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12.1 - Explaining Al Husseini Longa
Moving on to playing the third and fourth verse of AL Husseini Longa on the Oud
Tareq:
Hello my name is Tareq Al Jundi from izif.com. today in lesson number 12 we will continue the third and fourth verse of Longa Al Husseini.
Let us look at the third verse, as we said, we always have a peak of each piece, and it starts here. Now you will see in the third verse you will see how it is starting to peak. Let us try to read what we have here Ta Fa ti Tati Ta Fa Ti Ta Tati Tati Ta Tifi Ta Ta Fa tifi Tati Ta Tifi Ta Fa tifi Ta Fa tifi Tati Ta Fa tifi Ta. I will try to read it with notes Si Do Re Re Re Si Do Re Re Do Fa Mi Re DO Si Do La Fa Mi Fa Sol La Re La Sol Si La Sol Fa Mi Re Fa Mi Re Do Fa Fa Mi Mi Re Re. let us try to play it ,½ ♭Si with third half position *Play* notice here how the composer relies on closing theme or the end phrase of the verse in Shuri. Historically speaking, this scale was widely used to end, for example if I was playing Bayat *Play* Takseem, *Play* for example, or in the popular song, Ah Ya Helu, for example *Play* Shuri*Play* so Shuri scale was widely used by us Arabs for our ears, when we want to close while playing Bayat and we move to close Bayat.
Here , as you can see, we have Si Do Re Re Re Si Do Re Re *Play* Do Fa Mi Re *Play* I added an ornament a bit difficult, or what we call a variation, instead of Do Fa Mi Re Do Si Do La. As you can see, we have in the sheet Do Fa Sol Mi Fa Re Mi Do Re Si Do La, this phrase , those 2 bars, will be instead of the third and fourth bar in the third verse, so the third verse becomes like this *Play* notice how we came back to normal position her, when we played *Play* again, the third verse, 3 4 *Play*
The fourth verse, as if it is a summary Ta Fa tifi Tati Ta Fa Tifi Ta, Ta Fa tifi Tati Ta Fa Tifi Ta, Ta Fa tifi Tati Ta Fa Tifi Ta Fa tifi Ta Fa tifi Tati Ta Fa tifi Ta, nothing different Re Mi Fa Sol La La, and La with first *Play* Sol Do Si Do La *Play* same thing here, La with first, ½ ♭ Si with third and Do with fourth, then Sol La Sol La Fa Mi *Play*, I can play it like this Sol La Sol La *Play*, even though I don’t prefer it, I prefer Sol La Sol La, Fa with second and Mi with first, it results in a bit of glissando, but not like this of course *Play*this will make it ♮ when it is ½ ♭ Mi *Play* sometimes we will be forced to add an extension between ½ ♭ Mi and Fa. Then Last bar is Sol Si La Sol Sol, *Play*normally, Do Re Mi Fa Sol Sol *Play* La Do Si La Sol Fa Mi Re, same thing *Play* we can practice the first part *Play* Mi Fa Mi Re Do Fa, Fa Mi Mi Re Re. *Play* repeat the fourth verse *Play*again *Play*
Bayat shuri phrases can be played normally, I can play like this *Play* but usually some ornaments can be added to the closed cord, *Play* like this, much nicer than *Play* this.
This concluded the third and fourth verse of Longa Al Husseini, I will play it continuously in order to understand it. Please remember that in this course, each piece will take time, doesn’t mean that each week I will play a new piece, I can play the notes of the piece, but as a performance, it needs a lot of work, maybe months, sometimes even years but eventually I will play it because practice makes perfect.
Course Video Lessons
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Learn Oud 4
Hand position shifting
Sultani Yakah Longa