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About the application:

The Turkish ney is an end-blown reed flute, an Ottoman variation on the ancient ney. Together with the Turkish tanbur lute and Turkish kemençe fiddle are considered the most typical instruments of Classical Turkish melody. The ney also plays a basic role in the melody of the Mevlevi Sufi rites (semâ). A rim-blown, oblique flute created of giant reed (Arundo donax), the Turkish ney has six finger-holes on the front and a high-set thumb-hole on the back. The thumb hole is not centered, but rather is angled to the left or right depending on whether the instrument was intended to be played with the left or right hand on top. A feature that distinguishes it from related instruments of another cultures is the flared mouthpiece or lip-rest, called a bashpare, traditionally created of water buffalo horn, ivory, or ebony, but in modern times a lot of are plastic or related durable material. The Turkish ney is played by pressing the bashpare versus nearly-closed lips and angling the flute so that a narrow air-stream can be blown from the center of the lips versus the interior edge to the left or right, depending on whether the flute is left- or right-handed in construction.[1] This technique gives a lower volume, but a better controlled sound compared to the technique used with the Persian ney or the Mongolian tsuur, which are played by tucking the mouthpiece under the upper lip and making contact with the teeth.[2] Besides the finger holes, the pitch is altered by adjusting the embouchure, angle and force of the breath, with more forceful producing the higher pitches. Compared to most fipple flutes and reed instruments, the ney is very difficult to play at first, often taking a few weeks of practice to produce a proper sound at all, and even more to produce the full range of pitches. A skilled ney user can sound around 100 identifiable various tones in a two-and-a-half octave range or more.