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The Ney instrument, which carries the sounds of tradition to our day with its seven frets and nine joints, is played with a traditional attitude transferred from generation to generation with practicing (meşk) circles. During this transfer, the fret systems on the ney has also evolved. In other words, the ney players and makers have preserved the traditional shape of ney with a mouthpiece (başpare), an end-ring (parazvane), and seven frets, and made certain changes in the locations of frets that they engrave on it[1].

 

We talked with the ney player and maker Rıfat Varol about the making and properties of the ney instrument, the sound of the spiritual values of the territory we live in.

 

Rıfat Varol was born in 1982 in Bolu, Gerede, and graduated from Ankara University, Faculty of Theology in 2003. He began practicing religious music and ney during his years in the faculty. He played in the Classical Turkish Music Choir of the Ministry of Culture as an intern ney artist and participated in many television, radio, and concert programs as a ney player. Since 2004, he has been making ney instruments in “Neyneva Ney Workshop” and continuing his art and craft.

 

[1] Assoc. Prof. Dr. Ali TAN, Istanbul Medeniyet University, Faculty of Art and Design, Ney Açkısında Geleneksellik Tartışmaları ve Neyzen Niyazi Sayın Sistemi, Rast Musicology Journal, Volume III, Issue 2 (2015), p.804-812, ali.tan@medeniyet.edu.tr