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8.2 - Continuing to play Husseini Dance
Mr Tareq starts by explaining Husseini dance track by Jameel Beek A Tanbouri, and elaborates on Al Husseini scale through it. We also learn the concept of an .embellishment or accessory Al Jundi focuses on embellishments, and he talks about teaching by indoctrination, .and the embellishments that steer out of curriculum when playing tracks on the Oud .Oud __ Looking at the following notes we have Re Re Re Re and some small notes, which are embellishments, small notes on Do, and large notes on Re, this is called accacciatura, or ornamentation or grace note, it steals it time from the original note, we have here , if I play without the small notes, I will play like this *Play music* , if I play Do and Re, and steal the Do time from Re, one pick, I want you to do this *Play music* , not this *Play music* not 2 picks, 1 pick, hits Do and continues to Re, kind of like Ta Ta, *Play music* now I will play faster *Play music* with one strike, *Play music* we can play it on different strings, Sol*Play music* , Re*Play music* this is the accacciatura. So now we have the first 4 bars *Play music* this extended Re can be done with pulsing, like this *Play music* . Let us look at the next one, same thing, descending scale starting with Do Re Do Do Si Si La La Sol Sol Fa Fa Mi Mi Re, then the same 2 phrases that end the first verse, Re Mi Fa Mi Fa sol Mi Do Re Re Re Re, so *Play music* again, slower *Play music* repeat the second verse, *Play music*repeated twice, let us play the first verse and chorus, sorry, chorus first then the following verse *Play music*. I am embellishing a little, on purpose, I mean for you to see them because , at this stage you see we are trying to accessorize a bit, and rebel over the written notes, because in all honesty, Arabic music is based on imitation, and it has been based on it for a very long time, even in our generation, when we wanted to learn some ornamentation, we would learn them by imitation, which is why I mean not to play the track straight, because anybody might see the ornamentation , and imitation is the best form of learning, so we begin by imitating those embellishments and with time we will learn it and use it on other tracks. Even if you see some embellishments that are out of the curriculum which I am talking about, we have to imitate them and try to do more. But first, we have to play the track as is, to determine the notes and time, then we can embellish. This way we have finished the chorus and following verse. Next lesson we will learn the last verse. As we explained, a Longa consists of a first verse, chorus, second verse, chorus, third chorus, fourth and chorus. But in this longa we will notice that we only have first verse, chorus, second verse and chorus, and the longa ends. Let us take a look, it is a longa on Nahawand scale. Look at the first bar, we have Ta Fa TiFi Ta Fa TiFi. Second bar is TeTa Ti. Let me remind you , it is Ta Fa TiFi Ta Fa TiFi TeTa Ti (clapping) The first and second bar are the same as the third and fourth. Let us look *Play music* Ta Fa TiFI Ta Fa TiFI down up down up *Play music* this is the first bar, now the second bar *Play music* down up down. Play both bars together *Play music* third and fourth bar the same *Play music* now go to the next bar, we have an ascending scale, Do to Do *Play music* next *Play music* scale Re Mi Re Do SI La Sol Fa *Play music* Fa up, now repeat those 2 bars, 5th and 6th bar, *Play music* then I have Ta TiFi Ta TiFi Ta TiFi Ta, and remember Ta TiFi is down down up, down down up *Play music*.we need to practice this, it should sound like this *Play music*again *Play music*. now repeat the whole thing from the top *Play music*. no new information, but focusing on how the pick should be oriented, exactly like it is written. Let us look at the next bar, Re Mi Re Do Si Do Re Mi, same exercise we took before, we have to play half position, after playing this bar *Play music*, here we go to half position at Re, Re is played with the first finger, *Play music* and make sure that Re is correct with Re open string *Play music*. Fa Mi Re Do *Play music* look at my hand, Si La Sol Fa, I go back to normal position. *Play music* then *Play music* TaTi Ta could be played down down down. Notice that in this course, we will start breaking some rules for speed. We can’t play *Play music*, but this is *Play music*. because we want to close the musical phrase powerfully. again, from the half position *Play music*, here I transfer, Si with the fourth finger *Play music* next bar *Play music* first verse *Play music* now to chorus, which will be repeated after every verse. We have TaTi Ta Ta Fa TiFi Ta TaTi Ta Ta Fa TiFi Ta , like this, Fa Diaz, *Play music* which has to be up *Play music* next bar *Play music* where Fa is ♮ Fa, next *Play music* notice it is the same phrase but on 2 different cords; the first time, it is like refrain and response, this is the refrain *Play music* .

Course Video Lessons - Learn Oud 3
1 Opened Right and Left Hand flexibility exercises 06:47
2 Opened Serto Nahawand of Jameel Baik Al Tanbouri 09:19
3 Opened playing the entire Serto Nahawand of Jameel Baik Al .Tanbouri 07:23
4.1 Opened Exercises to increase speed when playing Longas 05:14
4.2 Opened Additional exercises to increase speed 05:48
5 Opened The Half state of Al Ajam and Al Nahwand scales 07:47
6 Opened Nahawand Kafseer Hanim Longa 09:36
7 Opened Playing the entire Nahawand Kafseer Hanim Longa 09:25
8.1 Opened starting with Husseini Dance track 06:29
8.2 Opened Continuing to play Husseini Dance 04:50
9 Opened Last part of Al Husseini Dance 10:44
10.1 Opened Teaching Sama’ee Thaqeel rhythm 04:51
10.2 Opened Exercise on Sama’ee Thaqeel rhythm 06:04
11 Opened Andalusi Acrostic “Lamma Bada Yatathanna 07:00
12 Opened Continuing the Acrostic “Lamma Bada Yatathanna 07:06
13 Opened Arabic Sama’ee Bayat track 07:12
14 Opened Play Old Arabic Sama’ee Bayat 07:56
15 Opened Playing the entire Arabic Sama’ee Bayat 09:01
16 Opened Daily warm up exercises for the pick 07:10
17 Opened Daily hand exercises 08:04
18 Opened Noa Athar Sama’ee 07:44
19 Opened the second and third verse of Jameel Oweis’s Sama’ee 09:47
20.1 Opened the fourth verse and changing the scale 06:41
20.2 Opened Playing Noa Athar Sama’ee entirely 04:34
21 Opened Trioli Sign 04:53
22 Opened Shahrazad Longa 07:44
23.1 Opened Continuing Shahrazad Longa part 1 15:00
23.2 Opened continuing Shahrazad Longa 15:00