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The Half state of Al Ajam and Al Nahwand scales
The lesson starts by defining the Half state of playing. The instructor explains the standard state and then the Half state. He elaborates the Half state of Al Ajam scale .on the Oud Mr Tareq provides the exercise needed for the Half state of Al Nahawand scale, .while preparing through the exercise for the upcoming Al Longa __ Hello, my name is Tariq Al Jundi from i3zif.com. and in our lesson today, lesson #5, we will be introduced to a new position, as opposed to the normal position we use, this is a new position which we call half position. We always looked at the Do major starting from here, third finger, Re, Mi, second Fa, third Sol, La in second, Si ♮ in fourth, then Do *Play music* practically, this is the normal position to play Oud. Now this position, same thing, same hand posture, but we slide it half a finger to here, slide by half. This finger used to be here, look at the last cord, Re was here, I slid my hand and put the first one in place of the second one, so now it is here on Re. same thing here, I have Do *Play music* what happens if we take it in the 2nd finger? *Play music* same note, no more or less, this is called Half position. 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* Same thing we do with Nahawand scale, as we know in Nahwand we have ♭ Mi *Play music*Nahawand Do, *Play music* this is the normal position. Look what we have written here*Play music*, Do zero , Re with first *Play music* ♭ Mi with second *Play music* Fa with fourth *Play music* ♭ Mi with second *Play music* Re *Play music* the exercise will be as follows *Play music*. Same thing, when I play Fa, Mi and Re have to be steady afterwards. We have here exercise #3, we will play this now because we have the Longa that we will play in the following lesson, to practice beforehand. We have here Re Mi Re do, *Play music* we have Re, we used to play Re in second finger*Play music*, here is Do, *Play music* ♮ Si with fourth *Play music* we have the last 4 notes of Nahawand scale, *Play music*Re *Play music* ♭ Mi *Play music*. If I slide my hand here, we have Re *Play music* here is Si, listen *Play music*not here, *Play music* it will be with the third finger, we have Re*Play music*, Mi *Play music*, Re*Play music* Do *Play music* Si, same one with fourth*Play music* notice my finger *Play music* same note. We have this exercise Re Mi Re Do Si Do re Mi *Play music* this is the first part, second part *Play music* let us connect them *Play music*and we have repeat signs, so I need to play this exercise repeatedly*Play music* Next exercise, Fa Mi Re Do Si Do Re Mi same logic, half position. We have Do, *Play music* if we play Re right, ♭ Mi will come afterwards right, and Fa right. So this finger is always important. Here is Re *Play music* we have Fa Mi Re Do *Play music* again *Play music* notice that when I put all my fingers it is only a matter of sliding fingers, I don’t do this *Play music*I do *Play music* I only slide my fingers . next part Si Do Re Mi *Play music* which results in the same as exercise #1, Fa Mi Re Do Si Do Re Mi *Play music*and notice the pick, down up down up as it comes *Play music*let us practice faster *Play music*speed is always conditioned with having every note clear while playing, just like speaking with clear letters. It is a problem when someone speaks fast and we don't understand them, same thing here, speed is not important to do this *Play music*this is wrong, if I want speed it has to be like *Play music* gradually . for people to hear every note when playing. See you next lesson. Let us take a look on exercise #1, first part *Play music* Do Re Mi Fa, next part, *Play music* third part *Play music* excuse me, second bar first part, now second part *Play music* last thing here*Play music* I am playing each part separately followed by Rest, it should sound like this *Play music* again Do up down up *Play music* Now, same logic but descending Do Si La Sol *Play music* notice that Si is up, now start from Si *Play music* from La *Play music* Sol *Play music* Fa *Play music* Mi *Play music* we reach Si, then Do. I will play starting from ascending exercise *Play music* the whole exercise slowly *Play music* a bit faster *Play music* This exercise after months of practice it will sound like *Play music* here we will start to understand the concept of flipped pick, why it achieves more speed, if I play it all down *Play music* the quality of the sound is completely different, and hand flexibility as well. Doing this, I can't achieve speed with the pick always down, but like this *Play music* Now I will play the same exercise on Bayat Re, because we need to practice all scales for our fingers to be able to play them all. Like this *Play music* Same thing, increase speed *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