majnuunNavid
Oud Junkie
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7 Essential left hand techniques for Oud
This is an article I forgot to post up here from last week. Deals with some of the essential principles of left hand technique.
I do hope someone can add to this, maybe there is something I have missed or took for granted.
http://www.oudforguitarists.com/7-essential-left-hand-technique/
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Brian Prunka
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Hi Navid,
These are good suggestions, but I would suggest changing how you talk about "positions." I think it is confusing and doesn't match up with the
established use of the word "position" when discussing string instruments.
Usually "position" refers to the location of the first (index) finger of the left hand.
In this case, oud players mostly use the "half position" (first finger 1/2 step from the open string) and "first position" (first finger a whole step
from the open string). Some people would call this "first" and "second" position . . . not really important as long as it's clear. The higher
positions are mainly used on the 1st and 2nd course.
You're really talking about fingerings, which is a different topic than positions, and creates confusion. Also, it is confusing to talk about using
"three fingers" to mean using 123, 124 and 134 as you seem to be doing; all you really mean is 234 is not used . . . you are still using all four
fingers just only certain combinations.
Fingerings are a big topic and you could do a whole post on that alone.
An important technique is position shifting, which requires a strong sense of each first-finger position (regardless of which finger is actually
playing the note).
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majnuunNavid
Oud Junkie
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Thanks Brian,
I have been wondering about this for a while. I will definitely tweak this to make it more clear.
Persian Oud style which I learned first differs in finger use from Arabic and Turkish Oud, and there is no real distinction taught between hand
positions.
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TomtheTall
Oud Lover
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Definitely some handy tips here - thanks 
Is the position of the left hand thumb of significance with oud technique? I notice a lot of oud players have their thumb "hooked over" the top of the
neck, which I was told to avoid on the stringed instruments I've used so far (definitely a bad idea on double bass, for instance).
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Marina
Oud Junkie
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Hi guys.
Once again I hear the "keep yur fingers close to the fingerboard". Yes, well said and very true. Non of my students were newer able to do it without
further EXPLANATION. HOW TO KEEP YOUR FINGERS CLOSE TO THE FINGERBOARD! So, in order to keep your fingers close to the fingerboard - and this is very
important, you have to LOWER your preassure of fingers on the fingerboard. So. when you play, JUST DON"T PRESS so hard, and the fingers will stay
close. It's like a SPRING. The harder you press, it jumps higher. Of course, the fingertips has to be posed at about 90 degree on the fingerboard,
and not flattened. Good luck!
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Lysander
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Yes Marina.. I have found this too.. and put it in my personal Ten Commandments of Oud... that less pressure gives greater fluidity and control. It
would be interesting to see what a professional would include in a list of ten essentials. I cannot remember everything I wrote now but one of them
was keeping nails extremely short! This made a big difference to me too.
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SamirCanada
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It cant be stressed enough that a quality instrument lends itself to proper technique. If your oud has a high action you can throw these tips out of
the window since its impossible to play with fluidity and press lightly on a oud with high action.
Classical guitar are different instruments, a hooked thumb in my opinion is a proper technique for the oud. In fact, it helps to have a hooked thumb
in order for the rest of the hand and fingers to be relaxed. The thumb hooks and slides up and down to different positions as you play but its
important that it isnt stiffened so hard that its adding additional stress.
look at Simon Shaheen's playing to understand what the proper thumb positioning is.
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jdowning
Oud Junkie
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The 'hooked thumb' technique for the oud appears to avoid any contact with the sixth course.
Is it ever used to stop the fifth or sixth course as seems to be the case among some banjo and jazz guitar players?
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SamirCanada
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I have seen it done by some more adventurous players but it's definitely not part of the classical Oud playing repertoire of tricks.
Hard to do effectively given the Oud neck is bit too thick and it pulls away the other fingers from the fingerboard.
It's a common technique in Saz/baglama playing however given it's a much thinner neck
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