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11.1 - Explaining Al Husseini Longa
Learning to play Husseini Longa by the Jordanian composer Abdul Razeq Al Toubasi on the Oud.
Tareq:
Hello my name is Tareq Al Jundi from izif.com. today in lesson number 11, we will learn a new piece called Longa Husseini by the Jordanian composer Abdul Razzaq Al Toubasi. In this Longa, before we start, I would like to explain a little about Al Husseini scale. As you can see in the scale index in the sheet, we have ½ ♭ Si, and ½ ♭ Mi. Al Husseini is basically Al Bayat scale. There is some controversy regarding the title of Al Husseini scale, some people cal Al Husseini scale Bayat La, starting with La note *Play* this is commonly called Bayat Husseini. Another title for Bayat Husseini, which we have here is Bayat Re, *Play*. What separates it from the regular bayat is the method of playing. How is that? Usually, there are many methods to play Bayat scale that shows in takseem. The base which is called Tonic is usually Re note, when you start playing takseem *Play* you have to focus the base of the scale which is this note.
We have the signals of the scale, those signals are note where transition occurs, or the next genre starts. For example, one method of playing Bayat *Play* Sol is the second base note after Re, *Play* and you linger on it. Then ♭ Si is the third note *Play* in order to transition to Ajam ♭ Si *Play* this is the common playing method which is called Al Ushaq scale, which is derived from Bayat as well. Sometimes the number of titles is related to the method of playing the scale.
The method we have here which is called Longa Husseini, it is different. The first note is Re of course *Play* the second important note in the scale is La, you can hear something similar to Al Kurdi vibe, *Play* the third important note is *Play* treble Re which is called elusory *Play* this method is how you play Al Husseini scale as it shows here in the Longa.
What I want to tell you is that you will ask me what does method of playing means? And how did we deduce it?
It is based on convention, trial and error and what is easy on the ears. Throughout all the years across all civilizations even before the Ottoman state and what they used to listen to, certain names of those scale became known.
This scale, which is AL Husseini scale has a matching scale in Iraq and Kurd region a scale called Al Dasht scale or AL Lawook, which is Bayat but the method of playing emphasizes La note. This is AL Husseini scale which we are talking about, it is Bayat but I wanted to show you the method of playing separately which will show here in the Longa.
Let us look here at Longa Husseini, as we have written here in the first bar Ta Ta, this one has the period of 1 because it is a ½ note and ½ silent so it is staccato. Ta Ta Tati Ta Fa Ti Ta Fa tifi Tati Ta Fa tifi Ta Ta Ta Tati Ta Fa ti Ta Fa tifi Tati Ta Fa Ti Ta Ta Fa tifi Ta Ta Fa tifi Tati Ta Tifi Tati Ta Tifi Tati Ta Ta Tifi Ta tifi Ta Tifi Ta Fa Tifi Tati Ta Fa tifi Ta. I will try to read it with notes 3 4 Re Re Re Re Fa Mi Re si Do Si Do La Sol Si Do Si Do Re Re Re Re Re Fa Mi Re Si Do Si Do La Sol Si Do Re La La Sol Fa Mi Fa Do Re Mi Fa Sol La Sol Do Re Si La Sol Sol La Fa Mi Re Do Do Si La La Sol Fa Fa Mi Re Fa Mi Re Do Fa Fa Mi Mi Re Re , let us try to play it, picks are the same, let us start half position with Re, because we will play Fa with the fourth finger, Fa Mi Re, Fa with the fourth, ½ ♭ Mi with the third, Re , ½ ♭ Mi, Fa *Play* as you can see, I keep my fingers steady on Re,3 4 *Play* I would like to draw your attention to something, notice how I played Re Re down down normally, then Re Re Fa Mi Re *Play* I didn’t play *Play*, because when Re is played up when it is distant it gives this sound, I want to avoid this sound so I played *Play* ½ bemo l Si became with the third finger. Next is the same phrase *Play* ♭ La *Play* this scale is called Qar Jaghar or Shuri which is Re, ½ ♭ Mi, Fa, Sol, ♭ La, ♮ Si, Do, Re *Play* as you can see it starts Bayat Re with Hijaz Sol.
At the end I have 4 bars of the first verse, we have Do Do Si La La Sol Fa Fa Mi Re Fa Mi Re Do Fa Fa Mi Mi Re Re. I can play like this *Play* but for speed purposes and to learn a new position, we will play Do with the second finger, we know that this is Sol, this is ♭ La, this is ♮ Si, and this is Do. We can play Do Do Si La La Sol Fa Fa Mi Re Fa Mi Re Do Fa Fa Mi Mi Re Re. I will play from bar number 10 in the second line, which is bar number 2 in the second line *Play*. This is the first verse of Longa Husseini, we will practice it and now we will explain the chorus.
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