Sessions
01:27:62 Hours
21 Sessions
Ney
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Dialogue Text
Continuing the important exercises on the Ney while Mr Rida gives some historical information about the role of Mr. Abdel Wahhab and Mr. Riyad Al Sunbati in developing the role of Ney in composing music.
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We played it both ascending and descending, now let us play it in another form *Play music*, this way we played it both ascending and descending in many forms ascending and descending. I would like to tell you something from the history as well , the Nay was, about a 100 years ago, only restricted to playing “Taqseem”, it was never a solo instrument. Its only role was to just play “Taqseem” all the time, a singer would perform alongside with the Nay player only playing “Taqseem”. Until the great singer Mr. Moh’d Abdul Wahhab, and Mr. Riyad Al Sunbati , both great composers, and started composing solos for the Nay. Solo means a musical piece only dedicated for the Nay within the entire track, it would play a small piece and then the band responds. And the Nay solos got popular since Mr. Abdul Wahhab and it developed a status between the other musical instruments, both oriental and occidental, to play expressive performance; which is the case when a musician witnesses a sea for example, and plays a piece to go along with the sentiment of the sea, and anyone who hears this piece would know that it is related to the sea. Or a sad piece for a sad person to relate to, someone who is happy to listen to a piece to make people happy. All that was due to the development of the Nay, it is used in religious, folklore, emotional and patriotic performances. These are musical categories for the Nay, newly added, until it even reached the Concerto, and the Concertino which is a mini Concerto, where an instrument plays a lead role in the Concerto. This is the end of this lesson, see you in the next one. Good bye
About Teacher
Reda Bedair
Reda Bedair was born in Alexandria, 1951 AD. At this time, he learned at the hands of senior masters, one of them was the Turkish Professor Milad Mansour, the zither player. Reda learned the Arabic strophic poems (Muwasshahat) and the music keys (Maqamat) and was taught by the Italian master Costa Menolli, the pianist, to enhance reading the musical note until he joined the Arab Music Institute in Alexandria to polish his talent and begin the right way. He learned the Oriental keys and the rhythmical meters at the Institute and learned the rules of reading the musical note that he had been taught before by the Masters. Beside his study at the Arab Music Institute, He studied outside the Institute with other professors as there was no study of the “Nay” instrument at the Institute. At the age of twelve, his artistic talent was adopted by one of the Revolution’s men, Mr. Hussein El-Shafeei, Deputy of the late President Gamal Abdel-Nasser. At this young age, Reda started working with several bands in Alexandria city among them was the Radio (broadcasting) band. His name started shining in the sky of Alexandria city… he become the most famous “Nay” player in Alexandria. The Egyptian Ministry of Culture honored him in the attendance of President Mohammed Hosni Mubarak, in the inauguration of the New Nubia Museum in Aswan. Mr. President asked him about his distinct artistic work of the Pharaonic “Nay”, which acquired a worldwide reputation and has been broadcast on stations of all countries of the world.