eemaanan

The following is an example of a word that does NOT fulfil the conditions of a madd badal, and hence it is not sounded for two counts:

Aymaanahum

To reiterate, the reason this word doesn’t have madd badal is because the hamza before the harf madd has a diacritic not suitable for the harf madd. The suitable diacritic for yaa is kasra, however the hamza here has a fat-ha.

Resources Link:

– ‘Jadwal Al-Mudood’, fifth madd listed

– ‘Tajweed Basics Foundations And More’ covers a range of mudood

Note, these documents are found on the resources page.

Related Posts: Ahkaam Al-Madd – Al-Madd Al-Tabee’ee – Al-Madd Al-Waajib Al-Mutasil – Al-Madd Al-Jaa’ez Al-Munfasil – Al-Madd Al-’IwadAl-Madd Al-LeenAl-Madd Al-‘Aarid Lil Sukoon – Al-Madd Al-Silah: Kubra & Sughra – Al-Madd Al-Laazim: Kalimee – Al-Madd Al-Laazim: Harfee.

Al-Madd Al-Waajib Al-Mutasil

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What’s your favourite childhood game? Connecting puzzles, connect-a-four, or practicing the connected obligatory prolongation?

Al-Madd Al-Waajib Al-Mutasil: is the obligatory prolongation. It is prolonged for either four or five counts (your choice of either). If you choose to prolong for four counts, then this must remain consistent throughout your recitation. Likewise is if you chose to prolong for five counts.

This madd is obligatory when when a hamzah (ء) follows a harf madd ( ا    or     ي     or    و ) within one word.

To reiterate, the conditions of this madd are:

-Is only done in one word (hence why some refer to it as being “connected”)

-Occurs only when a hamzah follows either of the following letters: alif, yaa, waaw.

-The madd is prolonged for four or five counts, one chosen and used consistently

Four counts is approximately the time it takes to say “one-two-three” at medium pace

Five counts is approximately the time it takes to say “one-two-three-four” at medium pace

Examples:

____________

Al-shitaaa‘                       Yashaaa

_______

Al-Malaaa‘ikatu             Al-saaa‘ila

Yes, three a‘s to emphasise the difference between a normal madd letter and this madd.

For the two other madd letters:

_______

Al-sooo‘u              Wa jeee‘a

Note the second example, wa jee’a. Recall that any madd letter with a sukoon drawn above it remains completely unpronounced.

See post: Al-Madd Al-Tabee’ee

Resources Link:

‘Jadwal Al-Mudood’ second madd listed

-‘Tajweed Basics Foundations And More’ covers a range of mudood

Note, these documents are found on the resources page.

Related Posts: Ahkaam Al-MaddAl-Madd Al-Tabee’eeAl-Madd Al-Jaa’ez Al-MunfasilAl-Madd Al-‘Iwad – Al-Madd Al-Badal – Al-Madd Al-LeenAl-Madd Al-‘Aarid Lil Sukoon – Al-Madd Al-Silah: Kubra & Sughra – Al-Madd Al-Laazim: Kalimee – Al-Madd Al-Laazim: Harfee.

Al-Madd Al-Tabee’ee

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In the same way we sometimes wished that our holiday period can be a little longer, your tongue, ears and some letters themselves wish that they’re said for a little longer. ‘Why?’, you may think… Well, how obscure to the ear is it to hear someone say a dammah instead of a waaw? And how hard is it for them to continue the ayah without stumbling (after not prolonging)? … Let’s start by looking at this first prolongation…

Al-Madd Al-tabee‘ee: normal/natural prolongation is the act of prolonging or “stretching” the sound of the three madd letters:

ي          و          أ

alif     waaw     yaa

for two counts, i.e. the time it takes to say (one-two).

The rule has the following conditions:

The huroof al-madd must all be silent, i.e. have no diacritic on them.

A fat-ha must be present on the letter before a silent alif

A dammah must be present on the letter before a silent waaw

A kasrah must be present on the letter before a silent yaa.

Examples of this are as follow:

________

___qaala          qeela               yaqoolu

These examples can be combined into one word to help you remember the rule. The word is

نُوحِيهَا

nooheehaa

I really want to stress the fact that in the Quran you will not see a diacritic on these three letters if they are in the state of madd.

It will be an alif, waaw, or yaa with no fat-ha, dammah, kasra, or sukoon ontop/underneath. When I say that these letters must be silent, I am not saying they have sukoon. In fact, if you see a sukoon on an alif or waaw or yaa it means that you are not to stretch this letter whatsoever.

An example of sukoon present on these letters is as follows:

Mala-ihi

NOT: Mala-eehi

Aaminoo

NOT: Aaminooaa

Ulaa-ika

NOT: Uoolaa-ika

A final thing to be wary of is something called “‘ella” letters. This is when the three madd letters have no diacrtic on them, but are not prolonged because the letter preceeding them does not have the corresponding diacritic mentioned in the above conditions. This will be further discussed in a later post, insha Allah.

Resources Link:

-Sukoon [Gatway To Arabic: page 48]

-Makhaarij Al-Huroof [dot points 5, 7, 12, 15]

-Short and long vowels  [Gatway To Arabic: pages 21-23; and 44-47]

-Tajweed Rule [Gatway To Arabic: page 4-6 and first half of page 7]

Note, these documents are found on the resources page.

Related Posts: Ahkaam Al-MaddAl-Madd Al-Waajib Al-MutasilAl-Madd Al-Jaa’ez Al-Munfasil – Al-Madd Al-‘Iwad – Al-Madd Al-Badal – Al-Madd Al-LeenAl-Madd Al-‘Aarid Lil Sukoon – Al-Madd Al-Silah: Kubra & Sughra – Al-Madd Al-Laazim: Kalimee – Al-Madd Al-Laazim: Harfee.

Ahkaam Al-Madd

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One of the largest sections of Tajweed is Ahkaam Al-Madd. There are 9 different types of madd, with two further splitting into five segments, therefore making the total of 13.

To help me remember these mudood (plural of madd), I drew up a table with the name of each madd, the length of it in the two states [where applicable], and placed an example in the last column. This file can be found in the resources page, under the heading, Jadwal Al-Mudood.

It will slowly start making sense as I post the specifics of each madd.

To conclude, and perhaps this should have been introduced instead, a madd is “prolongation”. And so “Ahkaam Al-Mudood” means “Rules of Prolongation”.

As I have now completed posting the nine mudood, select one from the list below to begin!

Related Posts: Al-Madd Al-Tabee’eeAl-Madd Al-Waajib Al-MutasilAl-Madd Al-Jaa’ez Al-Munfasil – Al-Madd Al-‘IwadAl-Madd Al-Badal – Al-Madd Al-LeenAl-Madd Al-‘Aarid Lil Sukoon – Al-Madd Al-Silah: Kubra & Sughra – Al-Madd Al-Laazim: Kalimee – Al-Madd Al-Laazim: Harfee.

Al-Qalqalah

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This-is-is    post-ost-ost    will-ill-ill    be-be-be    about-out-out    Qalqalah-ah-ah…

But what is Qalqalah? First, be rest assured I won’t type echos for the rest of the post. Because it’d get a tad annoying for both author and reader. The word itself sounds repetitive and as interesting as it’s Tajweed rule.

Qalqalah: sound articulation and echo. In essence the word means shaking/disturbance. In Tajweed, it means to disturb the letter that has sukoon, i.e. that is saakin, but without any corresponding movement of the mouth and jaw that is associated with voweled letters (i.e. letters that have fat-ha, dammah, or kasra). Qalqalah “shakes” to “echo” the letter without taking up the preceding or succeeding letter’s diacritic.

To explain:

There are five letters in the Arabic alphabet that apply to Qalqalah. These five letters are:

ق          ط          ب          ج          د

daal      jeem       baa       tah      qaaf

To easily remember these letters, remember the phrase they make up, (قطب جد).

Simply, Qalqalah is echoing the above five letters when they are in state of sukoon, i.e.

قْ     طْ     بْ     جْ     دْ

To feel the importance of Qalqalah, try saying (أط), how about (أق) you’ll find one of two things happen. Either the back end of your tongue gets stuck and it’s difficult to loosen it and breathe, or your tongue will naturally slip and the back of your mouth is open again. It is this “slipping” that Qalqalah is based on. Disturbing the letter without moving your jaw or mouth. Try it for the rest of the letters, (أد) and (أج) and (أب). Imagine trying to say the word,

أبْناء

If there was no “slipping”/”shaking”/”echoing” of the letter baa (بْ) then how hard would it be to say the noon (ن) straight away with your lips still pressed together? Doing Qalqalah will cause your lips to “slip” a bit i.e. open up a tiny bit without adding a diacritic to the baa, to make it easy to pronounce the noon. On a final note, as one Imam puts it,

The qalqalah is necessary for these letters because they have the attributes of jahr (stoppage of the flow of breath) and shiddah (stoppage of the flow of sound), so without qalqalah, there would be no sound!

But as the blog has not covered attributes of letters yet, this might just sound all too surreal for some.

There are three types of Qalqalah:

Qalqalah Kubra (Strong Echo): occurs at the end of an ayah.

Qalqalah Wusta (Medium Echo): occurs at the end of a word in the middle of an ayah.

Qalqalah Sughra (Subtle Echo): occurs in the middle of a word whether at the beginning, middle or end of an ayah.

Examples of Qalqalah:

Kubra (strong):

_______Kasab __________________ Al-falaq

________Muheet _________________Masad _________________ Al-ma’aarij


You may notice the the last letters that require Qalqalah don’t actually have sukoon drawn above them! Diacritics have been put in place for readers who want to continue reading without a pause through to the next ayah. However, stopping at the end of every ayah is preferred and so in these such circumstances you must do a strong Qalqalah.

Wusta (middle):

qad aflaha ___________najid lahu

 

Here the sukoon is clearly marked on the Qalqalah letters.

V.I.Note: if you run out of breath and wish to stop in the middle of an ayah, and you stop at a word that has a qalqalah letter on the end, you must, must, must read it as a qalqalah kubra! For example, if I wanted to stop at the word qad in the above example, the daal must be echoed strongly. Then if I were to continue reading by repeating the word and continuing, I do a qalqalah wusta.

Here’s the example again:

[reciting] … [out of breath] … [stopping at word qad] … [doing a strong echo on the daal] … [takes breath] … [wants to continue] …

[start at the word qad and reads: qad aflaha, doing a qalqalah wusta on the daal].

Simple!

Sughra (subtle):

khalaqna _ _______________tat-heeran _____________________ abnaa’akum__

Similarly the sukoon is clearly marked on the Qalqalah letters.

Resources Link:

-Tajweed Rule [Tajweed Basics: Foundations and More: page 9]

Sukoon [Gatway To Arabic: page 48]

-Makhaarij Al-Huroof [dot points 5, 7, 12, 15]

 


I suggest visiting Quranic Audio to listen to Qalqalah.

Select your favourite reciter and listen to Surat Al-Falaq [113]/Al-Masad [111]/Al-Qiyaamah [75] for Qalqalah kubra.

Qalqalah wusta and sughra occur throughout the entire Quran. I don’t think there is any particular one you really should listen to. Surat Al-Qalam [68] has a fair few Qalqalah sughra. I also suggest Surat Al-Muzzamil [73] for a combination of wusta and sughra.

Al-Meem Al-Saakinah: rule three

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Clarity is sometimes what we’re all after. Likewise, some things just need to be said as clear as mmmmud. Right?

Rule three: Ith-haar Shafawee (pronouncing the meem clearly)

Ith-haar Shafawee is pronouncing the meem saakinah (مْ) clearly and occurs when any of the remaining [excluding the letters meem and baa (ب)] follow a meem saakinah. The condition here is that these letters have a diacritic on them, (fat-ha, dammah, kasra).

Examples of Ith-haar Shafawee:

mathaluhum kamathali

am lahum

hum feehaa

Resources Link:

Sukoon [Gatway To Arabic: page 48]

-Tajweed Rule [Tajweed Basics: Foundations and More: second half page 10]

Related Pages: Al-Meem Al-Saakinah: ikhfaa shafaweeAl-Meem Al-Saakinah: idghaam shafawee

Al-Meem Al-Saakinah: rule two

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The first rule for Al-Meem Al-Saakinah looked at the succession of a meem after a meem saakinah (مْ).

The second rule looks at meem saakinah followed by a baa (ب).

Rule two: Ikhfaa Shafawee (Hiding the sound by the use of the lips)

The second rule is enacted only when the latter baa follows a silent meem (meem saakinah). The condition here is that the baa must be mutaharik, i.e. have a diacritic (fat-ha, dammah, kasra).

The sound of the meem is hidden and the lips are shaped, ready to pronounce the baa. You may ask how can the meem be hidden? The answer is simple: do not press your two lips together completely [as you would if you were to pronounce a full meem]. Leave a very little gap and let the sound of the meem come from the deeper part of your mouth while you prepare to say the baa. By letting the meem come from the inner mouth, it’s sound stays encapsulated behind the teeth, and so the meem is hidden. Remember that this rule is carried out for two counts, i.e. the time it takes to say the words, “one – two”.

On a different, yet very important, note…

The rules for Al-Noon Al-Saakinah used a shaddah for notice purposes, i.e. to remind the reader to carry out the Al-Noon Al-Saakinah rule. Here, instead, the meem remains completely free of any diacritic. This is a notice for the reader to do ikhfaa shafawee.

And one last thing to recall…

At the end of the meem rules, I keep using the word “shafawee“. This is very important to distinguish the normal noon saakinah/tanween idghaam/ith-haar/ikhfaa from the ones done by the lips for the meem saakinah.

Examples of Ikhfaa Shafawee:

hum bil-aakhirati

tarmeehem bi-hijaaraten

ayyuhum bithaalika

Resources Link:

Sukoon [Gatway To Arabic: page 48]

-Tajweed Rule [Tajweed Basics: Foundations and More: second half page 10]

-Makhaarij Al-Huroof [dot point 15]

Related Pages: Al-Meem Al-Saakinah: ith-haar shafaweeAl-Meem Al-Saakinah: idghaam shafawee

Al-Meem Al-Saakinah: rule one

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As with Al-Noon Al-Saakinah, Al-meem Al-saakinah has it’s own Tajweed rules.

The fourth rule for Al-Noon Al-Saakinah described what idghaam is. Because meem is a letter pronounced using the lips[1] the rule differs a bit.

Rule one: Idghaam Shafawee (Lip-based Merging or Merging with the use of lips).

For any meem saakinah, when a second meem follows it, Idghaam Shafawee is sounded for two counts, i.e. the time it takes to say the words, “one – two”. The condition here is that the latter meem has a fat-ha, dammah or kasra on it. Note a shaddah on the second meem is drawn as a notice of this rule [i.e. it is not there for shaddah purposes].

Examples of Idghaam Shafawee are as follow:

___ __

lahum maa ____quloobihim maradun

__ _____

faghashiyahum mina ______ am man

Simple as that. Practice makes perfect.

Resources Link:

Idghaam [Tajweed Basics: Foundations and More: page 12]

Sukoon [Gatway To Arabic: page 48]

-Tajweed Rule [Tajweed Basics: Foundations and More: second half page 10]

Related Pages: Al-Meem Al-Saakinah: ith-haar shafaweeAl-Meem Al-Saakinah: ikhfaa shafawee


[1] -View the document ‘Maakharij Al -Huroof’ or ‘Tajweed Basics: Foundations and More’ pages 3 and 4 titled Origin of Letters

Noon and Meem Mushaddadah

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shaddah

Qaala sanashuddu ‘adudaka bi akheeka

Allah said: “We will strengthen your arm through your brother..”

In the Arabic language, there are diacritics [including the fat-ha, dhammah and kasrah] that can be the reason a word’s meaning changes completely. One of these diacritics is the shaddah. Insha Allah I will briefly explain what this is and move on to the Tajweed rule regarding the Noon and Meem letters that have a shaddah.

Directly translating the word shaddah, results in the meaning “[sign of] emphasis”. In general language, it means to pull or make something tight. But how does the shaddah actually function? It stresses a letter by doubling it’s sound. As given in a previous post [see “Al-Noon Al-Saakinah: rule four”], a  shaddah consists of two letters [hence the doubling]:

The first letter is a saakin, i.e. it has sukoon on it

The second letter has a respective diacritic, fat-ha, dammah, or kasrah.

The example given in the previous post was:

fawaylun lillatheena

Here we noted that the first shaddah on the laam was there for notice purposes, and the second was there to be a shaddah and double that second laam. And so the word is read as:

lil-latheena as written above, lillatheena

See, two laam‘s.

Just to be sure it all makes sense, a few more examples of shaddah are as follow:

________________

kar-ratan fanatabar-ra‘a _______________ it-tabi‘u

karratan fanatabarra’a _______________ ittabi‘u

wal mutal-laqaatu yatarab-basna

wal mutallaqaatu yatarabbasna


bu‘ulatuhun-na ahaq-qu birad-dihin-na

bu‘ulatuhunna ahaqqu biraddihinna


To briefly explain the colour code. The light green is where the doubling of the letter occurs. The darker green is the respective diacritic that follows the doubling.

Now that the shaddah is down-pat understood, the Tajweed rule regarding the shaddah is as follows.

For every noon and meem mushaddad, i.e. for every noon and meem that have a shaddah, one must sound a ghunnah.

Recall a ghunnah is the sound made entirely by the nose [nasal passage]. It is almost like a hum and completes the sound of the noon or meem. Ghunnah is directly translated to “nasalisation” and this should not be longer than two counts. i.e. similar to the time it takes to say the words: “one – two”

This rule in Arabic is called, ghunnat noon/meem mushaddadah.

It is the simplest rule, because you just need to check, does the noon/meem have a shaddah on top? If so, sound a ghunnah.

Examples for ghunnat noon mushadadah are:

____________________

Examples of ghunnat meem mushaddadah are:

____________________

And it’s as simple as that! This Tajweed rule is complete! Where you see a shaddah on a meem or noon, just do a ghunnah.

But wait.

As I mentioned, diacritics have the ability to change the entire meaning of a word/sentence. I don’t like to just say things, so let’s prove it.

Let’s look at the word:

دَرَسَ

darasa

Darasa means “he studied”. Now let’s add a shaddah to this word:

دَرَّسَ

dar-rasa

Darrasa means “he taught”. Very simple, very big difference. One more example.

The sentence:

بَكى صَبِيٌّ

bakaa sabiy-yun

This sentence means “a boy cried”.

Adding another two shaddah causes two things, letters alif and laam to be added making the boy an object being pointed to, and the meaning to change.

Note:

بَكَّى الصَّبِيُّ

bak-kaa al-sabiy-yu

Which means “[he] made the boy cry”.

Later you will come to realise that not only do diacritics change the meaning of things, but so does the pronunciation of a letter.

As for Tajweed, just remember shaddah + meem or noon = ghunnah.

Resources Link:

Shaddah [Tajweed Basics: Foundations and More: page 2]

[Gatway To Arabic: page 49]

Ghunnah [Tajweed Basics: Foundations and More: page 2]

-Diacritics [Tajweed Basics: Foundations and More: page 4]

Practicing diacritics exercises up to page 6

[Gateway To Arabic: pages 21 – 24]

-Tajweed Rule [Tajweed Basics: Foundations and More: first half page 10]

Note, these documents are found on the resources page.

… ارخيلا بتنرخا

Al-Noon Al-Saakinah: rule four

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merging colours

Merging things together can be heaps of fun. I tend to enjoy combining colours together to create new, fascinating ones. The fourth rule for Al-Noon Al-Saakinah is all about merging/combining. This rule is said to be one of the most complicated rules. But there is nothing to fret about because practice makes perfect, insha Allah.

Rule four: Al-Idghaam — Al-Idkhaal (To merge with)

There are two types of Idghaam. and from these two, a couple more branch out. Take a look at the diagram below:

idghaam typesSo what does all this mean?

Let’s start with what ghunnah means.

Ghunnah: A ghunnah is the sound made entirely by the nose [this is in regards to the sounds coming from the mouth].

An Idghaam bi ghunnah occurs with any Tanween or Noon Saakinah if it is followed by any of these letters:

ي       ن       م       و

waw meem noon yaa

This completes the first level of the diagram when following the rightmost arrow.

Merging without ghunnah, i.e. Idghaam bila ghunnah occurs when the letters

ل    ر

raa   laam

follow a Noon Saakinah or Tanween. Now the leftmost arrow of the first level of the diagram is complete. [i.e. the entire first level is now complete].

With these two letters, raa and laam, their idghaam is called: idghaam bila ghunnah kaamel, or in English, merging without ghunnah fully.

Here the “nn” sound from the Tanween or Noon Saakinah is completely eliminated and the laam or raa are said straight away without any emphasis on their sounds. Hence why the “fully” is added onto the end – i.e. noting that the “nn” sound is “fully” wiped out.

Examples of idghaam bila ghunnah kaamel / merging without ghunnah fully:

merging without ghunnah
waylun likulli humazatin lumazah

The two “n” I have in red are completely eliminated and so the verse is read as,

waylulikulli humazatilumaza

Notice the two green letters are now the place where the two words are connected without the Tanween. Some students [and I know quite a few] have trouble in the beginning trying to connect two words without the “nn” sound in between. They end up “leaning on” the laam or raa and saying them as though there is a shaddah[1] on these two letters. However there isn’t.

But here you may protest that in fact there is. Look at the example above. There is a shaddah on the laam in both cases for the words likulli and lumazah. This shaddah is not there for shaddah purposes. It has been put there as a notice to the reader that the Tanween (or Noon Saakinah) is not to be pronounced at all, not even through the nasal passage.

Below is a second example using a Noon Saakinah.

merging noon

min rabbi read as, mir-rabbi

While I still have your attention [I hope], and avoiding any confusion possible, insha Allah, I’ll continue on with the rightmost arrow, merging with ghunnah.

Recall that a ghunnah is a sound made entirely by the nose [nasalisation], somewhere between a hum and a moan. Like an aeroplane engine, probably. The merging with ghunnah letters as above have two categories. “Full” and “lesser”. Full idghaam means that this aeroplane humming comes through sounding a lot stronger than it would when the lesser one is made. The letters,

ن      م

meem noon

coincide with a full idgham bi ghunnah, where as the remaining letters,

ي       و

waw yaa

are to be said with a “lesser idgham bi ghunnah“. Idgham bi ghunnah, whether fuller or lesser is sounded for two counts, similar to the time it takes to say the words, “one – two”.

Examples of a full idghaam bi ghunnah:

____________

rasoolun min                                min marqadinaa

min maarijen min naaren

(3 occurrences of a fuller idghaam bi ghunnah)

note: min maarij   –   maarijen min   –   min naar


Examples of lesser idghaam bi ghunnah:

dalaalatun walaakinni

min yawmihem

 

Examples of idghaam bila ghunnah kaamel:

bideenaaren la

fawaylun lillatheena

Notice here the shaddah on the first laam is to note the ruling of idghaam bila ghunnah kaamel. The second shaddah however is there for shaddah purposes. You are to “double” the sound of the second laam so it is said as I’ve written above, lil-latheena.

 

Idghaam is something I find very beautiful. It’s adds a tremendous tone to recitation and I think it, alongside the rule regarding noon and meem mushadadah, adds a very serene and tranquil sensation for the both listener and reader.

What’s that rule I just mentioned? Keep an eye out for new posts.

 

Resources Link:

Shaddah [Tajweed Basics: Foundations and More: page 2]

[Gatway To Arabic: page 49]

Idghaam [Tajweed Basics: Foundations and More: page 12]

Tanween [Gatway To Arabic: pages 40-43]

Sukoon [Gatway To Arabic: page 48]

 

Related Pages: Al-Noon Al-Saakinah: ith-haar –  Al-Noon Al-Saakinah: ikhfaa –  Al-Noon Al-Saakinah: iqlaab


[1]Shaddah: is to double the sound of a letter so that it is stressed. Such a letter is said to be mushaddad.