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

Ney Matogrosso
Background information
Birth name	Ney de Sousa Pereira
Born	(1941-08-01) August 1, 1941 (age 70) Bela Vista, Mato Grosso do Sul, Brazil
Genres	MPB
Occupations	Singer, music producer
Instruments	Singer
Years active	1971–present
Associated acts	Secos & Molhados

Ney de Sousa Pereira, known as Ney Matogrosso (born August 1, 1941, in Bela Vista, Mato Grosso do Sul) is a Brazilian singer who is distinguished for his uncommon sopranino voice.^[1]

Biography[link]

Matogrosso enlisted in the Brazilian Air Force at the age of 17, being later transferred to Brasília. Within a few years, Matogrosso started singing in a vocal quartet, performing at college festivals throughout Brazil. With the hope of becoming a stage actor, Ney moved to Rio de Janeiro in 1966, where he lived as a hippie and made ends meet by selling arts and crafts. In 1971, he moved to São Paulo, adopting the artistic name Ney Matogrosso, and joined the glam rock group Secos & Molhados, which in less than 18 months became a phenomenon, selling 1 million records. Endowed with a unique counter-tenor voice and a striking stage presence, Ney’s career soared.

After the group Secos e Molhados split up, Ney pursued a successful solo career in Brazil and abroad, obtaining several Gold and Platinum records.

Famous for his outlandish costumes, make-up, daring movements and singular high-pitched voice, Ney has always been regarded as a controversial character. One of his greatest hits was the song "Homem com H" (by Antônio Barros).

In the 1970s he released albums that were very important for his career: "Pecado", "Bandido", "Feitiço" and "Seu Tipo". In that period, Ney toured round United States, Argentina, Uruguay, Europe and Israel, performing hits like "América do Sul" (Paulo Machado), "Bandolero" (Lucinha) and "Não Existe Pecado ao Sul do Equador" (Chico Buarque/ Rui Guerra). In the 80's, Ney recorded "Por Debaixo dos Panos" (Ceceu), "Tanto Amar" (Chico Buarque), "Ando Meio Desligado" (Mutantes), "Sangue Latino" (João Ricardo/ Paulo Mendonça) and "Vereda Tropical" (Gonzalo Curiel).

In 1986, Matogrosso performed for the first time without wearing fancy costumes, adopting a low-key image. Since then, he has focused on his work as a singer, recording from the traditional repertoire of MPB (Música Popular Brasileira — the so-called Brazilian pop music genre). Recordings in this genre first appeared on the album "O Pescador de Pérolas" (1986), which featured "O Mundo É um Moinho" (Cartola), "Dora" (Dorival Caymmi), "Da Cor do Pecado" (Bororó) and "Aquarela do Brasil" (Ary Barroso).

Ney toured with guitarist Raphael Rabello, with whom he recorded the album "À Flor da Pele" in 1990. Then, he made two albums as a tribute to Brazilian performers/songwriters, like Ângela Maria ("Estava Escrito", 1994) and Chico Buarque ("Um Brasileiro", 1996).

Discography[link]

Albums[link]

Wikiquote has a collection of quotations related to: Ney Matogrosso

• Água do Céu-Pássaro, also known as Homem de Neanderthal (1975)
• Bandido (1976)
• Pecado (1977)
• Feitiço (1978)
• Seu Tipo (1979)
• Sujeito Estranho (1980)
• Ney Matogrosso (1981)
• Mato Grosso (1982)
• ...Pois É (1983)
• Destino de Aventureiro (1984)
• Bugre (1986)
• Pescador de Pérolas (1987)
• Quem Não Vive Tem Medo da Morte (1988)
• Ney Matogrosso Ao Vivo (1989)
• À Flor da Pele (1990) - with Raphael Rabello
• As Aparências Enganam (1993) - with Aquarela Carioca
• Estava Escrito (1994)
• Um Brasileiro (1996)
• O Cair da Tarde (1997)
• Olhos de Farol (1999)
• Vivo (2000)
• Batuque (2001)
• Ney Matogrosso Interpreta Cartola (2002)
• Ney Matogrosso Interpreta Cartola Ao Vivo (2003)
• Vagabundo (2004) - with Pedro Luís e a Parede
• Canto em Qualquer Canto (2005)
• Vagabundo ao vivo(2005) - with Pedro Luís e a Parede

Extras[link]

• A FLORESTA DO AMAZONAS - VILLA-LOBOS 1988
• BRAZIL NIGHT - AO VIVO EM MONTREUX - CAETANO VELOSO, JOÃO BOSCO E NEY MATOGROSSO 1983

Compilations[link]

• VINTE E CINCO 1996
• JUNTOS - NEY MATOGROSSO e SECOS & MOLHADOS

Appearances[link]

• Secos e Molhados (1973)
• Secos e Molhados (1974)
• GRAVADO AO VIVO NO MARACANÃZINHO (1980)

References[link]

Ney Franco da Silveira Júnior, better known as Ney Franco is a Brazilian football manager, who was born July 22, 1966 in Ipatinga, MG. On July 11, 2008, he was hired by Botafogo to assume their vacancy as manager.^[1] On August 10, 2009 Franco was fired as coach of Botafogo because of bad results. One day later he was hired as coach of Coritiba Foot Ball Club as a replacement for René Simões.

On September 23, 2010, Franco was appointed as coach of Brazil U20 team.^[2] His main goal is to classify Brazil to the 2012 Summer Olympics.

Honours[link]

Club

• 2005 Campeonato Mineiro
• 2006 Copa do Brasil
• 2007 Campeonato Carioca
• 2010 Campeonato Paranaense

National team

• 2011 South American Youth Championship
• 2011 Mediterranean International Football Cup
• 2011 FIFA U-20 World Cup

References[link]

External links[link]

• Ney Franco's profile on Sambafoot

v t e Brazil squad – 2011 FIFA U-20 World Cup (5th Title) 1 Gabriel 2 Danilo 3 Uvini (c) 4 Juan 5 Fernando 6 Alex Sandro 7 Dudu 8 Casemiro 9 Willian José 10 Coutinho 11 Oscar 12 César 13 Frauches 14 Allan 15 Romário 16 Gabriel Silva 17 Galhardo 18 Alan Patrick 19 Henrique 20 Negueba 21 Aleks Coach: Ney Franco

v t e Brazil squad – 2011 South American Youth Championship (11th Title) 1 Gabriel 2 Danilo 3 Uvini (c) 4 Juan 5 Casemiro 6 Alex Sandro 7 Neymar 8 Zé Eduardo 9 Henrique 10 Lucas 11 Oscar 12 Aleks 13 Galhardo 14 Romário 15 Gabriel Silva 16 Fernando 17 Alan Patrick 18 Diego Maurício 19 Saimon 20 Willian José Coach: Ney Franco