‫ج‬

Compiled a
The Stranger’s Guide to the Recitation of Hamza Ibn Habib i
 Uṣūl Qirā-at Ḥamza
{ Khalaf & Khallād}

Bismi Allāhi Arrahmāni Arrahīm

In the name of Allāh, the most
Beneficent, the most Merciful

THE FUNDAMENTAL PRINCIPLES OF QIRĀ-AT ḤAMZA, will

be mention in reference to Ḥafṣ’s recitation and upon evidences
from Ash-Shāṭibiyyāh. The verses from Ash-Shāṭibiyyāh will be
written in Arabic and in blue text.

Imām Qāsim ibn Ahmad Ash-Shāṭibī (d. 548 A.H.) wrote a poem,
consisting of 1173 couplets, about the seven authentic Mutawātir
Qirā-āt, which he called Ḥirz al-Amānī wa Wajh at-Tahānī, it is
better known as the Shāṭibiyyāh.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib ii

 Table of contents
The Tajwīd Rules of Qirā-at Ḥamza……………………...……….5
1. The Basmalah between two sūrahs…………...…....….…..…....7
2. Sūratul-Fātiḥah………………….…….………..….….....……...8
3. Al-Madd Al-Far˘ī…………………………...……....…....……..9
4. Mīm al-Jam˘ and the hā that precedes it ……..……...…...…….9
5. Hā-al-Kināyah……….……………………..…....…….....……10
6. Two hamzahs that appear in one word…………..............……12
7. The Repetitive Istifhām (Mukarrar)…….……..……........……14
8. Al-Idghām As-Ŝaghīr……………..………………...……....…15
9. Idghām of the letters which are close in makhraj…........…..…21
10. Idghām of nūn sākinah and tanwīn…..………………………23
11. Al-Idghām Al-Kabīr………………………….…...….………23
12. Fatḥ, Imālah and taqlīl………………………....……...……..24
13. Easing the Hamzah of a Word (Waqfan) ……….…..…….....31
14. Hamzah Sākinah Preceded by a Mutaḥarrik………...……….33
15.A- Hamzah Mutaḥarrikah Preceded by a Sākin Ŝaḥiḥ …….…36
B- Hamzah Mutaḥarrikah Preceded by a Sākin madd alif…….....38
C- Hamzah Mutaḥarrikah Preceded by a Wāw or Yā …….….….41
16. Hamzah Mutaḥarrikah Preceded by a Mutaḥarrik……….......42
17. At-Takhfīf Ur-Rasmī……………….………………….…….44
18. Two ways of reading hamzah mutawassiṭah bizaā-id……......47
19. Stopping with Rawm and Ishmām…………….…...…….…..50
20. Waqf Ḥamza on sākin before hamzatul qaṭ˘/mawṣūl/mafṣūl..52
21. Ḥamza’s special words (Farsh)…………...…...…….……….54
22. A Summary of Waqf Ḥamza on the hamzah……….….…….55
23. Yā-āt Al-Iḍāfah……………………………….……….....…..64
24. Yā-āt az-Zawā-id……...………..……………...……….……66
Refrences………………………..…..…………………….....…..67

The Stranger’s Guide to the Recitation of Hamza Ibn Habib iii

 The Tajwīd Rules of Qirā-at Ḥamza

ً ً ْ ْ
‫ران مرت ِل‬
ِ ‫إِماما صبورا ل ِلق‬ *** ‫ وَحزة ما أزاكه م ِْن متورِع‬- 73

37. Ash-Shāṭibī said: And Ḥamza, who was a righteous pious man!
A patient imām (who recited) the Qur-ān with tartīl

6) Ḥamza al-Zayāt al-Kūfī (80-156 A.H) He is Ḥamza ibn Ḥabīb

al-Zayyāt al-Kūfī. He is counted as the sixth qārī. He met some of
the Companions, and learnt the Qur-ān from Sulaimān al-A˘amash
(d. 147), J’afar as-Sādiq (the great-grandson of al-Husayn) (d. 148
A.H.), and others. His qirā`ah goes back to the Prophet (PBUH)
through ˘Alī ibn Abī Tālib and ˘Abdullāh ibn Mas˘ūd. He became
the Sheikh of alqurrā` in Kūfah after the demise of ˘Āsim.
Imām Abū Hanifa told Ḥamza that “Allāh has favored you upon us
with two things, that we can not compete with you in them, the
Qur-ān and the Frā-eḍ, inheritance (the heritage laws). Shāṭibī says:
ً ْ َّ َّ ْ
‫رواه سليْم متقِنا وُم ِصل‬ **** ‫ روى خلف عنه وخلد اَّلِي‬- 73

38. Khalaf and Khallād narrated that which Sūlaym ibn ˘Īsā
narrāted from him (Ḥamza) with precision and perfection.

EXPLANATION: His two narrators are Khalaf and Khallād. ‫روى‬

ْ َّ
narrāted ‫ عنه‬refers to Ḥamza. ‫ اَّلِي رواه‬refers to the Qur-ān that was
ً ْ
transmitted by Sūlaym, a student of Ḥamza.‫ متقِنا وُم ِصل‬both refer
to Sulaym (i.e. he was precise and collective in what he transmitted
from Ḥamza). As ṭuruq, it is mentioned in this verse that Khalaf

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 5

and Khallād both learnt from Sulaym (each one has a riwāyah that
differs slightly from the other). But Sulaym learnt qirā`at Ḥamza.
The two primary Qārīs who preserved Ḥamza’s qirā-ah are:
i) Khalaf: He is Khalaf ibn Hishām Al-Bazzār Al-Baghdādī. He
was known as Abū Muhammed. (150-229 A.H) He memorised the
Qur-ān when he was ten years old. He was greatly trusted, scholar,
ascetic, known for his worship.
He also has his own qirā’ah, different from the one he preserved
from Ḥamzah (You finde it in a separate book as the tenth qirā`ah).

ii) Khallād: He is Abū ˘Īsā Khallād ibn Khālid Ash-Shaybānī Aṣ-

Ŝayrafī Al-Kūfī. (119-220A.H.) He was a reputed imām in
recitation, knowledgeable, and humble. He was approved for
recitation of Ḥamzah from ṣūlyem ibn ˘Īsā, who read directly to
Imām Ḥamza.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 6

 THE BASMALAH BETWEEN TWO SŪRAHS
Ash-Shāṭibī gave codes: ‫ – ف‬Ḥamza -‫ – ض‬Khalaf ، ‫ –ق‬Khallād
ْ ُّ ْ ْ
............................. ‫ْي فصاحة‬
ِ ‫ – (ووصلك) بْي السورت‬101

The Fā in the verse is a letter code which indicats the recitation of

Ḥamza. He connects between the Sūrahs without basmalah, as if
the Qur-ān is one Sūrah for him. I. Ḥamza’s rule of recitation,
which includes both Khalaf and Khallād has only one way of
joining two Sūrahs together with waṣl. Which means Joining the
last word at the end of one Sūrah with the beginning of the first
words of the next one, following Sūrah in the order of the Qur-ān
without basmalah. The vowel, ḥarkah on the last word of the first
Sūrah must be read while applying the appropriate tajwīd rule for
how the ending of the previous sūrah will meet with the beginning
of the following sūrah.

II. He reads with the Basmalah if he starts a new recitation at the

beginning of a Sūrah, as all the qurrā` agreed upon that basmalah
will be recited. Also between sūrat an-Nas and sūrat al-Fātiḥah.
Note that he counts Basmalah as the first āyah of sūrat al-Fātiḥah.
III. There are three ways of joining the end of sūrat Al-Anfāl with
sūrat At-Tawbah (for all reciters), since there is no basmalah at the
beginning of sūrat At-Tawbah. Either you make
(a) “Waqf”: Make a stop for any amount of time, or
(b) “Sakt”: A short breathless pause, or
(c) “Waṣl”: Connecting both Sūrahs
ً ْ َّ ْ ‫كتة ح ْفص دون ق‬ ْ
‫ين ِِف عِوجا بل‬
ِ ِ ‫و‬ ‫ن‬ ‫اتل‬ ‫ِف‬
ِ ‫ل‬ ‫أ‬ ‫لَع‬ *** ‫ة‬ ‫يف‬ ‫ط‬
ِ ‫ل‬ ‫ع‬ ‫ط‬ ‫ وس‬- 378
ْ ْ ْ
‫*** ران واْلاقون ال سكت موصل‬ ‫ و ِِف نون م ْن راق وم ْرقدِنا وال ِم بل‬- 378

Note: None of the Qurrā’ makes a short pause (sakt) in the 4 places
of the obligatory sakt of Ḥafṣ, rather they make waṣl only.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 7

 2. Sūrat Al-Fātiḥah

ْ
Imām Ash-Shāṭibī states: *** ‫ص‬ ِ ‫ومال ِِك يو ِم ال‬-883
ِ ‫ِين راوِيهِ نا‬
Ḥamza (meaning Khalaf and Khallād) reads ‫ين‬
ِ ‫ال‬ ِ ‫كي‬
ِ ‫وم‬ ِ ِ ‫ مل‬in sūrat
ِ ‫كي‬
Al-Fātiḥah āyah 4 without an alif in the word malik (king) ‫وم‬ ِ ِ ‫مل‬.

‫الصاط‬
ِ and ‫صاط‬
ِ

ْ ْ
Imām Ash-Shāṭibī states: ‫الّساط ل ِقنبل‬
ِ ‫اط و‬
ِ ‫وعند ِِس‬.............. ..........-101
َّ ْ ً َّ ‫ ِبيْث أَت و‬- 881
‫لى خلف واش ِم ْم ِِللدِ اال َّوال‬ *** ‫الصاد زايا اش َِّمها‬ ِ

I. Khalaf ˘an Ḥamza reads the letter )‫ (ص‬in the word ِّ‫ ٱلصِّرَٰط‬،‫صرَٰط‬
َّ
‫وب عل ۡيه ۡم وال ٱلضٓال ِْي‬ ‫ض‬‫غ‬
ۡ ۡ ۡ ۡ ۡ
‫م‬ ‫ٱل‬ ‫ۡي‬ ‫غ‬ ‫م‬ ‫ه‬‫ي‬ ‫ل‬ ‫ع‬ ‫ت‬ ۡ ‫ صرَٰط َّٱَّلِين أ ۡنع‬٦‫ٱهدِنا ٱلصِّرَٰطِّ ٱلۡم ۡستقِيم‬
‫م‬
ۡ
ِ ِ

with Ishmām in the whole Qur-ān: Which is the pronounciation of

the letter ṣād )‫ (ص‬as a mixture or a combination of )‫ (ص‬and ) ‫( ز‬.
The sound is then will be as the sound of a ‫ ظ‬with good tafkhīm.

II. Khallad ˘an Ḥamza reads only the first one ‫ٱلصرَٰط‬
ِ in āyah 6 with
ishmām and the rest of the Qur-ān ‫صرَٰط‬
ِ ‫ٱلصرَٰط‬
ِ with )‫ (ص‬only.

III. Ḥamza reads some other words with ishmām, which is the
sākin )‫ (ص‬ṣād followed by a dāl with zay. As imām Shāṭibī states:

ْ ْ ْ
ْ ‫صدق زايًا شاع و‬
‫ارتاح أشمل‬ ‫كأ‬ *** ِ ‫كن قبْل د ِال‬
ِ ‫ – و(إِشمام) صاد سا‬387

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 8

The shīn in the verse is a letter code which indicats the recitation
of (Ḥamza and Al-Kisā-ī).

Ḥamza recites these words with Ishmām: )َ‫ (تَصَدَية‬in sūrat al-Anfāl -
ُ
)َ‫ (يَصَدَفون‬in sūrat al-An˘ām -)‫ (يَصَ َُد َُر‬in sūrat al-Qaṣaṣ -)َ‫ (َتَصَدَيق‬in
sūrat Yūsuf and in sūrat Yūnus – )‫ (فَٱصَدَعََب ِما تومر‬in sūrat al-Ḥejr -
َّ ُ َّ ُ
)‫يل‬ِ ِ ‫ (ولَع اّل ِ قَصَ َد السب‬in sūrat an-Naḥl- )‫ق‬ َ ‫ (وم ْنَأصَد‬in sūrat an-Nisā`.
ۡ
،ََ‫ ب ِ ُمصَ ۡي ِطر‬in sūrat Al-Ghashiyyahََََََ‫ ٱل ُمصَ ۡي ِط ُرون‬in sūrat Aṭ-ṭūr

3-[AL- Madd Al-Far˘ī]: PROLONGATION:

The madd is the lengthening of the sound in the letters of madd or

in the letters of līn, alif, wāw and yā. As Imām Shāṭibī states:
ْ ْ ْ
‫أوِ الواو ع ْن ضم ل ِِق اله ْمز طوِال‬ *** ‫إِذا أل ِف أ ْو ياؤها بعد ك ّْسة‬-833
Madd Muttaṣṣil: is when a hamzat qaṭ˘ follows a letter of madd in
the same word. Ḥamza reads the wājib muttaṣṣil madd with the full
length six ḥarkāt, reads with tūl - ‫جزؤه ْم ِعند رب ِ ِه ْم‬
Madd Munfaṣṣil: is when a hamzat qaṭ˘ follows a letter of madd in
ۡ
2 separate words, whether ajoined in writting or not -‫ يأ ُّيها‬-‫يأهل‬
ٓ
ِ‫هؤالء‬. Ḥamza reads the jā-iz munfaṣṣil six ḥarkāt, he makes tūl.

4- Mīm Al-Jam˘ And The Hā That Preceding it

Mīm al-jam˘ refers to that mīm which indicates masculinity and

plurality appearing after a hā, tā or kāf (‫ ه ْم‬-‫ ك ْم‬-‫(ت ْم‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 9

I. Ḥamza reads the hā of ‫ل ْيه ْم‬, ‫ إِلْه ْم‬،‫عليْه ْم‬, as maḍmūm whether
making waṣl or waqf. Imām Shāṭibī states:
ً ْ ْ ً ْ
ِ ‫َجِيعا بِض ِم الهاءِ وقفا م ْو‬
‫صل‬ *** ‫ عليْ ِه ْم إِلْ ِه ْم َحزة ولي ْ ِهمو‬- 110

II. Mīm al-jam˘ appears before a sākin or mutaḥarrik letter. If the

plural mīm al-jam˘ is followed by a sākin letter, then
ۡ ْ َّ َّ ۡ ْ ۡ ۡ
‫ب ِ ِهم ٱل ْسباب‬-‫ْي‬
ِ ‫ن‬ ‫ث‬‫ٱ‬ ‫م‬ ‫ه‬ ‫ل‬ِ ‫إ‬- ‫اّل‬ ‫م‬ ‫يه‬ ‫ر‬
ِ ‫ي‬- ‫ّل‬ ‫ٱ‬ ‫م‬ ‫يه‬ِ ‫ف‬‫و‬ ‫ي‬- ‫ل‬ ‫ا‬‫ت‬ ‫ق‬
ِ ‫ٱل‬ ‫م‬ ‫ه‬‫ي‬‫ل‬ ‫ع‬- ‫ون‬ ‫ِق‬
‫س‬ َٰ ‫ف‬‫ٱل‬ ‫وأكَثهم‬

Ḥamza reads the mīm with temporary ḍammah, without ṣilah,

to avoid the meeting of two sākin letters, like all the qurrā`. Imām
ْ ْ ْ
Ash-Shāṭibī states:..........‫كن *** ل ِك‬ ِ ‫ون وصل ض َّمها قبل سا‬ ِ ‫ومِن د‬-887
َّ ْ ْ ْ
‫الوص ِل ك ّْس الها ِء بالض َّم ش ْملل‬ *** ‫وِف‬.......................... -881
ْ
‫ّس مك ِمل‬ ْ ‫الْقتال وق ِْف ل ِلْك بالْك‬
ِ ‫م‬ ‫ه‬ ْ‫ كما بهم ْال ْسباب ث َّم علي‬- 881
ِ ِ ِ *** ِ ِِ
During waqf on mīm al-jam˘, all the qurrā` read the same as Ḥafṣ,
except Ḥamza reads only the hā of ‫ عليْه ْم إِلْهم ل ْيهم‬maḍmūmah.
II.If the plural mīm al-jam˘ is followed by a mutaḥarrik letter,
then Ḥamza reads the mīm with sukūn
ْ ۡ َّ ٓ
‫ صاط مستقيم‬- ‫ إىل صرَٰط‬/ ‫وهديناهم‬ ۡ
‫واجتبيناهم‬ ‫ أبائ ِ ِه ۡم وذرِيَٰت ِ ِه ۡم ِإَوخوَٰن ِ ِه ْم‬/ ‫وم ِْن‬
III. If there is a hamzatul qaṭ˘ following mīm al- jam˘, then
khalaf leaves sakt after mīm without sakt, then makes sakt.

5. HĀ-UL-KINĀYAH, PRONOUN

Hā-ul-Kināyah: is the direct object hā that denotes a single male,

third person and is not part of the original root of a word. )‫(ـه‬
The general rule for the mutaḥarrik Hā-ul-Kināyah in the recitation
of Ḥafṣ ˘an ˘Āsim, (i) If it is located between two mutaḥarrik

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 10

letters, is to lengthen its kasrah or ḍammah with yā or wāw of two
ḥarkāt. As in: ‫ّل‬
َّ َٰ ‫فسني ِّسهۥ ل ِۡلي ّۡس‬
ۡ ‫ وذكر‬- ‫ى‬
َٰ ‫ٱسم رب ِهِۦ فص‬

(ii) If hamzatul qaṭ˘ follows hā-ul-Kināyah, then it is lengthened as

a madd munfaṣṣil, for Ḥamza it is elongated 6 ḥarkāt .‫مال ٓۥ إ ِذا‬
ً ْ ‫ون ْؤتِهِ مِنْها فاعت‬ ْ ْ ِْ ْ ْ
‫ِب صافِيا حل‬
ِ *** ‫ل ونصل ِه‬‫ك ْن) يؤدِه مع نو‬
ِ ‫ – (وس‬838

The Fā in the verse is a letter code which indicats the recitation of

ْ ْ ْ ْ ْ ْ
ِ ‫يؤدِه نو‬
Ḥamza, who recites these words in sukūn. ‫ل ونصل ِه ونؤتِهِ مِنها‬

Ḥamza reads these 5 words with sukūn, in:1-Al-i-˘Imran 75،145

ْ َّ ۡ ۡ َّ ۡ ْ ۡ ۡ ۡ ۡ ۡ
‫ب م ۡن إِن تأمنه بِقِنطار يؤدِه إِلك ومِنهم من إ ِن تأمنه بِدِينار ال يؤدِه إِلك‬
ۡ ۡ ۡ
ِ َٰ‫ومِن أه ِل ٱلكِت‬
ْ ‫ ير ۡد ح‬/‫ (ومن‬،)‫ يرد ثَّواب ٱٓأۡلخِرة ِ ن ۡؤت ِْه م ِۡنها‬/‫ٱدلنۡيا ن ۡؤت ِْه م ِۡنها ومن‬
َ‫رر‬ ُّ ‫ (ومن يرد ثَّواب‬-2
ِ ِ ٍ ِ
ْ ۡ
(Ash-Shurā 20) ) ‫ٱٓأۡلخِرة ِ نؤت ِه م ِۡنها‬
ْ ّ َ ْ ۡ ۡ ۡ ‫ ( ويتَّب ۡع غ‬: 115;An-Nesa’ -4 ،-3
)‫ٰل ون ۡصل ِه جه َّنم‬
ٰ‫ل ما ت َو ٍ ى‬
ِ ‫يل ٱلمؤ ِمن ِْي نو‬
ِ ِ ‫ب‬‫س‬ ‫ۡي‬ ِ
ْ ْ ْ ْ ْ ْ ْ ْ
‫حىم صفوه ق ْوم ِِبلف وأنهل‬ *** ‫ – (وعنه ْم) وع ْن حفص فأل ِقه وي َّتقِه‬161
ْ ْ ْ ْ ْ
Ḥamza reads the 5th word with sukūn, ‫ {فألقِه إ ِله ْم} فألقِره‬in An-Naml
ْ ْ
‫وي َّتقِره *** قر ْوم ِِبلرف‬. The Qāf in the verse is a letter code which
indicats the recitation rule of Khallād ˘an Ḥamza.He recites this
word ‫ َو َيت َّ ِقهه‬in sukūn with khulf means he allaws another way, with a
kasrah on the hā with lengthening of the hā with a yā 2 ḥarkah.
ٓ ۡ ْ َّ ۡ َّ
‫ ي ِطعِ ٱّل ورسولۥ ويخش ٱّل وي َّتقِه وي َّتقِهِ ۦ فأ ْولئِك هم ٱلفائِزون‬/‫()ومن‬An-Nur)-6
ْ ْ ْ ْ ْ - 164
‫ِِبل ِف ِه ِما (والقص) فاذك ْره ن ْوفل‬ *** ‫ِإَوسَكن ي ْرضه ي ْمنه لبس طيِب‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 11

The Fā is a letter code which indicats the recitation rule of Ḥamza
ۡ ‫ { ِإَون ت ۡشكروا ْ ي ۡرضه لك‬Az-Zumar
recites the word ‫ ي ْرضه‬with qaṣr in }‫رم‬
shorten of hā-al-Kināyah in 1 ḥarkahwithout lengthening of the hā.
ْ َّ ْ ً ْ ْ ْ
‫وِف الهاءِ ض ٌّم لف دعواه ح ْرمل‬ *** ‫جئه بِاله ْم ِز ساكِنا‬ ِ ‫ وىع نفر أر‬- 166
ً ْ ْ ْ ْ ً
‫صلها جوادا دون ريْب تلِ وصل‬ ِ ‫و‬ *** ‫ۡيه ِْم‬
ِ ‫ِغ‬ ‫ل‬ ‫ّس‬ ِ ‫اك‬‫و‬ ‫از‬ ‫ف‬ ‫ك ْن) ن ِصۡيا‬ ْ
ِ ‫ – (وأس‬161
ْ ْ
The Fā is a letter code indicats Ḥamza recites this word ‫جه‬ ِ ‫ أر‬in
ْ ْ
}‫جه وأخاه‬ ِ ‫ أر‬sūrahs al-A˘rāf, al-Shu˘arā` in sukūn of hā-al-kināyah.
ْ ْ ْ ْ ْ ْ
‫*** ومعه عليْهِ اّل ِِف الفتحِ و َّصل‬ ‫ّس أنسان ِيهِ ض َّم ِِلف ِص ِه ْم‬
ِ ‫ وها ك‬- 144
ۡ
Note: Only Ḥafṣ reads this qāf ‫ وي َّتقهِ ق‬with sukūn, and also the hā-
al- Kināyah of the following with a ḍammah, and with tafkhīm lām
ْ
of Ism ulJalālah. Ḥafṣ’s especial words: in sūrat an-nur 1- ِ‫ ويتقه‬2-
َّ َّ ٓ َّ َّ
)‫ أنسىَٰن ِيه (وما أنسىَٰن ِيهِ إِال ٱلش ۡيطَٰن‬18:63 )‫ عل ۡيه ٱّل (بِما عَٰهد عل ۡيهِ ٱّل‬-3 ،48:10.
The remaining qurrā read tarqīq of lām Ism ulJalālah. ‫ُل فِيْهِ مهانا‬
ً ۡ ‫وي ۡخ‬

6. TWO ADJACENT HAMZAHS IN A WORD

I. Ḥamza reads both hamzahs with taḥqīq, If two hamzahs meet in

one word, the first is called an interrogative hamzah, and is always:
1- maftoḥah, 2- must be pronounced muḥaqqaqqah: Taḥqīq means
to pronounce a hamzah from its makhraj as it is, normaly sounds.
‫ )ءء ۡعج ي‬Shāṭibī states: ‫ىم‬
‫ىم) وعربي‬ ٌّ ِ ‫حبة *** ءأ ْعج‬
ْ ْ ‫ (وح َّققها) ِف فصل‬-115
‫تص‬
ِ ِ ِ ِ
The word Ŝuḥbah in the verse is an indication of (Shu˘bah, Ḥamza
and Al-Kisā-ī). They read )‫ىم‬ ٌّ ِ ‫ (ءأ ْعج‬in sūrat Fuṣilat, with taḥqīq.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 12

Ḥamza reads the second hamzah with taḥqīq also, in any other
word, waslan, regardless of the ḥarakah that it carries.
ْ ْ ْ ْ ْ ْ ْ ْ
‫ءأنذ ْرته ْم أم ل ْم أئ ِ َّنا أأن ِزال‬ *** )‫ْي (ثلثة‬
ِ ‫ وأْضب َجعِ الهمزت‬- 195

II. Except in the state of waqf on the word that has a hamzah, or 2,
ۡ
‫َ۬عج ي‬
he recites it with tas-hīl, also ‫ىم‬ِ ‫ء‬, (i.e., he pronounces it softly
between the hamzah and the Alif). Ash-Shāṭibī states: khulf,
َّ ْ ْ ْ ْ ْ ْ ْ ْ
‫روى خلف ِف الوق ِف سك ًتا مقلل‬ *** ‫ وع ْن َحزة ِف الوق ِف (خلف) وعِنده‬-221

It means that he allowes another way. This means while stopping,

waqf, he reads the second hamzah muḥaqqaqqah and with tas-hīl.

III. Ḥamza reads 2 mahmoūz words diffrently form Ḥafṣ, by

َّ
adding an interrogative hamzah, which means )‫(شفع‬, made them 2,
‫ ءء‬shaf˘a, or pair. He reads both hamzahs with taḥqīq ‫ و ِِف نون‬means
ۡ ٓ
(Sūrat al-Qalam). As it starts with Noun:١ ‫ن وٱلقل ِم وما ي ۡسطرون‬

ْ َّ ْ
‫(ءأن اكن ذا مال وبن ِْي‬. Shāṭibī states: ‫ و ِِف نون ِِف "أن اكن" (شفع) َحزة‬-833
ْ ُّ ْ
)‫اِلًا (ابْدِال‬
ِ ‫ِلك ث‬
ِ ‫ءآمنتم ل‬ *** ‫اف والشعرا بِها‬
ِ ‫وِف العر‬
ِ ‫ وطه‬- 831
ْ
Ŝuḥbah read the word ‫ ءامنتم‬in 3 Sūrahs: Al-A˘rāf, Ṭāhā and al-
Shu˘arā` by adding an interrogative hamzah and read the second
ْ
hamzah with taḥqīq also ‫ (ءأ‬in. ‫ ءءامنتم‬. )‫اِلًا (ابْدِال‬
ِ ‫ِلك ث‬
ِ ‫ ل‬all the qurrā`
read with ibdāl of the 3rd hamzah by turning it into a 2 ḥarkāh alif
ْ
of natural madd. ‫ءءامنتم‬

IV. If two different hamzahs meet in a word, and this word is a

noun: The first hamzah is an interrogative hamzatul Qat’a, ِ ‫ه ْمزة‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 13

 ْ
‫ االِ ْستِفهام‬, it must carry a fatḥa and has to be always pronounced
muḥaqqaqqah “a” ‫ء‬. If the second is hamzatul waṣl, Shāṭibī states:
ْ ْ ْ ْ ْ ْ
)‫ام (فامدده مبْدِال‬ِ ‫وه ْمزة ِ االِ ْستِفه‬ *** ِ ‫ ِإَون ه ْمز وصل بْي الم مس‬- 811
‫كن‬
َّ ْ ْ
‫ك كٓاالن مثِل‬ ْ
ِ ‫(يس ِهل) عن‬ *** ‫ك ذا أ ْوىل ويقصه اَّلِي‬
ِ ‫ فل ِل‬- 817
Ḥamza like all the qurrā`, reads with 2 ways: (a) Ibdāl, by turning
ْ ْ
hamzatul waṣl into a long 6 ḥarkāt alif )‫ (فامدده مبْردِال‬of madd lāzim,
this is the preferred way. (b) tas-hīl. There are 3 repeated words in
َّ َّ ٓ
6 places in the Qur-ān :1-(Sūrat ul-An˘ām) ‫ء۬اَّلكريْن‬-‫ءاَّلكريْ ِن‬

َّ ٓ
2- (Sūrat Younous and An-Naml: ‫ ء۬اّل‬- ‫ءاّل‬. They are called madd
lāzim kalimī muthaqqal, as hamzatul waṣl is followed by a
mushaddad letter, heavy compulsory madd.
ۡ ۡ
3- (Sūrat Younous: ‫ ءآلرنن‬-‫ )ء۬الرنن‬is madd lāzim kalimī mukhaffaf,
light, as the conjuctive, hamzatul waṣl is followed by an originally
Sākin lām, and it is not a mushaddad letter.

7. Repetitive Questioning (Istifhām Mukarrar)

An interrogative hamzah carries a fatḥah, and the second hamzah

carries a kasrah, such as in: )‫ (أءِنا‬... )‫ (أءِذا‬make duble questioning.
There are eleven of these āiyat in the Qur-ān which Ḥamza reads
all as istifhām mukarar with two hamzahs. So he only differs
ْ ْ wih
َّ
Ḥafṣ in the 1st place of sūrat al-˘Ankabūt: ‫أئ ِ َّنك ْم‬/‫حشة‬
ِ ‫إ ِنك ْم تلأتون الفا‬
where Ḥafṣ recites in a declarative (Ikhbār). He keeps the hamzah
that carries the kasrah only, thus making the phrase a statement.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 14

 ‫ْ ُّ‬ ‫ْ ْ‬ ‫ْ‬ ‫ْ ْ‬
‫استِفهام الك أ َّوال‬ ‫*** أئ ِ َّنا فذو‬ ‫استِفهامه َنو آئِذا‬ ‫‪ - 331‬وما ك ِرر‬
‫َّ‬ ‫ْ‬ ‫وت ُمْ ً‬ ‫ْ ْ‬
‫اِن أَت راش ًِدا وال‬
‫*** وهو ِف اِل ِ‬ ‫ِبا‬
‫ِ‬ ‫ِ‬ ‫ب‬ ‫ك‬ ‫‪ - 318‬ودون ِعناد ع َّم ِِف العن‬

‫ً َّ‬ ‫ً‬ ‫ْ‬ ‫ْ‬ ‫ً َّ‬

‫‪{-1‬أإ ِذا ك َّنا ترابا أإنا ل ِِف خلق جدِيد}‪{-3/2-‬وقالوا أإ ِذا ك َّنا عِظاما ورفاتا أإ ِنا لمبْعوثون}‬
‫ً َّ‬ ‫ً‬ ‫ْ‬
‫‪{ -4‬قالوا أإ ِذا مِتنا وك َّنا ترابا وعِظاما أإنا لمبْعوثون} [سورة المؤمنون‪]31:‬‬
‫ْ‬ ‫َّ‬ ‫ً‬ ‫َّ‬
‫‪{-5‬وقال اَّلِين كفروا أإذا ك َّنا ترابا وآباؤنا أإ ِنا لمخرجون} [سورة انلمل‪]33 :‬‬
‫ْ‬ ‫ْ‬ ‫ْ‬
‫الرجال} [سورة العنكبوت‪]29,21 :‬‬ ‫ْ‬ ‫َّ‬ ‫َّ ْ‬
‫‪{ -6‬أإ ِنكم تلأتون الفاحِشة}‪{ -‬أئ ِنكم تلأتون ِ‬
‫ۡ‬ ‫َّ‬ ‫ۡ‬ ‫ۡ‬ ‫ْ‬
‫ۡرض أإِنا ل ِِف خل ٖق جدِي ِد } [سورة السجدة‪]10 :‬‬ ‫‪{-1‬وقال ٓوا أإ ِذا ضللنا ِِف ٱل ِ‬
‫ً َّ‬ ‫ً‬ ‫ْ‬
‫‪{-1‬أإ ِذا مِتنا وك َّنا ترابا وعِظاما أإنا لمبْعوثون} [سورة الصافات‪]16 :‬‬
‫ً َّ‬ ‫ً‬ ‫ْ‬
‫‪{-9‬أإ ِذا مِتنا وك َّنا ترابا وعِظاما أإنا لمدِينون} [سورة الصافات‪]53 :‬‬
‫ً َّ‬ ‫ْ‬
‫اما أإِنا لمبْعوثون}‪[ ،‬الواقعة‪]41 :‬‬ ‫‪{- 10‬وَكنوا يقولون أإ ِذا مِتنا وك َّنا ترابًا وعِظ‬
‫ً َّ ً‬ ‫ْ‬
‫‪{-11‬يقولون أإ ِنا لم ْردودون ِِف اِلاف ِرة ِ}{ أإِذا ك َّنا عِظاما َّنِرة} [انلازاعت‪]11 - 10 :‬‬

‫‪8- Al-Idghām Aṣ-Ŝaghīr‬‬

‫‪Al-Idghām Al-ṣaghīr occurs when (the mudghām) a sākin letter‬‬

‫‪precedes a mutaḥarrik letter, so they become one mushadd letter.‬‬
‫‪This idghām is three categories: Mutamāthil-mutajānis-mutaqārib.‬‬

‫‪This chapter revolves around the idghām of dāl (in qad) into 8‬‬
‫‪letters, dthāl (of idth) into 6 letters, tā-ut-Ta-nīth into 6 letters and‬‬
‫‪lām (of hal and bal) into 3 letters and 7 letters, respectively.‬‬
‫ْ‬ ‫ْ‬ ‫ْ ْ ْ ْ‬ ‫ْ ْ ً‬
‫و ِِف هل وبل فاحتل بِذِهن ِك أحيل‬ ‫***‬ ‫ث‬
‫‪ -258‬و ِِف دا ِل قد أيضا وتاء مؤن ِ‬

‫‪The Stranger’s Guide to the Recitation of Hamza Ibn Habib‬‬ ‫‪15‬‬

‫‪) Ḥamza makes idghām of dāl (in qad) into 8 letters‬دال قد(‬
‫ً‬ ‫ْ‬ ‫َّ‬ ‫ً‬ ‫‪ - 131‬وق ْد سحب ْ‬
‫ز ْرنب جلته صباه شائِقا ومعل ِل‬ ‫***‬ ‫ت ذيْل ضفا ظل‬
‫َّ‬
‫سْي – ذال – ضاد – ظاء – زاي – جيم – صاد ‪ -‬شْي‪ :‬قد َّس ِمع ‪ -‬ولقد ذرأنا ‪-‬‬
‫َّ‬ ‫ْ‬ ‫ّٓ ُ‬ ‫َّ‬ ‫َّ‬
‫جا َءه ۡمٰٰ‪ -‬ولقد َّصفنا ‪ -‬قد شغفها‬ ‫ولقد ْضبْنا ‪ -‬فقد ظلم ‪ -‬ولقد َّز َّينا ‪ -‬قد ٍٰ‬

‫‪( Ḥamza makes idghām of dthāl (in idth) into ta’ and dal,‬ذال إذ)‬
‫‪Khallād makes idghām of (dthāl of idth) in 3 more: zal, ṣāḍ , sīn.‬‬
‫ُّ‬
‫سىم (َجال×) واصل من توصل‬ ‫دلها ِ َّ‬ ‫***‬ ‫‪ - 111‬نعم إذ تمشت زينب صال‬
‫اصف جل‬ ‫وأ ْظهر ريا ْ‬
‫قو ِل ِ و ِ‬ ‫***‬
‫ْ‬ ‫ْ‬
‫‪ - 138‬فإِظهارها أجرى دوام نسي ِمها‬
‫ْ‬ ‫ْ‬ ‫ْ ً‬ ‫ْ‬
‫دره وادغ ْم م ْوىل وجده دائم وال‬ ‫***‬ ‫اصل توم‬
‫‪ - 138‬وادغم ضنَك و ِ‬
‫َّ‬ ‫َّ‬ ‫ْ‬ ‫إذ َّت ْمش‪ِ-‬إَوذ َّّتْلق)(ِإَوذ َّز َّين‪ِ-‬إَوذ َّزاغ ْ‬
‫ت)(ِإَوذ َّصفنا)(إ ِذ دخلوا‪-‬إ ِذ دخلت)(إذ َّسمعتموه(‬ ‫ِ‬ ‫ِ‬
‫َّ ْ‬ ‫َّ‬
‫‪ِ( and‬إ ِِذ ت ْم ِش‪ِ -‬إَوذ ّتلق) ‪Khalaf makes idghām of (dthāl of idth) in tā‬‬
‫َّ ْ‬ ‫َّ‬
‫‪( only and makes Iṫĥhār at the 4 left.‬إ ِذ دخلوا‪ -‬إ ِذ دخلت) ‪dal‬‬

‫‪And Khallād makes idghām of (dthāl of idth) in 5 letters and‬‬

‫‪makes Iṫĥhār at the jīm only.‬‬

‫‪The Stranger’s Guide to the Recitation of Hamza Ibn Habib‬‬ ‫‪16‬‬

‫‪ Ḥamza makes idghām of the feminine tā in its 6 letters‬تاء اتلأنيث‬
‫ً‬ ‫ً‬ ‫ْ‬ ‫ْ‬ ‫ت سنا ث ْغر صف ْ‬
‫ْ ْ‬
‫الطل‬
‫َجعن ورودا بارِدا ع ِطر ِ‬ ‫***‬ ‫ت ز ْرق ظل ِمهِ‬ ‫‪ - 133‬وأبد‬
‫َّ ً‬ ‫ْ‬ ‫َّ‬ ‫َّ‬ ‫َّ‬
‫صت ُّصدوره ْم‪-‬كما خبت زِدناه ْم‪-‬اكنت ظال ِمة‪-‬‬ ‫ْ‬
‫أۢنبتت َّسبع سناب ِل‪-‬كذبت ثمود‪-‬ح ِ‬
‫ضجت ُّجلوده ْم‬ ‫ن ِ‬

‫‪The Stranger’s Guide to the Recitation of Hamza Ibn Habib‬‬ ‫‪17‬‬

(‫ )الم هل وبل‬Ḥamza makes idghām of (lām of hal, bal) in )‫ ت‬-‫س‬-َ(
ْ ْ ْ ْ
‫زيْنب س ِمۡي فواها طِلح ْض ومبْتل‬ *** ‫ أال بل وهل ت ْروِي ثنا ظع ِن‬- 218
ْ ً ْ ْ
‫وقور ثناه ِس تيْما وقد حل‬ *** ‫اضل‬ِ ‫ فأدغمها راو وأدغم ف‬-138
ْ ُّ َّ َّ
)‫لين كفروا‬ ِ ِ ‫ بل ُّزي ِن ل‬- ‫ بل ضلوا‬- ‫ بل ظننت ْم‬- ‫ بل َّطبع‬- ‫ت‬ ْ ‫ز)(بل َّس َّول‬-‫ض‬-‫ظ‬-‫ط‬-‫(س‬
ْ َّ ُّ ۡ َّ َٰ ‫ (هلٰتٰ ٰر‬،)‫ (هل ثُّوب‬،
)‫ ن‬-‫ بل تأتيهم بغتة– هل ننب ِئك ْم – بل َنن ) (ت‬- ‫ى ِمن فطور‬ ٍ ِ

Khallād makes idghām and Iṫĥhārof (lām bal in ṭa) of (‫ )بل َّطبع‬in
َّ ْ
sūrat an-Nisā’. .............. ................***ِ‫ وبل ِِف النِسا خلده ْم ِِبِلفِه‬- 131

(i) Mutajānis: The letters being merged come from the same
makhraj, but have different ṣifāt. This occurs for nuṭ˘eyyah,
lathaweyyah and shafaweyyah letters. (ii)(Mutamāthil ....‫ ذ‬-‫ ت‬-‫) د‬

There is an agreement that idghām will be made of:

َّ َّ
1-)‫ ظ‬، ‫( (ذال إذ ِف ذ‬dthāl of idth) in dthāl and ṭḥa: )‫ إ ِذ ظل ْمت ْم‬-‫(إ ِذ ذهب‬
ً ْ ْ َّ ْ َّ ْ ْ
‫ت دعد وسِيما تب َّتل‬ ‫ظال ِم وقد تيم‬ *** ‫اإلدَغ ِم إِذ ذل‬
ِ ‫ وال خلف ِِف‬- 131

Nuṭ˘eyyah letters: Merging tā ‫ ت‬and the dāl ‫ د‬and vice versa

َّ َّ
2-(‫ ت‬، ‫( )دال قد ِف د‬dal of qad) in dal and ta: )‫(قد تبْي – قد دخلوا‬

ْ ْ ْ ْ ْ ْ ‫ وقام‬- 131
‫وقل بل وهل راها ْليب ويعقِل‬ *** ‫ت ت ِريِه دميْة طيب وص ِفها‬

3-(‫ ط‬- ‫ د‬، ‫( )تاء اتلأنيث ِف ت‬feminine tā) in dāl, tā and ṭā:

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 18

 َّ َّ َّ ْ ْ َّ ْ َّ
)‫ان‬
ِ ‫ أثقلت دعوا) (همت طائ ِفت‬- ‫جيبت دعوتكما‬ ِ ‫ رب ِحت ِّتارتهم) (أ‬- ‫(إ ِذا طلعت تزاور‬
‫ٓ ي‬ َّ ‫ٓ ي‬ ‫ٓ ي‬ ٓ ِ ‫(فامنت َّطآئِفةي ِم بن ب‬
and vice ،)‫ودت َّطائِفة‬- ‫ٓي إ ِ ۡسٰٓءِيل وكفرت َّطائِفة وقالت َّطائِفة‬
ُّ ُّ
)‫حصدتم‬-‫وم َّهدت‬-‫ (قد تبْي‬versa

4-(‫ ر‬- ‫ قل ِف ل‬-‫ بل‬-‫( )الم هل‬lām hal, bal, qul) in lām, and ra:
َّ ْ َّ َّ ْ َّ َّ
‫ هل لك ْم‬- ‫ بل ال تك ِرمون‬-‫ قل ل ِم ِن‬- ‫ بل َّرفعه اّل‬- ‫ب‬
ِ
َّ ‫ قل‬- ‫ت‬
‫ر‬ ِ ‫ع‬‫م‬ ‫ت‬ ‫اج‬ ‫ن‬
ِِ ‫ئ‬‫ل‬ ‫ل‬ ‫ق‬ - ‫ال‬ ‫قل‬

ُّ ‫ف َّر‬-‫طت‬
And vice versa ṭa in ta: (‫طت‬ ُّ ‫أح‬-‫طت‬ ُّ ‫)ف َّر‬. This idghām is
َّ ‫بس‬-‫طت ْم‬
naqiṣ, incomplete merging due to the iṭbaq and isi˘lā’ of the ṭa. So
the tongue has to be raised for the Iṭbāq, pushed up completely
against the hard palate as if you are going to pronounce the ṭa ‫ط‬
however, you open on the makhraj to get the tā ‫ ت‬sound.

Idghām Al-mutamāthilyn
ْ َّ ْ ْ ْ
‫فل ب َّد م ِْن (إِدَغ ِمهِ) متمثِل‬ *** ‫ْي فِيهِ مسكن‬
ِ ‫ وما أول ال ِمث‬- 133
‫ل‬

If the first letter is sākin in mutamāthilyn, you have to merge the

letters that come from the same makhraj, point of articulation and
َّ ُّ ْ ْ
have the same characteristics, ṣifāt: -‫ هل لك ْم‬- ‫ يدرِكك ْم‬-‫كت ِاب‬ ِ ِ ‫إ ِذهب ب‬
ْ ْ ْ َّ ُ ٓ ْ َّ ْ
‫ عصوا َّواكنوا‬-‫عفوا َّوقالوا‬- ‫بل ال تك ِرمون‬-‫ ٍجا َءه ٰۡم َّموعظة‬-‫ّسف ِِف القت ِل‬ ْ
ِ ‫ فل ي‬-‫قل ل ِم ِن‬

Note: The last example happens on a consonant līn wāw. If the

first word ends in a wāw or yā maddeyah, then this ruling does not
َّ
apply, we can’t merge madd letters with shaddah, like in: ‫ءامنوا واتقوا‬

(iii) Mutaqārib: when the letters being merged come from two
different makhārij – close in proximity, and have different (but

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 19

 ُّ ْ
similar) ṣifāt: Examples: The letters qāf and kāf: ‫َّنلقك ْم‬, the letters
lām and rā ‫ بل َّرفعه‬- ‫ب‬ َّ
ِ ‫وقل ر‬

The letter nūn with the letters wāw,yā,rā’,mīm,lām, from the nūn
ْ
sākin ruling :‫ وي ْرمل‬- ١ ‫ ٍط ٓس ٰٓم‬- ‫ ِإَون مِنك ْم‬- ‫ ِمن َّواق‬- ‫( ِمن يَّو ِمهم‬between 2
ْ ْ ْ ْ
words only, but not within the same word. {‫ بنيان‬- ‫ ق ِنوان‬- ‫صنوان‬ ِ - ‫}دنيا‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 20

9. Idghām of those letters which are close in makhraj

I. Idghām Khallād of A- bā` majzūmah into fā` (‫)ب ِف ف‬

ً ْ ْ ً ْ ْ ْ ْ
‫صدا وال‬
ِ ‫*** َحِيدا وخ ِۡي ِِف يتب قا‬ ‫ – و(إِدَغم) باءِ اْل ْز ِم ِِف الفاء قد رسا‬133

Khallād makes idghām of bā majzūmah with a sukūn or

mabniyyah on sukūn into fā. They appear in 5 places in Qur-ān: ( ‫أو‬
َّ ۡ َّ
‫()يغل ِب فسوف‬sūrat an-Nisā`),(‫()ِإَون ت ۡعجب فعجب قوله ۡم‬sūrat ar-Ra˘d), ( ‫قال‬
ۡ َّ َّ ۡ َّ ۡ
ِ ‫( )فاذهب فإن لك ِِف ٱِلياة‬sūrat Tāhā), (‫( )قال اذهب فمن تب ِعك‬al-Isrā`), and
َّ َّ
(‫()ومن ل ۡم يتب فأ ْولئِك‬al-Hujurāt) with Khallād having khulf ‫فِي َوخ َِير‬
َ‫صدا ً َول‬ ِ َ ‫ َيتُب قا‬, he makes iṫĥhār also.While Khalaf has iṫĥhār.

I. Idghām Khallād of B- bā majzūmah into mīm ( ‫)ب ِف م‬

ۡ
)‫ٓي ٱ ۡركب َّمعنا وال تكن َّمع ٱلكَٰفِ ِرين‬ ‫ب‬َٰ ‫ي‬ ْ ‫اركب هدى بر قريب ِبلْ ِفه‬
‫م‬ ْ ‫ وِف‬-131
ِ (*** ِ ِ ِ ِ

Khallād makes idghām of bā`‫ ب‬mabniyyah on sukūn) into mīm ‫م‬

with khulf, he makes iṫĥhār also. These are shafaweyyah letters.
ً ْ ْ ْ ْ ‫يعذ‬ ْ ْ ْ
‫جودا وموبِل‬ ‫ِب دنا باِلل ِف‬ *** ‫ وقالون ذو خلف و ِِف اْلقرهْ فقل‬- 131

Ḥamza makes idghām of ‫ِب‬ ْ ‫ يعذ‬majzūm ‫ ب‬into ‫ م‬in sūrat Baqarah:

ٓ ٓ ۡ َّ ۡ
‫ أ ۡو ّتفوه ُياس ِۡبكم بِهِ ٱّل فيغ ِف ْر ل ِمن يشاء ويع ِذب َّمن يشاء‬/‫سك ۡم‬ ٓ ِ ‫ِإَون ت ۡبدوا ْ ما‬
ِ ‫ِف أنف‬
II. Idghām of the A. )dthāl into tā`/ ‫ (ذ ِف ت‬in 3 words
ْ َّ ْ ْ ْ
‫شواهِد َحاد وأورِثتوا حل‬ *** ‫ وعذت لَع (إ ِدَغ ِمهِ) ونبذتها‬- 131

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 21

 ُّ
Ḥamza recites the 3 words with idghām:1- (‫)ِإَوِن عذت ب ِ َّر ِب ورب ِك ْم‬
ِ
ُّ
(Sūrahs Ghāfir and ad-Dukhān), 2- (‫( )فنبذتها‬Sūrat Tāhā).
ْ ْ ْ ‫أخ ْذت‬ ْ ْ ْ
‫اإلفرادِ اعَش دغفل‬
ِ ِ‫ِف‬ ‫و‬ ‫م‬ *** ‫ وطس ِعند ال ِميم فازا اّتذت ْم‬- 137
ۡ ‫لَع ذَٰل ِك ۡم إ‬ ُّ ْ
َٰ ‫ذت ْم‬ َّ َّ
ۡ ‫ذت إل َٰ ًها غ‬ ُّ َّ
ْ ‫ذت‬
3-in verse 283 - ۖ‫صي‬ ِ ِ ‫خ‬ ‫أ‬‫و‬ - ‫ي‬ ‫ۡي‬
ِ ِ ‫ٱّت‬ ‫ن‬
ِِ ‫ئ‬‫ل‬ ‫ال‬‫ق‬ - ‫م‬ ‫(اّت‬
ْ ُّ ْ ُّ
ِ ‫ ث َّم أخذت‬-‫)فأخذته ْم‬, singular or plural, allover the Qur-ān.
‫اَّلين كفروا‬

II. Idghām of the B. )thā into tā/ ‫ (َ ِف ت‬in 2 words

Ḥamza recites 2 words with idghām:1st one is the 3rd in verse 279:
ُّ ‫ )أ ْور‬in (Sūrahs al-A˘rāf and az-Zukhruf). And the 2nd
1-(‫ثتموها‬ ِ
ْ ْ ْ ْ ُّ ْ
‫ثواب ْلِثت الف ْرد واْل ْمع و َّصل‬ *** ‫ص صاد م ْريم م ْن ي ِرد‬
ِ ‫ – وحِر ِم ن‬131
ُّ
2- in ( -‫ كم ْلثتم‬-‫ْلثت‬ َّ ) singular or plural, allover the Qur-ān.
-‫ْلثت‬

II. Idghām of the C. )dāl into dthāl & thā / َ -‫(د ِف ذ‬

ۡ ٓ ‫( ٓكهي‬at the end of the
ٓ ‫ٰع‬
Ḥamza recites with idghām dāl ‫ ذِكر‬١ٰٰ‫ٰص‬ ٍ
ۡ ّ ٓ ‫ٓكهي‬
letter Ŝād of the 1st word in sūrat Maryam) into dthāl ‫ٰع ٓصٰذٰك ُٰر‬ٍ
َّ
Ḥamza recites also with idghām dāl )‫ (ي ِرد ثواب‬into thā in Āli ˘Imrān.

Idghām of the opposite (thā into dthāl / ‫(َ ِف ذ‬:

َّ ۡ
Ḥamza makes idghām thā into dthāl of (‫ث ذَٰل ِك‬ۚ ‫ )يله‬in sūrat al-A˘rāf.

III. Ḥamza recites with Iṫĥhārof the following words:

ْ
ْ ‫اِللْف ع ْن و ْرش‬ ْ )‫ ويس (أ ْظه ْر‬- 138
‫ِهم خل‬ ِ‫ون وفيه‬ *** ‫عن فىت حقه بدا‬ ِ

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 22

 ۡ ۡ ‫ و ۡٱلق‬١ ‫س‬
1- Iṫĥhārthe sākin ‫ ن‬of "‫ "يس‬from the wāw ‫ان ٱِلكِي ِم) و‬
ِ ‫ء‬‫ر‬ ٰ ٓ ٍ ‫(ٰي‬.
of sūrat YaSīn, while making Imālah of the yā. ‫ي‬.

2- Ḥamza makes Iṫĥhārfor the sākin ‫ ن‬of "‫ "ن‬from the ‫ و‬of sūrat al-
ۡ ٓ
Qalam, like Ḥafṣ. ١ ‫ن وٱلقل ِم وما ي ۡسطرون‬

ٰٓ ‫ط‬
3- Ḥamza makes Iṫĥhārfor the sākin ‫ ن‬of sīn١ ‫س ٰٓم‬ ٍٰ ٰfrom the ‫ م‬mīm
ْ ْ
of sūrahs (Ash-Shuraā` and al-Qaṣaṣ)*** ‫ وطس عِند ال ِميم فازا‬- 137

While all the qurrā` agreed upon making ikhfā`for the sākin ‫ ن‬of
ٰ ٓ ‫ٰط‬in
sīn at the tā of ‫ تلك‬١ ‫ٰس‬ ٍ sūrat an-Naml, when recite waṣlan.

10- Idghām of nūn sākinah and tanwīn

ْ ْ ْ ْ ٌّ
‫و ِِف الواوِ والا دونها خلف تل‬ *** ‫ وُك بِينمو (أدغموا) مع غ َّنة‬- 133

If nūn sākin or tanwīn is followed by a wāw or yā, then Khalaf

makes idghām tām. (i.e., complete idghām without ghunnah). The
remaining qurrā` read like Ḥafṣ, making ghunnah.

11- Al-Idghām Al-Kabīr

Idghām is the assimilation of one letter into another, being read as

one mushaddad letter. If the mudghām is sākin it will be idghām
saghīr and if it is mutaḥarrik, it will be idghām kabīr. It occurs
between two mutaḥarrik letters meet within 2 words, such that they
become one letter with a shaddah. With madd lāzim, only, without

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 23

making rawm, p:65. Ḥamza makes idghām of tā-at-anīth in the
following letters in sūrat aṣ-Ŝāffāt, adh-Dhariāt, an-Naml.
َّ َّ ً ْ ْ ً ْ ً ْ ًّ
‫اتلا فثقل‬ ‫وذ ْروا (بِل ر ْوم) بِها‬ *** ‫ – وصفا وزجرا ذِكرا (ادغم) َحزة‬117
َّ َٰ َٰ َّ ۡ َّ ۡ َّ َٰ ‫ٱلزَٰجر‬ َّ َٰ‫ٱلص َّف‬
َّ
‫ أت ِم ُّد ٓو ِنۦ بِما ٖل‬١ ‫ت ذ ۡروا‬ ِ ‫ وٱلذرِي‬٣‫ت ذِك ًرا‬
ِ َٰ‫ فٱلتَٰل ِي‬٢‫ت زجرا‬
َّ
ِ ِ ‫ ف‬١‫ت صفا‬ ِ ‫و‬
‫ٓ ي‬
In sūrat an-Nissā ‫ب َّيت َّطائِفة‬.

ً ً ْ ْ ْ ْ ْ ْ َّ
‫ات ِِف ذِكرا وصبْحا فح ِصل‬
ِ ِ ‫فال‬
‫ۡي‬ ‫غ‬‫م‬ *** ‫ت‬ ‫يا‬
ِ ِ ‫ق‬ ‫ل‬ ‫م‬‫ال‬‫ف‬ )‫ف‬ِ ‫ وخلده ْم (بِاِلل‬- 111

Khallād makes idghām with khulf of tā-at-anīth in 2 letters in sūrat

ۡ ۡ ۡ ۡ ُّ َٰ ‫فٱلۡمغير‬
al-Mursalāt, al-˘ādiyāt ٥ ‫ت ذِك ًرا‬
ِ َٰ‫ فٱلملقِي‬٣ ‫ت صبحا‬ ِ ِ
he reads also withidth-hār.
12- Fatḥ, Imālah and Taqlīl

Imālah literally means to incline. Technically, qurrā` defined it as

the sound of inclination of a fatḥah towards a kasrah, or an alif
towards a yā. If the sound of inclination is 50% alif and 50% yā,
then it is known as imālah kubrā or idjā˘.

If the sound of inclination is less towards yā, about 75% alif, and
25% yā, then it is known as imālah sughrā or taqlīl. Minor
deflection or taqlīl is the sound which is in between imālah kubrā
and fatḥ. The opposite of imālah is fatḥ. Fatḥ is the normal sound
of an alif in which the mouth has to be open straight up, vertically.

The Imālah Kubrā

ْ ْ ْ ْ ْ
‫ات الاءِ حيْث تأ َّصل‬
ِ ‫ذو‬ *** )‫ وَحزة مِنه ْم والكِسائ ِ ُّي بعده (أماال‬- 118

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 24

A main rule in the recitation of Ḥamza is that he makes imālah
kubrā for Dthawāt ulyā. This yā has to be an original one. Such as:
َ َ
ٰ ‫ تو ى‬، ‫ن‬ ۡ َ ‫َۡ َى ى‬
.‫ف‬ ٰ‫ يُ ٍ ى‬، ‫ّل‬
ٰ‫ َوك ٍ ى‬، ‫وح‬ ٰ‫ تو ى‬، ‫َّف‬ ٰ‫ أد ٍ ى‬، ‫م‬
ٰ ٍ ‫ٱۡلت‬
َ َّ
Ḥamza makes imālah sughrā / taqlīl, in some words icluding: ‫ٱتل ۡو َرىٍٰ ٍٰة‬
Dthawāt ulyā: The words that contain an alif at the end, that has
either (i) originated from a yā, (ii) swiched over from a yā, (iii) or
returned to a yā (which is a maqṣūrah / small, feminine alif that is
written on a yā. How to know if a word is Dthawāt ulyā or not:

ْ ْ ْ ْ ْ ْ ْ ْ ‫ وتثْن ِية‬- 111

‫رددت إِلْك ال ِفعل صادفت منهل‬ *** ‫السماءِ تكشِ فها ِإَون‬
In order to know whether a word is from dthawāt ulyā or not,
especially when it ends with an alif, you should make the
following: If the word is a noun, try to get the dual name / form. If
ُ َ ‫ُ ى‬
the yā appears, then it is from dthawāt ulyā.‫ان‬ ٰ‫ٰه ٍٰد ى‬-‫وسٰلف ٍٰتى ى ُٰه‬
ِ ‫ى هدي‬ ٰ ٍ ‫قال م‬
ْ
‫ان ل ِفتييْه‬
ِ ‫قال موساي‬, {‫ان‬
ِ ‫}ودخل معه السِجن فتي‬.
َٰ ‫ ناد‬, ‫ تو َّ َٰىل‬/‫ ناديت‬-‫تو َّلت‬
And if it is a verb, try to “return it to yourself”‫ى‬
In other words, put the verb in the first-person singular past-tense
form. If it has yā, then it is considered from Dthawāt ulyā. Imām
ash- Shāṭibī gave ْ ْ us some examples here from Dthawāt ulyā:
ْ ْ ْ
‫ك م َّيل‬
ِ ‫ِيث ِِف ال‬
ِ ‫و ِِف أل ِِف اتلأن‬ *** ‫ هدى واشَتاه والهوى وهداهم‬- 117
Alif ut-Ta-nīth at the end of a dthawāt ulyā indicates either a literal
or figurative feminine word. Alif ut-Ta-nīth or the feminine alif is
written as an extra small alif on yā, that is either the fourth or fifth
letter in a word. They fall on the wazn of 5 weights on the words:
fa˘la (with any vowel on the fā)‫رّل‬َٰ ‫رّل ف ْع‬
َٰ ‫رّل ف ِ ْع‬
َٰ ‫ ف ْع‬and Fu˘āla (with 2
vowels on the fā, ḍammah and fatḥa).
ْ ْ ْ ْ
‫*** ِإَون (ض َّم أ ْو يفت ْح) فعاىل فح ِصل‬ ‫ وكيْف جرت فعّل ففيها وجودها‬- 111

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 25

 Dthawāt ulyā that end in a feminine alif and are on the wazn of
fu˘la that is written with a ḍammah on the “fā” are:
ُ ُ ‫ُ ى‬ ُ ‫ى ُ ى‬ ُ ُ ُ
‫ى‬-‫نث‬ ‫ى‬
ٰ ٍ ‫ٰٰأ‬-ٰ‫ب‬
ٰ ٍ ٰ‫ىٰ–ٰ ٰقر‬
ٰ‫ط‬ٍٰ ٰ‫الوس‬
ٰ –ٰ‫ ٰدنٰ ٍٰيا‬-ٰ‫ب‬ ٰ ٍ ‫طو‬ ٰ ٰ–ٰ‫ى‬ ٰ ‫وسٰ–ٰالقصٰ ٍٰو‬ ‫ى‬ ُ
ٰ ٍ ‫نثٰ–ٰ ٰم‬ ‫ى‬
ٰ ٍ ‫ال‬
ٰ -ٰ‫ب‬ ٰ‫القرٰ ٍ ى‬
ٰ -ٰ‫نيا‬ ُٰ :‫ّل‬
ٍٰ ‫ادل‬ َٰ ‫ف ْع‬
ُ ‫ُ ى‬ َ َُ ‫ُ ى ُ ى‬ ُ ُ
‫بى‬
ٰ ٍ ٰ‫عق‬
ٰ ٰ-‫ع‬ٰ ٍ ٰ‫الرج‬ٰ ٰ-ٰ‫اها‬
ٰ ‫سقٰ ٍٰي‬
ٰ ‫ٰ ٰو‬-‫ف‬
ٰ ٍ ٰ‫ٰ ٰزل‬-‫ل‬ٰ ٍ ٰ‫ٰالٰ ٰمث‬-‫العلٰ ٍٰيا‬
ٰ ٰ-ٰ‫ل‬‫ى‬ ُّ
ٰ ٍ ٰ‫السف‬
ٰ ٰ-‫ول‬ ‫ى‬
ٰ ٍ ‫ال‬ٰ ٰ-‫ن‬ ُٰ ٰ-‫ق‬
ٰ‫السٰ ٍ ى‬ ٰ‫ٰالٰ ُٰوثٰ ٍ ى‬-ٰ‫ى‬ ُٰ ‫َٰو‬
ٰ‫الع ٍٰز ى‬

‫ والسٰلو ى‬:‫ّل‬
َٰ ْ
Fa˘la that is written (with a fatḥa on the first letter): –ٰٰ‫ٰى‬ ٍ ‫ع‬ ‫ف‬
َۡ ‫َ ى‬ َۡ
ٰ‫يَ ٍ ى‬
‫ي‬ ٰ‫تٰ– َن ٍٰو ى‬
ٰ -ٰ‫ى‬ ٍٰ‫ش‬ ٰ‫عٰ–ٰ َٰم ٍ ى‬
ٰ –ٰ‫رض‬ ٰ َ –ٰ‫وت‬
ٰ‫ص ٍ ى‬ ٰ‫ المٰ ٍ ى‬-ٰ‫تل‬ ٰ‫قو ى‬
ٰ‫ىٰ– ٱل ٰق ٍ ى‬ ٍٰ ٰ‫ال‬

ُ
‫ضٰي ى‬-‫ٰاهٰم‬
‫ٰع ٍ ى‬-ٰ‫ٰى‬ ‫ٰد ى‬ َٰ ‫ف ِ ْع‬
Fi˘la (with a kasrah on the first letter):ٰٰ‫ٰيس‬ ٍ ‫سٰي ٍم‬-ٰ‫ٰى‬ٍ ‫ إٰح‬:‫ّل‬
ُ ُ ‫ُ َ َى ُ َ ى‬
Fu˘āla, (with a ḍammah on the first letter): ‫ٰى‬ ‫ى‬
ٰ ‫سار‬ ‫أ‬-ٰ‫ك ى‬-ٰ
‫ٰسال‬ ‫ٰفرا ٍدٰى‬:ٰ‫ٰفٰعٰال‬
ٍ ٍ
َ ۡ َٰ
‫ى‬
Fa˘āla (with a fatḥa on the first letter): ٰٰ‫ٰارٰى‬
‫ٰص‬َ ‫ال‬ -ٰٰ ‫ى‬
‫ٰام‬ٍ
َ ‫ٰي‬
‫ٰال‬-ٰٰ
‫م‬‫ى‬ ‫ ٱۡلَ َت ٍى‬:‫اىل‬‫فع‬
ٍ
ْ ً ً َّ ْ ْ
‫*** معا وعىس أيْضا (أماال) وقل بّل‬ ِ ْ ‫ ِف‬-111
‫اس ِم ِِف االِستِفهام أِن و ِِف مىت‬ ِ

Ḥamza makes imālah for some alifs that have unknown origins.
ّ َ َ َ َ ‫ى‬
Such as the questioning words: )ٰ‫ٰت‬ َ ‫(أن‬
‫ٰٰ–ٰم ى‬ ‫ي ى َو ۡيل ٓى ى‬-ٰ
‫ٰتٰ) ٍ ى‬ ‫ى‬
‫ل‬ ‫ٰب‬-ٰ‫ع ٍ ى‬-ٰ
‫ٰس‬ ‫(ياأسف‬
ٍ
ٍ ٍ ٍ and

ْ
ٰ‫ياٰحرس ٍ ى‬- And any alif that is written with yā), )‫ – (وما رسموا بالا ِء‬113
-ٰ ‫ت‬
َ ‫ى‬ َ ُ ‫ى َ ى‬ ۡ ‫َ ى َۡ ى‬
ٰٰ-‫ى‬ ٰ‫غ ٍٰو ى‬-‫ى‬ٰ ‫استو‬
ٍٰ -‫ى‬ ٰ‫المأ ٍٰو ى‬-‫ت‬
ٰ‫ ٰف ٍ ى‬-‫ ٰه ٍٰدى‬-‫ْع‬
ٍٰ ‫ل‬
ٰ ‫ا‬-‫م‬ ٰ‫ ٰٱل َه ٍٰو ى‬-‫ض‬
ٰ ٍ ‫أع‬-‫ى‬ ٰ ٍ ‫تر‬-‫ع‬ ٰۡ ‫ٱلر‬
ٰ‫ج ٍ ى‬
ٰ ٍ ٰ‫ٱلمر‬-‫ع‬ ُّ -‫ى‬
ٰ‫نا ٍٰد ى‬-‫غ‬ َٰ
ٰ‫ط ٍ ى‬
ْ ْ ْ ْ
‫*** ِإَوىل م ِْن بعد ح َّىت وقل لَع‬ ‫ – (وما رسموا بالاءِ) غۡي لى وما زىك‬113

“And any alif that is written as a yā” could be considered dthawāt

ْ
ulyā; ‫غرۡي‬: excluding these 5 words that are pronounced without
َٰ َّ ‫إ ِ َٰىل– ح‬-‫ىك‬
imālah or taqlīl: ‫رررىت‬ َٰ -)‫ى‬
َٰ ‫ز‬-‫لَع‬ َٰ ‫ل‬-‫(لا‬. Imām al- Mutawalli
collected 13 words that are written with an alif and are never

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 26

pronounced with imālah or taqlīl, as the origin of their alif is
a wāw. ِ‫ سنا ب ْرقِه‬-‫ شفا ج ْرف‬-‫عصاي‬-‫ عصاك‬-‫ عصاه‬-

‫ىك ِمنك ْم خل وعل ورد‬

ْ
َٰ ‫ سنا ما ز‬.… ‫حد‬ َّ ‫عصا شفا إ َّن‬
‫الصفا أبا أ‬ ِ

ً ِ‫ َج‬.… ‫عرفا ونا ق ْل مع بدا ودنا وداع‬

‫يعا ب ِواو ال تمال لا أحد‬

ْ َّ َّ ُّ
‫كزَكها وأنَج مع ابْتّل‬ *** )‫ وُك ثل ِث (ي ِ ِزيد) فإِنه (ممال‬- 113

َٰ ‫ز‬-‫نرا‬-‫عررفا‬, does not have

All thulāthī verbs (only 3 letters long): ‫ىك‬
imālah, as they end in an alif, or yā, that is originated from wāw -
‫ عفروت‬-‫نروت زكروت‬. If any of the following letters is added to the
thulāthī verb, then it becomes thulāthī mazīd, written in yā: (-‫ء‬-‫ن‬-‫م‬
َ َ َ َ َ ْ َ َ ُ َۡ ‫َ ى َ ى َ ى‬ ُ ‫َۡ ى َ ى َ َى‬
‫ٍٍٍّٰٰٰ–ٍٰزك ٍٰىهتا‬-‫ل‬
‫ى‬ ‫ى‬
ٰ ٍ ‫ٱستت ٰع‬-ٍٰ ‫ٱست‬-‫ي‬‫ى‬ ‫ى‬
ٰ ٍ ‫ي‬-‫ي‬-‫ل‬ ‫ى‬
ٰ ٍ ‫ٰ ٰتت‬-‫ت‬-‫ن‬
ٰ ٍ ‫أد‬-‫ك‬
ٰ ٍ ‫أز‬-‫نج‬
ٰ ٍ ‫أ‬-‫ل‬
ٰ ٍ ‫ٱبت‬-‫ أَن ٍٰىكم‬-‫ك‬
ٰ ٍ ٰ‫ تتز‬-‫ن‬
ٰ ٍ ‫أد‬
ٰ‫ َمثٰ ٍٰو ى‬-‫ى‬
)‫ى‬ ٰ‫) َٰمأٰ ٍٰو ى‬,. Ḥamza makes imālah for this type of dhawāt ulyā.

ََ َ َ ْ ْ ْ
ٰ‫ و َيح ٍ ى‬.... ***
ٰ‫ٰولٰي ٍ ى‬- ‫ي‬
}‫ٰ{أمات ٰوأح ٍٰيا‬-‫ي‬ )ِ ‫ك َّن أحيا عنهما (بعد واوِه‬
ِ ‫ ول‬- 113

ْ
Ḥamza and Al-Kisā-ī read the word (‫)أحيرا‬, that is preceded with a
wāw, with an imālah. If there is no wāw present before it, then
Ḥamza will not make an imālah. However, he read the following
ٓ َۡ َُ َ
words with an imālah: ‫ٱل ٍٰوايَٰا‬ َٰ ‫ ُّم ۡز‬-ٰٰ‫ تق ٍٰى ىة‬-ٰٰ‫ه ٍٰدىىن‬
- ‫ج ٰىٍ ىِٖة‬

ْ ْ ْ ُّ َّ
‫*** القوى (فأماالها) وبِالواوِ ّتتل‬ ‫الربا مع‬ ِ ‫ وأما ضحاها والضىح و‬- 781
Ḥamza reads some words, (which have an alif that is originated
)‫ ضحيان‬-‫(رِبيان‬-from a wāw), with imālah. (Their dual form is in yā:
ُ ُ ُۡ ُّ
ٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰٰ‫حى ى َها‬
ٍٰ ‫حى ى َهاٰ–ٰض‬
ٍٰ ‫ٰ َوض‬-ٰ‫ى‬ ّ ٰ–ٰ‫ح‬
ٰ‫ٰٱلق ٍٰو ى‬-ٰٰ‫ٱلر ٰبٍ ىوا‬ ٰ‫َوٱلض ٍ ى‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 27

 ْ ْ
‫آي انلَّج ِم َك ْ تتع َّدال‬ ِ ‫ب ِطه و‬ *** ‫مما (أمااله) أواخِر آي َّما‬ َّ ‫ و‬- 306
ْ ُّ َّ ْ َّ
‫ت تم َّيل‬ِ ‫*** الضىح و ِِف اقرأ و ِِف وانلَّازِاع‬ ‫ و ِِف الش ْم ِس واللَع و ِِف الليْ ِل‬- 301
ْ ْ ْ ْ ْ ْ ْ
‫المعارِج يا مِنهال أفلحت من ِهل‬ *** ‫ وم ِْن َتتِها ث َّم القِيامةِ ِِف‬- 301
Ḥamza makes imālah when reading the words, most of which are
Dthawāt ulyā, that appear at the verses-ends in the 11 Sūrahs (for
whatever word is appropriate for imālah) that were mentioned by
ash-Shāṭibī: Sūrat ( Ta-ha, an-najm, al-Qiyāmah, an-Nazi˘āt, al-
Ma˘arij, ˘Abasa, al-A˘lā, ash-Shams, al-Layl, aḍ-Ḍuha, Al-˘alaq).
ْ ْ ْ ْ ْ
ً
ِ ‫*** س ًِوى وسدى ( ِِف الوق ِف) عنه ْم تس ُّب‬
‫ل‬ ‫اإل ِْساءِ ثان ًِيا‬
ِ ‫ رم صحبة أعىم ِِف‬- 309

Ŝuḥbah make imālah for 2 words in sūrat (al-Anfāl) and (al-Isrā’a)

َّ َّ ْ
‫اّل َر ٍ ى‬
(ٰ‫م‬ ‫كن‬ ‫(فهو ِِف الخِرة ِ أع ٍ ى‬.
ِ ‫مٰ( (ول‬
Ash-Shāṭibī mentioned two cases in verses 309 and 310, in which
Ḥamza doesn’t make an imālah waṣlan of the alif that is followed
by a sākin, as we drop the alif of imālah due to the rule of
preventing the meeting of two sākin letters. The rule states to drop
the first sākin letter if it is a madd letter that is followed by either a
sākin nūn of tanwīn (in17 places): ( ‫رم‬ ۡ ‫ أل‬٣٦‫ قال)(أ ْن ي َْتك س ًدى‬٥٨‫مَكنًا س ًوى‬
ً ً ‫ ُّم ْف‬-‫ ُّمس ًّىم‬-‫م ْو ًىل‬
‫ )يك ن ۡطفة‬in sūrahs al-Qiyāmah and Tā-hā, -‫رِ ًبرا‬-‫أذى‬-‫رَتى‬
ً ‫ ه‬-‫ ُّمص ًِّف‬-‫ مص ًّّل‬-‫ف ًىت‬-‫ ق ًرى‬-‫ع ًىم‬-‫ مثْ ًوى‬-‫ ط ًوى‬-‫ ض ًىح‬،‫غ ًّزى‬. Or if the alif
.‫ردى‬
ْ ْ
of imālah is followed by any sākin: -‫موَس الكِتاب‬-‫ِعيىس ب ْ ِن م ْريم‬
ْ ْ
َّ ‫وذ ِْكرى‬-‫اْل َّنت ْْي‬ ْ ْ ْ
.‫ وطغا الماء‬-ِ‫الار‬ ِ ‫وجٓي‬-‫والقتّل اِل ُّر‬

This alif could be read with imālah only when stopping (waqfan)
on that word. The same principle is applicable in verse 310.
ْ ْ ْ
‫اإل ِْسا حكم صحبة أوال‬
ِ ‫*** وأعىم ِِف‬ ِ‫ وراء تراءى فاز ِِف شعرائِه‬- 310

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 28

 ۡ َ َ ََ
ۡ ‫ٱْل‬
Ŝuḥbah make imālah of )‫ان‬ ِ ‫ع‬‫م‬ ‫ (فلماٰت ٍٰر ىءا‬in (sūrat ash-Shu˘arā`), for
the rā only in the continous reading (waṣlan), as well as for:
ۡ َّ
)ٰ‫ ٍٰر َءا ٱلقمر‬- ‫ ( ٍٰر َءاٰالش ْمس‬in sūrat al-An˘ām.
َ
However, Ḥamza reads both the rā and hamzah of )‫تر ى ٍءا‬ ٍٰ ‫ (تت‬with
imālah waqfan. The same principle applies when the alif of the
َ َ
imālah is followed by a mutaḥarrik. )‫ ٍٰر ٍٰءاهٰم ْسرت ِ ِق ًرا‬-ٰ‫ ( ٍٰر ٍٰءاٰك ۡوكبتا‬in sūrhas
َ
(al-An˘ām and an-Naml). Ḥamza has a main recitation rule of: ‫ت ٍٰر ى ٍٰءا‬

ْ َّ ْ ً ْ ْ ْ ْ ْ
‫ْنال‬
ِ ‫إِذا اكن وسطا أو تطرف م‬ *** )‫ وَحزة عِند الوق ِف (س َّهل ه ْمزه‬-235

which states “If he stops on a word that contains a hamzah, he has

to make tas-hīl for the hamzah”. And, in the case that this waqf is
َ
made on a word that contains a wājib muttaṣṣil madd, like: ‫ ت ٍٰر ى ٍٰءا‬,
then he has to read this obligatory connected madd in two ways:
first he reads it with a full length, 6 ḥarkāt, madd. Second, he
reads it with qaṣr of the madd, or 2 ḥarkāt. Ḥamza makes imālah
ُّ
‫ى‬ ۡ َ ‫ى‬ ۡ َ ٓ َٰ
ٰ ٍ ‫م فهو ِِف ٱٓأۡلخِرة ِ أع‬
for ٧٢ ‫م وأضل سبِيل‬ ٰ ٍ ‫ ِِف ه ِذه ِۦٰأع‬in sūrat al-Isrā’.

ْ ْ ْ ْ ْ
‫يو ِاىل بِمجراها وِف هود أن ِزال‬ *** ‫ وما بعد راء شاع حك ًما وحفصه ْم‬- 311

Ḥamza makes imālah of a rā of dtha-watur-rā`,which are written

with a yā (at the end of a word) that is preceded by the rā. It means
that they end with an alif maqṣūrah that is preceded by rā like in
‫ى‬
ُ
‫ى‬ َ َ ‫ى‬ َۡ ‫ى‬ ُ ‫ى‬ ُ ‫ى‬ ُ ۡ ‫َ ى ُ ى َ ى ُ ۡ ى ُۡ ى ۡ ى‬
ٰ)‫ى‬
ٰ ‫سار‬
ٍٰ ‫أ‬-‫ى‬ ٰ ‫ار‬
ٍٰ ‫الص‬-‫م ٍٰرىها‬
ٰ -‫ى‬
ٰ ‫اكر‬
ٍٰ ‫س‬-‫ى‬ ٰ ‫ش‬ٍٰ ‫ب‬-‫ى‬
ٰ ‫ب‬ٍٰ ‫ٱلك‬-‫ى‬ٰ ‫ذك ٍٰر‬-‫ى‬
ٰ ‫ٱلق ٍٰر‬-‫ى‬
ٰ ‫أخ ٍٰر‬-‫ى‬ٰ ‫أ ٍٰر‬-‫ى‬ ٰ ‫ي ٍٰر‬-‫ى‬
ٰ ‫(ت ٍٰر‬
ْ ْ
‫*** ِف االِ ِْسا وه ْم وانلُّون ض ْوء س ًنا تل‬ ‫َشع ي ْمن بِاختِلف وشعبة‬ ْ ‫ نأى‬- 312

Khalaf makes imālah of nūn and hamzah of the word )‫ى‬ ٰ‫ (نٍٰ ٰأ ٍ ى‬in both ٰ
sūrahs: al-Isrā`and Fuṣṣilat. While Khallād makes imālah only of
َ َ
hamzah but not the nūn of the word )‫ى‬ٰ‫ (ن ٰأ ٍ ى‬in both sūrahs )‫بَانٰبٰه‬ ٰ‫(ون ٰأ ٍ ى‬.
ٰ ٰ‫ى‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 29

 َّ ‫شفا ول ِك ّْس أ ْو ِلاء ت‬ ْ
‫ميل‬ ‫ إِناه ل شاف وقل أ ْو ِلِكهما‬- 313
***
َ
Ḥamza makes imālah of a nūn and alif of the word )‫ (إن ٍٰى ى ُٰه‬which is in
َ
sūrat al-Ahzāb, )‫(غۡي نراظرين إن ٍى ىت ُٰه‬. Ḥamza makes imālah of alif of the
ُ ُ
word ٰ‫ِكه َما‬
ٰ ٍ which is in sūrat al-Isrā`.ٰ)‫ِكه َما‬
ٰ ٍ ‫(أو‬.
ْ
‫ت فتج ِمل‬ ْ ‫اض *** (أم ِْل) خاب خافوا طاب ضاق‬
ِ ‫ت) بِم‬ْ ‫ وكيْف (اِلُّلث غ ْۡي زاغ‬- 311
ِ
ْ
‫وجاء ابْن ذكوان و ِِف شاء م َّيل‬ *** ‫ وحاق وزاغوا جاء شاء وزاد ف ْز‬- 319
ْ ْ ْ ْ
‫ب مع َّدال‬
ْ ‫اصح‬ ‫ *** وقل صحبة بل ران و‬....................................... - 320

The Imālah of the alif in the ten verbs

Excluding the word ‫زاغت‬, Ḥamza makes imālah in 10 Verbs;

)‫ران–زاغ – زاغوا‬-‫خاف‬-‫ت–وحاق‬ ْ ‫ضاق‬-‫ )جاء – شاء – زاد – خاب – طاب‬with two

conditions: (1) To be a thulāthī verb, consists of three letters, the
middle one has to be a madd letter alif. (2) Past tense verb.
ُ َ ْ َ َ ًْ َ َ َ
ٰ‫افوا‬ ٰ‫خ‬ ٍٰ ٰ-ٰٰ‫افت‬ ٰ‫خ‬ ٍٰ ٰ‫ِٰإَو ِن امرأة‬- ‫عي ِد‬ ِ ‫افٰو‬
ٰ ‫خ‬ ٍٰ ‫ٰ ٰو‬- ‫ابٰم ْن َحل ظلما‬ َٰ ‫خ‬ ٍٰ ٰٰ‫ٰ َٰوٰقد‬-ٰ‫ى‬ ٍٰ ٰ‫ابٰ َٰمنٰٰاف‬
ٰ‫ت ى‬ َٰ ‫خ‬
ٍٰ ٰٰ‫َٰوٰقد‬
َ َ ْ ْ ْ ْ َ َ
ٰ‫اق‬
ٰ ‫ح‬ ٍٰ ‫ٰ ٰو‬- ‫اقتٰٰعليهم الرض ب ِما رحبت‬ ٰ‫ض‬ ٰ ٍ ‫ٰ ٰو‬-ٰ‫ابٰلك ْم ِمن الن ِساِء‬ َٰ ‫ط‬ ٍٰ ٰ‫كحوا ما‬ ِ ‫ فان‬- ‫عليْهم‬
ُ َ ّ َََ ُ ْ َ
ٰ‫مٰم ٍ ى‬
ٰ-ٰٰ‫وس‬ ُّٰ ‫ك‬ ٰ ‫اء‬ ٰ ‫دٰج‬
ٍٰ ‫ٰٰ ٰو ٰل ٰق‬-ٰٰ‫اغوا‬ ٰ ‫ فل َّماٰ ٍٰز‬- ‫اغٰاْلص‬ ٍٰ ‫ٰٰ َٰم‬- ‫ب ِ ِهم َّما اكنوا ب ِهِ ي ْست ْه ِزئون‬
ٰ ‫اٰز‬
ً َ َ َ ُ َ َ ََ ُ َ َ ‫َ َ َ َى‬
.‫ادتٰ ُٰهمٰٰإ ِيمانا‬ٰ ‫ٰٰ ٰف ٍٰز‬-ٰٰ‫طة‬َٰ ٰ‫اد ٰهُوٰٰب َس‬ ٰ ‫اءٰٰل َٰه ٍٰد‬
ٰ ‫ٰ َٰو ٍٰز‬-ٰٰ‫اكم‬ ٰ‫ش‬ٍٰ ٰٰ‫ٰ ٰف ٰلو‬-ٰ‫اّلل‬
ٰ ٰ‫اء‬ ٰ ‫نٰش‬
ٍٰ ‫ٰم‬ َٰ ٰ‫ٰٰإٰل‬-ٰٰ‫واْٰعٰ ٰقمٰيصٰه‬ٰ ٰ‫ج‬
‫اء‬ٍٰ ‫ٰو‬

Note: Excluding the following words, Ḥamza doesnot make imālah

1- It is not a verb: ‫وضائِق‬. 2- It is not a past tense verb: ‫َيافون‬.
3- It is not a thulāthī: ‫ فأجاءها‬، ‫أزاغ‬.
َّ ْ ْ ْ
)‫ومعه ِف اْلوارِ وِف الق َّهارِ َحزة (قلل‬ *** ...................... - 325

Ḥamza makes taqlīl in those alifs that are followed by a rā which is

majrūr, with a kasrah on a rā`at the end of a word (mutaṭarrifah):
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 30
 َْ
like in (ٍّٰ‫ )وأحلواٰقومهمٰدارٰابلوٍٰار‬of (Sūrat Ibrāhīm), and the word: (ٍٰ‫)ال ٍٰقهٍٰار‬,
َ َّ
‫ٱتل ۡو َرىٍٰ ٍٰة‬ (wherever they appear).
ْ َّ ْ
‫اتلقل ِيل) جادل فيْصل‬ (‫اكلبْرارِ و‬ *** ‫ ِإَوضجاع ذِي راءي ْ ِن ح َّج رواته‬- 326

Ḥamza makes taqlīl in the alif that is between 2 rā`s, in a condition

that the second rā` has to be majrūr in a kasrah on a rā mutaṭarrifah
َ َ َ
(at the end of a word): ‫بٰاألبْرٍٰارٍٰٰلفٰعليني‬
ٰ ‫كتا‬
ٰ ٰٰ‫( إن‬in sūrat al-Muṭṭaffīn),
َْ ً ْ ْ ْ َّ ْ َْ
(ٍٰ‫ار القٍٰرٍٰار‬
َ َ‫( )د‬Sūrat Ibrāhīm), (‫)منَ األٍٰشٍٰارٍٰ أّتذناهم سخ ِريا‬ ِ (Sūrat Ŝād).
ْ ً
***...... ‫ – ( ِِبلف) ضم ْمناه‬330 / ‫ضعافا وح ْرفا انلَّ ْم ِل ءات ِيك ق َّوال‬
ِ ***- 329

Khallād makes imālah in the alif of 2 words (with khulf), means

ً
that he allawes fatḥ also. (i) The word ‫ضعافا‬
ِ in (sūrat an-Nissā`).
(ii) He also makes imālah in the alif that is written after the
hamzah in the word ‫ ءات ِيك‬in (Sūrat an-Naml), twice:
َ َ َ ََ َ َ َ ََ
)‫لٰأن ي ْرت َّد إ ِلك ط ْرفك‬ ٰ ٰ‫ ٰأٰناٰ ٍءات‬- ‫لٰأن تقوم ِمن َّمقا ِمك‬
ٰ ٰ‫يكٰبٰهٰۦٰ ٰقب‬ ٰ ٰ‫يكٰبٰهٰۦٰ ٰقب‬
ٰ ٰ‫( ٰأٰناٰ ٍءات‬

While Khalaf makes imālah without khulf in all these places.

13- The Rules of Easing the Hamzah (Waqfan)

Since hamzah is considered a difficult letter to pronounce; due to

jahr and shiddah in it, and due to its articulation point being deep
in the throat and far from the mouth, the Arabs and the qurrā`
allow changes to be made in it to ease the pronunciation (Takhfīf

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 31

of the hamzah). These changes include: tas-hīl bayna bayna, ibdāl,
naql and ḥadthf.
ْ َّ ْ ً ْ ْ ْ ْ ْ
‫ْنال‬
ِ ‫إِذا اكن وسطا أو تطرف م‬ *** )‫وَحزة عِند الوق ِف (س َّهل ه ْمزه‬-235

Ḥamza makes tas-hīl when he stops on a hamzah. Here, tas-hīl is

the general method of takhfīf, or making the hamzah light in
pronounciation. Tas-hīl includes all types of takhfīf: (tas-hīl bayna
bayna, ibdāl, naql and ḥadthf) and occurs on a hamzah in the
middle of a word, mutawassiṭah, or at the end of it, mutaṭarrifah.
1- Tas-hīl bayna bayna means to read a hamzah between its sound
and the sound of the madd letter which corresponds to its ḥarakah.
2- Ibdāl means to replace or substitute the hamzah by a letter of
madd that corresponds to the ḥarakah of the preceding letter.
3- Naql: is the transfer of the ḥarakah of a hamzah to the sākin
letter before it, then dropping the hamzah.

ْ َّ ْ
‫جع اللفظ أ ْسهل‬ ْ ْ ْ
ِ ‫وأس ِقطه حىت ير‬ *** ‫ وح ِرك بِهِ ما قبْله متسك ًِنا‬-231
ْ ْ ْ
.‫ ق ِل ان – قد افلح‬- ‫ خلوِ ا َٰىل‬- ‫ من امن‬- ‫خرة – ال ِنسان‬ ِ ‫ اال‬- ‫ ال ْرض‬- ‫ال ْرض‬

4- Ḥadthf, means to delete something i.e. the deletion of a hamzah.

Ḥamza uses at least one of these rules when stopping on a hamzah.

Waqf on the word that has a hamzah for Ḥamza and Hishām.

The Waqf of Ḥamza on a Hamzah

The takhfīf of a hamzah is classified into 2 types:

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 32

1- The takhfīf qiyasi, considers the hamzah and follows taṣrīf rules
of the word‘s conjugation and this is the mathhab of Ash-Shāṭibi.
Includes ibdāl, tas-hīl, naql, idghām with sukūn and rawm, p. 65.
2- The takhfīf rasmī, follows the rules of the hamzah’s rasm and
this is the mathhab of Abi ˘Umar ad-Dāni and Makkeyy ibn Abi
Ṭālib. It includes ibdāl with sukūn, rawm, ishmām (p.65) and
ḥadthf of the hamzah. In any of these cases, we deal with the
hamzah according to the letter that is preceding it, when Ḥamza
pauses on a word that contains hamzah.

A hamzah is either mutaṭarrifah or mutawassiṭah, (by itself or

mutawassiṭah bizaā-id). Mutaḥarrikah or sākinah, (the sukūn is
either aṣli lazim or ˘āriḍ).

14- First: If Hamzah Sākinah is Preceded by a

Mutaḥarrik Letter  Then, make Ibdāl

َّ ‫وم ِْن قبْلِهِ َتْريكه ق ْد ت‬

‫ْنال‬ ‫ا‬‫ن‬
َّ
ً‫ك‬ ‫س‬ ‫م‬ ‫د‬
ِ ‫م‬ ‫ف‬ ‫ر‬ْ ‫ (فأبْد ِْل) عنْه ح‬-236
ِ ***
Ḥamza makes ibdāl of a sākin hamzah into a letter of madd which
corresponds to the ḥarakah of the letter before it. waqfan only.
Whether the hamzah sākinah appears at the 1-beginning of a word,
(i.e., Mutawassiṭah bikalimah), its sukūn is always original or Aṣli
ۡ ۡ ۡ ٓ ۡ ٓ
)‫ إِيت ِنا‬:‫ إِىل ٱلهدى ٱىتِنا‬:‫يت) (إِىل ٱلهدى ٱئتِنا‬ ِ ِ ‫ إ‬:‫ت‬ِ ‫ ل ِقاءنا ٱى‬:‫ت بِق ۡرءان‬ ِ ‫(ال ي ۡرجون ل ِقاءنا ٱئ‬
ۡ ْ
:‫ إِيتِنا) (يقول ٱئذن ِىل‬-‫ ياصال ِح ْوت ِنا‬-‫ إِيتون)(ياصال ِح ائت ِنا‬-‫ون‬ ‫ت‬ ْ ‫الْمل ِك ا‬-‫(الْمل ِك ائْتون‬
‫و‬
ِ ِ
ۡ ۡ َّ ۡ َّ
)‫ إيت‬:‫ت‬ ِ ‫ أ ِن ٱي‬:‫ت‬ِ ‫أ ۡوت ِمن) (أ ِن ٱئ‬-‫ ٱَّلِي ٱيت ِمن‬/ ‫ٱَّلي ٱؤت ِمن أمانته‬ ِ ( )‫ إ ِيذن‬-‫يقول ٱ ْوذن‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 33

2- In the middle, and its sukūn is always aṣli (as is true for 3 & 4). ْ
ْ ْ ْ
Mutawassiṭah by itself.)-‫مو ِمن‬-‫ مؤ ِمن‬-‫يوخذ‬-‫ يؤخذ‬-‫يوفك‬-‫ يؤفك‬-‫ياك‬-‫(يأكل‬
ْ ً ْ ْ ْ ْ
– ‫ ب َّوانا – تأث ِيما – تاث ِيما – تأخذونه – تاخذونه‬- ‫ يامر – ب َّوأنا‬- ‫ َّماكول – يأمر‬- ‫َّمأكول‬
ْ
– ‫َّلئب‬ ِ ‫ ا‬- ‫استاذنك‬ْ – ‫استئْذنك‬ ْ - ‫ شان‬- ‫ شأْن‬- ‫ ال ْمو ِمنون‬- ‫ الْم ْؤمِنون‬- ‫ مامنه‬-‫مأ ْمنه‬
ْ ْ ْ ْ ْ
‫ شِيت ْم‬- ‫جينا – شِئت ْم‬
ِ ‫جئنا –و‬ِ ‫ و‬- ‫ شِيتما‬- ‫ شِئتما‬- ‫اَّليب – وبِئ – وب ِۡي – فبِئس – فب ِيس‬ ِ
ْ ْ
3- Mutawassiṭah bizaā-id (letter): eg.,:‫ واتوا‬- ‫ فاتوا – وأتوا‬- ‫فأتوا‬

4- At the end of a word (and its sukūn could be original or ˘āriḍ):

Mutaṭarrifah with sukūn aṣli lazim: majzūm or mabni.
ْ ْ ْ ْ ْ َّ َّ ْ ْ ْ
‫ ويه ِي‬- ‫ ويهي ِئ‬-‫ وه ِي‬- ‫ نب ِئ – ن ِب – وهي ِئ‬- ‫ نشا‬-‫ نشأ‬- ‫ يشا‬- ‫ يشأ‬- ‫ ينبا‬- ‫ ينبأ‬- ‫ اقرا‬-‫اقرأ‬

ْ ْ
5- Mutaṭarrifah with sukūn ˘āriḍ, eg.,: ‫ إِن امرؤ‬- ‫ ي ْست ْه ِزئ‬- ‫المل‬
ْ ْ
-‫ يبْدِئ‬-‫الس ِي‬-‫ئ‬
ِ ِ ‫ي‬ ‫الس‬ / ‫ا‬‫ج‬ ‫ل‬ ‫م‬- ‫إ‬ ‫ج‬ ‫ل‬ ‫م‬ - ‫ا‬‫َح‬- ‫إ‬ ‫َح‬ - ‫ا‬ ‫ب‬َّ‫انل‬-‫ انلبإ‬-‫أ ْسوا‬-‫ أ ْسوأ‬-‫أنشا‬-‫ أنشأ‬-‫بدا‬-‫بدأ‬
ِ
ْ ْ ْ ْ ْ ْ ْ ‫يب‬
،)‫ امرو‬- ‫ امرؤ‬/‫ اْلارِي‬- ‫ اْلارِئ‬- ‫اط‬ ِ ‫ ش‬- ‫ شاطِئ‬-‫ام ِري‬ - ‫ئ‬ ‫ر‬
ِ ‫ام‬ – ‫نش‬ ِ ‫ي‬ – ‫ئ‬ ِ‫نش‬ ‫ي‬ - ‫ي‬ ‫د‬
ِ
ِ
Note: Ḥamza, will not make ibdāl waṣlan.

Ḥamza makes ibdāl of a sākin hamzah into a letter of madd which

corresponds to the ḥarakah before it. In no. 5- Mutaṭarrifah with
sukūn ˘āriḍ at waqf, for a hamzah that is maftūḥah, make ibdāl
with sukūn only. Add to the ibdāl with sukūn, tas-hīl with rawm
(p.65) in both hamzahs that are maksūrah and the maḍmūmah.

ْ ْ ْ ْ ْ
‫ّس الها ِلاءِ َت َّوال‬
ِ ‫وبعض بِك‬ *** )ِ‫ ورِءْيا لَع (إِظهارِه ِ ِإَودَغ ِمه‬-243
ْ ْ ْ
‫ كق ْول ِك أنبِئه ْم ونبِئه ْم‬-244

There are 2 rules in these 2 verses

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 34
 ً ً ْ
In (‫)أحسن أثاثا ورِءْيا‬, if Ḥamza stops on these words: (‫ )ورِئ ًيا‬in sūrat
ْ ْ
Maryam, (‫ )تؤوِي‬in al-Aḥzāb and (‫ )تؤوِيْه‬in al-Ma˘ārij), he makes
ibdāl of the sākin hamzah into a yā and a wāw. Due to ijtimā˘
methalyn in one word, Ḥamza makes idghām with khulf of the
mubdal wāw and yā into the following sākin wāw and yā`(‫رِيِا‬-‫(توِي‬
Accordingly, he reads with one mushaddad wāw or yā. Also, as
after ibdāl, both the yā and wāw are ˘āriḍ, then Ḥamza makes iṭḥ-
hār: (‫ رِيْيا‬-‫ي‬ْ ‫)ت ْوو‬, as if the hamzah is still there. The same rule is
ِ
ْ ْ
applied to 3 of the words in sūrat Yūsuf: (‫ ر ْءياي‬-‫ الرؤيا‬-‫)رؤياك‬, he
makes ibdāl of the sākin hamzah into a wāw. Linguistically, you
cannot make idghām of a wāw into a yā. In the Arabic language,
an extra rule can be applied here. Due to ijtimā˘ of wāw sākin that
is preceding a yā in one word, it is allowed to swich the mubdal ‫و‬
wāw into a yā, then merge it into the sākin yā (‫اي‬ ْ ‫ ر َّي‬-‫اى‬
ْ ‫ ر ْوي‬:‫(رءْياي‬.
ْ ْ ْ ْ ‫ كق ْول ِك أنْبئْه ْم ونبئْه‬-244
‫ّس الها ِلاءِ َت َّوال‬
ِ ‫ك‬ ِ ‫ب‬ ‫ض‬ ‫ع‬ ‫ب‬ ‫و‬ **** / *** ‫م‬ ِ ِ
ْ ْ ‫ (ونبئْه ْم عن ضيْ ِف إب ْراه‬al-Ḥijr
In (‫ (أنبِئه ْم بِأ ْسمائ ِ ِهم‬sūrat al-Baqarah, (‫ِيم‬ ِ ِ
ْ ْ َّ ْ
and (‫ (ونب ِئه ْم أن الماء ق ِْسمة بينه ْم‬al-Qamar, if Ḥamza stops on these
ْ ْ
words: )‫ نبِئهم‬-‫(أنبِئه ْم‬, he makes ibdāl of the sākin hamzah into a yā,
and after ibdāl, the hā may be read with kasrah also:
)‫ نبِي ِه ْم‬-‫ نبِيه ْم‬،‫أنبِي ِه ْم‬-‫(أنبِيه ْم‬.

A hamzah is either mutaḥarrikah or sākinah.

(2) The Hamzah mutaḥarrikah is divided into 2 types:
1- Preceded by a mutaḥarrik letter.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 35

2- Preceded by a sākin letter, which is in 4 types: sākin ṣaḥiḥ or
one of the madd letters

Second: If Hamzah Mutaḥarrikah is Preceded by

15- (A) A Sākin Letter: Ŝaḥiḥ: Make Naql

ْ َّ ْ
‫جع اللفظ أ ْسهل‬ ْ ْ ْ
ِ ‫وأسقِطه حىت ير‬ *** ‫ – (وح ِرك) بِهِ ما قبْله متسك ًِنا‬231
An-Naql (or naql ul-ḥarakah) means to transfer the ḥarakah of the
hamzah to the sākin ṣaḥiḥ letter before it, then drop the hamzah.
Naql can happen 1- within the same word for a hamzah that is
mutawassiṭah or mutaṭarrifah
ۡ َّ ۡ ْ ْ ْ ً ْ ْ
-‫ مذءوما‬-‫ ٱلظ ۡمان‬-‫ مسوال‬-‫بء‬ ْ ‫اِل‬ -‫يأرون‬-‫ي ْسأمون‬-‫النشأة‬-‫ج ْزءا‬-‫الق ْرءان‬-‫ ش ْطأه‬-‫مِلء‬
َّ ْ
ْ ‫اِل‬ َّ ۡ ْ
-‫ مذوما‬-‫ مسوال –ٱلظمان‬-‫ب‬ -‫يرون‬-‫يسمون‬-‫ النشاة‬-‫النشة‬-‫جزا‬-‫ٱلقران‬-‫شطه‬-‫مِل‬
ٓ ِ - ‫ ر ًدا‬-‫ ر ْد ًءا‬-‫يسلون‬-‫يسألون‬
ْ ِ -‫ِجء‬
‫ِج‬ ْ - ‫سِيت‬-‫ت‬
ْ ‫ سيٓئ‬-‫َس‬
ِ ْ ِ -‫َسء‬ ٓ ِ - ‫مسولون‬-‫م ۡسولون‬
ِ ِ

2- Also, to lām At-Ta˘rīf, (the definite article). -‫ ال ْرض‬-‫ٱٓأۡل ْرض‬

ۡ
‫ى‬ ُ ‫ۡ ى‬ ْ ْ ْ ۡ
‫ ِالمان‬-‫ٱإليمان‬
ِ – ‫ول‬
ٰ ٍ ‫ل –اٰل‬
ٰ ٍ ‫ٰٱلو‬-‫ الفئِدة – الفِدة‬-‫خرة –الفئِدة‬
ِ ‫اال‬-‫ٱٓأۡلخِرة‬-‫ال ِنسان‬-‫ٱإلنسان‬
ِ

3- Naql can happen between two words:

ْ ْ ْ ْ
-‫من ْاو ِت‬-‫ من أ ْو ِت‬-‫ من امن‬-‫ م ْن ءامن‬-‫ قل ْاو ِح‬-‫ قل أ ْو ِح‬-‫ قد افلح‬-‫قد أفلح‬
ً ْ ً
4- Naql of ḥarakah to a līn letter: ،‫ كهيْئ ِة‬-‫شيئا‬-‫س ْوءات ِكم‬-‫م ْوئِل‬-‫خل ْو إِىل‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 36

 )‫سوات ِ ِهما‬-‫ش‬ ‫و‬ َّ -‫ ا ْستيس‬-‫كهي ِة‬-ً ‫شيا‬-‫سوات ِكم‬-‫مو ًال‬-‫شء)(خلو ىل‬
‫الس‬ َّ ‫ ا‬-‫ٱست ۡيس‬
ْ ‫لس ْو ِء‬ ۡ
ِ ِ
- ِ ِ

5- Naql to sākin nūn of a tanwīn: ‫ أيَّا ِمنخ ْر‬:‫أيَّام أخر‬-‫يم‬

ْ ِ ‫عذابنل‬-‫عذاب أ ِلم‬،

ًْ ْ
‫كفؤا أحد‬: ‫ كفؤناحد‬In all of these cases, Ḥamza transfers the ḥarakah
of every hamzat ul-qaṭ˘ to the sākin letter before it and drops the
hamzah, as long as the sākin is not a letter of madd or mīm al-jam˘.
These two things are Exceptions of the An-Naql. It is forbidden to
transfer the ḥarakah of a hamzah to mīm al-jam˘ or a madd letter.
Apply the rules of the waqf that is ˘āriḍ for the sukūn, as Ḥamza
stops on mutaṭarrifah mutaḥarrikah with sukūn ˘āriḍ, as follows:
ْ
ْ ‫اِل‬
1- For hamzah mutaṭarrifah maftūḥah ‫بء‬ : make naql with sukūn
ْ
2- For hamzah mutaṭarrifah maksūrah ِ‫ الم ْرء‬: Add to the naql with
sukūn, naql with rawm, (p. 65).
ْ ْ
3- For hamzah mutaṭarrifah maḍmūmah ‫دِفء‬-‫مِلء‬: make naql with
sukūn, with rawm and ishmām, (p. 65).
15- Second: Hamzah Mutaḥarrikah is Preceded by

(B) A sākin madd letter, which is 3 types: alif, wāw or yā

(I) If Hamzah Mutawassiṭah or Mutaṭarrifah is
Preceded by an Alif, Then Make  Tas-hīl with
madd and qaṣr for a hamzah (i) Mutawassiṭah

ْ ْ َّ
‫(يس ِهله) م ْهما تو َّسط مدخل‬ *** ‫ سِوى أنه م ِْن بع ِد أل ِف جرى‬-231

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 37

 ُ َ َ َ ََ َ َ ُ َ َ ََ ََ َ َ َ ُ
َ ‫خآئف‬-ٰ‫جا ٓ َء ُه ۡم‬-‫ٰكٰم‬ َ َ‫ٰت‬-ٰ‫ٰٰوٰن َدٰآء‬
َ ‫ٰر‬ َ ‫ٰعٰآء‬َ ُ
-ٰ‫ني‬ ٍ ‫أٰبٰنٰآءٰنٰاٰوٰأٰبٰنٰآءٰكٰمٰوٰنسٰآءٰنٰاٰوٰنسٰآء‬-ٰ‫غٰثٰآء‬-ٰ‫ٰآءٰت‬ ‫د‬
َ ُ َُ ُ ُ َ ُ ُ َ ََ ُ ُ َ َ َ َ َ َ ََ َ َ
.‫ن‬
ٰ ‫آؤ‬ٰ ‫ٰٰي ٰر‬-‫آؤ ٰم‬
ٰ ‫ ٰه‬-ٰ‫كم‬ٰ ‫آؤ‬
ٰ ‫كمٰٰ ٰوٰأبٰ ٰن‬
ٰ ‫آؤ‬
ٰ ‫ ٰءاٰب‬-‫يل‬ ٰ ‫إ‬-‫ب ٰأسٰ َٰمآئهم‬-ٰ‫كة‬
ٰ ‫سآئ‬ ٰ ‫لئ‬ٰ ‫الٰ ٰم‬-‫ َٰءاٰبَآئهم‬-‫لئ َٰد‬
ٰ ‫َٰوالٰ ٰق‬
ْ ْ ْ ْ
)‫ي ْز قصه (والم ُّد ما زال أعدال‬ *** )‫ ِإَون ح ْرف م ِد قبْل (ه ْمز مغ َّۡي‬- 201
Ḥamza reads a hamzah mutaḥarrikah, that is preceded by an alif, in
an easy way, with the (tas-hīl) between the hamzah and the letter
of madd which agrees with its ḥarakah, (-208) then he has to read
the obligatory muttaṣṣil madd in two ways: madd and qaṣr.
Apply the same rule for the following case, which is also a madd
muttaṣṣil, in verse 239.

Second: Hamzah Mutaḥarrikah is preceded by a sākin madd letter

(I) (B) If Hamzah Mutaṭarrifah is Preceded by an

Alif, then make  3 ibdāl in: madd, tawassuṭ and
qaṣr & Tas-hīl in madd and qaṣr

ْ ْ ْ
‫أ ْو ي ْم ِِض لَع الم ِد أ ْطوال‬ *** ‫ (ويبْدِل) م ْهما تط َّرف مِثله ويقص‬-239

When a hamzah mutaḥarrikah mutaṭarrifah is preceded by an alif,

then Ḥamza makes tas-hīl of this hamzah (as explained in the
previous verse 238) and also he changes it into an alif. (i.e., Ḥamza
makes 3 Ibdāl only for a hamzah that is maftūḥah with madd into:
ٓ ٓ
tūl, tawassuṭ and qaṣr: ‫ ٍجتا َٰء‬-‫ٱ ّدل َما َٰء‬, while adding to the 3 Ibdāl, 2 tas-

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 38

hīl with rawm in madd 6 & 2 ḥarakāt for the hamzah that is
ٓ ٓ ٓ ّ
maksūrah ‫سرواء‬-ٰ‫ٰٱلس َماء‬-ٰ‫ٱلٰ َمتآء‬-ٰ‫ٰٱلنستاء‬, or a hamzah that is maḍmūmah:ٰ
ٓ َ ُّ ُ ٓ َ َ ُ ََ ُ َُٓ
‫ٱلسف َها ُٰء‬-‫ٰٱلسما ٰء‬-‫آء‬ ٰ َ ‫ٰي‬-‫آء‬
ُٰ ‫ش‬ ٰ ‫ش ٰك‬
ٰ -‫ٱل ٰما ٰء‬. These 5 ways are called: 5 Al-Qiyās.

Explanation of the 3 ibdāl in madd, tawassuṭ and qaṣr

1st: Ḥamza must stop with sukūn on any hamzah mutaṭarrifah.

2nd: He makes ibdāl of a hamzah sākinah into a madd letter. -236.
3rd: After this Ibdāl, literally means replace or substitute. In Ibdāl,
َ
the hamzah is replaced by a letter of madd that matches the ‫آء‬ ُٰ ‫ٰي َشت‬
ḥarakah of the preceding letter. If this happened, then 2 sākin alifs
are placed next to each other, which causes ijtimā˘ as-sākinayn.
Here, the rules of tajwīd allow either: (a) Two sākin letters to come
together in one word during waqf only, then Tawassuṭ (madd 4
ḥarakāt) is made for this alif. Or (b) To prevent the meeting of two
sākin letters by 1- Inserting another alif in between, then Tūll is
made for this alif. 2- Dropping the first alif, then qaṣr will be made
for the mubdalah alif as in )‫ أنشرأ‬-‫(بردأ‬. 3- Dropping the second alif,
then qaṣr and Tūll, of madd will be made for this alif. Tawassuṭ is
also allowed here by the qurrā` as in the case when stopping on
madd ˘āriḍ. Thus, 3 lengths of madd (2, 4 and 6 ḥarakāt) will be
made after Ibdāl of this alif. The takhfīf qiyāsī for it will be 5
qiyāsī ways if adding tas-hīl in madd and qaṣr.

Second: Hamzah Mutaḥarrikah is preceded by a sākin madd letter:

15- (C) Either Wāw or Yā (Zā-idah or Aṣliyyah): 
Make Idghām of a Wāw or Yā Zā-idah or Aṣliyyah
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 39
 into mubdal from a hamzah, mutawassiṭah or
mutaṭarrifah.

ْ ْ ْ
‫إِذا زِيدتا م ِْن قبْل ح َّىت يف َّصل‬ *** ‫ و)يدغِم( فِيهِ الواو والاء مبْدِال‬-240
Wāw or yā zā-idah: is not originally a part of the word (i.e. it is not
considered one of the root-letters (fā, ˘ayn or lām ul-kalimah).
Rather, it comes between the ˘ayn and lām ul-kalimah, as
explained in the following: Wazn = Scale
َّ ٓ
The word ۚ ‫قر ٓو ٖء‬ ‫سيٓئ‬
ِ ‫الن‬ ‫ب ِريٓئ‬ ‫خ ِطيٓئته‬ ‫هن ِيا‬
ْ ً
Its Wazn ‫فعول‬ ‫الفعِيل‬ ‫فعِيل‬ ‫فعِيلته‬ ‫فعِيل‬

Scale (anything that determines or serves as a pattern; a model)

Ḥamza stops on a hamzah mutaḥarrikah with sukūn, makes ibdāl
of it into a wāw or yā, then makes idghām of the wāw or yā zā-idah
into the mubdal wāw or yā. As in: hamzah mutawassiṭah:
ً ٓ َّ ً َّ ٓ
)‫ب ِر ُّيون‬-‫مر َّيا)(ب ِريٓئون‬
ِ - ‫ا‬ ‫ي‬ ‫هن ِيا)(م ِر‬-‫خ ِط َّيات ِك ْم)(هن ِيا‬-‫خ ِط َّيته)(خ ِطيٓئات ِك ْم‬-‫(خ ِطيٓئته‬
As Ḥamza stops on a hamzah mutaṭarrifah mutaḥarrikah with
sukūn ˘āriḍ, then apply the rules of the waqf that is ˘āriḍ for the
sukūn as follows: 1- For hamzah maksūrah: )ِ‫قرو‬-ۚ ‫(قر ٓو ٖء‬, read the
idghām with 1 mushaddad wāw or yā with sukūn and with rawm.
2- For a hamzah maḍmūmah: )‫درِ ٌّى‬- ‫يء ي‬ ٓ ‫بر ٌّى)(در‬-‫يء ي‬
ِ ٓ ُّ ِ َّ‫ٱلن‬-‫سيٓئ‬
ٓ ‫ىس)(بر‬ َّ
ِ ‫(الن‬
ِ ِ
make idghām with sukūn, with rawm and ishmām, (p.: 65).

Note: Ibdāl without idghām will not be allowed.

Second: Hamzah Mutaḥarrikah is preceded by a sākin madd letter:

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 40

 15- (C) Wāw or Yā Aṣliyyah: Naql & Idghām of a
Wāw or Yā Aṣliyyah into mubdal hamzah
Mutawassiṭah or Mutaṭarrifah

ْ ْ ْ ْ ْ َّ ْ
‫اإلدَغ ِم) َحِل‬
ِ ِ ‫ب‬( ‫ض‬ ‫ع‬ ‫ب‬ ‫ن‬ ‫ع‬‫ف‬ ‫ا‬‫ال‬ *** ِ‫ّل تسكن قبله أو‬ ٌّ ِ ‫ص‬ ‫ وما واو أ‬- 251
If hamzah mutaḥarrikah, whether mutawassiṭah or mutaṭarrifah is
preceded by a sākin wāw or yā aṣliyyah (part of the original word),
then Ḥamza makes ibdāl with idghām the same way that was
applied before to the zā-idah. While in the aṣli wāw or yā sākinah
of madd or līn, Naql will also be allowed.
Note: In naql, wāw or yā will not be mushaddad, but in idghām,
they will be mushaddad. Hamzah Mutawassiṭah:
ً ً ً ْ ‫س َِّي‬-‫ت‬ ْ ‫سِي‬-‫ت‬
ْ ‫سِيٓئ‬-‫س َّوه‬-‫ سوه‬:‫س ْوأة‬
-‫ ش َّيا‬-‫ شيا‬:‫شيئا‬-‫س َّوات ِك ْم‬-‫سوات ِك ْم‬-‫س ْوءات ِك ْم‬-‫ت‬
ٰ‫ى‬ ُّٰ -‫ى‬
‫الس ّٰو ى‬ ٰ ُّ :‫ى‬
‫الس ٰو ى‬
ٰ َٰ ٍ ‫الس ٓوٰأ‬ َّ ‫ا ْس‬-‫ا ْستيس‬-‫ٱست ۡيس‬
ُّ -‫تيس‬ ۡ -‫ س َّواتِهما‬-‫سواتِهما‬-‫كه َّية‬-‫كهي ِة‬-‫كهيْئ ِة‬
ٍ ٍ ِ ِ
For hamzah mutaṭarrifah after sākin wāw or yā aṣliyyatayn, make:
1- Naql, (considering this sākin wāw or yā as if it is a sākin ṣaḥiḥ).
2- Ibdāl, idghām, dealing with wāw or yā as if it were zā-idatayn.

Apply the rules of the waqf that is ˘āriḍ for the sukūn: For hamzah
ْ ِ -‫ِجء‬
that is maftūḥah: ٰ‫ ِِج‬-‫ِج‬ ْ ِ :‫َسء‬
ٓ ِ ،‫ َِس‬-‫َس‬ ُّ ‫ٱ‬-‫لس ْو‬
ٓ ِ -‫س ْو‬-‫ س ْو‬:‫ س ٓوء‬-‫لسو‬ ُّ ‫ٱ‬:‫لس ٓوء‬
ُّ ‫ٱ‬
make both naql and idghām with sukūn only (read it with 2 ways).
For a hamzah maksūrah make naql and idghām with sukūn and
َّ -‫الس ْو‬
rawm. ‫السو‬ َّ -‫الس ٓو ِء‬
َّ -‫السو‬
ُّ -‫الس ْو‬
ُّ :ِ‫الس ٓوء‬
ُّ -‫ ش‬-‫ش‬-‫ شء‬read it with 4 ways.
ِ ِ
For hamzah maḍmūmah read naql and idghām with sukūn, rawm
ْ ِ ‫ الْم‬-‫ىس‬
and ishmām.‫تلنو‬-‫ تلن ْو‬:‫ تلنوء‬-‫ىس‬ ْ ِ ‫ الْم‬:‫( الْم ِىسء‬read it with 6 ways).

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 41

After mentioning the rules of: 1st a hamzah sākinah that is
preceded by a mutaḥarrik letter, 2nd a hamzah mutaḥarrikah that is
preceded by a sākin letter. Now we’ll discuss 3rd a hamzah
mutaḥarrikah is preceded by a mutaḥarrik letter, there are 9
possibilities or combinations:
1-3) Hamzah maftūḥah after any of the 3 harakāt ‫ خا ِطئة‬- ‫سأل – يؤي ِد‬
4-6) Hamzah maksūrah after any of the 3 harakāt. ‫ خا ِطئ ِْي‬-‫سئِلوا‬-‫يئ ِ ْسن‬
7-9) Hamzah maḍmūmah after the 3 harakāt ‫ م ْست ْه ِزؤون‬- ‫رؤوس – رؤف‬

Third: A Hamzah Mutaḥarrikah is Preceded by a

Mutaḥarrik Letter: 16- Make tas-hīl and / or ibdāl
for 9 types of ḥarakāt

(‫اءا وو ًاوا )ُم َّوال‬

ً ‫حهِ( ي‬ ْ َّ
‫ّس والض ِم )ه ْمزه‬ ْ ‫ وي ْسمع ب ْعد الْك‬-241
ِ ‫لى ف ت‬ *** ِ ِ
1- If a hamzah maftūḥah comes after a kasr, then ibdāl will take
ً
place into yā. e.g., ‫ناشِئة‬-‫ خا ِطئة‬Al-Akhfash reads as ‫ خاطِية‬and ‫ناشِية‬.
َّ ْ ْ ‫ْ ي‬
.‫ ِلهب‬-‫لِ ل‬-‫ وننشِ ئك ْم‬-‫و ِلنعامِك ْم‬- ‫بِأي ِك ْم‬-‫ْي‬ ِ ‫ف ِئت‬-‫ف ِئة‬-‫ْي‬ِ ‫مِائت‬-‫مِائة‬-‫ناشِئة‬- ‫خاطِئة‬
2- If a hamzah maftūḥah appears after a ḍamm, then ibdāl to wāw
-‫خذ‬ ِ ‫ يوا‬- ‫خذ‬ ِ ‫ يويِد – يؤل ِف – يول ِف – مؤذِن – موذِن – فؤادك – فوادك – ول ْو يؤا‬- ‫يؤي ِد‬
ْ ْ ْ ً َّ ً َّ ً ْ
*** )‫ۡي هذا (بْي بْي‬ ِ ‫غ‬ ‫ِف‬ ‫و‬ - 242 ) ‫ل‬ ‫ج‬ ‫و‬ ‫م‬ - ‫ل‬ ‫ مؤج‬- ‫خر – ولؤلؤا – ولولوا‬ ِ ‫خر – يو‬
ِ ‫يؤ‬
In the remaining 1 combinations tas-hīl bayna bayna will be made.
Besides the tas-hīl, Ḥamza may make ibdāl, naql or ḥadthf

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 42

 َّ
)‫ّس والض ِم (أبْدال‬ ْ ‫خفش ب ْعد الْك‬ْ
‫ *** واال‬. .......................................... -245
ِ
ْ ْ ْ ْ ْ ْ
‫حَك فِي ِهما اكلا وَكلواوِ أعضل‬ *** ‫سهِ) وم ْن‬
ِ ‫ بِياءِ وعنه الواو ِف (عك‬-246
3- If a hamzah maḍmūmah comes after a kasr or the )opposite(,
ْ ْ
‫سنق ِريك‬-‫ سنق ِرئك‬- ‫ ِلواطِيوا‬-‫ ِلوا ِطئوا‬-‫الون‬ ِ ‫فم‬- ‫ فمالِ ون‬-‫ م ْست ْه ِزيون‬- ‫ون‬
ِ ‫ أنب ِي‬-‫ون‬
ِ ‫أنب ِئ‬
4- If a hamzah maksūrah comes after a ḍamm, then ibdāl will be
made by al-Akhfash and also tas-hīl according to Sebawayh e.g.
)‫ مستهزيون‬:‫ سوِلت) (مستهزئون‬- ‫ سوِل) (سئ ِلت‬- ‫ سىَِ۬لوا) (سئ ِل‬- × ‫(سئِلوا – سوِلوا‬
ْ ْ ْ ْ ْ ْ
‫الون‬ ِ ‫ فم‬:‫ فمالِ ون‬-‫ اِلا ِطىون‬-‫ اِلا ِطيون‬:‫ اِلا ِطئون‬،‫ك‬.ِ‫ سنق ِر‬-×‫ سنق ِريك‬:‫سنق ِرئك‬
But no one from the qurrā` followed al-Akhfash in this way of the
ibdāl (in no. 3, 4), which opposes the rules. And Ash-Shāṭibī said it
ْ ْ ْ
is hard to apply this ibdāl.: ‫حَك فِي ِهما اكلا وَكلواوِ أعضل‬ *** ‫وم ْن‬
ْ
Because the takhfīf of a word like: ‫ سنق ِرئك‬, as an instance, is the
ْ
tas-hīl of the hamzah between it and the wāw ‫ك‬.ِ‫سنق ِر‬, and not the
ibdāl into yā, which is hard to pronounce and incorrect with regard
to the rules of the language. And the takhfīf of a word like: ‫ سئِلوا‬, is
the tas-hīl of the hamzah between it and the yā ‫سىَِ۬لو‬, and not the
ibdāl into wāw.
And thus al-Akhfash made ibdāl in 4 types of mutaḥarrik hamz
(plural of hamzah) that comes after a mutaḥarrik letter. As (2) were
mentiond in verse 241.
5-9- In the remaining 5 combinations, tas-hīl will be made when
both ḥarakahs match or hamzah mutaḥarrikah follows fatḥ, like in:
ْ َّ
5- A hamzah maftūḥah that comes after a fatḥ, ‫شنئان‬-‫تأذن‬-‫مئٓاب‬-‫سأل‬

6- A hamzah maḍmūmah that comes after ḍamm ‫ب ِرءو ِسك ْم بِرِو ِسك ْم‬ .
7- A hamzah maksūrah that comes after a kasr,
َّ َّ
)‫كىْي‬ ِ ‫ بارِىك ْم) (مت‬- ‫ خا ِطىْي) (بارِئ ِك ْم‬- ‫ خا ِسىْي) (خا ِطئ ِْي‬- ‫)خا ِسئ ِْي‬
ِ ‫ مت‬- ‫كئ ِْي‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 43

 8- A hamzah maksūrah that comes after fatḥ ‫ م ْطمئ ِن‬-‫حينئ ِذ‬
ِ -‫يومئ ِذ‬-‫بئ ِيس‬
ْ
9- A hamzah maḍmūmah that comes after a fatḥ ‫رؤف‬-‫تؤ ُّزه ْم‬-‫يكلؤك ْم‬

Waqf Ḥamza Includes 2 Main Methods of Takhfīf:

Qiyasi and Rasmī.

Qiyasi ways for a hamzah mutaḥarrikah that is preceded by a

mutaḥarrik letter can be divided into 2 types: Ibdāl and tas-hīl.
1- Make 2 ibdāl: The 1st is for a hamzah maftūḥah that is preceded
ْ
by a Kasr ‫ ف ِئة‬into a yā maftūḥah ‫ ف َِّية‬, ‫ ننشِ ئك ْم‬-‫ ف ِئة‬-‫مِائة‬

2- Make the 2nd ibdāl for a hamzah maftūḥah that is preceded by a

ً
ḍamm ‫ يؤيد‬into wāw maftūḥah ‫ يويِد‬.ِ‫ فؤادك‬،‫ُّمؤ َّجل‬

3- Make tas-hīl for the remaining 7 hamz: (3-9). There are

additional changes made to some of them from the rasmī ways
like: ibdāl or ḥadthf.

17- At-Takhfīf Ur-Rasmī

َّ ْ
Waqf according to the rasm ** * ‫وقد (رو ْوا) أنه بِاِل ِط اكن مس ِهل‬

Some qurrā` from the Maghrib, including Imāms: Makkeyy ibn

Abi Ṭālib, Fāris ibn Aḥmad, Abū ˘Umar ad-Dāni, Ash-Shāṭibī and
others narrated that Ḥamza stopped on some words with takhfīf
rasmī – those types of takhfīf which are in accordance with the
rasm (script) of ˘Uthmān’s Muṣḥaf: being ibdāl and ḥadthf only.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 44

 َّ
)‫ّس والض ِم (أبْدال‬ ْ ‫خفش ب ْعد الْك‬
ْ
‫اال‬‫و‬ ‫ه‬‫م‬ ْ ‫ فِف ْالا يّل والْواو (واِل ْذ ِف) ر‬-111
‫س‬
ِ *** ِ ِ ِ
ْ ْ ْ ْ ْ ْ
‫حَك فِي ِهما اكلا وَكلواوِ أعضل‬ *** ‫سهِ وم ْن‬ِ ‫ بِياءِ وعنه الواو ِف عك‬-113
The takhfīf rasmī is divided into 4 categories, in which hamzah is:
ْ ْ ْ ً
1- Written on wāw: ‫ تفتؤ‬-‫ يبْدؤ‬-‫ يتف َّيؤ‬-‫ تظمؤ‬-‫ ينشؤ‬-‫ كفؤا‬- ‫ه ْزؤا‬
ْ
2- Written on a yā: ‫ي ْست ْه ِزئ‬- ‫ يبْ ِدئ‬-‫ِبئ‬ ِ ‫ ت‬- ِ‫إ ِيتائ‬
ْ
3- Preceded by an alif: ِ‫ إ ِيتائ‬- ِ‫ت ِلقائ‬
ْ ْ
4- Not preceded by an alif: ‫ ملجا‬-‫ملجأ‬
In all of these categories, hamzah is mutaṭarrifah or mutawassiṭah
ibdāl is only used when the hamzah is written on top of a rasm of
wāw or yā. Ḥadthf is only used when the hamzah is not written on
top of a rasm wāw or yā. Like in: ‫م ْست ِ ْه ِزءون‬
However, it does not mean that wherever the hamzah is written as
yā or wāw, that ibdāl will be allowed into a yā or wāw and so on.
And it does not mean that when the hamzah is not written on a
rasm, that ḥadthf will be allowed.
ُ ٓ ٓ ٓ ٓ ْ ٓ ٓ ٓ ٓ
ٍٰ - ‫ يراءون‬/ ‫ مِن ن ِسائ ِ ِه ْم‬- ِ‫ الملئِكة‬- ‫ خائِفِْي‬/ ‫ أ ْو ِلاؤه ْم‬- ‫ وأبْناؤك ْم‬- ‫ن ِساؤك ْم‬
ٰ ‫جا َٰء‬
ٰ.ٰ‫وكم‬

In these examples only tas-hīl will be made and no ibdāl is

allowed. In reality, the recitation of the Qur-ān is a Sunnah; the
latter generations must take it from the earlier ones. It is based on
what is transmitted and proven in the qirā-ah.
Note: The alif is not mentioned, as it is either ibdāl like in ‫شأ‬ َ َ‫ي‬, or
tas-hīl, like in ‫ ت َأ َذن‬, and in both cases, Ḥamza will follow the rasm.
ً ْ ْ ْ ْ ْ ْ ْ
)‫وضم (وكّس قبل قِيل وأْخِل‬ ٌّ *** ِ ‫ وم ْست ْه ِزءون (اِلذف فِيهِ) وَنوِه‬-113

Ḥadthf is permitted in every hamzah that fulfils these conditions:

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 45

1- Is maḍmūmah, 2- Is not written on a letter (rasm), 3- Comes
after a kasrah, 4- And is followed by a wāw maddiyyah. As in:
ْ ْ
)‫ ِل ْط ِفئوا‬-‫ۢنبونك‬ ۡ
ِ ‫ويست‬-‫ون‬
ِ ‫ۢنب‬
ِ ‫أ‬- ‫ا‬‫و‬ ‫ئ‬ ‫ط‬
ِ ‫ا‬‫و‬ ‫ل‬
ِ - ‫ن‬ ‫و‬ ‫ئ‬‫ط‬ِ ‫ا‬‫اِل‬ ِ ‫مت‬-‫فمالِ ون‬-‫(م ْست ْه ِزءون‬
-‫كئون‬

‫وض ٌّم‬: Ash-Shāṭibī means that after the ḥadthf, you should make
ḍamm of the letter which comes before the wāw maddiyyah to
match its ḥarakah and to make it easy to pronounce.
َّ ْ ۡ ْ َّ ْ ْ ْ
)‫الصابون‬-‫ ِلطفوا‬- ‫ ويستۢنبونك‬-‫ون‬
ِ ‫ أنب‬-‫ ِلواطوا‬-‫اِلاطون‬-‫ متكون‬-‫ فمالون‬-‫(مستهزون‬
ً ْ
)‫(وك ّْس قبْل قِيل وأْخِل‬: He means that Nonee of the qurrā` followed the
saying of: “after the ḥadthf, kīp the kasr as it is, for the letter
which comes before the wāw maddiyyah”. This is hard to
pronounce and does not agree with the rules of the language.

Two Ways Waqfan on Hamzah Mutawassiṭah bizā-id

ْ ْ ْ ْ ً ْ
‫ان أع ِمل‬ ِ ‫دخلن عليهِ فِيهِ وجه‬ *** ‫ وما فِيهِ يلِق واسِطا بِزوائِد‬- 113
ْ ْ ْ ْ َّ
‫ات تع ِريف ل ِم ْن قد تأ َّمل‬
ِ ‫والم‬ *** ‫لم واْلا وَنوِها‬ ِ ‫ كما ها ويا وال‬- 111

If a hamzah is a mubtadi-ah, at the beginig of a word, then it

becomes mutawassiṭah due to adding any extra letter before it,
such as any one of the 10 zawā-id, then Ḥamza stops on it with 2
ways {taḥqīq then one (tas-hīl or ibdāl)}, also {(naql and sakt)}.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 46

18. The10 zawā-id, the takhfīf of the hamzah, waqfan

1- Hamzah: ‫أأنب ِئكم‬-‫( ءأنذ ْرتهم‬taḥqīq and tas-hīl of second hamzah)

َّ
2- Ba: ‫( ْل ِإ ِمام‬taḥqīq and tas-hīl). ‫( ب ِأنهم‬taḥqīq then ibdāl, as in -241):
If hamzah maftūḥah comes after kasr or ḍamm, then make ibdāl.

3- Sīn:‫صف‬
ْ
‫أ‬ ‫س‬ ٓ ‫ ساو‬- ‫سأريكم‬, 4- Fā: ‫فإذا‬-‫فئا ِمنوا‬, 5- kāf: ‫ كألْ ِف‬- ‫كأ َّنهم‬.
‫ي‬
ِ - ِ ِ ِ
6- lām: ‫ لنتم‬-‫( لنزل‬taḥqīq and tas-hīl) ِ‫ولبويْه‬ ِ (taḥqīq and ibdāl ِ‫و ِلبويه‬
ْ
ۡ ْ
1- lām At-Ta˘rīf: ِ ‫ٱٓأۡلخِرة‬-‫ٱإلنسان‬
ِ -‫( ٱٓأۡلرض‬naql and sakt on the sākin lām)
Note: In lām At-Ta˘rīf making the taḥqīq waqfan is not allowed.
8-Hā`at-tanbīh: ‫ هأنت ۡم‬taḥqīq with madd 6 ḥarakāt and tas-hīl with
ََ
madd and qaṣr(, (6,2) ḥarakāt.9 - Wāw:‫ق‬ ٰ ٍ ‫ٰ ٰوأب‬-‫( وأنتم‬taḥqīq, tas-hīl).
ْ
10- Yā-an-nidā`: ‫يأيُّها‬-‫يأهل‬-‫يإِبۡرَٰهِيم‬-‫ يرادم‬,(taḥqīq with madd 6
ḥarakāt and tas-hīl with madd and qaṣr(, (6,2) ḥarakāt.
ٓ
Note: Ḥamza stops on the word (ِ‫ )هؤالء‬with 15 ways.

Takhfīf 1st hamzah is taḥqīq in madd and tas-hīl in madd and qaṣr:
(3ways). The takhfīf of the second hamzah is 5 qiyāsī (ways): 3 are
Ibdāl and 2 are tas-hīl. Ibdāl with 3 lengths of the alif into 2, 4 and
6 ḥarakāt. Adding tas-hīl with rawm in madd and qaṣr. (5ways). If
you multipy 3X5=15, but due to some tajwīd rules, only13 ways
are allowed to recite. That is because the scholars prevent the
opposite lengths in the case of tas-hīl of both hamzahs. Making tas-
hīl of the 1st hamzah in qaṣr while, at the same time, making tas-hīl
of the 2nd hamzah in madd, or the opposite, is not allowed.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 47

 ٓ
The 13 ways that are allowed to recite (ِ‫ )هؤالء‬are as:
1-5: Taḥqīq in madd of the 1st hamzah while making the 5 qiyāsī
ways of the 2nd hamzah.
6-9: Tas-hīl in qaṣr of the 1st hamzah while making the 5 qiyāsī of
the 2nd hamzah, except one step is not allowed: making tas-hīl the
1st hamzah in qaṣr while tas-hīl with rawm of the 2nd hamzah in
madd. In this case, only 4 are allowed.
10-13: Tas-hīl in madd of the 1st hamzah, while making 5 qiyāsī
ways of the 2nd hamzah, except one step is not allowed: making
tas-hīl of the 1st hamzah in madd while making tas-hīl with rawm
of the 2nd hamzah in qaṣr. In this case, only 4 are allowed.
ۡ
Ḥamza stops on (‫( )قل أؤنب ِئكم‬3:15): with 12 manners
The takhfīf of the first hamzah is 3ways: Naql, taḥqīq and sakt.
The takhfīf of the second hamzah, as it is mutawassiṭah bizā-id, is 2
ways: taḥqīq and tas-hīl. The takhfīf of the third hamzah,
maḍmūmah that comes after a kasr, is ibdāl and tas-hīl (2ways). If
you multipy 3X2X2=12 ways.
ۡ 1st hamzah 2nd hamzah 3rd hamzah
‫قل أؤنب ِئكم‬

2 Naql Taḥqīq Ibdāl, tas-hīl

2 Naql Tas-hīl Ibdāl, tas-hīl
2 Taḥqīq Taḥqīq Ibdāl, tas-hīl
2 Taḥqīq Tas-hīl Ibdāl, tas-hīl
2 Sakt Taḥqīq Ibdāl, tas-hīl
2 Sakt Tas-hīl Ibdāl, tas-hīl

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 48

 ۡ
Ḥamza stops on (‫( )ءآلنن‬10:51, 91): with 15 ways.
The first hamzah is an interrogative hamzatul qaṭ˘a, it must carry a
fatḥah and has to be always pronounced muḥaqqaqqah “a” ‫ َء‬. The
second is hamzatul waṣl, he reads it with either ibdāl by turning
hamzatul waṣl into a long 6 vowel alif of madd lāzim
kalimī mukhaffaf, light, as hamzatul waṣl is followed by a sākin
aṣli, and it is not a mushaddad letter. The takhfīf of the second
hamzah is in 3 ways: ibdāl with madd in 6 ḥarakāt or 2 and tas-hīl
The takhfīf of the third hamzah is in 5 ways: naql and sakt, both
with madd ˘āriḍ into 6, 4 and 2 ḥarakāt, except that there is no sakt
with the ibdāl with madd in 2 ḥarakāt, due to the hardship of
making sakt and the meeting of the 2 sākin.
If you multipy 3X5=15 ways.
ۡ 2nd hamzah 3rd hamzah
‫ءآلنن‬

3 Ibdāl with madd in Sakt with madd ˘āriḍ

6 ḥarakāt
3 Ibdāl with madd in
6 ḥarakāt
3 Ibdāl with madd in
2 ḥarakāt
3 Tas-hīl
3 Tas-hīl
into 6, 4 and 2 ḥarakāt
Naql with madd ˘āriḍ
into 6, 4 and 2 ḥarakāt
Naql with madd ˘āriḍ
into 6, 4 and 2 ḥarakāt
Sakt with madd ˘āriḍ
into 6, 4 and 2 ḥarakāt
Naql with madd ˘āriḍ
into 6, 4 and 2 ḥarakāt

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 49

 19- Stop with Rawm and Ishmām on the Last Letter

ً ْ ْ ْ ْ
‫بِها ح ْرف مد واع ِر ِف اْلاب ُمفِل‬ *** ‫ واش ِم ْم ورم فِيما سِوى متبدِل‬-118

Waqf according to which ḥarakah is on the last letter of the word.

Waqf means to stop at the end of a complete word long enough to
renew the breath with the intention of continuing recitation.
Considering the different ways in which waqf can be made, waqf
with sukūn is the primary manner of stopping. You are only
allowed to stop with sukūn on a fatḥah, a sākin ṣaḥīḥ or a mubdal
madd letter.
Ḥamza is amongst the qurrā` who stop with rawm and ishmām.
Rawm is the partial pronunciation of a kasrah or a ḍammah on the
last letter, while lowering the voice, when making waqf.
Ishmām indicates a soundless ḍammah, by rounding the lips and
muting the voice, directly after reciting the sukūn of the last letter
during waqf. Rawm and ishmām are both allowed on a ḍammah,
whilst rawm is allowed on a kasrah.
Rawm or Ishmām are Not Allowed in the Following Cases:
1- Fatḥah, sukūn or any sākin madd letter (mubdal from a
hamzah), is preceded by a ḥarakah that matches it. If Ḥamza stops
on a hamzah mutaṭarrifah that is preceded by a mutaḥarrik letter,
he makes ibdāl into a madd letter. This madd letter is sākin, so
there is no rawm or ishmām allowed in any sākin mubdal madd.
ْ ْ ْ ْ ْ ْ
)‫ يشا‬- ‫ اْلارِي – يشأ‬- ‫ لولو – اْلارِيء‬- ‫ لؤلؤ‬- ‫ المل‬- ‫(المل‬

These 2 types are mentioned by Ash-Shāṭibī in:

ْ َّ
َّ ‫ك ًنا * وم ِْن قبْلِهِ َتْريكه ق ْد ت‬ ْ ْ ْ
‫ ويبْدِل م ْهما تط َّرف مِثله‬- / ‫ْنال‬ ِ ‫س‬ ‫م‬ ‫د‬
ِ ‫م‬ ‫ف‬‫ر‬ْ ‫ح‬ ‫ه‬ ‫فأبدِل عن‬-

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 50

Rawm and ishmām are allowed in any letter which acquired the
ḥarakah of a hamzah, and also in any letter which is mubdal from a
hamzah (other than alif). Like in a hamzah mutaṭarrifah that is
preceded by a sākin other than alif, after making naql or idghām:
1- These sākin ṣaḥiḥ letters acquire a ḍammah or a kasrah after
ْ ْ
making naql of this ḥarakah to them, like in: (‫)دِفء‬. )ِ‫(دِف‬
2- After making idghām into a mubdal wāw or yā from a hamzah
maḍmumah or maksūrah on the end of a word, like in: (‫ شء‬- ‫)قروء‬
َّ ‫اْل ْعض‬ْ ً ً َّ ْ
‫بالر ْو ِم س َّهل‬ ‫طرفا ف‬ *** ‫ وما قبْله اتلح ِريك أ ْو أل ِف ُمراك‬-111
Rawm and ishmām are allowed after making tas-hīl in a hamzah
mutaṭarrifah that has a ḍammah or a kasrah and is preceded by a
mutaḥarrik or an alif. In this case, we exclude the sākin madd letter
that is (mubdal from the hamzah), and also stopping with sukūn.
ْ ْ
(‫ تفتأ‬- ‫ –يبْ ِدئ‬-‫ المل‬- ‫)يشٓاء‬
َّ ْ ً ْ ْ ً ْ َّ ْ
‫وأِلق مفتوحا فقد شذ موغِل‬ *** ‫تد ُمضا سكونه‬ ‫ وم ْن ل ْم يرم واع‬-117
Amongst the qurrā`of qerā-et Ḥamza who went astray, away from
the right true way of recitation, there are those who stop with
sukūn maḥḍ only without making any rawm or ishmām; and those
who make rawm or ishmām in a letter which has a fatḥah, like that
which has a ḍammah or kasrah, they are not making any difference
between them.
ْ َّ ْ َّ ْ ْ ْ
‫اسود ألل‬ ‫ي ِِضء سناه كما‬ *** ِ‫ و ِِف اله ْم ِز أَناء وعِند َناتِه‬-111
Ash-Shāṭibī–may Allāh shower him with mercy- mentioned that
there are a lot of narrations (authentic and not authentic) about the
stopping of Ḥamza on the hamzah in the books of the qira-āt. He
narrated for us only the authentic ways of these recitations of the
Qur-ān , which is a sunnah. The latter generations must take from

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 51

the earlier ones. Therefore, recite the Qur-ān only as you have been
taught to be on the light of knowledge.
20-A- Ḥamza Pauses on the Sākin That Precedes
Hamzatel qaṭ˘

َّ ْ ْ ْ ْ ْ ْ ْ ْ
‫*** روى خلف ِف الوق ِف سك ًتا مقلل‬ ‫ وع ْن َحزة ِف الوق ِف خلف وعِنده‬- 113
Ash-Shāṭibī mentioned the “naql” in rewaiat Warsh, then in verse
227 he followed this by saying that Ḥamza also makes naql waqfan
ْ ْ ْ ْ
with khulf, ‫رف خلرف‬ ِ ‫وع ْن َحرزة ِف الوق‬, the taḥqīq (in a sākin mafṣūl) or
the sakt (in a sākin mawṣūl) could be the second way in reading.
Ḥamza or one of his rowah makes sakt with khulf also at the same
spot of naql. The sakt is divided into 2 types according to the spot,
is it within one word or between two words. Muttaṣṣil, connected
or munfaṣṣil, separated. The other way of the khulf depends on
how the status of reading these words, is it waṣlan or waqfan.

20-B- Sakt: A Short Breathless Pause on The Sākin Mawṣūl

Naql occurs:1- Within the same word. As the sākin lām At-Ta˘rīf:
ْ ُ ُ ْ ْ ‫ ال‬- ‫خره – ْال ْرض‬
ٰ‫ول – اٰل ٍ ى‬
)‫ ا ِلمان‬-‫ول – ا ِإليمان‬ ٰ‫ال ٍ ى‬ٰ ٰ– ‫ ال ِنسان‬-‫اإلنسان‬
ِ – ‫ض‬‫ر‬ ِ ‫ اال‬- ِ ‫(ٱٓأۡلخِرة‬

is written muttaṣṣil, connected to the word, the sakt after it is

called: Sakt on mawṣūl ˘āam, or sākin muttaṣṣil.
Waṣlan: Ḥamza makes sakt on this mawṣūl first, (i.e., muqaddam
fīl-adā`). Second, Khallād makes taḥqīq, (i.e., he reads like Ḥafṣ).
Waqfan: Ḥamza makes naql then sakt. (It is explained in diagrams)
ْ ْ َّ ِ َّ ْ ْ ْ ‫ وي ْسكت ِف‬- 213
‫يف ع ْن َحزة تل‬
ِ ‫لم ل ِلتع ِر‬ ‫*** لى ال‬ ‫شء وشي ًئا وبعضه ْم‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 52

 ْ
This sākin mawṣūl includes another type, in which: ‫شء وشي ًئا‬
ْ - ‫شء‬
ْ

Ḥamza also makes sakt, waṣlan, first, (i.e., muqaddamun fīl-adā`).

The sakt occurs between the ya sākin and the hamzah, waṣlan only.
Second, Khallād makes taḥqīq, (i.e., he reads like Ḥafṣ(.
Waqfan: Ḥamza makes naql with khulf, then, idghām second. Such
ْ - ‫ ش – ش‬- ‫(شيْئا ً – شيا ً – ش َّيا ً – شء‬
ُّ - ‫شء – ش‬
as in: )‫ش‬ ِ ِ

20-C- Sakt on sākin mafṣūl, that is between two words.

Khalaf only makes sakt in khulf between the sākin ṣaḥiḥ letter and
the hamzah mutaṭarrifah, in these 3 types of naql:1- Any ṣaḥiḥ
ْ
sākin letter, 2- Līn letter, 3-the sākin nūn of the tanwīn: ‫كفؤناحد‬
ْ ْ
‫ ابْٓي‬- ِ‫اك ح ِديث الغاشِية‬ َٰ ‫ هل ا ٍت‬- ‫ خلوِ خلوِ َٰىل‬- ‫اوت‬
ِ ‫ن‬ ‫م‬ - ‫ن‬ ‫ام‬ ‫ن‬ ‫م‬ - ِ
‫اوح‬ ‫ل‬ ‫ق‬ - ‫ح‬‫ل‬ ‫قد اف‬
َ ٓ ۡ ْ
ٰ‫ فجعله غثا ًء أحٰ َٰو ٍ ى‬- ‫ِ ِلم‬
‫ى‬ ‫ عذاب‬- ‫ مِن ايَّام اخر‬- ‫ل ِۡيوا اعمَٰله ۡم‬- ‫ادم‬
َّ ْ ْ ْ ْ ْ ْ ْ ْ
‫*** روى خلف ِف الوق ِف سك ًتا مقلل‬ ‫ وع ْن َحزة ِف الوق ِف خلف وعِنده‬- 113

This sākin mafṣūl includes 4th type of sakt, which occurs between
mīm al-jam˘ and the following hamzah: ‫عليه ْم إن‬-‫عليك ْم أنفسكم‬
Waṣlan, Ḥamza reads with taḥqīq, in all types of sākin mafṣūl, then
Khalaf makes sakt. Following the way of Abi al-Fatḥ Faris.
Waqfan: Ḥamza makes naql in these 3 types of naql: with khulf,
the taḥqīq will be read second. In which Khalaf follows the way of
Tāhir ibn Ghalbūn. Third, Khalaf makes sakt, following the way of
Abi al-Fatḥ Faris.
*As it is well known that naql to mīm al-jam˘ is forbidden, so
Ḥamza makes taḥqīq only, then Khalaf makes sakt. ‫عليك ْمسأنفسكم‬
In many cases takhfīf rasmī agrees with takhfīf qiyāsī when the
hamzah is written on a rasm means wāw or yā and they matche the

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 53

ḥarakah before them, means kasrah comes before yā and ḍammah
ْ
comes before wāw. Like in: -‫مؤ ِمنون‬
21-The Special Words of Ḥamza (Farsh)

The Arabs use hā-assakt, or pausing hā, which is a sākin hā in both

waṣlan and waqfan, to show the vowel of the last letter. Ḥamza
delets the 7 hā-at assakt waṣlan. Ash-Shāṭibī states:

‫ّس كفِل‬ْ ‫حريك بالْك‬

ْ َّ ً ْ ْ
ِ‫ك ْن شِفاء و(اقتدِهْ) حذف هائِه‬
ِ ِ ِ ِ ‫شِفاء وبِاتل‬ *** ِ ‫ وس‬- 311

Ḥamza reads waṣlan with ḥadthf of hā-essakt in all of its 7 places

ۡ
in the Qur-ān: 1- ‫) ل ۡم يتس َّن ۡه‬2:259( 2- ‫) فبِهدىَٰهم ٱقت ِد ۡه‬6:90( 3-6 in sūratul
ۡ َٰ
ۡ ۡ ۡ ۡ َٰ ۡ َ ‫َٓۡ ى‬
Hāqqah: ‫ سلطن ِيه‬٢٨ ‫اله‬ ِ ‫ م‬٢٦‫ حِسابِيه‬٢٥‫ كِتبِيه‬7-١٠ ‫ك ما هِيه‬ ٰ ‫) وما أد ٍٰرى‬101:10(
ً ًْ
2- He reads these ‫ ه ْزؤا‬- ‫ كفؤا‬waṣlan, while waqfan, he reads in 2
ْ
ways: with ibdāl ‫ ه ْزوا‬، ‫ كفوا‬or naql ‫ هزا‬- ‫كفا‬.

3- ‫جع االمور‬ ْ ْ ْ
ِ ‫ تر‬/ ‫ ترجعون‬/‫ ِإَولهِ يرجعون‬with fatḥah

ْ ‫صل ض ُّم اله ْمز بالْك‬ ْ ْ

‫ّس ش ْملل‬
ِ ِ ِ ِ ‫الو‬ *** ‫ و ِِف أ ًّم م ْع ِِف أمِها فل ِمهِ لى‬- 118
ْ ْ ْ ْ َّ َّ
‫ّس ال ِميم فيْصل‬
ِِ ‫*** مع انلَّج ِم شاف واك‬ ُّ ‫حل وانلُّور و‬
‫الزم ْر‬ ِ ِ ‫ات انل‬
ِ ‫ وِف أمه‬- 118

The shīn in the verse is an indication of Ḥamza and Al-Kisā-ī.

Ḥamza reads the word (‫ )أم‬with 4-a- kasrah of the hamzah waṣlan
and waqfan in sūrat an-Nisā`(‫ل ِمهِ اِلُّلث‬
ِ ِ ‫ ف‬-‫ل ِمهِ السدس‬
ِ ِ ‫)ف‬, to match the
kasrah that is preceding the hamzah.
4-b- He reads with kasrah of hamzah waṣlan only in these 2 words
ْ ٓ ً ٓ ِ (, to
in sūrahs az-Zukhruf (‫اب‬
ِ ‫ت‬ ‫ك‬
ِ ‫ ) ِِف إ ِ ِم ال‬and al-Qaṣaṣ (‫ِف إ ِ ِمها رسوال‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 54

match the kasrah or the yā that is preceding the hamzah.
4-c- He reads with kasrah of hamzah and mīm waṣlan only in 4
ْ
sūrahs: an-Naḥl (‫ون إ ِ ِمهات ِك ْم‬ ْ ِ ِ ‫)أ ْو ب‬,
ِ ‫)أخرجكم ِمن بط‬, an-Nūr (‫يوت إ ِ ِمهات ِكم‬
az-Zumar (‫ون إ ِ ِمهات ِك ْم‬ ْ ْ َّ ‫)أ‬
ِ ‫ )خلقكم ِِف بط‬and an-Najm (‫ون إ ِ ِمهات ِكم‬
ِ ‫جنة ِِف بط‬ ِ
4-d- Ḥamza reads -in starting the words (in 2 and 3)- with ḍammah
of the hamzah and fatḥah for the mīm, like all the reciters.
ْ ْ ْ ْ
‫*** شفا و(رءوف) قص صحبتِهِ حل‬ ‫ وِف أم يقولون اِلِطاب كما عل‬- 133

The word ‫صحبة‬ُ is a letter code that indicats (Shu˘bah, Ḥamza and
Al-Al-Kisā-ī), they make qaṣr for the word ‫رءف‬, which means there
is no wāw maddiyyah.
ٓ ْ ٓ ٓ ْ
‫ ِميَكئِيل‬-‫ جِبئ ِيل‬- ‫ ج ْزءا‬- ‫ رءف‬- ‫ لرءف‬- ‫ تما ُّسوهن‬- ِ‫ لم ْستم الن ِساء‬-‫ يبش‬- ‫الريح‬ ‫ا‬‫ل‬ًْ‫و‬
ِ –
ْ
He reads ‫ت‬ ِ َٰ ‫ خطو‬the ‫ ط‬with sukūn, ‫ٓي‬ِ ‫ يَٰب‬with kasrah wherever they
occur. He reads all of these words with kasrah on the first letter:
ْ ً ۡ ً ً
‫جيوب ِ ِه َّن‬
ِ - ‫وب – بِيوتا – اْل ِيوت‬
ِ ‫ي‬ ‫غ‬
ِ ‫ٱل‬ - ‫عِيونا – شِيوخا‬

22- A Summary of Waqf Ḥamza on the Hamzah

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 55

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 56
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 57
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 58
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 59
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 60
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 61
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 62
The Stranger’s Guide to the Recitation of Hamza Ibn Habib 63
 23- Yā-āt ul-Iḍāfah

Yā-āt il-iḍāfah is yā-el-mutakallim, and can be added to the end of

a noun, verb or particle. It can be replaced by a kāf, hā or any other
pronoun. It’s an extraneous letter that is not part of the root letters,
fā, ˘ayn or lām ulkalimah.
ْ ْ ْ ْ ْ ْ ْ ‫ وليْس‬- 311
‫ول فتش ِِك‬
ِ ‫*** وما ِِه مِن نف ِس الص‬ ‫ت بِل ِم ال ِفع ِل ياء إِضافة‬
ْ ْ ْ ُّ ْ ْ
‫يرى ل ِلهاءِ والَك ِف مدخل‬ *** ِ‫ ولك َِّنها اكلهاءِ والَك ِف ك ما تل ِيه‬- 311

What are the differences between Yā-il-iḍāfah and Yā-az-Zawā-id?

The Attached Yā-āt il-iḍāfah at the end of: The Extra Yā-āt az-Zawā-id

(1) Nouns as ‫يىت‬ َّ

ِ ‫ال‬
ِ ‫ ب‬, verbs as ‫ون‬
ِ ‫ذر‬, and (1) At the end of: nouns as ‫اىع‬
ْ
َّ /‫لَع‬
pronouns as ‫م ِِٓي‬/‫إىل‬ َّ /‫ اْلوارِي‬and verbs as ‫ يأ َِت‬/ ‫نبْ ِغ‬

2) Recorded in the writing of the Muṣḥaf (2) Deleted from the writing of
the Muṣḥaf

(3) The reciters differ in reading it with a (3) The reciters differ in reading
sukūn or a fatḥah. with the yā or without it.

(4) Do not stem from the word’s letters. (4) Either one of the word’s root
َّ / ‫ ي ّْسي‬/ ‫ يأَت‬or an
ِ ‫ال‬
They denote a direct object or possessive letters like ‫اىع‬ ِ ِ
pronoun indicating “me” or “my”.
extra letter ‫عي ِدي‬ ِ ‫ و‬/ ‫ ن ِذيرِي‬.

(5) They are pronouns (5) They are letters

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 64

Their differences are found in 212 y-āt and can be divided as
follows: 1) The yā-al-iḍāfah is followed by a hamzat al-qaṭ˘ which
is maftūḥah, 2) maksūrah and 3) maḍmūmah. Accoding to Shāṭibi:
ْ ْ ْ ْ ْ ْ ْ
‫ْي خلف الق ْو ِم أحكِيهِ ُممل‬
ِ ‫وث ِنت‬ *** ْ ‫ وِف مِائ‬- 731
‫ىت ياء وعش من ِيفة‬

4) The yā followed by hamzah al-waṣl which is lām at-ta˘rīf.

5) The yā followed by hamzah al-waṣl which is not lām at-ta˘rīf.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 65

 24-Yā-āt Az-Zawā-id, EXTRA

Ḥamza deleted all the extra yāat, except 2. The 1st ‫ أت ِم ُّد ٓو ِنۦ بِمال‬in
sūrat an-Naml: 36, he reads it in both waṣlan and waqfan, while the
ٓ
2nd ‫ داعءِۦ ربنا‬in sūrat Ibrahim: 40, he reads it waṣlan only. When he
ٓ
stops on its word, he has to delete it, ‫ داع ِء‬will be read in 5 al-qiyās.

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 66

This concludes the lessons of Ḥamza’s recitation rules.

To recite in Ḥamza’s Qirā-ah, you should listen to the sheikhs who

recite in his style, get the Muṣḥaf of Ḥamza, and learn with a
teacher (preferably one who has an Ijāzah).

To listen to Ḥamza’s recitation through Khalaf’s riwayah,

visit this link:

https://www.youtube.com/watch?v=B7r64216iQk

For a Muṣḥaf written in Ḥamza’s recitation, click on the link:

https://archive.org/details/alisaleh084_gmail_20160531_2037
https://www.scribd.com/document/372033167/Mushaf-Hamzah

For a Muṣḥaf written in Khalaf’s recitation, click on the link:

http://live.islamweb.net/quran_list/khalaf/quran.pdf

References

،‫ نور الدين علي دمحم حسن المصري‬:‫ الكاتب‬،‫ اإلضاءة في بيان أصول القراءة‬-1
1420‫ سنة النشر هـ‬،‫ المكتبة األزهرية للتراث‬:‫) الناشر‬1310‫الملقب بالضباع (ت‬

‫هـ تأليف‬590 ‫ إبراز المعاني من حرز األماني في القراءات السبع للشاطبي ت‬-2
‫هـ‬665 ‫ أبي شامة ت‬: ‫ عبد الرحمن بن إسماعيل بن إبراهيم المعروف بـ‬: ‫اإلمام‬

‫اطبِيَّ ِة ( ِحرز األ َ َمانِي َو َوجه التَّهانِي) في القراءات السبع لإلمام الشاطبي‬
ِ ‫ش‬َّ ‫ َمت ُن ال‬-3

‫ عبد الفتاح عبد الغني‬:‫ المؤلف‬،‫ الوافي في شرح الشاطبية في القراءات السبع‬-4
1999 – 1420 :‫ سنة النشر‬،‫ مكتبة السوادي – جدة‬:‫القاضي الناشر‬
ُ -5
Muḥammad Salīm Gaibie auther of ‫غني الطلبة في تيسير السبعة‬

The Stranger’s Guide to the Recitation of Hamza Ibn Habib 67

 ‫سبحانك اللهم وبحمدك أشهد أن ال إله إال أنت‬

‫أستغفرك وأتوب إليك‬

How perfect You are, O Allāh, and I praise You. I bear witness
that Nonee has the right to be worshipped except You. I seek Your
forgiveness and turn to You in repentance.

If you find any mistakes please email me: najaah.ummAhmad@gmail.com

Here are my Facebook pages:

https://www.facebook.com/profile.php?id=100011406521727

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https://www.youtube.com/channel/UC0grA3tsjOGc-
jW81pcMWFw/playlists

This is my Youtube playlist for classes in Arabic and English:

https://telegram.me/hifzquraan

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Rights Reserved. No part of this book may be reproduced or
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The Stranger’s Guide to the Recitation of Hamza Ibn Habib 68