Jins Bayati and Jins Hijaz have many traits in common, including their baggage both underneath and above.
Listen (again, use this as ear training) for the melodies that dip two steps below the tonic of Bayati, and you will hear that the 7th scale degree (one step below the tonic) is a whole-step below the tonic, while the 6th scale degree is a "3/4" step below that--another "sikah" or "quarter-tone" note.
From "Taheya" dance instrumental, #10 & #12
From Aruh Li Meen, #37 & #39 (and notice the difference in notes underneath the tonic for #36 & #38):
The baggage underneath Hijaz is identical to that underneath bayati:
From Muwashshah "Ya Shadi il-Alhan", #03 & #09
From Hayrana Leh, #27
Ghannili Shwayya, #08
Melodies in Jins Bayati and Jins Hijaz frequently stretch up to their 5th and 6th scale degrees above the tonic. Although these melodies often tonicize the 4th scale degree (with Jins Nahawand), just as often we can feel that the tonic of Bayati and Hijaz is stronger, so it is more proper to say that these notes lie within the expanded orbit of Hijaz or Bayati. The 6th scale degree is low, a half-step up from the 5th scale degree, making it different than the 6th scale degree in the octave below the jins tonic, where it is higher, a quarter-tone note (see above).
From Gameel Gamaal, #06 & #08 illustrate Bayati
Also from Gameel Gamaal, #25 & #27 illustrate Hijaz
From "Harramt Ahibbak," illustrating Hijaz:
Many of the examples given in Maqam Bayati are ambiguous enough that alternate parsings could be given. For example, in the example below from "Samai Bayati il-3ariyan" I offer two valid parsings of the Taslim:
The first parsing breaks up the descent into Ajam 6, Nahawand 4, & Bayati 1 (#08-#10)
While the second parsing wraps the entire descent from 6 down to 1 as Jins Bayati 1 (#21)
Finally, here are examples within Maqam Zanjaran, using the flat-6 above the root Jins Hijaz to "erase" the raised 6, which is the third scale degree of Ajam 4.
From Mawwal Zanjaran "Amana Ya Leil", #03, #10, #13
In several cases, the expected jins baggage underneath Bayati and Hijaz (a half-flat 6th scale degree two steps underneath the tonic), is modified by the prevailing Maqam. The melodies in Bayati and Hijaz still stretch down to the 6th degree underneath the tonic, but that degree is raised to a natural note, for Jins Bayati on the octave in Maqam Bayati Shuri, and for Jins Hijaz on the octave in maqam Zanjaran. Compare these melodies with those at the top of the page.
for Jins Bayati, From Muwashshah "Hibbi Da3ani lil-Wisaal", #02
For Jins Hijaz, from Muwashshah "Aya Daraha bil-Haqq", #02 & #04
From Mawwal Zanjaran "Amana Ya Leil", #01, #04, #05 --and see most of the following examples of "Hijaz 8" from the remainder of the Mawwal