Woman playing the Ney in a painting from the Hasht Behesht Palace in Isfahan, Iran, 1669.
wood
Classification	End-blown
Developed	??

The ney (Persian: نی/نای‎; Arabic: ناي‎; Turkish: ney; also nai, nye, nay, gagri tuiduk, or karghy tuiduk ) is an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continuously for 4,500–5,000 years, making it one of the oldest musical instruments still in use.

The ney consists of a piece of hollow cane or reed with five or six finger holes and one thumb hole. Modern neys may be made instead of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly-skilled ney player can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technically difficult passages in other maqamat.

In Romanian, the word nai^[1] is also applied to a curved Pan flute.

Typology[link]

A Turkish Kız ("Girl") Ney - A/La Register

Turkish and Arab neys normally have 7 holes, 6 in front and one thumb-hole in back. The typical Persian ney has 6 holes, one of which is on the back.

The interval between the holes is a semitone, although microtones (and broader pitch inflections) are achieved via partial hole-covering, changes of embouchure, or positioning the angle of the instrument. Microtonal inflection is common and crucial to various traditions of taqsim (improvisation).

Neys are constructed in various keys. In the Arab system, there are 7 common ranges: the longest and lowest-pitched is the Rast which is roughly equivalent to C in the Western equal temperament system, followed by the Dukah in D, the Busalik in E, the Jaharka in F, the Nawa in G, the Hussayni in A, and the Ajam in B (or Bb). Advanced players will typically own a set of several neys in various keys, although it is possible (albeit difficult) to play fully chromatically on any instrument. A slight exception to this rule is found in the extreme lowest range of the instrument, where the fingering becomes quite complex and the transition from the first octave (fundamental pitches) to the second is rather awkward.

In the Arab world the ney is traditionally used in pastoral areas, showing a preference for smaller, higher-pitched neys. In general, lower-pitched instruments are used in scholastic and religious environments, including the Sufi tradition.

The Turks use even longer neys reflecting a preference for graver sounds, an imprint of the Sufi setting in which the ney was studied.

Kargı Düdük[link]

Gargy-tuyduk (Karghy tuiduk) this is a long reed flute whose origin, according to legend, is connected with Alexander of Macedonia, and a similar instrument existed in ancient Egypt. Kargı in Turkish means reed (Arundo donax). The sound of the gargy-tuyduk has much in common with the two-voiced kargyra. During the playing of the gargy-tuyduk the melody is clearly heard, while the lower droning sound is barely audible. The allay epic songs have been accurately described by the Turkologist N. Baskakov who divides them into three main types:

• a) Kutilep kayla, in which the second sound is a light drone.
• b) Sygyrtzip kayla, with a second whistling sound like the sound of a flute.
• c) Kargyrlap kayla, in which the second sound can be defined as hissing.^[2] The sound of the Turkmen gargy-tuyduk is most like the Altay Kargyrkip kayla. The garg-tuyduk can have six finger holes and a length of 780 mm or five finger holes and a length of 550 mm. The range of the garg-tuyduk includes three registers:
• 1) The lowest register - "non-working" - is not used during the playing of a melody.
• 2) The same as on the "non-working" register but an octave higher.
• 3) High register from mi of the second octave to ti.

Tsuur[link]

The Tsuur, also known as choor, is an end-blown flute that is found in western Mongolia. It is mainly used by the Altai-Uriangkhai people, although other yastans like the Kazakhs and the Tuvans are known to play them or have played them.

There are only three holes to finger. The blowing technique utilises the teeth, tongue and lips in the same way as Ney in Classical Persian music. The Tsuur is usually immersed in water before playing in order to seal and leaks in the wood. The melodies that are played on the Tsuur are usually imitations of the sound of water, animal cries and birdsongs as heard by shepherds whilst on the steppes or the mountain slopes of the Altai. One of the melodies, “The flow of the River Eev” as was said before is the river where the sound of khöömii was mythically supposed to have originated. The Uriangkhai called the Tsuur the “Father of Music”. A three-holed pipe was in use in Mongolia in the 18th century and was believed to possess the magical properties of bringing Lamb’s bones back to life. In the Jangar epic of the 14th century the Tsuur is said to have had a voice like a swan. This reference may also be indirectly a very early reference to khöömii as the singing style sung with the Tsuur is Khailakh.

The Pamiri Nay[link]

The Pamiri nay is a transverse flute made of wood or, in Eastern Badakhshan, eagle bone. Although the name is similar to the Arabic end-blown nay, it might well be that this side-blown flute is more related to Chinese flutes such as the dizi, perhaps through a Mongol link.^[3] It is used for solo melodies as well as with orchestras and for vocal accompaniment. One of the main uses of the nay is for the most original form of the traditional performance ‘falaki’. These are brief melodic sessions which can express complaints against destiny, the injustice of heaven or exile to distant places, and sentiments such as the sorrow of a mother separated from her daughter, the sorrow of a lover torn from her/his beloved, etc.^[4]

See also[link]

• Ney (Turkish)
• Kawala, a similar instrument used in Arabic music
• Kaval, a similar instrument in Azerbaijan, Turkey, Macedonia and Bulgaria
• Persian traditional music
• Arabic Music
• Music of Iran
• Music of Turkey
• Washint
• Dilli Ney
• Karghy tuiduk, a similar instrument in Turkmenistan
• Choor

References[link]

Bibliography[link]

• Effat, Mahmoud (2005). Beginner's Guide to the Nay. Translated by Jon Friesen; originally published in Arabic in 1968. Pitchphork Music. ISBN 0-9770192-0-9.

External links[link]

• Sounds of the Ney
• Turkish Ney
•  Chisholm, Hugh, ed. (1911). "Nay". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• About Persian Ney

v t e Iranian musical instruments Stringed (Sāzhāy-e Zehī) Bowed Ghazhak Kamāncheh Sorāhi Plucked Barbat Chang Dotār Qānūn Robāb Sallāneh Sāz Setār Tanbūr Tār Ūd Shurangiz Shahrud Rud Mugni Struck Santur Woodwind (Sāzhāy-e Bādī) Exposed Sornā Zurna Karnay Shehnai Narmeh-ney Dozaleh Ney anban End-blown Haft Band Nāy (Ney) Sheypur Zurna Pisha Percussion (Sāzhāy-e Kūbeheyī/Zarbī) Auxiliary Darāy Daf Dohol Dāvūl Dāyereh Zangī Naqāreh Tonbak (Dombak) Kūs Sanj Dammam Zarbang Udu Persian traditional music

v t e Turkish musical instruments String instruments: █  Bowed instruments:    Karadeniz kemençe  • Classical kemençe  • Yaylı tanbur  • Rebab/Kabak kemane  • Sine kemanı █  Plucked instruments:    Kanun  • Çeng  • Tanbur (Turkish)  • Ud  • Cümbüş  • Ahenk  • Saz  • Cura (instrument)  • Baglama  • Komuz  • Shahrud  • Rud  • Lavta  • Mugni█  Struck instruments:    Santur Woodwind instruments █  Exposed:    Zurna  • Tulum  • Karkm  • Dankiyo  • Gaida  • Düdük  • Çifte █  End-blown:    Ney  • Ney (Turkish)  • Kaval  • Sipsi  • Dilli Kaval  • Dilli ney  • Mey  • Taragot  • Dilli düdük  • Kargı Düdük Percussion instruments █  Auxiliary Percussion:    Bendir  • Daf  • Davul  • Darbuka  • Naqareh  • Kus  • Kudüm  • Nagara  • Turkish crescent  • Zill  • Castanet  • Spoon See also Turkish musical instruments  • Turkish folk music  • Ottoman classical music  • Ottoman military band  • Music of Turkey

v t e Traditional Arabic musical instruments Plucked lutes Buzuq Gimbri Guembri Lotar Oud Qanbus Sintir Lavta Zithers Qanun Bowed lutes Kamanjah Rababa Lyres Simsimiyya Kissar Tanbūra Flutes Ney Kawala Reed instruments Arghul Habbān Jirba Mijwiz Mizmar Mizwad Rhaita Drums Bendir Daf Goblet drum Hajir Mazhar Mirwas Naqara Naqareh Riq Tar Tabl baladi Other percussion Krakebs Manjur Mihbaj Sagat (zills) Sistrum Clapping Clay Jug

Hassan Kassai (Persian: حسن کسائی, b. 1928 Isfahan^[1]) is an Iranian master musician and renowned player of Ney, the traditional reed flute of Iran.^[2]

Notable students[link]

• Mohammad Mousavi
• Hossein Omoumi

Notes[link]

1. ^ "Hassan Kassai". Official Website of Maestro Hassan Kassa'i. http://www.kassaimusic.ir/Content/Default.aspx?Landir=ltr&Lan=En&State=0. Retrieved September 9, 2011. 
2. ^ "زندگینامه: حسن کسایی (۱۳۰۷-)" (in Persian). Hamshahri Online. http://hamshahrionline.ir/news.aspx?id=58500. Retrieved September 9, 2011. 

External links[link]

• Hassan Kassa'i's Official Website

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Hossein Alizadeh
Background information
Born	1951 (age 60–61)
Origin	Tehran, Iran
Genres	Persian traditional music, Sound track
Occupations	Composer, lute player
Instruments	Tar , setar (also sallaneh, shurangiz)
Years active	1973–present

Hossein Alizadeh (Persian: حسین علیزاده‎), is an Iranian composer,^[1] radif-preserver, researcher, teacher, and tar and setar instrumentalist and improviser, described by Allmusic as a leading Iranian classical composer and musician.^[2]

He has made numerous recording with prominent musicians including Shajarian, Nazeri, Khaladj, and Gasparyan, and is a member of the Musical group, Masters of Persian Music.

Biography[link]

Alizadeh was born in 1951 in Tehran to Azeri and Persian parents.^[3] He graduated from the music conservatory in 1975 and entered the school of fine arts in the University of Tehran where he studied composition and Persian music. He continued his education at the Berlin University of the Arts in composition and musicology. He studied with various masters of Traditional Persian Music such as Houshang Zarif, Ali Akbar Shahnazi, Nur-Ali Borumand, Mahmoud Karimi, Abdollah Davami, Yusef Forutan, and Sa'id Hormozi. From these masters he learned the radif of Persian classical music.

He plays the tar and setar, and has recently derived the sallaneh and shurangiz from the ancient Persian lute barbat.

Awards[link]

He has been nominated for the 2007 Grammy Award along with Armenian musician, Djivan Gasparyan, for their collaboration album, The Endless Vision. In 2008, he was voted as "Iran's most distinguished musician of the year".

Inventions[link]

• Dâd o Bidâd: A new maqâm in Persian music, through combining the gusheh of dâd in dastgah of Mahour and the gusheh of bidâd in dastgah of Homayoun.
• Sallaneh and Shoor-Angiz: Two new musical instruments derived from the ancient Persian lute barbat.

Works[link]

Alizadeh at a concert in London. From right to left: Alizadeh, Homayoun Shajarian, Mohammad-Reza Shajarian and Kayhan Kalhor

• Ode to Flowers
  2007
  H Alizadeh: Shoor-Angiz
  A Rassai: Vocals
  M Khaladj: Tombak & Daf
  A Boustan: Setar
  P Akhavas: Vocals
  N Alizadeh: Robab
  S Alizadeh: Kamancheh
  ^[4]
• Endless Vision
  2006
  Hossein Alizadeh: Shoor-Angiz
  Djivan Gasparyan:Duduk
  World Village Music
• Faryad (The Cry)
  2005
  MR Shajaian: Vocals
  Hossein Alizadeh: Tar
  Keyhan Kalhor: Kamancheh
  H Shajarian: Vocals & tombak
  World Village Music
• Sallaneh
  2003
  Hossein Alizadeh: Sallaneh
  Mahoor Institute
• Bi To Be Sar Nemishavad (Without You)
  2002
  MR Shajarian: Vocals
  Hossein Alizadeh: Tar
  Keyhan Kalhor: Kamancheh
  H Shajarian: Vocals & tombak
  World Village Music
• Iran: Les Maitres de L'Improvisation
  2000
  Hossein Alizadeh: Tar
  Madjid Khaladj: Tombak
  Buda Records
• Zemestan ast (It's Winter)
  2000
  Mehdi Akhavan Sales: Poems
  MR Shajaian: Vocals
  Hossein Alizadeh: Tar
  Keyhan Kalhor: Kamancheh
  H Shajarian: Vocals & tombak
  Soroush Co.
• Raz-e No (Novel Mystery)
  1999
  Hossein Alizadeh: Composer, Tar, Tanbur
  Mohsen Keramati, Afsaneh Rasayi, Homa Niknam, Ali Samadpour: Vocals
  Daryush Zargari: Tombak
  Mahoor Institute
• Paria, Qesseh-ye Dokhtara-ye Nane Darya (Paria, Tale of Daughters of the Mother Sea)
• Sobhgahi
  Hossein Alizadeh: Composer
  Mohsen Karamati: Vocals
  Mahoor Institute
• No Bang-e Kohan (Ancient Call-Anew)
  Mahoor Institute
• Ava-ye Mehr (Song of Campassion)
  1991
  Hossein Alizadeh: Composer
  Orchestra of Indigenous Instruments of Iran
• Shourangiz (Song of Campassion)
  1988
  Hossein Alizadeh: Composer
  Sheyda and Aref Groups
  Shahram Nazeri: Vocals
  Mahoor Institute
• Raz-o-Niaz
  1986
  Hossein Alizadeh: Composer
  Sheyda and Aref Groups
  Alireza Eftekhari: Vocals
  Mahoor Institute
• Torkaman
  1986
  Hossein Alizadeh: Setar
  Mahoor Institute
• Dream
  1986
• NeyNava
  1983
  Hossein Alizadeh: Composer
  String Orchestra of the National Radio and Television of Iran
  Djamshid Andalibi: Ney Soloist
• Osyan (Revolt)
  1983
• Hesar
  1977
• Hamnavayi
  Hossein Alizadeh: Tar
  Arshad Tahmasbi: Tar
  Dariush Zargari: Tombak
  Mahoor Institute
• Savaran-e Dasht-e Omid (Riders of the Plain of Hope)
  1977
• Chahargah & Bayat-e Tork
  Hossein Alizadeh: Tar, Setar
  Hossein Omumi: Nei, Vocals
  M Ghavihelm: Tombak
  Mahoor Institute
• Paykubi
  Hossein Alizadeh: Setar
  Daryush Zargari: Tombak
  Mahoor Institute
• Nava
  1976
  Hossein Alizadeh: Tar
  Majid Khalaj: Tombak
  Mahoor Institute
• Homayun
  Hossein Alizadeh: Setar
  Majid Khalaj: Tombak
  Mahoor Institute

Film scores[link]

• The Song of Sparrows, 2008.^[5]
• Half Moon, 2006.
• Turtles can fly, 2004.
• Abjad ("First Letter"), 2003, composed by Abolfazl Jalili.
• Zamani baraye masti asbha ("A Time for Drunken Horses"), 2000.
• Doxtarân e xorshid ('Daughters of the Sun") directed by Maryam Shahriyâ, 2000.
• Gabbeh, 1995.
• Del Shodegân directed by Ali Hatami, 1992.
• Az A'sar, ("From Eons Ago")

References[link]

• Laudan Nooshin, in The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, second edition (Macmillan, London, 2001). ISBN 1-56159-239-0. (Oxford University Press, 2001). ISBN 0-19-517067-9.

External links[link]

• Official Website
• Hossein Alizadeh at Iran Chamber Society
• Hossein Alizadeh and Hamavayan Ensemble at Parstimes.com
• Hossein Alizadeh at Iranian.com
• Hossein Alizadeh at Setar.info
• Hossein Alizadeh: National Geographic World Music

Tina Sani is a Pakistani female singer renowned for her classical and semi-classical Urdu Ghazals.^[1][2]

Early life[link]

Tina Sani was born in Dhaka, at the time East Pakistan. She studied in Kabul before moving to Karachi, where she earned a diploma in design. She was trained in classical music by Ustad Nizamuddin Khan and then by Ustad Amrohvi.

Career[link]

Tina Sani began working for an advertising agency in 1977. She was involved in all the creative aspects of advertising business, including listening to and evaluating the music that is an integral part of advertising.

Singing career[link]

She entered the professional world of singing in 1980, when producer Ishrat Ansari introduced her on TV in a youth programme hosted by Alamgir.

She was influenced by the great ghazal singers of like Malika Pukhraj, Begum Akhtar, Mukhtar Begum and Farida Khanum but has created her own style of singing. She gained much acclaim in Pakistan by singing the poetry of Faiz Ahmed Faiz including such poems as 'Bahaar ki ek shaam' and 'Bol' composed by Arshad Mehmood. She renders poetry of contemporary poets with ease and is equally comfortable singing works of Zauq, Ghalib and Mir Taqi Mir; the immortals of Urdu poetry.

More recently Tina Sani has sung in recordings with the Coke Studio project.

Personal life[link]

Tina Sani is married and has a son, Nasir Siddiqui (b.1997).^[3]

Awards[link]

• The Pride of Performance Award - Government of Pakistan

References[link]

External links[link]

• Mag4you profile
• Beyondborders: Shubha Mudgal and Tina Sani
• Interview
• Coke Studio recording

This article about a Pakistani singer is a stub. You can help Wikipedia by expanding it. v t e

Omar Faruk Tekbilek

Ömer Faruk Tekbilek (born 1951, Adana, Turkey), also known as Omar Faruk Tekbilek, is a Turkish flautist.His father is a Turk, his mother is an Arab from Egypt who loved Reyad Elsonbaty taught him to love Arabesque music . He is known for his performances with the ney in a Sufi style. He also plays the Oud, Saz, Zurna and sings in many of his recorded work. Tekbilek is the recipient of the "Best Artist of the Turkish Music Award 2003" from the "Turkish Writers Association".

He is a nominee for the BBC World Music Award 2003 in the category of the Middle East.

He is also the recipient of the US Golden Belly Musician-Of-The-Year-Award, for 1998 and again, for 1999.

Ömer has participated in the album Umoja by the Dutch band BLØF. He played on the single Mens which stayed for 12 weeks in the Dutch charts.

In August 2011 the album "Rock the Tabla" is released. Featuring Omar Faruk Tekbilek, A.R. Rahman, Hossam Ramzy, Billy Cobham & Manu Katché. ^[1]

Discography[link]

1. Best of Sultans (1986)
2. Suleyman The Magnificent (1988)
3. Fire Dance (1990)
4. Beyond The Sky (1992)
5. Whirling (1994)
6. Fata Morgana (1995)
7. Mystical Garden (1996)
8. Crescent Moon (1998)
9. One Truth (1999, World Class/Hearts of Space Records^[2]) (I Love You)
10. Dance into Eternity: Selected Pieces 1987–1998 (2000)
11. Alif (2002)
12. Tree Of Patience (2005)
13. Sunset Lounge 4 (2009)
14. Rare Elements (Remixes) (2009)
15. Kelebek (Butterfly) (2009)
16. Best of Omar Faruk Tekbilek “Longing” (2010)

See also[link]

• One (Yuval Ron album)
• Offerings (VAS album)
• Arab Orchestra of Nazareth
• Awards for world music
• List of oud players

References[link]

External links[link]

• Official site
• Short biography