[] in Morocco incorporate more than one mode—24 modes in all). Nūba structures vary considerably among the various national traditions. In Morocco, each nūba is divided into five parts called mîzân (), each with a corresponding rhythm. The rhythms occur in the following order in a complete nūba (though an entire nūba is never performed in one sitting): basît (6/4) qâ'im wa niṣf (8/4) btâyhî (8/4) darj (4/4) quddâm (3/4 or 6/8) Andalusi classical music orchestras are spread across the Maghreb, including the cities of: Algeria: Tlemcen, Nedroma, Cherchell, Algiers, Bejaia, Blida, Constantine, Annaba, Souk Ahras, Sidi Bel Abbès, Oran, Koléa, Blida, Mostaganem In Algeria, three main styles or schools are to be found: The Gharnati of the region of Tlemcen. The Sana'a of the region of Algiers. The Ma'luf style in the east of the country in Constantine and Annaba. Morocco: Fes, Meknes, Tetuan, Salé, Oujda, Rabat, Tangiers, Chefchaouen, Safi The , meaning "instrumental music", as opposed to religious music which is primarily vocal is predominant. The al-samāʿ wa-l-madīḥ, a religious a cappella style that makes use of very similar melodic, rhythmic and textual materials as Al-Ala. The Gharnati of the school of Tlemcen is also played, mainly, in Oujda. Tunisia: Tunis, Testour, and Kairouan. Libya: Tripoli In Tunisia and Libya, the Maʾlūf is the main style. Outside of the Maghreb exists the Israeli Andalusian Orchestra, that plays classical Andalusi music together with piyyutim from the tradition of Sephardi Jews. They use instruments including oud (lute), rabab (rebec), darbouka (goblet drums), ṭaʿrīja (tambourine), qanún (zither), and kamanja (violin). More recently, other instruments have been added to the ensemble, including piano, Double bass, cello, and even banjos, saxophones, and clarinets, though these are rare. Influence Al-Andalus was probably the main route of transmission of a number of Near Eastern musical instruments used in European music: the lute from the oud, rebec from the Maghreb rebab, the guitar from qitara and Greek kithara, and the naker from the naqareh. Further terms fell into disuse in Europe: adufe from al-duff, alboka from al-buq, añafil from an-nafir, exabeba from al-shabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal, the balaban, sonajas de azófar from , the conical bore wind instruments, and the from the sulami or fistula (flute or musical pipe). Most scholars believe that Guido of Arezzo's Solfège musical notation system had its origins in a Latin hymn, but others suggest