In this lesson, Mr Bdeer explains how to play another scale which is Al Bayyati scale. He explains how to improvise and do Taqseem in this scale. Mr Rida gives us an idea about the amount of breath you take when playing the Ney, and gives some examples to show the differences. __ Welcome, I am Rida Bdeer, the Egyptian Nay player from i3zif.com. This lesson is about Al Bayyati scale. Al Bayati scale on Re note, or Al Duka. Previously in the lesson before we play Al Saba, this is Al Bayyati, let us start *Play music* in Al Saba we talked about this hole, we used it in Al Saba. In Al Bayyati we block this hole and play the basic scale of Rast. As we said, we played like this *Play music*, in Al Bayyati we block this hole and open the one after it. *Play music*. this is Al Bayyati scale, and this is a very easy one too. We will play what resembles the Taqseem here as well , what we are playing is a simple resemblance of Taqseem. Later on the player will play whatever comes to mind, which is called improvisation and Taqseem. We will play as follows *Play music*. we played the scale with variations ascending and descending. Let us play another variation *Play music*we did it ascending and descending; Re Mi Fa Sol Sol Fa Mi Re, this is Al Bayyati scale, part of it, we haven’t played the hole scale, only the beginning. In the next phases we will learn the rest of the scale and play it, why? Because it takes another form and a different breath. As we know, the Nay has 6 breaths, each position generates a sound from the breath; meaning, a weak breath is called the first breath, a little stronger breath gives the second breath, stronger gives the third and so on… until we reach number 6. For example, this is a breath *Play music* breath one, *Play music* Breath two, *Play music* breath three,*Play music* breath four, this is just an example. Those are breaths; I increase the breath strength with each breath, which gives a different sound. This will come at a later stage, in later lessons not now. But I like to take the chance when I can to give the students a piece of information so that they know that we will come to this later. Everything we play is on the second breath, it is all on the second breath which is the middle of all breaths.