Explaining Samaee Hijaz Kar Kurd by Tatius Afandi from the Ottoman Era Tareq: Let us look at Samaee Hijaz Kar Kurd for Tatious Afandi. This Samaee is from the Ottoman time, I will try to read what I have written here with notes Do Do Do Re Do Si La Sol La Si Do Rest Do Re Fa Mi Re Do Si Si La La Sol La Mi La Sol Si La Do Si La Si Re Do Si La Sol Fa Mi Re Do Si La Sol La Si Do Rest. No problem with the notes. Notices how extension occurred here. Now let us try to play it *Play* rest *Play* this bar Do Re Fa Mi , what happened here was Do ♭ Re Fa with fourth and ♭ Mi with second, Re Do, Si Si La La Sol La *Play* I will play the first bar without pause 1 2 3 *Play* no change with the picks, all played exactly as written . now chorus Re Do Si La Sol Fa Mi Fa Sol La rest Sol La Do Si Sol La Sol La Fa Sol rest Do Sol Sol Fa Mi La Sol Fa Fa rest Mi Fa Sol La Sol Fa Mi Sol Fa Sol Mi Re Re Do Do , remember the ♭ Re is with fourth. Now let us play the chorus, 1 2 3 *Play* rest *Play*rest *Play* rest *Play* repeat the chorus *Play* rest *Play* rest *Play*rest *Play* the second verse 1 2 3 Do Sol Sol La Sol Fa Sol Fa Mi Fa Sol rest Mi Fa Sol La Sol Fa Mi Fa Mi Re Re Do Do Si Do Re Mi Fa Do Re Mi Fa Sol La Fa Sol La Si La Sol Mi Re Do Do , as you can see I ascended to Mi to reach the peak . let us try to play the second verse, 1 2 3 *Play* as you can see, transition has occurred from Hijaz Kar Kurd scale in the first verse and chorus, in the second verse it became in Hijaz Kar scale *Play* the first verse was *Play*, though it is only one transition notation between ♮ Mi and ♭ Mi, but the entire scale changed. This concluded playing the first verse, chorus and second verse from Tatious Afandi’s Samaee, we have to practice them very well before moving on to the third and fourth verse in the upcoming lesson.