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It's about different cultures, different people, and different feel.
And that's why it's rare.
I like it because-- I've learned a lot of things with these guys.
The history, the culture, and the poetries, the poems.
These things that are really important for me, and, I think,
for my people.
I was almost fifteen and I heard that song.
And I thought actually, "That's my favorite song to play."
And then I started to play the ney, and then I was just playing it.
Actually, ney has two different songs.
The first one is like this [demonstrates]
And the high one [demonstrates]
INTERVIEWER: Is it hard to play the ney?
SIAMAK JAHANGIRY: Yes. [laughs]
INTERVIEWER: How many years did it take you to learn?
SIAMAK JAHANGIRY: It depends on--
How do you do the rehearsal, exercise, and you physically should be
with the ney. Yeah.
INTERVIEWER: It's very unusual how you hold it.
SIAMAK JAHANGIRY: Yes. It has sharp metal or plastic,
but you have to put it between your teeth like this.
INTERVIEWER: [noise obscures]
SIAMAK JAHANGIRY: No. And you try to--
blowing in here, with your tongue, with your lips.
[plays]
We have so many different ney.
But first of all, the scale is the same for all of them.
But the tuning is different.
For example this one.
I have longer than this--
The scale is: [demonstrates]
We have just these notes in that song.
And then: [demonstrates]
From C. This one is here.
[demonstrates]
Same scale.
[demonstrates]
INTERVIEWER: Can you do different scales?
SIAMAK JAHANGIRY: Yeah. For example: [demonstrates]
So you know, for example, these notes.
[demonstrates]
INTERVIEWER: So in those 12 notes, you can make the 12 notes with the half/whole.
SIAMAK JAHANGIRY: Or blank. It depends on the melody.
You can do lots of things, lots of notes that you have to change all the notes.
That you don't have in your scale.
That's why sometimes it's hard.
[plays]
You can change the dynamic. It depends on the melody.
[plays]
It's like you have a pedal, and you play some of the melody on the upper pedal.
[plays]
INTERVIEWER: Is there glissando?
SIAMAK JAHANGIRY: Yeah. Sometimes. It depends on the melody.
In our music, you can do some techniques--
You make a problem in your melody. That's why you have to stay
in some note that's in-- It's almost the same as tonality in Western music.
But in our music, it's different.
You have to show the center notes, you know.
And you can do, for example, glissando around some notes.
But if you need, you can do vibrato or glissando.
For example vibrato can be:
[demonstrates]
In this tuning, it's [demonstrates]
But it's as good. It's not so clear. You know? It's F.
INTERVIEWER: This is a C instrument, right?
SIAMAK JAHANGIRY: Yes. We can go and come back.
INTERVIEWER: It's two octaves, and then a four.
It's the same for all of them.
SIAMAK JAHANGIRY: Yes.