Serto Nahawand of Jameel Baik Al Tanbouri
The lesson starts with introducing Al Longa template and Al Serto template. Moving
on to introducing some of the symbols needed to play Longas on Oud, such as segno,
iterative melody, verses and chorus. After that Mr Tareq gives an application on
Serto Nahawand of Jameel Baik Al Tanbouri Mr Tareq focuses also on the idea of
extracting exercises from tracks and practicing each bar separately. Further, Mr
Tareq Al Jundi continues by giving the Serto Nahawand of Jameel Baik Al Tanbouri.
Track, and moves on to other verses, also talking about the Chromatic scale while
.giving tips regarding the position of the thumb
Hello, my name is Tareq Al Jundi from i3zif.com. today in lesson #2, after learning how to play scales, today we will learn what the purpose is because we will start playing somewhat quick tracks. Today we will get introduced to 2 templates, first one is called Longa, second is called Serto.
Longa, as you see, we have these symbols, which are : 1 in Latin, then we have an S, which is Signo or iterative melody, because this melody will be repeated, a 2 in Latin, those 1 and 2 we will call first verse and second verse, then chorus or Signo, third verse in Latin, Signo, fourth verse, Signo and that concludes the Longa.
Longa is a fast template, consisting of those parts, and we have the Signo or Chorus.
Serto, is similar to Longa but the chorus is in the beginning, we start with Signo as is written , first verse, signo, second verse, signo, third verse, signo , fourth verse, signo and finish.
Today we will learn a Nahawand Serto by Jameel Bek Al Tanbouri. Jameel Bek Al Tanbouri is an Ottoman composer, died in 1916, and left us many tracks played on Al Tanbour instrument. He was named Jameel Bek Al Tanbouri because he played Al Tanbour. Those names were wildly popular in turkey back then, like Sboukh Afandi Al Kamanjati (Violinist) because he played the violin, and Adham Afandi Al Santouri, because he played Al Santour.
Today in Nahwand Serto, we will learn a few techniques, especially how to make both hands work together, and play simultaneously and accurately. Sometimes we might encounter this phrase, and I will explain it now.
I have this Sol *Play music* on Nahawand Scale, bimol La *Play music* , natural Si *Play music*, Do *Play music*. and same thing you will find this phrase, I will use this Sol *Play music*, ♭La on Sol cord *Play music* , ♮Si on La cord and Do *Play music*. I wanted to draw attention to this information which we will now explain during the lesson.
Take a look at the Serto, as we said Serto starts with the chorus, Signo, let us try to read it : Ta Fa Ti Ta Fa Ti Ta Fa TiFi Ta Fa TiFi , and the picks as we know, Ta Fa Ti down up down down up down and Ta Fa TiFi down up down up. Now we start from Mi, Mi Re Do, Do Si Do *Play music* this is the first bar. In this course we will practice bar by bar, the first bar *Play music* next bar, ascending scale, Sol La Si Do Re Mi Re Do, like this Sol♭La ♮Si *Play music*, Do is up, next bar *Play music* again, very slowly, *Play music* so the first 2 bars *Play music*. we practice them
Now the third and fourth bar are practically the same as the first and second. Same thing, *Play music* with a slight difference, the scale is ascending, Sol to Sol. *Play music* now let us make this into an exercise *Play music*.
In this course you will see how we will derive exercises, from each track and each bar . and if we find something difficult we just pay more attention and practice it more. Same thing here, fingers must be steady *Play music*, next fifth bar *Play music* then same thing, repeating in the next bar *Play music*.
Last 2 bars in chorus, Ta Fa Ti Fi Ta Fa Ti Fi Ta Fa Ti Fi Ta. This Ta, here I pronounced it like this because its duration is ½, and next to it is also ½, so instead of (notice pronunciation) I said Ta, it is called Staccato, the note is cut off and not taking its entire time, it has the rest. Last two bars are *Play music* last bar *Play music* Do Mi Sol Mi Do, notice how *Play music* I have to hold Do and Mi, why? Because when played faster, I can’t do *Play music*, I have to *Play music* like this. Take a look at the last 2 bars as well *Play music*, we will play it slowly, till the chorus *Play music* again, I want you to imagine how it will be when played faster, after 3 months practice for example *Play music* this track is very beautiful.
Let us take a look at the 2nd bar, the first bar excuse me, below the chorus. We have Ta Ta Fa Ti Fi TaTi Ta Fa ti Es Ti Ta Fa ti Fi Es Ti Ta Fa tiFi. Same thing, remember how we played the Es, *Play music*.
Here we will start breaking the rules and playing Es down, as written. Let us look at the first bar *Play music*, those are the first 2 bars *Play music* Ta Fa Ti down up down, Es *Play music*♮Mi *Play music* I will repeat, 3 4 *Play music* notice how at first ♮Mi was Es *Play music* , then ♭Mi Es *Play music* . now I have, the chromatic scale, where I have between each 2 fingers a ½, *Play music*
Again, *Play music* . I would like to point out one thing in this course, I always said in the first and second courses that the thumb has to be like this *notice* now we need the thumb to be like this for many reasons, because if I position my thumb like this and play *Play music* it will hinder me, and I will be forced to lower my hand. So the hand position has to be like this *Play music*
I will repeat the second verse *Play music* back to the chorus and repeat, *Play music* repeated twice. We played the chorus, then first bar, then back to chorus.
We have to practice this track very well, not play it quickly from the start. We have to practice slowly, and if we try to practice with a rhythm with any program that has a scale at the computer, or use the metronome that sets the speed, which we will talk about later.