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14.2 - Staccato Technique on the Ney
We continue learning the technique and how to use the tongue for the purpose of this technique. Mr Rida gives a piece of advice to the beginner students to choose a slim Ney with little thickness as a beginner, because it is easier to generate sound from a slim Ney. Mr Rida introduces us to the musician Ahmad Ghanem and tells us a little about his life. __ This lesson is dedicated to B-Staccato, using your tongue, which sounds like this. So the player or student does this as a start *Play music* I played this scale ascending and descending in one breath. Which is what I was talking about earlier, you train your breath and strengthen your lungs you will have the energy to not do this *Play music*, keep breathing in, you can play like I did with one continuous breath you can play really long pieces. I would like to draw the attention of the students, the slim Nay is suitable for a student, some students would say it is the thick Nay. Do you have any idea what this thick one does, the thicker it is, the more air it needs. Just like the bigger the balloon the more air it needs, if I get a small balloon it fills up easily. So when a player chooses a Nay, choose the slim one. The slim Nay with little thickness, it makes playing easier. Instead of doing this in the thick Nay *Play music* and they are out of breath, they do this *Play music* all in one breath. When the player chooses a slim Nay then the breath will continue for a longer time, but if the Nay is thick, it is like taking a thick pipe and blowing in it, then take a slim pipe and blow in it, you will find the breath in the latter more obvious. If I was blowing in it to blow some dust, in something slim it will blow them away, if it was thick then it will be weak, the breath will get lost in it. So my advice to the students is to play a slim Nay, the thickness is no more than 16 mm, 15-16 mm this thickness here, this thickness, not more than this, 15-16 mm only, not more. If it was more, it will be harder to play, the entire breath will be exhausted, and when trying to play the response on the Nay , the player will not be able to, why? Because the thick Nay doesn’t generate sounds on response, the higher pitch, higher octave, which is the 6th breath that we will learn later, in future classes. I would like to talk about a very famous Nay player, his name was Ahmad Ghanem, from Alexandria. This player was a manager to a big airline. And this guy would provide me with Nays when I didn’t know where to get them from, and he taught me to the best of his knowledge, I will never ever forget him. Until a while back he would get in touch, and I am very happy and proud to still be in touch with him. Whenever I am talking to him I feel like I am young again, so he would call and say “remember when…” as if it were yesterday, and he would take me back to that time, and my youth. I would like to send him my best regards and may God bless him. See you in the upcoming classes.

Course Video Lessons - Learn Ney 1
1.1 Opened Introduction about the Ney 02:17
1.2 Opened How to generate sound from the Ney 05:40
2.1 Opened Using the holes after generating sound correctly from the Ney 04:42
2.2 Opened Blocking the Ney finger holes, Continue 04:11
3 Opened Generating sounds using the right hand 04:50
4 Opened Using the sight and left hand to block the holes 05:47
5.1 Opened The back hole of the Ney 04:47
5.2 Opened The back hole of the Ney | Continue 03:08
6.1 Opened Blocking the finger holes 04:45
6.2 Opened Exercises on the Ney instrument|Continue 02:29
7.1 Opened Al Saba Scale 03:20
7.2 Opened Al Saba Scale| Continue 03:26
8.1 Opened Al Bayyati scale on Re 03:56
8.2 Opened Al Bayyati scale on Re | Continue 02:55
9 Opened Rast Al Do scale 05:17
10 Opened Al Kurd Scale 05:45
11 Opened Al Hijaz scale 05:50
12 Opened Nahawand Al Do scale 04:54
13 Opened How to perform the Trill on the Ney 07:01
14.1 Opened Staccato Technique on the Ney 03:56
14.2 Opened Staccato Technique on the Ney 03:46