continuing Shahrazad Longa
Mr. Tareq Al Jundi explains the third verse and moves t the fourth verse in
Shahrazad Longa by Abdul Wahhab Bilal. He talks about the importance of Longas
.and Sama’ees for any Oud player and their importance in developing skills
Now we will play the 4 bars and connect them , from Ta Fa Ti Fi Do Re Mi Fa Mi Re Do Mi *Play music* again *Play music* I will play the entire third verse, 3 4 *Play music* again *Play music*chorus *Play music*look at the fourth verse.
The fourth verse does not have any difficulty compared to the third verse. First 4 bars Tati Tati Tati Tati Tati Tati Tati Ta , read with notes Si Do Re Mi Re Si La Sol . first 2 bars *Play music* notice the normal position, not half position *Play music* next La Si Do La Si Do Re *Play music* pay attention that the La Si Do La *Play music* this La is up *Play music* this way we have the first 4 bars. The last 4 bars Tati Tati Tati Tati Ta Ti Fi Ta Fa ti Fi Tati Ta . I will read them Sol Si La Sol Fa Mi Re Do Re Do Si La Sol Fa Mi Re La Re , I will play the first 2 bars *Play music* again Sol Si La Sol Fa Mi Re Do up *Play music* then descending scale from Re *Play music* remember the exercise we did #1, in lesson #1 in this course, Ta ti Fi Ta Fa ti Fi, ascending and descending scale. If you try it on Hijaz, ascending scale would be *Play music* descending scale is what we have here *Play music* we agreed that the last 2 bars we will break the rules and play down down *Play music*. The fourth verse *Play music* we may have a bit of difficulty in the last 4 bars, when transferring *Play music* from Do to Re *Play music*we need to practice *Play music*like this. Then chorus.
Now I will play the entire longa, to understand its order: First verse, chorus, second, chorus, third, chorus, fourth , chorus and close. 3 4 *Play music* in the fourth verse, I went to half position, I finished the chorus, and played the Si *Play music* then back to normal position. I improvised this, because many times we switch between half position and normal position , but here the half position was not called for, so I advise to stay in the normal position.
This longa needs a lot of practice and work, especially with all the conversions, for example the conversion we had in the third verse *Play music* then chorus *Play music* . my hand needs to be correctly positioned on the Sol here, *Play music* in order to have the Fa # here correct *Play music* to play along with the chorus *Play music* . those conversions and details need to be analyzed and practiced as parts. This concludes the 3rd course, with Shahrazad Longa in the end. I hope that you benefited. This is the beginning of expert tracks in the Oud instrument, and anyone who wants to be a professional Oud player needs to know how to play those templates , Longas and Sama'ee. Because Longas increase speed and skills, and it is the reason why they are composed. And Sama'ee has the Ottoman Arab Tarabi music and all those elements. Thank you, hope you had fun, and see you in Oud 4 soon.