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13 - a new note
in lesson 13 we learn a new note which is one of the most important syncopation notes ; the Croche Noir Croche. Tareq analyses this note and how it was derived to understand it and read it rhythmically. Tareq starts applying the first exercise on this note by reading each bar rhythmically and playing it correctly.
Tareq moves on to a second exercise on the note explained in the previous lesson. he reads the exercise rhythmically and plays it entirely. a unit or musical phrase in this exercise is very important being the base of many popular arabic tempos which Tareq plays a few examples of. He plays arabic tempos that use the same unit mentioned as a base to its variations.
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Hello my name is Tareq Al Jundi from i3zif.com. Today in lesson no. 13 we will learn a new note which will be derived from a note already learned.. let us look at the te ta ti, if you remember it was like this te ta ti te ta ti te ta ti te ta ti te ta ti, this note, if we look how it previously was , it was a tati tati with a tie in between, so te ta ti te ta ti te ta ti.. if we look at the exercise in hand, we have tati tati tati es ti te ta ti tati es ti.. why do we have te ta ti here, in the second bar? Because there is a tie in between, so it is no longer tati tati tati es ti, it is now te ta ti tati es ti.. third bar te ta ti rest rest. Let us look at the second line, te ta ti es ti es ti, te ta ti ta fa tifi ta, es ti ta, rest ta. Te ta ti es ti ta, es ti tati es ta ti .. this is the new note.. if we look at this bar, the one before the last, we have es ti tati, then es ta ti, we removed the first part of the te ta ti, which was te ta ti, and made it into es ta ti.. if I want to make it into es ta ti I have 2 options, either es ta ti, or es ta ti.. I prefer this one, es down up.. the last bar ta fa tifi es ti ta.. so the te ta ti note, I repeat, te ta ti.. this is the note we know even from the first course.. if we remove the first part from this note, the first ti, we will have es ta ti es ta ti es ta ti.. let us play it with the metronome in both cases te ta ti and es ta ti: te ta ti te ta ti te ta ti.. look at the last part of the last bar es ta ti, ta ti.. es ta ti es ta ti .. this is the note we have that is es ta ti and we learned how to read it.. now along with the metronome tati tati tati es ti te ta ti tati es ti, te ta ti rest rest.. te ta ti es ti es ti, te ta ti ta fa tifi ta.. es ti ta rest ta.. te ta ti es ti ta.. es ti tati es ta ti ta fa tifi es ti 1 , and play … es ti te ta ti tati es ti.. rest rest.. te ta ti es ti es ti te ta ti ta fa tifi ta, es ti ta, rest ta.. te ta ti es ti ta, es ti tati es ta ti, ta fa tifi es ti ta. Repeat the last line because I will make some changes in this part te ta ti es ti ta, es ti tati es ta ti, ta fa tifi es ti ta. What we concluded is that this note can come in 2 forms of the pick, first one is es ta ti, and the second one is es ta ti.. now you will ask me, how do we decide which form to use? I say that in this phase we will not decide the form, we will play what we have in hand.. but later on when we play musical pieces, we will notice when the emphasis in the note is stronger, meaning if we have the emphasis on the second note, which is like es ta ti es ta ti, like this, the composer wants it to be emphasized here, so we will play it down, because the down pick is stronger.. but if he wants it to be light, we will play es ta ti es ta ti like this.. this is one of the forms of syncopation, which has various explanations on when we need to play strong and when it needs to be light. We must practice it very well, also along with the metronome to caliber the syncopation in the correct way.
The second part of our lesson, we will learn an application on the te ta ti note. Let us take a look at this musical pattern.. if we read it with the metronome we have 1 2 3 4 te ta ti ta te ta ti ta, the same pattern repeats.. if we read the notes Do Do Re Mi, Re Re Mi Fa, Mi Mi Fa Sol, Fa Fa Sol La, Sol Sol La Si, La La Si Do.. the descending Do Do Si La La, Si Si La Sol Sol, La La Sol Fa Fa, Sol Sol Fa Mi Mi, Fa Fa Mi Re Re, Mi Mi Re Do. I will try to play it … notice the pick movement, down up down down 2.. 2.. 2..2.. not descending Do Do Si La La, Si Si La Sol Sol, La La Sol Fa Fa, Sol Sol Fa Mi Mi, Fa Fa Mi Re Re, Mi Mi Re Do.. this exercise was an application on te ta ti note which we learned. We are also learning how the pattern ascends and descends.. As we also learned that the pick in te ta ti is down up down down up down.. like this te ta ti, so the first bar is te ta ti 1 2.. practice well and see you in the next lesson.
Course Video Lessons
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Learn Oud 2
| 1.1 |
Ta TiFi and Ta Fa Ti signs
|
09:52 |
| 1.2 |
Nahawand Doolab and scale
|
09:15 |
| 2 |
application on Nahawand scale
|
07:36 |
| 3 |
Elbent ElShalabeyyah song
|
09:48 |
| 4 |
Al Kurd scale
|
05:05 |
| 5 |
intro to the song : Hayyarti Albi Maak
|
07:02 |
| 6 |
a new rhythmic sign
|
05:01 |
| 7 |
Comprehensive exercise
|
04:56 |
| 8 |
a new rhythmic sign
|
06:01 |
| 9 |
Application
|
08:09 |
| 10 |
Pick exercises
|
06:35 |
| 11 |
Pick exercises
|
04:14 |
| 12 |
Pick exercises
|
04:23 |
| 13 |
a new note
|
08:13 |
| 14.1 |
El Helwa Di Song
|
07:27 |
| 14.2 |
El Helwa Di Song
|
04:10 |
| 15 |
Sama'ee Darej Hijaz scale
|
10:04 |
| 16 |
Es Ta Ti note
|
06:44 |
| 17 |
Nam Dam'ee Min Oyouni Acrostic
|
08:43 |
| 18 |
Halaleya Song
|
06:19 |
| 19 |
Al Huzam scale
|
06:38 |
| 20 |
Marmar Zamani Song
|
04:57 |
| 21 |
a new note
|
06:13 |
| 22 |
Application
|
06:08 |
| 23 |
Mawteni song
|
11:00 |
| 24 |
Application on Treble and Bass
|
05:58 |
| 25 |
Tal'a Men Bait Abouha song
|
05:00 |