Enter your email address and start learning for free
Now
By clicking the button above I agree to the
Terms and Conditions
of izif.com
18.1 - Explaining Bulbul Longa
Explaining the third and fourth verse of Bulbul longa
Tareq:
Hello my name is Tareq Al Jundi from izif.com. today in lesson number 18 we will continue the third and fourth verse of Bulbul Longa by Amer Madi.
Let us look at the third verse and read it rhythmically: Ta Tifi Ta Fa tifi Ta Fa tifi Ta Fa tifi Ta Tifi Ta Fa tifi Ta Fa Tifi Ta Fa tifi Ta tifi Ta Fa tifi Ta tifi Tati Ta Tifi Ta Fa tifi Ta Fa tifi Ta Fa ti. This part as we can see from the transition notations which are *Play* this is Rast Sol scale *Play* we have a bit of transitions *Play* as if it was Huzam on Si note which is called Rahet Al Arwah *Play* all those are accompanying scales and easy to transition from Nahawand Sol scale. Let us try to read it with notes Sol La Sol Si Sol La Sol La sol Fa Sol Fa Mi Fa re Re Mi Re Fa Re Mi Re Mi Re Do Re Do Si Do Si , next Sol La Si Do La Si Do Re Mi Fa Sol Re Re La Sol Si La Do Si Do Re Si Do La Si Sol. Let us try to play it 1 2 *Play* until here I played half position then back to normal position, it is up to you. Next Ta *Play* , again I played half position *Play* here, I am forced to go back to normal position Re Si Do Re Si Do Re Re Mi Fa Sol Fa Fa Mi Mi Re Re Do . let s move to this phrase, I have here Do Re Si Do Re Si Do Re , then Do Re Mi Fa, Mi with first, why? Because I have Sol Fa Fa Mi Mi Re Re Do, the suggested position is Sol Fa Fa Mi, fourth second second first, then Mi Re Re Do *Play* like this, which becomes *Play* practice it, then Si Sol La Si La La Sol Sol Fa Fa Mi Re Do Re , # Do with Re, Re Si Do Re Mi Re Do Si La Sol , notice that we have many transition notations in this verse. As I have told you in Longa or Samaee, transitions start in the second verse, and the peak is in third verse, notice that it reached the highest note here which is Sol , so that the graph will be ascending like this then descending. Let us play from the top of the verse *Play* then back to chorus.
Moving on to the fourth verse, we will also read it on an odd scale ,I know that in this course I gave you a lot of odd scales, but it is very important to learn them, which is 5/8. As it appears from the grouping , we have a triplet Ta tati Ta, then Tati Ta, it is 3+2 , the percussionist will play 1 2 3 1 2 1 2 3 1 2 , and this 5/8 is like this Ta tati Ta Tati Ta Ta tati Ta Tati Ta tati Tati Tati Tati Ta Tati Tati Tati Tati Ta, like this.
Let us try to read it slowly 1 2 3 1 2 Ta Tati Ta Tati Ta Ta Tati Ta Tati Ta Tati Tati Tati Tati Ta Tati Tati Tati Tati Ta, Sol Si La Sol Re Mi do Do Re Mi Do Sol La Fa Si La Sol Fa Mi Re Do Si La Si Do Re Mi Re Do Si La Sol. This was the Prima, now the seconda 3 4 5 Sol Si La sol Re Mi Do Do Re Mi Do Sol La Fa Si La Sol Fa Mi Re Do Si La Si Do Re Mi Fa Re Sol rest. Then 1 2 3 1 2 1 2 3 1 2 here it shows the grouping more which is Re Re Re Si Sol La La La Fa Re Fa Mi Sol Fa Fa Mi Mi Re Fa Mi Mi Re Sol Si La Sol Re Mi Do Do Re Mi Do Sol La Fa Si La Sol Fa Mi Re Do Si La Si Do Re Mi Fa Re Sol , then we have a transition in scale which we call Qataqufti 8/8 . it shows here that it consists of 3+3+2 because 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 1 2 3 1 2 3 1 2 1 2 1 2 *Play* we have a bit of different grouping, no problem, what matters is that we read as we learned, Ta and Tati, and to know how to play the picks. Sometimes I am showing you the pulse of the piece, because when we practice we do not have a percussionist accompanying us to show the pulse, which is why we need to learn counting as musicians and instrument players. Let us try to play the fourth verse of 5/8 then we will explain the Qataqufti 1 2 3 1 2 *Play* this was 5/8. Notice where grace notes occurred, I didn’t play down up down down up, I played all down *Play* as I said, so as not to have *Play*like this.
Let us look at the qataqufti , it is Sol Fa Sol Fa Sol Fa Fa Mi Fa Mi Fa Mi Mi Re Mi Re Mi Re Re Mi Fa Sol La Sol Sol Fa Sol Fa Mi Re, which is the last bar I read Ta Ta Ta Ta Tati Tati Ta fi Tati Ta Ta Ta Tati Ta Ta Ta Ta Ta Tati Ta Ta Ta Ta Ta Tati Ta Ta Ta Ta Ta Ta Tati Tati Tati Tati. It shows that we transitioned to bayat scale. How did we transition to bayat scale? We have 2 genres of Nahawand Sol, Sol LA Si Do Re this is the first one, the second genre is Re Mi Fa Sol. We can transition from here, from the scale signal , which is Rewhere the second genre starts, we can play Hijaz, we can play Bayat , we can play anything.
Let us try to read it with notes to play it later Sol Fa Sol Fa Sol Fa Fa Mi Fa Mi Fa Mi Mi Re Mi Re Mi Re Re Mi Fa Sol La Sol Sol Fa Sol Fa Mi Re Sol Fa Sol La Si Do La Fa Mi Fa Sol La Si Sol Mi Re Mi Fa Sol La Fa Re Mi Fa Sol La Sol Sol Fa Fa Mi Mi Re. practice it to continue and play it.
Course Video Lessons
-
Learn Oud 4
Hand position shifting
Sultani Yakah Longa