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11.2 - Explaining Al Husseini Longa
Tareq Al Jundi moves on to the chorus of Al Husseini Longa.
Tareq:
Let us look at the chorus. As you can see in the chorus, let us try to read it rhythmically Ta Fa Ti Tati Ta Fa tifi Tati Ta Fa tifi Tati Tati Ta, Ta Fa tifi Ta Fi Ta Fa Tifi Ta Fi Ta Fa tifi Tati Ta Fa tifi Ta . like this . first of all, some phrases here can not be played unless using high positions. Let us read it again Si Do Re Re Re Fa Mi Fa Sol Re Re , I will try to play it part by part Si Do Re Re Re *Play* Fa Mi Fa Sol Re Re, I have Re , Mi, Fa and Sol notes, I will play Fa Mi Fa Sol Re Re, I wrote Fa with the second *Play*, Fa with second, ½ ♭ Mi with first, in between a little extension, Sol with fourth then Re. we have to practice this bar alone, starting with Fa, *Play* how do we test it? *Play* Re with Fa have to produce this sound *Play*, we can test like this *Play* keep tuning it until you get this space between the third Re Mi Fa, which is called Minor Third, it sounds sharp *Play* Fa Mi Fa Sol *Play* once we practice Fa Mi Fa Sol, we keep playing *Play* always try to keep your fingers close, not like this *Play* this is wrong. Keep them close together, notice how my thumb is low, Fa Mi Fa Sol *Play* Re Re *Play*, which results in *Play* again *Play* keep practicing it.
Then Do Si DO Re La Sol, same thing *Play* notice Fa Mi Fa Sol *Play*, Do Si Do Re *Play* same phrase but on a previous cord, it became *Play*, practice it then Do Si Do Re *Play*. This results in the phrase *Play* or *Play* Do Do Sol, you are free to play it.
The most important thing is to practice it. I understand that we may face some issues with shifting *Play*, like what happened just now *Play* which is why I have to practice slowly and notice how sifting works, for example *Play* and tune *Play*
Continue *Play* , here is the same thing, now that we have Bayat Shuri , *Play* I can play Do with the second like what I have written, Do Si La Sol Fa Mi . what happened here is that I played Do with the second, Si with first and ♭ La with first. I prefer to perform this exercise here *Play* test the Si with Sol, it should produce this sound *Play*or with Re *Play*. Notice that when you have the correct note, it should sound sharp, this cord *Play* Sol Re Si *Play* which results in *Play* the chorus now sounds like this *Play*
You can play Bayat Shuri without this glissando or drag out but I am trying to include some new techniques in order to practice them everything starts out hard, but the most important thing is to understand its concept in order to start right and work through it.
Let us look at the second verse. The second verse is similar, Si Do Re La Fa Sol La Do Si La Fa Sol La Si Do Si La Sol Do Re Si La Sol all in half position, then back to normal position Fa Mi Fa Mi Sol Sol Fa Mi Re Mi Fa Mi Re Do Fa Fa Mi Mi Re Re , it now sounds like this *Play* Do with fourth, better than*Play* because when playing with speed *Play* this is what I am aiming for later on, so Do should be with the fourth finger *Play*. Again *Play*
I will play the first verse, chorus and second verse because we have to practice those parts in this lesson 1 2 *Play* this concludes the first verse, chorus and second verse of Longa AL Husseini by Abdul Razzaq AL Toubasi. Next lesson we will learn the third and forth verse.
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