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7 - Playing the entire Nahawand Kafseer Hanim Longa
Mr Al Jundi explains the second part of Al Longa and analyzes it rhythmically regarding the pick. The lesson also talks about embellishing by using the base cord to fill the blanks Mr Tareq plays the entire Al Longa along with giving an intro. He explains Volks beat .which is Al Longa beat. Mr Al Jundi talks about breaking some rules while playing __ Hello, my name is Tareq Al Jundi from i3zif.com. today in lesson #7 we will continue the second verse on Nahawand Longa by Kevseer Hanim. Take a look at the second verse it is written TaTi Ta TiFi Ta Fa TiFi Ta Fa TiFi , and it is repeated, TaTi Ta TiFi Ta Fa TiFi Ta Fa TiFi, and the third phrase is repeated TaTi Ta TiFi Ta Fa TiFi Ta Fa TiFi., and the phrase that finishes the verse is Ta Fa TiFi Ta Fa TiFi TaTi Ta. Look at the pick, if I wanted to play the first bar on Sol cord, pick wise, rhythm wise, TaTi Ta TiFi Ta Fa TiFi Ta Fa TiFi it should sound like *Play music* and this is a good way to practice the orientation of the pick, to take each track and play it on one note, to analyze it rhythmically. Notice the Ta TiFi is down down up, as we know, so it is now like *Play music* Sol La Si Do Si Si La La Sol Sol Fa Fa Mi *Play music* this is the first phrase, now the second phrase, same thing *Play music* third phrase, same thing, except we have ♭ Re, TaTi Ta Fa Ti Fi *Play music* let us practice this bar *Play music* Notice Si Re Do Si *Play music* I am repeating this part, now Si La La Sol Sol Fa Fa Mi *Play music* last 2 bars *Play music*they are the same 2 bars repeated in the first verse *Play music* and I remind you that TaTi Ta can be played like *Play music* all down. Now the second verse, slowly *Play music* go to chorus *Play music*I repeated the Prima, because when we close it we will do that with the Prima. I want to give another note on the chorus, when we played *Play music* down up down, Sol Fa Sol, we could played it down down down. Because when played quickly like *Play music* or *Play music* or possible. Because when this Longa is played, it will be played on very high speed. I want to give a few notes on the first verse. Which was, as a reminder *Play music* I can hit the bass here at the end note, *Play music* why did I hit the bass cord? Some ornamentation is done by imitating in Arabic music, whenever we want to fill a void, oud players will always use bass cords. For example, in taqseem *Play music*bass cords play the role of the pedal, sound resonates because of it. Same thing here with chorus *Play music*notice what I am doing, like I am doing TaTi TaTi *Play music* I can play a little with this, but we always need to look *Play music*and play TaTi down *Play music* those little bass strikes give a different taste to the track. *Play music* the last chorus for closing I can do this *Play music*I did this with the cord *Play music* which is Do, ♭ Mi, Sol Do which makes *Play music*like this, top to bottom. Okay, now I will repeat the Longa from beginning to end, first verse, chorus, second verse , chorus and end. When we start playing the Longa, as you notice it is 2/4 , and its pulse is a tempo called fox, which is Dum Tak Dum Tak Dum Tak, we play a small intro, Sol Do all down *Play music* notice that in some places, very little often, I could switch picks, this is not wrong, because as you can see, while we move forward making sure we have the rules straight, we can break them. But we break them to embellish the track, so if you notice that sometimes I tell you to play the picks here up and I play it sometimes up sometimes down, this is normal, but breaking those rules has to be a gradual thing, but because I play spontaneously and try not to focus a lot on the notes, rather on the feel of the track. This is very normal. This track as I said needs practice, the whole course needs practice, slowly and speed up gradually. At this stage it is very important to listen to recordings of those tracks, go to YouTube or any available recording, because those tracks are from ottoman heritage, we can take the track and look it up, for various recordings, because at this stage this is very important, to enhance our listening skills which will help our playing and expression. See you next lesson. Now I will tell you why we use the Half position. This is Do *Play music* Re *Play music* Mi in 1st finger *Play music* Fa in 2nd *Play music* Sol *Play music* La in first *Play music* Si ♮ with third *Play music*I know it will be easier than when played with 4th, but we need to be able to play it both ways, now Do *Play music* this is called half position. It is very important to use it, we can also use the other one. But now we will talk about why we use the half position. Let us take a look at Do cord *Play music*, we will talk about what notes are on it for the first time, note by note. I have Do *Play music* Re of course as we learned*Play music* also Mi *Play music* if I want to play Fa, could I possibly do this *Play music*? Doesn’t make sense . if we take Do *Play music* Re with first , and make sure *Play music*with the absolute cord. Mi in third *Play music*Fa in fourth, easily *Play music* and this is what we have written here on Ajam Do, Do zero *Play music*, Re with first *Play music* Mi with third *Play music* then Fa *Play music*if I have a phrase, it will be like *Play music*this is wrong, but if I take it half position from Do *Play music*sounds like a part of the whole thing. Now we will play the first exercise on Ajam Do to understand half position how to play. We have it all in Tati, Do Do *Play music*, Re Re with first *Play music*Mi Mi with third *Play music* Fa Fa with fourth*Play music* back to Mi Mi *Play music*Re Re *Play music* again *Play music*notice how I played Do Re Mi*Play music*Mi was followed by Re, Fa was followed by all of them, *Play music* I didn’t do this *Play music* this is wrong. *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