Learn Ney (Absolute Beginners)

In this lesson, Mr Bdeer shows us how to generate sound from the Ney, explaining the difference between the refrain and response sounds, while taking into consideration that the importance of this lesson is to generate the sound of the Ney regardless of its pitch, whether refrain or response. Mr Bdeer notes that generating sound from the Ney needs persistence, effort and practice, considering the fact that generating sound from the Ney is not easy, and needs days and weeks to train on a daily and extensive basis

Mr. Rida moves on to using your fingers in blocking the finger-holes of the Ney. He starts with the top 4 holes using his left hand, then moves to the lower holes and how to block them with the right hand.

Mr Rida continues to explain the right way to block the holes gradually. He starts with the back hole and works his way down the front holes, top to bottom while giving examples, exercises and tips that will help the beginner generate sound from the holes perfectly. __ Practice is very important so you do not get bored, and in a very short period of time you will be playing Nay. It is just the first phase where you will face some difficulties, but later on it will be super easy

Generating sounds using the right hand and lower holes is the subject of this lesson. Mr Rida notes the importance of the order of fingers so that the student can generate sounds in a right way. Mr. Rida gives important exercises on how to use your right hand.

Mr. Rida shows how to use the right and left hand fingers to block the finger holes of the Ney ascending and descending, and he give us exercises on this subject.

Mr. Rida explains the vocal phases of the back hole of the Ney, then he moves on to explain about opening and closing the angle of the Ney with the mouth. Later on he explains the Trill technique and how to apply it on the Ney instrument.

Mr Bdeer continues explaining the vocal phases of the Ney, and gives us some historical information about this instrument.

Mr Rida gives a few exercises on using the left and right hand in playing the musical note, while considering the order of fingers. He explains to us the difference between Staccato and Legato on the Ney.

Continuing the important exercises on the Ney while Mr Rida gives some historical information about the role of Mr. Abdel Wahhab and Mr. Riyad Al Sunbati in developing the role of Ney in composing music.

Playing Al Saba scale, which has a vibe of melancholy on the Ney. Also some exercises are given on this scale.

Continuing the exercises and playing different forms of Al Saba scale on the Ney. Mr Bdeer gives us some tip on how to do Taqseem on Al Saba scale. He also gives us a hint of the role of Mr. Muhammad Iffat in developing the Ney.

In this lesson, Mr Bdeer explains how to play another scale which is Al Bayyati scale. He explains how to improvise and do Taqseem in this scale. Mr Rida gives us an idea about the amount of breath you take when playing the Ney, and gives some examples to show the differences.

Mr Rida gives a musical sentence on Al Bayyati scale while playing the same sentence using embellishment with the back hole. He introduces us to a very important Ney player, Mr Hussein Fadel and explains his role in playing solos in Fareed Al-Atrash songs.

Mr Rida introduces the Rast Al Do scale ascending and descending while giving examples on different forms of this scale. Mr Sayyed Abu Shiffah is one of the great musicians, and Mr Rida mentions some of his work.

Mr Rida Bdeer plays Al Kurd scale in its basic form, then moves on to playing variations of this scale on the Ney. The Ney player Mr. Salem used to play with the great Um Kulthoum, he is introduced to us by Mr Rida Bdeer.

Mr Rida starts off by reminding the students not to move on to later exercises unless they have perfected the previous ones. He starts playing Al Hijaz scale on the Ney in its basic form, then move on to play different variations. Abdul Hameed Mash’al is the musician introduced in this lesson, we are also introduced to one of his most important pieces, Zeina Wallah Ya Zeina.

Mr. Rida starts off by playin Nahawand Al Do scale on the Ney in its basic form, then moves on to play different variations. He plays the song “Ya Helou Sabbah”, by the artist Muhammad Qandeel on the Nahawand scale. Wahbi Labeeb Wasfi is a musician who played with Shadia, he is one of the most talented musicians that we are introduced to at the end of this class.

In this lesson, Mr Rida Bdeer explains how to perform the Trill technique on the Ney, what are its forms and the different ways to play it while giving various exercises on the scales we learned before. Mr Jalal Hussein Eid, whom we are introduced to in this lesson, is a famous Ney Player whose name is linked to the famous composer Sayyed Makkawi.

Paying the notes sporadically or Staccato is what Mr. Rida explains in this lesson while giving examples on how to play it.

We continue learning the technique and how to use the tongue for the purpose of this technique. Mr Rida gives a piece of advice to the beginner students to choose a slim Ney with little thickness as a beginner, because it is easier to generate sound from a slim Ney. Mr Rida introduces us to the musician Ahmad Ghanem and tells us a little about his life.