3.3 - Playing Sultani Yakah Longa
A full recording of Sultani Yakah Longa composed by the famous musician Riyad Al Sunbati.
Hello my name is Tareq Al Jundi from izif.com. today in lesson no. 4 we will learn a new sama’ee on bayat scale. This sama’ee is by Ibrahim Al Aryan, and is considered one of the most classical samaee’s on bayat scale. No student can play the sama’ee template without playing this sama’ee especially on this template. Let us look at the first verse, we will try to read it only rhythmically, the first 2 bars Ta Ta Ta Tati tati tati ta ta tati tati tati ta fi tati tati tati ta rest. I will try to also read it with notes , and you should do this as well in order to play it quickly 1 2 3 Sol Fa Mi Re Mi Fa Sol Mi Fa Re Do Fa Mi Re Do Si La Sol La Sol Fa Mi Sol Fa Mi Re Rest. Let us try to play the first 2 bars *play*rest as I said in the third course, how we multiply by sight, like here we are reading the notes over 8, which makes the main note here the croche. Let us look at the third bar Ta ta ta tati tati ta ti tati ta ta ta trioli ta ta ta ta ta ta ta tati tati tati ta rest. I will try to read it with notes Do Re Re La Si La Sol Fa Do Re Mi Fa Mi Fa La Sol Fa Sol Mi Re Si La Sol Fa Mi Re La Sol Fa Mi Re let us try to play the third bar and fourth bar from the first verse 1 2 3 *play* as you can see here in the fourth bar, I played some rapid alteration (tremolo) because that is what is written in the sheet music. Let us try to play the first verse continuously 1 2 3 *play* this was the first verse. Now moving on to the chorus, as I have written Ta tati ta fi tati tati tati ta ti tati ta tati ta fi tati tati tati ta ti tati ta tati ta fi tati ta fi tati ta ti tati ta ti tati ta trioli ta tati tati tati tati tati ta ta ti ta fa tifi tati tati tati tati and repeat. Let us try to read it with notes 1 2 3 Si Si La La Si La Sol Sol La Sol Fa Fa Sol Fa Sol La La Sol Sol La Sol Fa Fa Sol Fa Mi Mi Re Mi Fa Sol Sol Fa Fa Sol Fa Mi Mi Fa Mi Re Re Mi Do Re Mi Fa Re Mi Fa La Sol Fa Sol Re Me Fa Sol La Si Re Do Si La Sol Fa Mi Mi Re Mi Fa Mi Re Do Re Mi Fa Sol La Si, which is the beginning of the chorus. As you can see I only read the Prima, now we will try to play it 1 2 3 *play* repeat the chorus *play* the last bar I played was the Seconda, the first time I played the Prima and the second time I played the Seconda. As you can see in the sama’ee, I want to tell you a little about its form, the first verse and chorus are always a display to the original scale it is written with, in the second and third verse we have a bit of variation and the peak of the piece is slowly revealed, it is always in this form rising and rising until it reaches the peak of the piece and then it descends again, and the fourth verse is the summary as I said.
Now look at the second verse. The second verse as we have here, we have variation notes and basically now we have the modulation here in Rast Sol. If we look here, we find the half position is used . La is played with the first not the second. Why? Because you will find it in the bard before last Fa is played in the fourth finger.
If I try to read it rhythmically Ta ta ta trioli ta ta ti tati ta ti tati ta ti tati tati ta ti tati ta ti tati ta ti tati tati ti fi ta tifi ta ta ta ta ta tati tati tati ta trioli ta ta ta ta ta ta tati ta tifi ta. You will notice some new signals here, but those signals here are basically derived from previously learned signals, for example if you look at the third bar, the end of the third bar we find Tifi Ta Tifi ta, we learned Teta Ti, this is Tifi Ta Tifi, here we have 2 quarters, which make a period of ½, then one note, then 2 quarters. You will find even in the last bar, we have Ta tifi Ta, at the end Ta tifi Ta . we learned before Ta Ti Ta, and we learned the Ta Tifi Ta. Here is the same thing. I want to draw your attention to the issue of the picks, it stays the same , no difference, notice how when I play, I play as if I am playing over 4, i.e Ta down, tati down up, trioli down up down, everything is the same as we did. When I add ornamentation, we sometimes ignore some rules when it comes to the pick, we either base upon it or ignore it, weather for speed purposes or for the rhythmic form of the pick. The rhythmic form of the pick is derived from the signals that we are learning and the style of the pick.