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14 - Play Old Arabic Sama’ee Bayat
Mr Tareq Al Jundi continues to explain the second verse of Arabic Sama’ee Bayat, he once again focuses on the transference between the scales and accompanying scales. He also talks about Sol Rast and Do Rast ,Continuing the previous lesson and . explaining in detail the existing transferences in the Sama’ee track __ Hello my name is Tareq Al Jundi from i3zif.com. today in lesson # 14 we will continue part of Sama'ee which is the second verse. If we look at the second verse, it consists of 2 bars, let us read it rhythmically: Ta Ta Tati Tati Ta Tati Tati Ta Tati Tati Ta Ta Tati Tati Ta. And repeat, we have the repeat sign, with notes: Do Si Do Re do Si Do re Mi Re Do Si La Si Do Si Do La Si Do Si La Si Do Re Do Si La Sol. And I will draw your attention to something here, in previous lessons I talked about the conversions that the composer does, and not constant on the same scale, to relieve boredom from repeating the same scale, ascending and descending. Look at what we have here *Play music* notice the 1/2 ♭ Mi, I have this Re *Play music* , 1/2 ♭ Mi against 1/2 ♭ Si , repeat *Play music* this is what I want to talk about *Play music* this scale is the same scale, remember Rast Do *Play music* , if we play it on Sol *Play music* this is Rast Sol *Play music* those are called accompanying scales, derived from the same scale. You will notice this later when you play Taqaseem. Now if you look here, it was Bayat, it had ♭ Si, usually does, *Play music* in chorus, here it started with 1/2 ♭ Si, *Play music* . it resulted in Rast, now look how transferring to chorus will be smoother *Play music* again *Play music* notice how I went back to the signo, the one in the chorus. I will now repeat the second verse and go to signo one more time *Play music*again *Play music*I will stop at the chorus a bit, and give you some ornamentation. If we want to start from the pick up, when we repeat, from the prima *Play music* notice how much I am starting to use bass cords, from here Si La Sol Sol La Sol Fa Fa Sol Fa Sol Fa Mi Mi Fa Mi Re *Play music* this Re on Do cord, I put it instead on Rest, from here *Play music* again *Play music*the second verse, on Do, I accessorize using Do bass with the low Do, we need to practice this separately , like this *Play music* with this Do *Play music* go to seconda, *Play music*notice how we have multiple options for ornamentation that I am trying to do. In this course, it is not required to be able to do all ornamentation, but it is important to know them and try to imitate them. Because trial and error process will get the student to a very important stage that he tried everything, not everything he knows is taught, and I repeat, our Arabic music is not classical, not everything is written, many things depend on your feeling, for example when the first verse was *Play music*, some people might play it like *Play music* others may play it like *Play music* everything has many options to go about it, but in the end, our reference is by ear, how easy it is on the ears. And you will see this developing with time, the more you listen, which is why in this course I am focusing on listening to recordings, because with them we can start to figure out how to play the track. This way we have finished the first verse, chorus and the second verse. 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 blanch, 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 beat. Let us look at the first 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 beat. 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 beat Tati Tati Ta Ta Ta Ti Tati Tati Tati Ta Tati Tati Ta.

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