This study is an attempt to gain insight into an aspect of the process of improvisation in Middle Eastern music. In contrast to a number of studies which generalize about this topic, the purpose here is to provide concentrated documentation on the way in which a single Arabic performer improvises in one maqam, using one form or genre. In this respect, our study is somewhat similar to Nettl and Foltin, which attempts to show the range of improvisatory techniques and of performance types used by Persian musicians when performing one portion of a dastgāh or mode, the darāmad of chahārgāh. It is also related to a study by Ruth Katz which compares two generations of singers from a limited population group, performing one genre in an Arabic-Jewish musical tradition.