Ismail Londt – Bayyt Asl Tahqq Mujawwad

The Yati Asli. Asli, the original primary Aidi Foundation, the entry

into bayati.

I'm going to present a few structures, two common structures,

ways of presenting bayati ausli. And then two not so common, but

easily applicable, Inshallah, so the first common structure of

bayati Asli is to enter and slowly descend. So example, after your

isti AADA In your basmala Abu as

see

us.

The room or

shorter piece, so you can hear it better, enter and descend clearly

in clean steps.

Why?

So it's a good entry, nothing too

creative. Rather, you're entering

respectfully and you're calming your nerves as you go along

way.

Another

example was serve another

example was summer. Was summer

either

a nice, neat, respectful entry,

the second structure, structure option in starting the Yati is

where they push

way. Lo little Mont of Fifi, a bit longer

way.

Lola,

okay.

You

have your options there, so the first one is enter and then drop,

wail, little

more.

Second is enter and push way low.

Little Sama, either till

see the

difference.

Can

you hear the difference? And entering pushing but a bit longer

was summer.

Woman should and that would be a common ending for that option. You

could also do both. You could do either of them, or you could do

both. You start with the the one that descends, and you do your

next piece with the one that pushes. For example, way low,

little amount of Fifi. Need respectful start, and then you

push

to

still fool good. So you have two basic structures. And then, as far

as options are concerned, as to what you do after you've entered,

what you do after you've gone down your steps, or what you do after

you've pushed, that comes.

A time that comes practice, but at least know your two options, then

you have two other options,

where, say the third one. First is where you you enter a bit lower,

you enter a bit more shy, you enter a bit more nervous. But as

you're reading, you feel your voice by the end, you have a nice,

neat push and checkman Shave was known for this manner. So you have

your Bismillah, your Rahman, you Rahim, instead of wailu,

you start wailu.

Moton

is a

so

this middle here, rahmanir, Rahim, your first option will you wailu,

see the key. Where's this one? Bismillah, you? Rahmani, Rahim,

wai

lupa. Financie

wala,

Nazi, while it's a

bit more reserved, then near the end, you feeling your voice

with the other Sura Bismillah, your Rahman, your Rahim. First

option was summer,

either,

where's this one? Smell your Rahman, your Rahim, was summer

either till Guruji or yo me

or Shay. Start is very plain, very reserved. You're feeling the

quality of your voice at the time of recitation, and at the end, you

gain a bit more confidence. And like I say, the the endings are

optional. There are other things you can do, but it's about your

initial structure, how you enter and start the maqam. So that's

your third way. The fourth way is done by Sheik Mustafa. Is Maril at

times, it's a bit and Sheik Rahi Mustafa, ravash also does it

beautifully at times. Is where you enter, also a bit nervous, unsure,

but near the end as well, you you push up. So, for example, there's

a bit more steps in the beginning.

So she must rise. Man does it in Surah Maryam. So he says, Mila,

you Rahman? You rohim? Yeah, yeah.

Who

did you know?

So Bismillah, Rahmani,

Rahim, wai

Luton,

Island, way. Loli moonton, Fifi, so this steps and up and down.

Wailu moonton, fifina,

him, ya Mataji, dunk, Luna,

Simon,

Rahmanir Rahim was summer.

So listen

to

that. Think about that. Some might say that this fourth way is a bit

more confident because you're playing around more, and the play

helps warm up the voice for the for the stages and levels to come.

So think about that, and see it as structures identify with your ear

practice, and then we'll meet inshaAllah as.