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1.2 - Nahawand Doolab and scale
In this lesson, Mr. Tareq explains about adding the 6th cord to the oud in this course and how to tune the cords together. He introduces us to Nadawand Al Do while showing Nahawand Doolab starting from Do. He explains the Doolab rhythmically while playing Nahawand Doolab. __ Did you notice that in this course we added a 6th cord to the oud to use, I will tell you about it. As you know we start tuning the oud from the bottom cords : Do Sol Re La Sol, and we added the 6th cord on the top which is Do, the bass of this Do which gives the same sound. This tuning we are learning now is by Al Shareef Mohiddeen Haidar, we will use it to learn many technical pieces, and we will find many applications on it from the Iraqi and Egyptian musical schools and especially that we use it for the digital school. This doesn’t mean that there are no other tuning forms, of course there are, as some people can tune this cord to Fa, some People to Mi, other people replace the Do cord with Re or Si, so the tune can be Mi Si, or Fa Do, or Sol Do, or Sol Re. many options are available, and if any tune changes occur within the lessons I will draw your attention, but in the second course no changes will occur. I only wanted to note that this cord exists because we will be using it a lot in the bass cords and ornamentation while playing. Practice well for the second part we will explain Nahawand Doolab. In the second part we will learn Nahawand scale, and the Nahawand Doolab as well which has an application on the Ta TiFi and the Ta Fa Ti. Nahawand Do scale as you can see in the scale key we have 3 alternation signals ♭Si ♭Mi ♭La. Starts from Do , Re, ♭Mi, Fa, and when I play Fa I have to hold the ♭ Mi, Sol , ♭La, ♭Si, but usually in any Nahawand scale, we raise the 7th note half a point which changes the ♭Si to ♮Si when raised half a note. We call this a leading note because it leads to this sound which is the Tonic or foundation. Now descend, Do ♭Si, we can play ♭Si, ♭ La, Sol Fa ♭Mi, Re, Do . Okay now take a look from the top, Do, Re, ♭Mi, Fa, Sol, ♭La, ♮Si, Do. And back Do, ♭Si, ♭La, Sol, Fa , ♭Mi, Re, Do. Take a look at Nahawand Doolab, as we said a doolab is a simple initiating piece to introduce the scale. As you can see the first 2 bars we have Ta tifi TaFa Ti , ta fa tifi ta. Repeat sign opens we have ta fa tifi tati, ta fa tifi tati, ta fa tifi tati, and here we have the Prima or number 1. Ta fa tifi tati tati ta fa ti. This repeat sign, to remind you that we will play it the first time, but the second time I will skip it and go to the second sign. Ta fa tifi tati ta fa tifi tati ta fa tifi tati , skip to the below line, ta fa tifi ta tifi tati ta tifi tati ta. A new sign to explain is the rit sign, which is called the ritertando, meaning that the sound should slow down gradually. The last sign which looks like a ن or an upside down ن over the note, this is called a Fermatta or powza, which means that we need to hold the note more that its actual time. Let us try to read it with the metronome on 52 tempo, 1 2 ta tifi ta fa ti ta fa tifi ta, now with the note, do do re mi re do, do re mi fa sol, sol fa sol la sol fa, fa mi fa sol fa mi, mi re mi fa mi re, mi re do si do sol, sol fa mi re do. 52 tempo is a bit fast, let us slow down. Now we started the metronome on 46 tempo, very slow: sol fa sol la sol fa, fa mi fa sol fa mi, mi re mi fa mi re, mi re do si do sol sol sol sol sol mi re do si do. Notice at the end we played off the metronome, because we slowed down gradually. Also notice how I skipped from the first repeat to the second one. The most important note is that the ta tifi as learned is down down up, like this. Mi re do down up down. First bar like this. Next bar ta fa tifi ta. Next bar ta fa tifi down up down up. Ta fa tifi tati, then you will see that it is a descending sequence which started from sol, now from fa, then from ♭Mi, then from Prima. Ta fa ti down up down, now repeat sol fa sol la, fa mi fa sol fa mi . mi re mi fa mi re, skip to the seconda, mi re do si, ta tifi , tati ta tifi. Notice the gradual slow down at the end due to the rit, Let us play from the top on the metronome, now that we explained it, on tempo 46. 1 2.. notice at the end how we went off the metronome to slow down. Now I will play without the metronome, only the seconda, so you can see the difference. Notice when we played this piece, the nahawand doolab on tempo 52, it was a bit fast even though it is actually very slow. If you think about it, you find that the details of the sign itself differ, meaning if we play ta or tati on 52 it is really slow, but when we play ta fa tifi it will be a bit faster, because we have details and quarter notes, also the ta tifi and ta fa ti, when we have quarter notes, 53 is a bit fast to learn, which is why we lowered the tempo to 46 this time. But eventually we need to raise the tempo to its actual speed. This concludes the first lesson of the second course.

Course Video Lessons - Learn Oud 2
1.1 Opened Ta TiFi and Ta Fa Ti signs 09:52
1.2 Opened Nahawand Doolab and scale 09:15
2 Opened application on Nahawand scale 07:36
3 Opened Elbent ElShalabeyyah song 09:48
4 Opened Al Kurd scale 05:05
5 Opened intro to the song : Hayyarti Albi Maak 07:02
6 Opened a new rhythmic sign 05:01
7 Opened Comprehensive exercise 04:56
8 Opened a new rhythmic sign 06:01
9 Opened Application 08:09
10 Opened Pick exercises 06:35
11 Opened Pick exercises 04:14
12 Opened Pick exercises 04:23
13 Opened a new note 08:13
14.1 Opened El Helwa Di Song 07:27
14.2 Opened El Helwa Di Song 04:10
15 Opened Sama'ee Darej Hijaz scale 10:04
16 Opened Es Ta Ti note 06:44
17 Opened Nam Dam'ee Min Oyouni Acrostic 08:43
18 Opened Halaleya Song 06:19
19 Opened Al Huzam scale 06:38
20 Opened Marmar Zamani Song 04:57
21 Opened a new note 06:13
22 Opened Application 06:08
23 Opened Mawteni song 11:00
24 Opened Application on Treble and Bass 05:58
25 Opened Tal'a Men Bait Abouha song 05:00