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20.1 - the fourth verse and changing the scale
The instructor here moves on to talk about the fourth verse and changing the scale __ Hello my name is Tareq Al Jundi from i3zif.com. today in lesson #20 we will learn the fourth verse in Sama'ee. The fourth verse usually has a conversion of scale. Let us look, the time signature is 3/4 , we call it waltz. We have 3 beats in each bar, the rhythm is dance-like, as does the whole verse, far from the slow rhythm we did in the 10/8. Let us read it simply Do Re Mi Re Do Si Re Sol Rest Do Re Mi Re Mi Fa Mi Re Mi Fa sol Rest. Tati Tati Tati Ta Rest, this is what we did. Then it is repeated Do Re I Re Do Si Re Sol Rest , now we go to the next part Si La Sol Fa Mi Re Do Mi Sol Do Rest Rest, and repeat. Let us play it *Play music*all picks are down *Play music* Tati Tati Tati Ta down up *Play music* and repeat from the beginning *Play music* Rest, next, *Play music* notice how the tone has a dance feel, there is a noticeable scale. Look at the second part, we have an ascending scale Sol to Mi : Sol La Si Do Re Mi, then descending from Re to Fa : Re Do Si La Sol Fa. You will notice that this is a sequence, recurring *Play music* then *Play music* and closing with the same method he closed the first part. Let us read it : Sol La Si Do Re Mi Re Do Si La Sol Fa Mi Re Mi Fa Sol La Si La Sol Fa Mi Re Do Si Do Re Mi Fa Sol Fa Mi Re Do Si Do Mi Sol Do, I will connect the first 2 parts *Play music* next *Play music*again *Play music* we can play it a bit slower, we should, then gradually increase speed to reach this level. Let us look at the next part, Mi Re Do Mi Re Do Mi Re Do Mi Re Do Re , time = 3 beat, then Sol Rest Re Do Si Re Do Si Re Do Si Re Do Si Do Fa Rest Sol La Si Do Mi Re Do Si Re Do Rest and repeat from the same point *Play music* again *Play music* I will play the fourth verse from the top *Play music* and repeat *Play music* Next *Play music*it is very important to result in an ascending and descending sound like this *Play music*again *Play music* next *Play music* and we go to the chorus. I am trying to play once without embellishments, and once with embellishments, to notice how we embellish, and how much we can imitate them, then gradually enhance their performance. This is one of the most important acrostics, and very well known, based on Sama'ee Thaqeel scale. You will find many acrostics and tracks based on this scale. Practice real slowly and try to find other recording for it and listen to them.

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