Ney Lessons
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Ney Lessons - 9 -
Producing the Same Sounds from Different Positions
In this lesson, let us first reinforce the sounds that we produce from the ney.
On the ney, as with other instruments, we can produce the same sound from different positions.
In fact, we may roughly compare this to flageolets (harmonics).
Let me repeat that flageolets (harmonics) are not the same as producing the same sound from different positions.
Flageolets (harmonics)
are the general name for harmonic sounds obtained on string instruments by lightly touching the string with the finger and drawing the bow without applying pressure.
They are harmonic sounds.
I would like to draw your attention to the well-prepared video below.
It is very useful.
In universal music, there is no specific musical term used for producing the same sound from different positions.
Therefore, we have roughly compared producing the same sound from different positions to flageolets.
In flageolets, the harmonic sound is stopped on the string, but on the ney we cannot do this.
I should point out that this is only an approximate comparison.
Now let us come to these sounds;
These sounds from low to high are: Re on the fourth line, Mi in the fourth space, Fa on the fifth line,
High Sol, High La and High Re notes.
You can see them in more detail in the image below.
To review staff lines and spaces, click here.
Let us begin our lesson of producing the same sounds from different positions with the Re note.
Producing the Re Note from Different Positions:
Our Re (Neva) note:
As you remember, Finger Positions:
Our Aşiran note is closed.
RIGHT HAND: Thumb and Middle Finger.
LEFT HAND: Middle Finger.
You will remember the image below:
The Re note can also be produced when all holes are closed:
We will especially use the Re note produced with all fingers closed
when descending from high tones to middle tones.
Video:
Producing the Mi Note from Different Positions:
Our Mi (Hüseyni) note:
As you know, we produced the Mi note with the Aşiran note closed
and five fingers closed, meaning a total of six fingers closed:
If you still do not remember the Hüseyni note, it means you moved on without completing the previous lesson;
To review, click here.
We can also produce this note with all holes open except the middle fingers:
This was our normal blowing position:
To produce the Mi note, we slightly turn our head to the left:
Video:
Producing the Fa Note from Different Positions:
Our Fa (Acem) note:
As you remember, we produced the Fa note on the fifth line
by closing five fingers:
If you still do not remember the Acem note, it means you moved on without completing the previous lesson;
The Fa note can also be produced with all holes open, including the Aşiran note:
For the Fa note, we do not turn our head right or left; we blow with open fingers:
If you have forgotten, to review click here.
Video:
You can practice in this way.
Producing the High Sol (Gerdaniye) Note from Different Positions:
Our Sol (Gerdaniye) note:
Our Sol note was produced with the right hand thumb, index finger,
and middle finger closed:
If you still do not remember the Gerdaniye note, it means you moved on without completing the previous lesson;
To review, click here.
We can also produce the Sol note with all holes closed:
Video:
Producing the High La (Muhayyer) Note from Different Positions:
Our La (Muhayyer) note:
As we know, this note was produced with the Aşiran note closed
and both right and left middle fingers closed:
If you still do not remember the Muhayyer note, it means you moved on without completing the previous lesson;
To review, click here.
The High La (Muhayyer) note can also be produced
with all fingers closed (including Aşiran) and only the left ring finger open:
Video:
Producing the High Re (Tiz Neva) Note from Different Positions:
Our Re (Tiz Neva) note:
As you remember, the High Re note was produced with the Aşiran note closed
and both right and left middle fingers closed:
In fact, all holes (except Aşiran) should be open.
However, to make the note easier, we keep the middle fingers of both hands closed while blowing.
The High Re (Tiz Neva) note can also be produced with all fingers closed:
Of course, we must blow strongly to produce this sound.
If you still do not remember the Tiz Neva note, it means you moved on without completing the previous lesson;
To review, click here.
Video:
These exercises are very important at this stage. We must practice them to properly learn the notes.
Names of Notes in Turkish Music
In Turkish music, there are microtonal intervals called commas.
Specific names are given to indicate how many commas these intervals contain.
For example:
• Natural B note: Buselik
• 1-comma B note: Segah
• 2–3 comma B note: Uşşak
• 4-comma B note: Dik Kürdi
• 5-comma B note: Kürdi
In Turkish music, every note has a specific name.
As mentioned, these names determine which pitch is to be played.
Now let us start with Drone (Dem) Sounds:
In the staff below, you can see the Drone Sounds from Rast to Yegah:
Click on the image to enlarge.
In the staff below, you can see the Drone Sounds from Yegah to Kaba Rast:
Click on the image to enlarge.
We will study Drone Sounds in detail in Lesson 14.
In the notation below, you can see all notes from low Do (below the staff) to high Re (above the staff):
Click on the image to enlarge.
In the following lessons, we will learn Turkish rhythmic patterns (Usûl) and commonly used makams, and perform them with notation.
To move on to the next lesson, we should have achieved the following:
- We know how to hold the ney.
- We can produce the Rast sound strongly.
- We know note values.
- We can recognize notes.
- We know and can produce sharp and flat microtones.
- We understand rest symbols and their values.
- We know the finger positions of notes on the ney.
- We can produce high notes and identify them.
Please complete these topics before proceeding to the next lesson.
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