Mistakes in Recitation
In recitation, there are some mistakes or strange actions that may be made by those who are beginners or are not familiar with Tajweed rules. So the scholars have informed/ cautioned us against it. And of these are some of the things that everyone’s shaykh and imam of the jamia’ Imaam Ibn ul Jazariyy rahimahullaah mentioned.
1. Imaam ibn ul Jazariyy rahimalhullaah said, Fa laysal bit tajweedi at tamdeeghul lisaan - And Tajweed is not by tamdeegh of the tongue At Tamgheed is derived from al Mudghah meaning morsel, implying that one recites recites as if he has a morsel in his mouth while he is reciting/ speaking. He recites as if he has a morsel in his mouth and the summary of all these faults is constraint. He recites with takalluf, as if he has something in his mouth.
2. Taq’eer is derived from q’ar (depth). It means he speaks gutturally, or he speaks from the depth of his throat. We know that the letters which emanate from the throat are hamza ha, ha ayn, kha, ghayn. However, the prohibition in this example of taq’eer of the mouth is that he puts extra pressure on his throat from where the throat letters are articulated so that the sound of the entire recitation that emerges sounds like the letter ayn. He puts a lot of pressure in this throat and the sound of the recitation becomes very thick because of it. The entire recitation resembles the letter ayn. The reason for this is constraint and increased pressure. Recite in a way that is normal and does not place a burden Remember ayah,
مَا أَنزَلْنَا عَلَيْكَ الْقُرْآنَ لِتَشْقَىٰ
We have not sent down to you the Qur'an that you be distressed [Taha 20:2]
3. Ta’weej of the jaw means reciting with imaalah when there is no imaalah. For example billaehi (with imaalah). The recitor drops his jaw in letters which do not require imaalah.
4. Tar’eed of the voice means trembling. The reciter makes his voice as if he is trembling and shaking. This is prohibited. This is not natural trembling, but intentional. This is prohibited as it breaks the speech. It is as if he is affected with fake emotions. If the emotions were real then there is nothing preventing it. And this is what took place with our leader, sayyidina Rasoolullaah sallAllaahu alayhi wa sallam, may my mother and father be sacrificed for him, when he entered Makkah victorious lowering his head out of humility to Allaah subhaanahu wa ta’ala and he was remembering how the dwellers of this city threw him out and Allaah returned him to it victorious, so his head was lowered in acknowledgement of the favour of Allaah. So when he recited the Qur’aan on the back of he animal and the animal was shaking with him, sallAllaahu alayhi wa sallam his voice emerged broken (trembling) due to a state of being affected emotionally. This occurs with all of us if we want to recite Qur’aan and we are in a state of emotion, so if a person is overcome with weeping or humility, there is no prevention from that. As for faking this, then it is prohibited.
5. Tamteet of the shiddah means taqweel and it means elongating the shaddah. Lengthening occurs only in the three letters of madd and in ghunnah of the letters noon and meem. Elongating the shaddah is not from these lengthenings. Everytime the reciter sees a letter of shaddah, he lengthens it even if it is not of the letters of madd and ghunnah. And this is prohibited and incorrect.
6. Taqtee of madd means transition of the voice from one level to another in the letter of madd itself. This tarjeeb of the voice and segmenting of the madd is prohibited because it means adding alifs to the alif and adding waws to the waw and adding yaas to the yaa.
7. Tatneen of ghunnah resembles taqtee in madd. It is a trembling of the voice when doing the ghunnah.
8. Hasramah of the ra’aat means constricting. When the recitor recites the raa, he completely suppressed it so that the sound of the raa emerges abrupt. Raa is a letter between ease and strength. So its sound runs incomplete. Doing hasramah puts pressure on the raa so that the sound is cut off. It is almost like compressing the makhraj of raa and the scholars have prohibited this.
All these matters are to be abstained from and the summary of all of them is constraint, takalluf. Takalluf is blameworthy in recitation and the recitation is not beautified. The prophet sallAllaahu alayhi wa sallam ordered us to recite the Qur’aan in the sounds and tone/ melody of the Arabs.
We should recite naturally with natural disposition and without takalluf.
Watch video here.
1. Imaam ibn ul Jazariyy rahimalhullaah said, Fa laysal bit tajweedi at tamdeeghul lisaan - And Tajweed is not by tamdeegh of the tongue At Tamgheed is derived from al Mudghah meaning morsel, implying that one recites recites as if he has a morsel in his mouth while he is reciting/ speaking. He recites as if he has a morsel in his mouth and the summary of all these faults is constraint. He recites with takalluf, as if he has something in his mouth.
2. Taq’eer is derived from q’ar (depth). It means he speaks gutturally, or he speaks from the depth of his throat. We know that the letters which emanate from the throat are hamza ha, ha ayn, kha, ghayn. However, the prohibition in this example of taq’eer of the mouth is that he puts extra pressure on his throat from where the throat letters are articulated so that the sound of the entire recitation that emerges sounds like the letter ayn. He puts a lot of pressure in this throat and the sound of the recitation becomes very thick because of it. The entire recitation resembles the letter ayn. The reason for this is constraint and increased pressure. Recite in a way that is normal and does not place a burden Remember ayah,
مَا أَنزَلْنَا عَلَيْكَ الْقُرْآنَ لِتَشْقَىٰ
We have not sent down to you the Qur'an that you be distressed [Taha 20:2]
3. Ta’weej of the jaw means reciting with imaalah when there is no imaalah. For example billaehi (with imaalah). The recitor drops his jaw in letters which do not require imaalah.
4. Tar’eed of the voice means trembling. The reciter makes his voice as if he is trembling and shaking. This is prohibited. This is not natural trembling, but intentional. This is prohibited as it breaks the speech. It is as if he is affected with fake emotions. If the emotions were real then there is nothing preventing it. And this is what took place with our leader, sayyidina Rasoolullaah sallAllaahu alayhi wa sallam, may my mother and father be sacrificed for him, when he entered Makkah victorious lowering his head out of humility to Allaah subhaanahu wa ta’ala and he was remembering how the dwellers of this city threw him out and Allaah returned him to it victorious, so his head was lowered in acknowledgement of the favour of Allaah. So when he recited the Qur’aan on the back of he animal and the animal was shaking with him, sallAllaahu alayhi wa sallam his voice emerged broken (trembling) due to a state of being affected emotionally. This occurs with all of us if we want to recite Qur’aan and we are in a state of emotion, so if a person is overcome with weeping or humility, there is no prevention from that. As for faking this, then it is prohibited.
5. Tamteet of the shiddah means taqweel and it means elongating the shaddah. Lengthening occurs only in the three letters of madd and in ghunnah of the letters noon and meem. Elongating the shaddah is not from these lengthenings. Everytime the reciter sees a letter of shaddah, he lengthens it even if it is not of the letters of madd and ghunnah. And this is prohibited and incorrect.
6. Taqtee of madd means transition of the voice from one level to another in the letter of madd itself. This tarjeeb of the voice and segmenting of the madd is prohibited because it means adding alifs to the alif and adding waws to the waw and adding yaas to the yaa.
7. Tatneen of ghunnah resembles taqtee in madd. It is a trembling of the voice when doing the ghunnah.
8. Hasramah of the ra’aat means constricting. When the recitor recites the raa, he completely suppressed it so that the sound of the raa emerges abrupt. Raa is a letter between ease and strength. So its sound runs incomplete. Doing hasramah puts pressure on the raa so that the sound is cut off. It is almost like compressing the makhraj of raa and the scholars have prohibited this.
All these matters are to be abstained from and the summary of all of them is constraint, takalluf. Takalluf is blameworthy in recitation and the recitation is not beautified. The prophet sallAllaahu alayhi wa sallam ordered us to recite the Qur’aan in the sounds and tone/ melody of the Arabs.
We should recite naturally with natural disposition and without takalluf.
Watch video here.