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7.1 - Thikrayati Piece
Learn the fast part of Thikrayati piece
Tareq:
Hello my name is Tareq Al Jundi from izif.com. today in lesson number 7 we will learn the fast part of Thekrayati piece.
Let us look at what I have in the note, notice we have the sign of C with a line down its middle. This cut time, as we have here, means 2/2 , what does that mean? Remember how we said before, when we read the scale with 4 as a denominator, the main note was noir, when the denominator was 8, the main note was croche, when the denominator is 2, the main note we base the scale on is blanche or the white note. This note is now considered 1. If we look at the note, this noir is now ½, so each 2 black notes are read as tati. Which makes the first bar tati tati tati tati, then take a look after the repeat sign opens, this will be ta fa tifi ta fa tifi ta fa tifi ta. Let us try to play it *Play* tati tati, and you can play them all down, then ta fa tifi ta fa tifi ta fa tifi ta, notice the ta is the last note of this line with this value *Play* picks here are very important because I have to play down up down up in order to play it correctly *Play*
Next, let us look at the second line, we have Si Sol Sol Fa Mi , it is written as tati, then we have this synco, then Fa Mi, so it was teta tifi, Si Sol Fa Mi, next Fa Mi Re Mi Re Do, ta tifi tafa ti, what we doing here is we are deducing this rule that speed is not related to the period of the note or its form, this is relative. If we are reading with 8 as a denominator, is different from 4, different from 2, the value of the note changes. What we have here, ta which we considered to be ¼ is now ½. If you take the same note, but try to split it in half, not weaken it, each noir will become a croche, each croche will become a double croche. You will see how it changes when we read it as ¼. You may ask me a question, why was it written like this? The point is that the composer has full liberty in how to write it, we have become accustomed to reading notes as ¼, the mistake is ours not the composers’. There are many compositions, whether in eastern or western music, that are written as ½ not ¼, the composer is free to write his piece. What matters is that it is played the same, if you split this note in half and then split again, eventually you will have the same music, it will not change. You must be capable of reading all the different forms.
Let us look at what is written in the second line: Si Sol Fa Mi Fa Mi Re Mi Re Do Si Do Si Do Si La Si Do Mi Sol Do, the second line is read like this Tetat Tifi Ta tifi Ta Fa Ti Tafa tifi Ta Tifi Tati Tati. I will try to play it *Play* Tetat Tifi Ta tifi Ta Fa Ti Tafa tifi Ta Tifi Tati Tati *Play* then we have teta ti tati tati ta tifi tati ta check out this note which was 4 is now 2. Let us try to read it from the beginning, from the repeat sign *Play* 2 ta fa tifi ta fa tifi ta fa tifi ta teta tifi ta tifi ta fa ti ta fa tifi ta tifi tati tati teta ti tati tati ta tifi tati ta. I will draw you attention to the third bar in the second line, where we have Si Do Si Do Si La Si , La is ♭ not ♮, it will b played with the first finger across from ♭ Si.
Now moving on to the final subject, we have here this dotted note, this has a period of 1.5, as we agreed blanche is 1 , with the dot = 0.5. this sign will become ta tifi ta tifi ta tifi then ta fa tifi ta fa tifi ta fa tifi ta fa tifi ta fa tifi ta fa tifi ta fa tifi ta fa tifi ta fa tifi ta fa tifi and repeat. It is 1.5, ta tifi ta tifi ta tifi, those are the first 3 bars. It will be like this *Play*ta tifi ta tifi ta tifi ta fa tifi ta fa tifi ta fa tifi . let us start explaining the half position. First we have here Fa Mi Fa sol *Play* La Sol La Si *Play* Do Si Do Re *Play* here I used half position on Re. notice how it happened *Play*Mi Re Mi Fa *Play* nothing here, then the ♭ La appears. This is Sol *Play* this is ♭ La *Play* , this is Sol *Play*this is ♭ La, it exists over the line with a splitting line. We have La Sol La Fa, *Play*like this. After the previous bar Do Si Do Re *Play*Mi Re Mi Fa *Play* La Sol La Fa *Play* Mi Re Mi Do, back to normal position *Play* Si Re Do Si La Sol Fa Mi *Play* ♭ Re in the beginning , then Mi Re Do Si La Sol Fa Mi *Play* like this, the Re has become ♮.
Let us look at the position transition which was in the last bar of the line before last. And continue *Play* here we have Mi Re Mi Fa, *Play*, La Sol La Fa, my thumb descends diagonally *Play* I will practice it alone *Play*the same assessment I made, this ♭ La will be here,this ♭ La will come here, so will Fa. This fourth has been replaced with the first and ♭ La is here *Play* then Mi Re Mi Do *Play*and continue *Play*
And repeat. I will repeat it twice then I have to move on to chorus which is very important *Play* and back to the beginning *Play* as you can see, at the end I go back to the beginning with the same speed I had, as I have written here Da Cappo al Coda, I will continue from top to bottom till Coda sign which is in the Prima, then I jump to Coda which is only Do note. I will record the entire piece to understand it fully, try to practice it in parts then connect them together.
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