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8.1 - Hijaz Kar Kurd Scale
Learn to play Hijaz Kar Kurd scale on the oud. Mr. Tareq explains the details of this scale
Tareq:
Hello my name is Tareq Al Jundi from izif.com . today in lesson number 8 we will learn 2 new scales. In lessons number 8,9 and 10 will be based on those 2 scales. Let us look at the sheet in hand, Hijaz Kar Kurd scale. If we look at this scale, in the scale index we have ♭ Si, ♭ Mi, ♭ La, ♭ Re. as you can see, it starts with Do with the third finger, ♭ Re with fourth finger, ♭ Mi with first finger, Fa , Sol , ♭ La ♭ Si, Do, and I go back the same way, Do ♭ Si, ♭ La, Sol, Fa, ♭ Mi, ♭ Re, Do. This is the first scale which is called Hijaz Kar Kurd. I want to tell you something very important, the transition between ♭ Re and Mi will be a bit difficult *Play* we will practice it like this *Play* because in many cases, due to the fact that the thumb is a bit higher, the ♭ Mi will be a bit higher *Play* notice the off tune. *Play* this is Hijaz Kar Kurd scale, it is basically Kurd on Do note.
Let us look at the second scale, same scale index: ♭ Si, ♭ Mi, ♭ La, ♭ Re but it is called Hijaz Kar scale. You will notice ♮ Mi and ♮ Si notations, it is Do, ♭ Re, ♮ Mi, Fa, Sol, ♭ La, ♮ Si, Do , now back Do, ♮ Si, ♭ La, Sol, Fa, ♮ Mi, ♭ Re, Do. I have an exercise we will learn on the extension notation, or extension technique which we will learn when we play Samaee Hijaz Kar for Tatious Afansi. Let us look here, we have in exercise number 1 Do Re Mi Re Do Re Mi Re, this is the first exercise *Play* we play normally, nothing changes. Let s look at exercise number 2, where we have ¾ on the side , Do Re Mi Fa. We used to play ♭ Mi with the third finger, imagine playing it with the second finger, we will face extension between the first and second finger. We usually played the first and second finger with a spacing on 0.5, now we will play them with a spacing of 1, Do ♭ Re, ♭ Mi, the question is why are we doing this? Because we want to play Fa. Some people play extension like this Do ♭ Re ♭ Mi Fa. The extension between the third and fourth finger, notice the angle between the third and fourth is much smaller than the angle between the first and second, so first second and fourth is much better than first, third and fourth. So the exercise becomes like this Do Re ♭ Mi Fa, and I keep my finger close to here *Play*. Like this. We will practice extension.
Let us look at exercise number 2, we usually play Hijaz Do ♭ Re, ♮ Mi, ♭ Re, Do, ♭ Re, ♮ Mi, ♭ Re. what if, instead of playing between first and third, ♭ Re and ♮ Mi, we play it with the third, extension will occur between first and third, we used to play it with first and fourth, now we will play first and third with extension, because we will play Fa, you see we can’t play *Play* glissando appears, but if we play *Play* like this, we have extension occurring between first and third, the fourth will be played smoothly. Which results in 2 exercises on extension, first was Hijaz Kar Kurd, *Play*, the second exercise is Hijaz Kar on Do *Play*.
Those exercises have to be practiced extensively because we will use them in Samaee Hijaz Kar Kurd for Tatious Afandi.
Course Video Lessons
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Learn Oud 4
Hand position shifting
Sultani Yakah Longa