Sessions
01:27:62 Hours
21 Sessions
Ney
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Dialogue Text
Mr. Rida shows how to use the right and left hand fingers to block the finger holes of the Ney ascending and descending, and he give us exercises on this subject.
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Welcome, I am Rida Bdeer, the Egyptian Nay player from i3zif.com. today in lesson#4, we will start playing with both the left and right hand; we will play all 6 front holes together. This is the method to follow *Play music* then we will take the following 3 holes with the former ones *Play music*. this is how you play all the holes from low to higher. Now let us take them from high to lower *Play music*. and as we said, we will start playing with the finger a little bit faster. *Play music*, next *Play music*, next *Play music*, next,*Play music*,next*Play music*, next*Play music*. this is to practice the flexibility of the fingers. We started off playing note with long periods, now we play Tararararara . so you move your fingers like this up and down. Once again *Play music*this was ascending, now descending *Play music*. this is the exercise put together, we played the Nay from the last hole till the first one, and again from the first hole till the last one. We will start practicing those, with longer breaths, for each long note, make your breath stronger and keep your finger on the hole so it doesn’t leak. Same thing with the 2nd , 3rd and 4th hole. Also every time you take a breath before playing, for example Tararararara, take another breath to be able to continue.if you do not inhale, you will not be able to continue. The method is as we said, notice the position without sound. I need to feel the hole leaving a mark in my finger right here, and that the Nay is leaving a mark on my lip, right here, due to your control. Right here in the lip, you will find a line left by the Nay. After practicing and playing for a long time, you will be a bit tired, your shoulder might hurt, and your hand might spasm, you need to do some sport stretching like this, or this, or this. All these stretching move to unclench the muscles, they are very important, very important to unclench the muscle. And then you will play again, the same thing, and stretch again until you have the right result. You will be more comfortable and your shoulder won’t hurt anymore, your position might be very stressful, I need you to be natural, the player should be natural and not stiff, hold the Nay is a relaxed way and everything will be fine. This concludes our lesson, see you in the next one.
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.