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Last part of Al Husseini Dance
Mr Tareq talks about doubling the time while reading the musical notes And continues on the subject of reading the notes of the verse and doubling the time .when reading Mr Tareq continues on the subject of reading the notes of the verse while doubling .the time when reading __ Hello, my name is Tareq Al Jundi from i3zif.com. today in lesson #9 we will talk about the last part of Husseini dance. If we look at the written note, we will find 3 lines in the first bar, and we didn't previously learn what this means, we know what 2 lines mean which is Ta Fa TiFi . now we will start to talk about the concept of doubling time from our perspective. For example, Ta Fa TiFi, if we look at it, it has 2 lines, if we double it, it will be Tati Tati, and this is how we derived it. For example I have Ta Fa TiFi *Play music* slower *Play music* Husseini dance when it is played, it is somehow slow . if we look here, those 3 lines, we will deal with them as if they were Ta Fa Ti Fi, how? Let us look at the example here, how can we double by perspective, and multiply by 2. If we are doubling by perspective; or multiplying by 2, each one will lose a line. We have those 3 lines, followed by Croche, followed by Ta Fa TiFi. Drop one line from each one, which will result in this, Ta Fa Ti Fi Ta Tati Tati. How did this happen? 3 lines lost one, leaving it with 2, one line lost one, leaving it with 0 lines which became Ta, and Ta Fa Ti Fi lost 1 line which made it into Tati Tati. So the sentence is now Ta Fa TiFi Ta, Tati Tati. The next example, we have the first 2 parts of Ta Fa TiFi which are Ti Fi then Ta then Ti Fi again. if we multiply them by 2 we will have Tati Ta Tati Tati Ta Tati. Let us look at a third example, we have a Rest with 1/4 time, then we have 3 parts of Ta Fa TiFi, and another Ta Fa TiFi. Let us multiply them by 2, rest will lose a line which will be Es Ti Tati and the second Ta TiFi will be Tati Tati. Last example we have Teta Ti Fi, first is croche with one line, then Ta with no lines, and TiFi with 2 lines. Multiply by 2, croche will become noir, noir will be blanche, then we have this TiFi which is a double croche, will be 2 croches, which will be (Ta Ta Tati)X3. Which means we can read those Ta, Tati and Ta Fa TiFi, those are different between countries. But we have the scale. Let us look at the first verse we learned the previous lesson, it was Ta Fa TiFi Tati Ta Fi Tati Ta Fa TiFi Tati, I can do it like this Ta Fa Ti Fi Tati Ta Fi Tati, as if I am maintaining scale. I can also read it like Tati Tati Ta Ta Ta Ti Tati, same thing, but wording is not the same, though it is the same time, because this is its scale Tati Tati Ta Ta Ta Ti Tati Tati Tati Ta Tati Tati Ta. Let us look at the verse we want to learn, which has the three lines. Those 3 lines, each one has a time of 1/8, so four 1/8 s makes a 1/2, and I have this 1/2, which is Sol, I have Mi Re Mi Fa Sol, Mi Re Mi Fa are four 1/8s making a 1/2 time, and Sol is 1/2. All those need to have the same time. I have Sol La Fa Sol, if I want to double it with perspective I will have Ta Fa TiFi Ta Tati Tati, it is Ta Fa Ti Fi Ta Tati Tati, Ta Fa TiFi Ta Tati Tati. Faster Ta Fa TiFi Ta Tati Tati Ta Fa TiFi Ta Tati Tati. Nothing different. If I want to play it like this *Play music* I am playing this line, notice Ta Fa TiFi Ta Tati Tati, Ta Fa TiFi Ta Tati Tati. which is this Ta Fa TiFi , as if it is Ta Fa TiFi Ta Ta Fa Ti Fi, notice how I am doing the first and second Ta Fa TiFi, first one is fast, second one is slow. It will be Ta Fa TiFi Ta Tati Tati or Ta Fa Ti Fi Ta Ta Fa Ti Fi Teta Ti. *Notice scale* like this. Let us play Mi Re Mi Fa Sol *Play music*same thing Ta Fa Ti Fi down up down up, and Sol down. *Play music* okay, now the next verse, Ta Fa TiFi Tati Ti Fi Ta TiFi. We took Teta Ti Teta ti. Look at the second bar which we will play on Sol cord, let us read it now TiFi Ta TiFi this TiFi is down up, Ta is down, TiFi is down up. It will be *Play music* it will be like *Play music* first 2 bars *Play music* again *Play music* notice La and Re. next bar I have Es in 1/4, I can give you a name for this, but the point of analysis and doubling time, not all notes have names, we should know how to double and tie together. We have here, which we can play Es Ti Tati Tati Tati, Es Ti Tati Tati Tati. Those are four notes which should be within one scale time (Es Do Re Mi)X3 then, (Fa Sol La Sol )X2. If I want to play this part (Es Do Re Mi Fa Sol La Sol)X2, Es Ti Tati Tati Tati. I can change its name, it is Ta Fa TiFi, lose the first and remove Ta, it will be (Es Fa TiFi Ta Fa TiFi)X2. I can play it like this, and start with down *Play music* it will be *Play music* and the next bar is La Re La La Sol TiFi Ta Ti Fi *Play music* look at this line *Play music* slower *Play music* we have to practice its scale Ta Fa TiFi Tati TiFi Ta TiFi Es Fa TiFi Ta Fa TiFi Ti Fi Ta ti Fi, again 4 Ta Fa TiFi Tati TiFi Ta TiFi Es Fa TiFi Ta Fa TiFi Ti Fi Ta ti Fi. Go to the last line, we have in the last line Teta TiFi Teta TiFI. Many things are not constant notes, but how can we derive them? Teta TiFi I can play down Fa, (the Ti) and Sol is Up, and Sol Fa (TiFi) will be down up, like this *Play music* I continued the last line. The last line will be *Play music* I will play the last part *Play music*again *Play music*I will repeat the last 3 lines *Play music*chorus *Play music* this concludes the Husseini dance, and we learned doubling by perspective since we will start using it as of next lesson. This is the first verse and chorus in Nahawand Longa, it is obvious that the track needs a lot of practice, in order to play it quickly, it has to be played faster, even faster than this the longa should be played. The Longa is a fast track, and it is a dancing track, the goal behind it was dancing. And the word longa, as far as I know, was derived from the Italian word Delonga which was a tango dance. We have to practice is real slowly. See you next lesson.

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