Antonije Tot is an oud player who posts on facebook about middle eastern microtonal theory. I don't think he has a website to cite.

He has lots of posts and I haven't begun to read them all, but I'll make notes here as I do.

He argues that maqam saba, which he gives as

maqam Saba: D Ed F Gb A Bb C D(b)

can be given a harmonic interpretation by likening it to the third mode of this overtonal harmonic scale:

[8, 9, 10, 11, 12, 13, 15, 16]

which he calls Harmonic Lydian. The third mode has relative frequencies of

[11/10, 12/11, 13/12, 15/13, 16/15, 9/8, 10/9]

and absolute frequencies of 

[1, 11/10, 6/5, 13/10, 3/2, 8/5, 9/5, 2]

Tot claims that the first four notes of this approximate the modern Turkish intonation of the Saba tetrachord,

[D, Ed, F, Gb]

in contrast to an older intonation of the Saba tetrachord which can be written otonally as

[12, 13, 14, 15]

which has relative frequencies of

[13/12, 14/13, 15/14]

or absolutely frequencies of

[1, 13/12, 7/6, 5/4]

.

Let's write out the modern Turkish Saba and the older Saba in cents for easier comparison, because they surely don't look related when you view the just fractions:

[1, 11/10, 6/5, 13/10] :  [0, 165, 316, 454]c

[1, 13/12, 7/6, 5/4] :  [0, 139, 267, 386]c

Maybe I have misunderstood something.

...

Tot gives just intonation for 7 tetrachord ajnas, which I appreciate. Here they are in absolute and relative frequency ratios:

Rast : [1, 9/8, 27/22, 4/3] : [9/8, 12/11, 88/81]

'Iraq : [1, 88/81, 11/9, 4/3] : [88/81, 9/8, 12/11]

Nawruz : [1, 12/11, 32/27, 4/3] : [12/11, 88/81, 9/8]

'Oushshaq : [1, 9/8, 81/64, 4/3] : [9/8, 9/8, 256/243]

Abusalik : [1, 256/243, 32/27, 4/3] : [256/243, 9/8, 9/8]

Nawa : [1, 9/8, 32/27, 4/3] : [9/8, 256/243, 9/8]

Hijazi : [1, 12/11, 81/64, 4/3] : [12/11, 297/256, 256/243]

If you make a scale by stacking two Rast ajnas, separated by a Pythagorean major second, then the 'Iraq and Nawruz are found within that scale starting on the 7th and 2nd scale degrees, respectively.

Jins 'Oushshaq is only made of Pythagorean intervals, and in particular it is the rank-2 [P1, M2, M3, P4] tetrachord. Stacking two 'Oushshaq ajnas separated by a Pythagorean major second gives you a Pythagorean major scale, among which the Abusalik and and Nawa ajnas can be found, starting on the 7th and 2nd scale degrees, respectively.

Tot doesn't relate the Hijazi tetrachord to another other ajnas in a similar way.