Madd Rules in Tajweed: Types of Madd (with Counts)

Madd means lengthening a vowel sound in recitation. It rests on three madd letters (ا و ي: alif, waaw, yaa) in their vowel-lengthening form, and splits into two families: natural madd (madd asli), held for two counts, and secondary madd (madd far‘i), held longer (typically four or six counts) because of a hamza or a sukoon that follows.

A "count" (haraka) is roughly the time to say one short vowel, about the length of a single finger-fold. The whole subject comes down to one thing: how long you hold a vowel, and why.

The madd letters

Elongation happens on the three madd letters when they are preceded by their matching vowel: ا after a fatha, و after a damma, and ي after a kasra. In this state they carry no vowel of their own and just stretch the sound.

Natural madd (Madd Asli)

Natural madd is the baseline: a madd letter with no hamza or sukoon following it. It is held for exactly two counts, no more and no less. Example: the alif in قَالَ, or the waaw in يَقُولُ. Every longer madd is built on top of this natural length.

Secondary madd (Madd Far‘i): the main types

Secondary madd is a natural madd made longer by one of two causes: a hamza (ء) or a sukoon following the madd letter. The main types:

• Madd Muttasil (connected): the madd letter is followed by a hamza in the same word. Called wajib ('obligatory') in tajweed terminology because every reader lengthens it; in Hafs via al-Shatibiyyah it is held four or five counts (up to six when stopping on a final hamza). Example: جَاءَ, سُوءَ.
• Madd Munfasil (separated): the madd letter is at the end of a word and a hamza begins the next word. Held four or five counts in Hafs via al-Shatibiyyah (two counts is read only via other, Tayyibah, routes). Example: يَا أَيُّهَا.
• Madd Lazim (necessary): the madd letter is followed by an original sukoon or a shaddah. Held six counts, the longest madd. Example: الضَّالِّينَ (in Al-Fatiha), الْحَاقَّة.
• Madd ‘Arid lis-Sukun (temporary): a madd letter is followed by a letter that only takes a sukoon because you stop on it. Flexible: it may be read at two, four or six counts, but stay consistent within a recitation. Example: stopping on الْعَالَمِينَ or نَسْتَعِينُ.

There are further sub-types (such as Madd Leen, Madd Badal and Madd ‘Iwad), but this guide sticks to the four above.

Natural madd is two counts. Add a hamza after it and you get four to five (Muttasil/Munfasil); add an original sukoon and you get six (Lazim). That is the core logic.

A note on consistency

Where a madd allows a choice of length (as with Munfasil and ‘Arid), pick one length and keep it consistent throughout your recitation rather than varying it verse to verse. Consistency is part of correct tajweed.

See and hear the madd lengths

Madd is much easier to feel when you can see it marked and hear it held for the right count. RecitID’s Tajweed Mushaf reader colours elongations as you read, and per-verse audio lets you hear a reciter hold each madd correctly. For the colour legend, see the tajweed colour codes guide.