Sessions
01:27:62 Hours
21 Sessions
Ney
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Dialogue Text
Mr. Rida explains the vocal phases of the back hole of the Ney, then he moves on to explain about opening and closing the angle of the Ney with the mouth. Later on he explains the Trill technique and how to apply it on the Ney instrument.
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Welcome, I am Rida Bdeer, the Egyptian Nay player from i3zif.com. Today we will be speaking about the back hole of the Nay. And this whole has different phases while you play, it plays 3 or 4 phases in one sound. And we will explain this as follows *Play music*, another form *Play music*. these are sound that the player can generate while playing the back hole. We will start doing another form *Play music*, what we do is we open and close the angle, giving a different sound, if we do this, even without holding the Nay *Play music*. those are 2 sounds. Let us learn the 3 sounds together *Play music*. this is one form, in the other form you will use other fingers related to the back hole, like this *Play music*, we open the hole and close all other holes, which will give me the next sound *Play music* when we block all the holes and leave the back one open. *Play music* you will not do as I am doing moving, I am moving to show you and the camera what I am doing. But in reality it is like this *Play music*. so now we have the one we talked about *Play music* and this one *Play music* and the third *Play music* .now we know the methods of the back hole. There is something called the Trill, like this *Play music*, again, to be easier *Play music* this is the Trill with the back hole. If we like to utilize it in a tune *Play music* now in slow motion *play music*. this is the utilization of the Trill. Now let us take the base part *Play music*. this way we learned the back hole in many forms.
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.