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6 - Nahawand Kafseer Hanim Longa
The lesson starts off by introducing Al Longa and a bit of its history. Then Mr Tareq .Al Jundi moves on to explaining Al Longa parts on the Oud The instructor continues explaining Al Longa parts, while talking about dissecting Al .Longas on the Oud and extracting exercises from them __ Hello my name is Tareq Al Jundi from i3zif.com. and today in lesson #6 we will be introduced to a Nahawand Longa by Kevseer Hanim . Kevseer is Kawthar because Turkish people pronounce W as V, so Kevseer is Kawthar, and this is the only composition, as far as I know, in Arabic music, from the ottoman era which was by a lady, and not a man. 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 #, *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 bass and treble, this is the bass *Play music* . Next , all written in Ta Fa Ti Fi , Re Mi Re Do , Do Re Do Si, Si Do Si La, La Si La Sol. Notice how the phrase starts from Re, first part, Re Mi Re Do, Do Re Do Si, descended to DO, then descended to Si Si Do Si La, then descended to La, La Si La Sol. The first part *Play music* not half position, next *Play music*next *Play music*next *Play music* and repeat continuously *Play music* it could be an exercise also *Play music* the goal is to dissect the track and find its hardest part, and practice it. Next bar Sol La Sol Fa Mi Re Mi Fa, and Prima sign which is repeat sign (1), Sol La Sol Fa Mi Re Do*Play music* this is an exercise *Play music* now repeat from the top *Play music* top of chorus *Play music* I played the prima, now seconda *Play music* this is the seconda, Ta TiFi Ta Fa Ti, *Play music* down down up down up down. This is the chorus. Now repeat the first verse with the chorus continuously. *Play music* 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