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6.1 - Thikrayati piece
Learn to play the musical piece called Thikrayati by Mohammad Al Qasabji which is not based on any certain template, i.e it is neither a Samaee nor a Longa, and it is on Nahawand scale
Tareq:
Hello my name is Tareq Al Jundi from izif.com. today in lesson number 6 we will learn a piece called Thekrayati (My memories) by Mohammad Al Qasabji. This piece consists of 2 parts, a slow part and a fast part. This piece is not based on any template, not a Longa nor a Samaee template. We will also learn some pieces in this course that are not based on any template.
Let us look at the piece, as we have in the scale index, we have ♭ Si, ♭ Mi and ♭ La. This piece is on Nahawand Do scale. If we look at the first bar, the second bar and the third bar we will find a pattern of rhythm to follow. This pattern I want to tell you something about, we have a syncop or a tie between the second and third note, also above them I have written an Es sign so that when I count it, I can count this tied note as an Es, as you can see I have 1 ½, then I have ½ and ½ tied, then I have 1 then ½, which makes it as if it were 1 ½ , 1 , 1 ½ . how can we read it? If we read it without syncopation 1 2 3 4 Ta Ti Teta Ti Ta Ti Teta Ti Ta Ti Teta Ti like this. If we try to put this Es instead of this tied Ti, it will be like this 1 2 3 4 Do Sol Es Sol Sol Sol La Es Sol Fa Fa Si Es La Sol Sol Fa Mi Re Do Si La. This was the first line. As if it sounds like this.
Let us try to read it with the metronome on tempo 60, rhythmically first 1 2 3 4 Ta ti Ta Ti Ta Ti Ta Ti Ta Ti Ta Ti Ta Tati Tati Tati with notes 3 4 Do Sol Sol Sol Sol La Sol Fa Fa Si La Sol Sol Fa Mi Re Do Si La Sol. Second line 3 4 Sol Sol Sol Sol Sol La Sol Fa Mi La Sol Mi Fa . I included also notes with the stem down. We can play this last bar in the second line Fa Do Re Mi Fa, notice that Mi is ♮ Mi.
Let me play it while sounding it 1 2 3 4 Ta Ti Es Ta Ti Ta Ti Es Ta Ti Ta Ti Es Ta Ti Ta Tati Tati Tati Ta Ti Es Ta ti Ta Ti Es Ta Ti Ta Ti Es Ta Ti 1 2 3 4 , I will be like this Ta Ti Ta Ti Ta Ti Ta Ti Ta Ti Ta Ti Ta Tati Tati Tati Ta, like this. We can read it either Ta Ti Es Ta Ti at first, to memorize the periods then we read it Ta Ti Ta Ti Ta Ti Ta Ti Ta Ti Ta Ti Ta Tati Tati Tati Ta.
I will try to play it , 1 2 3 4 *Play* rest *Play* rest *Play*
Let us look at the Prima. We have 2 dots accompanying the Prima. As we know, the dot has half the period of the preceding note, which mean the first dot has a period of 2, the second dot has half the period of its predecessor which is 1, the next one has half the period of its predecessor which equals 0.5. it results in 2+1+0.5 which equals 2.5 period. So the Prima will sound like this 1 2 Es *Play* the last half I added as an Es, or we can play *Play* and back to Do from the beginning , which sounds like this 1 2 *Play* like this
I will try to play it and add the written ornamentation in the second bar of the second line 1 2 3 4 *Play*
And repeat from the top.
I would like to draw your attention to multiple points, first of all the picks in the first 3 bars which include syncopation, you can play them all down, *Play* here I committed to the rules of the pick. This means that sometimes we can break the rules, why? Because this sound was better than this one *Play*
Flipping the pick here didn’t give a sound as nice as the previous one. You will notice that sometimes we will start breaking the rules if it means that it will make the piece more beautiful.
If you look at the third line, the third bar, I wrote Es Ti down, the successor will of course be Sol down and La up. We played the Prima in this part. We will practice it and in the second part we will learn the rest of the piece.
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