“Learn Oud 2" Course with Mr. Tareq Al-Jundi
includes musical scales such as “AlHuzam", Sama'ee
Darej Hijaz" and popular songs like “ El Helwa Di","El
Bent El Shalabeyyah", and “Mawteni" poem as
applications on the Arabic scales and new information
explained by the instructor. The course also includes
exercises on the left hand, right hand and the pick,
while focusing on timing and accessorizing the playing.
This course requires having basic playing information
that have been covered in the previous course “Learn
Tareq starts the first lesson in “Principles of Oud2” course with the Nahwand Scale from Do. Tareq explains the
notes that this scale consists of and how to play it, ascending and descending. Then he starts explaining the
“Nahawand Doolab”. The “Doolab” as explained in “Principles of Oud 1” is a short musical track played in the
beginning of some musical pieces to preface the scale for both the listener and the singer. Here we see an example
of the “Doolab” in the Nahawand Do, and Tareq starts to read it rhythmically to prepare for playing it in the second
part of the lesson.
Tareq starts in the second part to play the “Nahawand Do Doolab” and focuses on the correct way to position the
left hand fingers to avoid the common mistakes that students make. Tareq starts by explaining and playing each
bar then playing the whole Doolab while considering all the signs and instructions in the available note. Then Tareq
revisits all the important points to be considered while practicing to play the Doolab and focuses on the subject of
opening the fingers while playing the Mi and Fa. He gives a quick exercise so that the left hand gets used to the
right positioning to use all the cords.
We learn from Tareq an application on the Nahawand Scale which is the song “Uskudar”, the melody is popular in
the Iraqi culture, most famously used in the song “Ya Athouli La Taloumni” by the great Iraqi musician “Elham Al-
Madfaee”. Tareq starts by explaining the musical note of the song and reminding us of the Dotted note and its
duration. Then he continues reading the note rhythmically till the first musical sentence in the song, he goes on to
play it while considering the basics of playing and positioning of left hand, as well as the important fact that the
musician should use the least amount of energy possible while playing, and that could be achieved by applying
these basics in the right way. Tareq continues rhythmically reading the rest of the song “Uskudar” and shows us how to play it till the end.
In the third lesson we learn the song “El Bent El Shalabeyya” as another application to the Nahawand scale. It is a
very popular song in the Arab world. Tareq starts explaining the song and playing its verses. Tareq continues to explain and play the song “El Bent El Shalabeyya”, then he plays it continuously from beginning to end while applying all the notes explained throughout the lesson.
In lesson 4, we learn Al Kurd scale which is considered one of the basic scales in Arabic music. We learn Al Kurd
scale from Re. Tareq explains the notes that this scale consists of and how to play it ascending and descending. He
focuses on the subject of opening the fingers while playing the ♭Mi and Fa. He gives a quick exercise for the left
hand to get accustomed to the right position. Tareq starts to explain the Doolab in Al Kurd scale reading it
.rhythmically and explaining every verse, the he plays the Doolab continuously from beginning till end
In the fifth lesson we learn the intro to the song “Hayyarti Albi Maak” by Um Kulthoum as an application to Al Kurd
scale. Tareq starts by reminding us of the tones for Al Kurd scale from Re. then he goes on explaining the verses of the intro by reading them rhythmically then playing every verse separately. He concludes by playing it
continuously from beginning till end.
In lesson #6 we learn a new rhythmic sign Es Ti Fi. Tareq explains the time of this note and orientation of the pick
while playing it. He moves on to explain the first exercise on this note while reading it rhythmically and playing it.
Tareq focuses on the skill of rhythmic reading and demonstrating with clapping before playing. This skill is
.important because it increases the musician's sense of beat to make sure you have the right beat while playing. then Tareq moves to another exercise on the Es Ti Fi by reading and playing a simple tune written with different forms of this sign. This exercise help to concentrate while reading the note and excelling in rhythmic reading and playing.
Lesson #7 is an inclusive exercise for all the previous information. It focuses on the Es Ti Fi and other applications
that have to do with the positioning of the hand and the stability of the left hand fingers. This exercise is extremely
.important because it is a revision to the most important concepts and skills we have reached
In lesson #8 we will learn the note Dotted Noir followed by Ti Fi. Tareq starts by explaining how this unit was
derived, then he moves on to 2 exercises to ensure that previous concepts are well understood along with the new
Tareq starts the first part of lesson #9 with an exercise to review the information we have learned in the lesson
8 while taking into account the observations mentioned like the stability of fingers and the rhythmic signs
previously learned. Then we learn the song “Ya Ghzayyel” . Tareq starts by reading every bar rhythmically and then playing it while giving notes on each bar, after that he plays it continuously from beginning till end. In the end Tareq talks about embellishing while playing and going off tune to add a certain beauty to playing. A musician can embellish in the ways they see appropriate according to their sense, or imitating something they saw or heard from another musician, this helps build experience and innovation for a musician.
In lessons #10,11 and 12 we focus on the right hand, specifically the pick. We learn exercises to enhance our
playing skills and right hand cord strike. Tareq asks the musicians to slowly practice these exercises and increase
the speed gradually until they reach optimum speed. He advises to read the note, memorize the exercises in order
to focus on increasing the speed instead of reading. He also asks that the exercises in those 3 lessons are to be daily
.routine with the goal to reach optimum playing speed gradually after excelling the exercise in low speed
In lesson #11, Tareq starts a new exercise on how to use the pick. These exercises keep getting harder with the
pick in the right hand, so you can train your hand and enhance the skills of both hands equally. Tareq also focuses here on the importance of playing slowly at first and mastering the exercise then gradually increasing speed while
maintaining the clarity of the tune and sound. You can only reach the high speed after excelling the low speed. This
.exercise focuses on stability of fingers and pick orientation
In lesson #12, we continue the pick exercises with a final exercise that focuses on the orientation of the pick and
finger stability. Tareq focuses on pick exercises as daily routine to work on increasing the speed while maintaining
In lesson #13 we are introduced to a new rhythmic sign which is one of the most important signs in syncopation:
Croche Noir Croche. Tareq analyzes this sign and how to understand it and read it rhythmically. In the first part
Tareq starts with applying the first exercise on this sign by reading every bar rhythmically and playing it.
Tareq moves on in the second part to a new exercise on the same sign explained in part 1 of this lesson. He reads the exercise rhythmically then plays the entire exercise. The unit, or musical sentence in this exercise is important because a lot of popular Arabic beats are based upon it. Tareq plays some examples of those Arabic beats that use this rhythmic unit and its variations as their base.
In lesson #14, we learn the song “EL Helwa Di” by Sayyed Darwish which is a very popular song in the Arab world
and many singers have performed it. It is an application of the rhythmic unit explained in the previous lesson. Tareq
starts by explaining the musical note and signs related to the sound level during playing. He goes on rhythmically
reading the musical note then playing the song while considering the notes in preparation to playing it.
Tareq continues in the second part of this lesson the rest of the song “El Helwa Di” by Syyed Darwish, explaining
the remaining verses with the notes. He concludes by playing the whole song continuously while applying the signs
.in the musical note and embellishing his playing
In lesson #15 we are introduced to a new scale : Sama'ee Darej Hijaz” which is an application of Hijaz scale and the
concept of syncopation which Tareq explained in previous lessons. He starts by explaining the musical note,
rhythm, Sama'ee Darej template and musical steps arrangement in this template. Tareq starts by reading the bars
.rhythmically then reading the notes in each bar and playing them while giving directions.
Tareq continues on the scale “Sama'ee Darej Hijaz” explaining each bar and playing it while giving directions. He concludes with a final verbal review of the template then playing the whole track continuously from beginning till end.
In lesson #16 we learn an application on the concept of syncopation which is “Nam Dam'ee mn Oyouni” Acrostic by
“Sayyid Darwish”. Tareq starts by explaining the scale index and giving some notes on the figures used in the note. He goes on to rhythmic reading and playing the verses on the acrostic while noting the orientation of the pick and
the periods. Tareq continues the remaining of the Acrostic in the same manner and concludes by playing the whole acrostic from beginning till end in the required pace while embellishing his playing.
In Lesson #17, we are introduced to a new sign of syncopation which is the Es Ta Ti. Tareq starts by analyzing its
time and rhythm and how it was derived. He moves on to the first exercise as an application on this sign. He reads
.the exercise rhythmically then plays it while focusing on the orientation of the pick. Then Tareq applies the second exercise on syncopation on the scale Do Major. Tareq reads the exercise rhythmically and starts playing while focusing on the orientation of the pick and clapping the rhythm of exercise to understand syncopation further, its importance and applications in eastern music.
In lesson #18 we learn a new popular song which is “Hela Leya”. It has useful applications in the subject of
syncopation which Tareq has focused on in previous lessons. He starts by explaining the note and rhythmic
reading, then reading the musical notes. He later plays each bar with some advice and notes, and how to use the
.base cord, and playing the base notes. Tareq plays the entire song to conclude the lesson
In lesson no.19, we will learn a new scale “Huzam Al ½ ♭Mi”.Tareq introduces us to the musical notes and then we
start with an exercise on this scale on “Al Maqsoom” rhythm where we use syncopation. Tareq explains each bar
rhythmically, the names of the notes , then plays each bar. He concludes as usual with playing the entire exercise
.continuously from beginning till end in original pace
In lesson #20 we learn a new song “Marmar Zamani” from Syrian heritage. It is an application on “Al Huzam” scale
that Tareq explained in the previous lesson. Tareq starts as usual reading each bar rhythmically then reading the
musical notes. He later plays each bar with tips. Tareq concludes by playing the entire song and replaces the rests
.by striking the base cord to embellish his playing, along with other additions to the original tune
In lesson #21 we learn a new rhythmic sign which is Ta Fi. Tareq explains how it was derived and how to write it. He
starts off by explaining the first exercise. He reads each bar rhythmically then plays it and concludes the exercise
by playing the entire song. Tareq moves on to the second exercise on the Nahawand Do scale, he reviews the
.scale's notes and plays the entire exercise. Tareq focuses on the orientation of the pick and on correct counting
In lesson #22, Tareq continues to explain the Ta Fi through an exercise which is a pattern of different notes starting
with Do scale. Tareq requests to play this pattern on different scales and starts by applying it on the Rast scale. He
then plays the exercise and analyzes it musically, playing it step by step while giving tips and notes. at the end,
Tareq adds a third exercise for the purpose of picking up speed with practice and enhancing the performance of
In lesson #23, we learn “Mawteni” by the Palestinian poet Ibrahim Touqan, composed by Mohammad Fuleifel. This
poem is an application on the new rhythmic sign explained in previous lessons. Tareq starts by reading the note and playing the bars. Tareq continues the remainder of “Mawteni” and in the end suggests a different style to play it as a practice for the right hand. He embellishes while playing the entire poem and encourages the musician to apply additions and variations in playing.
In lesson #24 we apply an exercise using rotation between refrain and response; by using 2 cords, which is a
repetitive pattern. This is a very important exercise to learn how to transfer between cords smoothly using your
right hand, and to memorize the right location of the notes and the exact location of your left finger hands. Tareq
.focuses on starting slowly and mastering the tune and the sound clarity, and then picking up the speed
In lesson #25, and the final lesson of this course, we learn to play “Tala'a mn beit abouha” song by Nathem Al-
Ghazaly. Tareq plays this song differently than the way he played it in the first course, using the rotation between
refrain and response. This exercise requires great focus and extensive training to play this song correctly. After
explaining the verses of the song, Tareq plays it in the required speed while focusing on the fact that this speed
requires training and excelling it in low speed, then picking up the speed gradually. Tareq concludes this course by
giving tips about daily practice, training your fingers and gradually picking up speed, he also promises us with
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