Oud learning diary IV: huzzam samai continued

24/10/2015 § Leave a comment

So today was the first oud lesson of the academic year with Ehsan and the first of the Performance unit. We have set up a schedule for fifteen oud lessons for the year, one every fortnight, which should take us into early May 2016.

The focus for this lesson was chiefly on the Haydar Huzzam Samai and the areas that needed improvement. There are two main areas that needed improving on, firstly the timing of some passages [though different ones to those which I highlighted in earlier entries] and the tonality of a couple of passages in the middle of the piece.

First I’ll focus on the timing of the passages that needed correcting.

haydar

The issue here is the dotted quaver at the beginning of the fourth bar, which I was playing as a semi quaver. Again, errors like this seem to come about by playing what feels natural to me, though that is not always what is correct.

1

The note as the beginning of the second stave caused quite a bit of confusion here. To me it appears to look like a semi quaver, [double croch], though in reality it is a quaver [croch]. If it is taken as a quaver then the beat count for the bar is ten, rather than 9.5 which it would be if the note were a semi quaver.

This next passage concentrates on the tones rather than timing and creates something of a quandry for me, the second bar being the bar in question:

hardar 2

Now from the notation the first half of the second bar runs sol – la – si naturel – doh – si dez – la – sol. However, I am being told by Ehsan to play this section la bemol – la – si dez – doh – si dez – la – la bemol – in other word a jins hijaz [0.5, 1.5, 0.5], which would see the second bar notated thus:

bar

I imagine the reason for this is that it’s easier play, though I’ll confirm this with Ehsan on next meeting.

With regard to Flying Bird, this was met with little criticism, which I was very pleased with. For the next lesson I will concentrate on both pieces but with the majority of focus on the Haydar, since the piece is not considered ‘accepted’ to move on as yet.

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