Methodology for the Oud instrument - Level Eight
الكتاب باللغتين العربية والإنجليزية
The Book of the Maqam Method for the Oud: *This product contains only one book (Level Eight Book)* The book was printed in both Arabic and English. In...
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The Book of the Maqam Method for the Oud: *This product contains only one book (Level Eight Book)* The book was printed in both Arabic and English. Introduction: This book aims to introduce the oud to the student in a smooth and academic manner, presenting the theoretical part of music, including musical and rhythmic reading, in parallel with the practical part, and sharing some general information that helps improve the musical taste of the student. Each book consists of a set of lessons aimed at equipping the student with various instrumental skills supported by some explanations to facilitate understanding, built gradually and systematically, through individual lessons that can be applied using various available and diverse means in this era. Each level of these books contains a collection of instrumental or vocal pieces in classical or free musical forms by deceased or contemporary composers, written in a way that suits the student's level for study and achieving the desired results. The goal is to introduce him to the Eastern instrumental and vocal musical heritage, in addition to contemporary experiences that have contributed to developing this instrument in expressive and technical aspects, creating a balance between the instrumental heritage and the old or modern vocal heritage. Studying and practicing both in a balanced manner is necessary to broaden horizons, gain experience, and develop expressive skills. These levels are divided as follows: Level One (Preparatory). Level Two (Beginner). Level Three (Intermediate First). Level Four (Intermediate Second). Level Five (Above Intermediate First). Level Six (Above Intermediate Second). Level Seven (Advanced First). Level Eight (Advanced Second). The number and diversity of maqam and rhythmic pieces in each stage are sufficient to gradually and smoothly build an oud player. However, this does not prevent exploring other pieces from Arabic music references if the student demonstrates excellence in completing the requirements of each lesson. Lastly, this curriculum is built on a strategy of segmentation and analysis to teach the student how to learn, not just memorize and restrict him to many similar applications, but to encourage inference and analysis, leading him into a musical maze that expands horizontally while limiting his overall vertical, cumulative, and constructive development in proportion to the time and effort he invests, as well as that of the teacher.
