In this lesson we learn Al Husseini scale and its relation to Al Bayat, how the scale operates. The instructor gives other examples such as Lovers’ scale, and he talks .about Al Rukouz __ Hello my name is Tareq Al Jundi from i3zif .com. today in lesson #8, I will give you a break, no Longas, we will play a beautiful track called Husseini Dance, it is by Jameel Bek Tanbouri as well. It is a dance, and we will talk about Husseini scale. As you can see, it written as Bayat, ♭ Si, and ½ ♭ Mi as written in the scale. But, what is Husseini scale? it is an alternative name for Bayat scale, and I will tell you a piece of information that will come up in the future, we have something called scale function, which means if you were playing Bayat, especially in taqseem *Play music* , and the first note is very important which is Re, if the second note was emphasized which is Sol, *Play music* notice the emphasis on Sol, this is the scale function , which some people call Oshaq scale, the emphasis on the third note, ♭ Si , *Play music* and I go back to Re. this is one function, another function is Husseini, I start in Re, *Play music* the next emphasis is on La *Play music* and I stop, this scale is sometimes called Husseini, and it is widely popular in North Iraq, called Dajd, or Lawook, it is very Kurd oriented. *Play music* and some people call Bayat Husseini, which is bayat La, same as Bayat Re, except we ascend one cord *Play music* this is called Bayat Husseini. But the Husseini we are talking about is a function of Bayat. Now let us take a look at the track in hand, we have Ta Fa tiFI TaTi Ta Fi TaTi Ta Fa TiFi Ta Ta Fa TifI Ta,I will play the first 4 bars, and notice the importance of La note *Play music* first phrase is over, and the composer closed on La. This is why it is called Bayat Husseini, it is called Husseini because of the emphasis on La. *Play music* Next, Ta Fa TiFi Ta Fa TiFi Ta Fa TiFi Ta, same as previous phrase, but the part is repeated *Play music* notice the bridge I am playing, La Sol La Re La Sol La Re *Play music* , I am not hopping, not doing this *Play music* no *Play music* next Ta Ti Fi Ta *Play music* again *Play music* 2 bars identical , Ta TiFi Ta Fa TiFi Ta Fa TiFi Ta Fa TiFi Ta Fa TiFi Ta Fa TiFi Ta Fi TaTi *Play music* notice the descending scale Sol Do Si Si La La Sol Sol Fa Fa Mi Mi Re Re Do , every note is repeated *Play music* Do finishes up, Re Mi Fa Mi Fa Sol Mi Do *Play music*up, then Ta Fi TaTi , let us play the first verse. We can conclude a small scale from the first verse, we can play *Play music* last bar is Ta Fi TaTi *Play music* a very beautiful track filled with class. The second verse, we have Ta Fa TiFi Ta Fa Ti Fi Ta *Play music* ascending scale Do to Do, and Si is ½ ♭. 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.