Learn Oud 2

Mr. Tareq Al-Jundi

Level : Intermediate
Number of videos : 27
Curriculum: Mr. Omar Abbad
“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 times and accessorizing playing the Oud. This course requires having
the basic information that has been covered in the previous course “Learn
Oud 1"
 Lesson 1.1 - Ta TiFi and Ta Fa Ti signs

Mr. Tareq Al Jundi starts by explaining a new rhythmic sign : Ta TiFi which
is derived from Ta Fa TiFi. He starts reading and rhythmically playing
along with the metronome. In this lesson, Mr. Tareq continues to intro-
duce us to a new rhythmic sign which is the Ta Fa Ti explaining how this
sign is derived as well. Mr. Tareq Al Jundi recommends the students to
practice these new signs and excel at the exercises included within the
lesson before moving on to the next part.

Curriculum: Mr. Omar Abbad

 Lesson 1.2 - Nahawand Doolab and scale

In this lesson, Mr. Tareq explains about adding the 6th string to the oud in
this course and how to tune the stringss together. He introduces us to Nad-
awand Al Do while showing Nahawand Doolab starting from Do. He
explains the Doolab rhythmically while playing Nahawand Doolab.

Nahawand Scale

Nahawand Doolab

Curriculum: Mr. Omar Abbad

 Lesson 2 - Application on Nahawand scale

Mr. Tareq teaches us an application on Nahawand scale which is a song

called “Uskudar”. It is a well known melody from the Iraqi heritage and
one of the widely famous applications of this melody is a song called “Ya
athouli la taloumni” by the great Iraqi musician Elham Al Madfaei. Mr.
Tareq starts by explaining the musical note of the song and reminds us
of the dotted note. He explains the note in terms of durations and reads
the note rhythmically for the first musical sentence, he plays the first
part while considering the basics of playing and the positioning of the
left hand and focusing on a key point which is that the player has to use
the minimum amount of effort while playing through applying those
basics correctly.

Uskudar

Curriculum: Mr. Omar Abbad

 Lesson 3 - Elbent ElShalabeyyah song
In the third lesson we learn the song called “Elbent El Shalabeyyah” as an
example of another application on the Nahawand scale. It is one of the
most popular songs in the arab world. Mr. Tareq starts by explaining the
song and playing its parts respectively then playing it as a whole piece,
beginning through end while applying all the notes explained through-
out the lesson.

Curriculum: Mr. Omar Abbad

 Lesson 4 - Al Kurd scale

In the fourth lesson we learn Al Kurd scale. This scale is considered one of
the main scales in Arabic music. We learn Al Kurd scale from Re. Mr. Tareq
explains the notes forming the scale and how to play it ascending and
descending. He focuses on the subject of finger spacing when playing
the Mi bmol, and Fa. He gives a quick exercise to condition the left hand
to the correct position. Mr. Tareq explains the Kurd Doolab and reads it
rhythmically while explaining each part , then plays the entire Doolab
continuously, beginning through end.

Al Kurd Scale

Al Kurd Doolab

Fine

Curriculum: Mr. Omar Abbad

 Lesson 5 - Hayyarti Albi Maak

In the fifth lesson we learn the intro to the song : Hayyarti Albi Maak by
Um Kulthoum as an application on Kurd scale. Mr. Tareq starts by remind-
ing us of the tones to Kurd scale from Re, then continues to explain the
parts of the intro by reading them rhythmically and playing each part.
He concludes by playing it entirely, beginning through end.

Hayyarti Albi Maak

Um Kulthoum

Curriculum: Mr. Omar Abbad

 Lesson 6 - A New rhythmic sign

In the sixth lesson we learn a new

rhythmic sign Es TiFi. Mr. Tareq
explains the duration of this sign and
the direction of the pick while playing
it. He moves on to applying the first
exercise on this sign as rhythmic read-
ing and playing. Mr. Tareq focuses on
the skill of rhythmic reading and
demonstrating it through clapping
your hands before playing. This skill’s
importance lies in the fact that it
increases the musician’s sense of
tempo to make sure that the rhythm
is correct during playing. In the
second exercise we start with a new
application on the Es TiFi by reading
and playing a simple melody written
in various forms.

Curriculum: Mr. Omar Abbad

 Lesson 7 - Comprehensive exercise

The seventh lesson is a comprehensive exercise of all the previous

lessons and information learned. It focuses on the Es TiFi and other
applications related to the positioning and stability of the left hand
fingers. This exercise is considered to be very important because it is
a revision of the important concepts and skills acquired so far.

Curriculum: Mr. Omar Abbad

 Lesson 8 - A New rhythmic sign

In the 8th lesson we learn the note “dotted Noir” followed by the Es
TiFi. Mr. Tareq explains how this rhythmic unit was derived, then
moves on to 2 exercises to instill the concept of previous information
and the new sign.

Curriculum: Mr. Omar Abbad

 Lesson 8 - continued

Lesson 9 - Application

Mr. Tareq kicks off the first part of the 9th lesson with an exercise to
review all the information learned in the 8th lesson while keeping in
mind the notes previously highlighted, as well as the previously learned
rhythmic signs.

Curriculum: Mr. Omar Abbad

 Lesson 9 - continued

We will now 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 cer-
tain 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 innova-
tion for a musician.

Ya Ghzayyel

Curriculum: Mr. Omar Abbad

 Lesson 10 - Pick exercises

In the lessons 10, 11 and 12 we focus on the right hand , specifically the
pick. we learn exercises that increase the playing skills and improve the
right hand's ability to play the cords. Mr. Tareq asks the musicians to
start with those exercises in low speed and increase it gradually with
practice until reaching the ultimate speed. he advises to practice read-
ing the note and memorizing the exercises t o focus on increasing the
speed instead on reading. Mr. Tareq asks the musician to think of those
3 exercises as daily practice with the goal to gradually reach a high
speed of playing after mastering it in low speed.

Curriculum: Mr. Omar Abbad

 Lesson 11 - Pick exercises

In lesson 11 Mr. Tareq starts with new exercises of the pick. those exercis-
es get harder each time for the use of the pick in the right hand so that
the player will master the skill of playing with the left and right hand
equally. Mr. Tareq refocuses on starting slowly and correctly, then
increasing the speed while maintaining the clarity of the notes and
sound, and not to reach a high speed of playing unless playing slowly is
done correctly. this exercise focuses on stability of the fingers and the
direction of the pick while playing.

Curriculum: Mr. Omar Abbad

 Lesson 12 - Pick exercises

In lesson 12 we continue the pick exercises with a last one that focuses
on the direction of the pick and the stability of the fingers. Mr. Tareq
focuses on using the pick exercises as daily practice to work on increas-
ing the speed while maintaining the clarity of the note.

Curriculum: Mr. Omar Abbad

 Lesson 13 - A New note

in lesson 13 we learn a new note which is one of the most important synco-
pation notes ; the Croche Noir Croche. Tareq analyses this note and how it
was derived to understand it and read it rhythmically. Tareq starts apply-
ing the first exercise on this note by reading each bar rhythmically and
playing it correctly.

Curriculum: Mr. Omar Abbad

 Lesson 13 - continued

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 mu-
sical phrase in this exercise is very important being the base of many popu-
lar 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.

Lesson 14.1 - El Helwa Di Song

in lesson 14 we learn a new song called "El Helwa Di" by Sayyed Darwish
which is one of the most popular songs in the arab world sung by many
artists. It is an application of the notes explained in the previous lesson.
Tareq starts by explaining the musical note and the signs affecting the
variation in sound during playing. He then starts reading the notes and
rhythms, after which he plays the song gradually with the notes in prepa-
ration of playing it continuously while applying all the signs in the note
and adding some ornamentation

Curriculum: Mr. Omar Abbad

 Lesson 14.1 - continued

Curriculum: Mr. Omar Abbad

 Lesson 14.2 - El Helwa Di Song

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.

Lesson 15 - Sama'ee Darej Hijaz scale

In lesson 15 we are introduced to the Sama'ee Darej Hijaz scale which is an

application on Al Hijaz scale and the concept of syncopation which Tareq
has explained in previous lessons. He starts by explaining the note and
tempo , then the Sama'ee Darej template while putting the musical lines
in order in this template. Tareq starts reading the bars by rhythm and then
reading the notes in each bar in order to play them while highlighting the
notes, then he finishes by playing it completely, start to finish.
Sama’ee Darej Hijaz

Curriculum: Mr. Omar Abbad

 Lesson 16 - Es Ta Ti note
In lesson 16, we are introduced to a new note of the syncopation which
is Es Ta Ti . Tareq starts to analyze it both by rhythm and duration, and
how it was derived. He starts with a first exercise as an application on this
note, he reads it rhythmically and plays it while focusing on the direction
of the pick during application.

Curriculum: Mr. Omar Abbad

 Lesson 16 - continued

In the second exercise of the new note in syncopation which is on Do

scale, Tareq starts reading rhythmically and playing the exercise while
focusing on the direction of the pick. He elaboarates on reading the
exercise rhythmically in order to understand the concept of syncopa-
tion, its importance and applications in oriental music.

Curriculum: Mr. Omar Abbad

 Lesson 17 - Nam Dam'ee Min Oyouni Acrostic

In lesson 17 we learn an application on the concept of syncopation

which is Nam Dam'ee Mn Oyouni Acrostic by Sayyed Darwish. Tareq
starts by explaining the scale and noting the forms used in the note. He
starts reading rhythmically and playing gradually parts of the acrostic
while noting the direction of the pick and the notes' periods. he con-
cludes by playing the entire acrostic, beginning to end, in the required
speed while applying some ornamentation.

Nam Dam'ee Min Oyouni Acrostic

Curriculum: Mr. Omar Abbad

 Lesson 18 - Halaleya Song

In lesson 18, we learn a popular song from the heritage which is called
Halaleya. It contains many useful applications on the concept of syncopa-
tion which Tareq has focused on in previous lessons. Tareq starts by
explaining the note and reading it rhythmically, then reading the musical
notes. Afterwards he plays each bar with tips and notes on how to use the
bass cord to play bass notes. He concludes by playing the entire song.

Halaleya

Curriculum: Mr. Omar Abbad

 Lesson 19 - Al Huzam scale

In lesson 19, we learn a new scale called Al Huzam scale. We will learn it
on Mi 1/2 bmol. we learn the notes forming the scale then we start with
an exercise on Al Huzam scale, Maqsoum tempo. we will utilize the con-
cept of syncopation. Tareq explains each bar rhythmically and names all
the notes in it, then plays each bar while elaborating on the notes. he con-
cludes as usual by playing the exercise continuously , non-stop, begin-
ning to end in its required speed.

Curriculum: Mr. Omar Abbad

 Lesson 20 - Marmar Zamani Song

In lesson 20 we learn Marmar Zamani song from the syrian heritage ,

which is an application on Al Huzam scale explained previously. Tareq
starts as usual by reading each bar rhythmically and then reading the
musical notes, afterwards he plays the exercise with tips and notes. he
concludes by playing the entire song and replaces the silent notes with
the bass cord to embellish the playing with ornamentations and addi-
tions to the original note.

Marmar Zamani

Curriculum: Mr. Omar Abbad

 Lesson 21 - A New note

In lesson 21 , we learn a new note called the Ta Fi. Tareq explains the deri-
vation of this note and how it is written. he starts by explaining the first
exercise on this note. Then he reads each bar rhythmically and plays it .
He concludes the exercise by playing it entirely then moves on to the
second exercise on this note and the Nahawand Do scale. He reviews all
the notes in the Nahawand Do scale and then explains and plays the
entire exercise. Tareq focuses on the pick, its direction and on correct
counting of the durations of notes.

Nahawand Do Scale

Curriculum: Mr. Omar Abbad

 Lesson 22 - Application
In lesson 22, Tareq continues explaining about the Ta Fi note through an
exercise which is a repetitive pattern of different notes starting from Do.
Tareq asks the player to apply this pattern on many scales learned and
starts by applying it on the Rast scale. He moves on to the second exer-
cise and plays it, then analyzes it musically and plays it gradually while
giving notes and tips . Tareq adds a third exercise to practice for the pur-
pose of increasing your speed with practice and improving your right
hand performance.

Curriculum: Mr. Omar Abbad

 Lesson 23 - Mawteni song

In lesson 23, we learn the Mawteni Anthem by the great Palestinian poet
Ibrahim Touqan, Music by Mohammed Fulaifel. In this poem, there is an
application on the new note and the information learned in previous
lessons. Tareq starts by reading the note rhythmically and then reading
the musical notes, afterwards he plays the bars gradually. Tareq contin-
ues the remaining of the anthem , and in the end suggests another
method of playing it as an exercise for the right hand. He adds ornamen-
tation when he plays the entire song and encourages the musician to do
the same and vary their playing methods.

Curriculum: Mr. Omar Abbad

 Mawteni

Curriculum: Mr. Omar Abbad

 Lesson 24 - Application on Treble and Bass

In lesson 24, we apply an exercise using alternation between the bass

and treble notes; by using 2 strings as a repetitive pattern which is a very
important exercise to learn to alternate between strings smoothly with
your right hand, and also to memorize the correct locations of the notes
and the precise location of the left hand fingers. Tareq focuses on play-
ing slowly at first and mastering the tune and the clarity of the sound,
then increasing the speed.

Curriculum: Mr. Omar Abbad

 Lesson 25 - Tal'a Men Bait Abouha song

In lesson 25, and the last one in this course, we learn to play the song
"Tal'a Men Bait Abouha" by Nathem Al Ghazali. Tareq plays it differently
than the first course by applying the method of alternation between
bass and treble cords. This exercise requires high focus and extensive
practice in order to play the song correctly. After explaining the parts
of the song, Tareq plays it fully in the normal speed while elaborating
that reaching this speed required practicing it slowly and mastering it,
then gradually increasing speed. Tareq concludes the course by tips on
daily practice, finger exercise and gradual increase of speed, and prom-
ises the students with more courses.

Tal'a Men Bait Abouha

Curriculum: Mr. Omar Abbad