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Ney Fingering Chart

This document provides a fingering chart for the Turkish ney flute showing how tones are produced across five registers. It explains that the whole tone is divided into 9 micro-intervals called komas in the maqam system, with only intervals 1-4-5 most commonly used. The chart displays which finger holes should be open or closed to produce each note, and indicates that some holes can be partially closed. It notes some unusual low tones are rarely used in compositions but possible in improvisation.

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Ariadne Rodrigues
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3K views5 pages

Ney Fingering Chart

This document provides a fingering chart for the Turkish ney flute showing how tones are produced across five registers. It explains that the whole tone is divided into 9 micro-intervals called komas in the maqam system, with only intervals 1-4-5 most commonly used. The chart displays which finger holes should be open or closed to produce each note, and indicates that some holes can be partially closed. It notes some unusual low tones are rarely used in compositions but possible in improvisation.

Uploaded by

Ariadne Rodrigues
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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Ney Fingering Chart

Here's to you, interested Neyzen, the fingering chart of the Turkish ney, taken from Suliyeman
Erguner's "Ney Metod".
As a starter...
this is a chart that shows the micro-intervals in which a whole tone is divided in the Maqam
system.
Please, see, in the upper part of the chart on the left, the span from DO to RE, one whole tone,
divided into 9 Komas (micro-intervals), of which only those notated with 1-4-5 are most used.

Here's the First Register, the lowest tones of the Ney.


Of course the black circles are the closed holes, and the white circles the open holes.
Please note that here are also half-closed holes....
The UP arrow indicates a MORE accentuated bending of the head.
The DOWN arrow indicates a LESS accentuated bending of the head. A counter-bending, so to
speak. Like strightening the neck instead of bending the head aside.
Note: the lowest tones are quite unusual in Turkish composition, and you can expect to touch
only the Si (B)(Kaba Buselik) at most. However, in Taksim (improvisation) you can go as
lowEST as you wish.

Here's the Second Register.


Note the different openness of the "HALF HOLE" (1/3, 1/2, 2/3 of hole), between Dik
Buselik and Cargah, and notably betweenNim Zirgule, Zirgule e Dik Zirgule.

Here we are in the Third Register.

Here are the Fourth and Fifth Registers.

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