To a stranger that which seems most peculiar in Arab song is their long drawn-out tones at the close of a bar or refrain, sometimes equivalent to three whole notes or any number of beats. Doughty did not appreciate it, apparently, for he writes “Some, to make the stranger cheer, chanted to the hoarse chord of the Arab viol, making to themselves music like David, and drawing out the voice in the nose to a demensurate length, which must move our yawning or laughter.” There are, however, singers and singers. I remember a ruddy Yemen lad who sang us _kasidahs_ during a heavy rain-storm in an old Arab café near Ibb. The singer was master of his well-worn rebaba, and its music seemed to overmaster him. Now his hand touched the strings gently, and then again swept over them with a strong nervous motion, awakening music indeed. His voice, too, was clear and sweet, although I was not enough versed in Arabic poetry to catch the full meaning of his words. It may have been the surroundings or the jovial companionship of friendly Arabs after my Taiz seclusion and a weary journey up the mountain passes, but I have never heard sweeter music in Arabia, and have often heard worse elsewhere. God bless that travelling troubadour of Yemen! Here is a Mecca song for female voices, as given by Ali Bey in his travels (1815), and a second sung by the women of Hejaz in a more monotonous strain: [Illustration: Music Score] Such songs are called _asamer_; love-songs are called _hodjeiny_, and the war song is known as _hadou_. Arabic prosody and the science of metres is exceedingly extensive and seemingly difficult. What we call rhyme is scarcely known, and yet every verse ends with the same syllable in a stanza of poetry. In Mecca as well as in other “religious” centres there is a sort of sacred-music of which Hurgronje gives several specimens. They are chants in honor of the prophet or prayers for him which are sung at the _Moleeds_ or festivals in memory of Mohammed. Here are two of them. [Illustration: Music score. Interspersed with text. {Sal la ’llah a la Mu-hammad {Pray for mo-ham-med, O God, Sal-la ’llah ’a-laih-wa-sal-lam Pray, O God, for him and peace. ] [Illustration: ditto Mar-ha-ba-ya, nur-el ain-ni mar-ha-ba mar-ha-ba jid el Hu-sain-i mar-ha-ba mar-ha-ba ya mar-ha-ba-ya, mar-ha-ba-a-a-a-a. Most generally, however, music is looked upon as decidedly secular, especially all instrumental music. The desert Arabs know no religious song and only sing of love and war in their old wild way. It is only at a distance from the mosque and away with the caravan, that Ghanim clears his throat and sings in a voice that can be heard for a mile as we leave him behind: [Illustration: Music score] The Arabs of the desert have a reading-book all their own called _Athar_; and a writing all their own called _wasm_. No Bedouin so ignorant but he can read _Athar_ and none so dull but he can write his _wasm_.