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Code :
WMZM-001
Desc: Traditional mezmar . |
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Code :WNAY-002
Desc: Traditional nay. |
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Code :WMJW-003
Desc: Mezwej . |
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Code :
WKWL-004
Desc : Kawala . |
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Code :
WPMZ-005
Desc : Professional Mezmar . |
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Code :
WPNY-006
Desc : Professional nay . |
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A wind instrument
is a musical instrument that contains some type of
resonator (usually a tube), in which a column of air is set into vibration
by the player blowing into (or over) a mouthpiece set at the end of the
resonator. The pitch of the vibration is determined by the length of the
tube and by manual modifications of the effective length of the vibrating
column of air such as
Mizmar, mezmar, mesemar,
reed pipe, pipe, clarinet, flute, reed, oboe .So
it is a musical instruments which
require a person to exhale into it in order to produce sound.
In this part of our site you can find hand made oriental
winds instruments are made by clever makers from high quality materials like
mazmar, nay, bagpipe, pipes
...etc
Ney (Persian:
نی; Arabic: ناي; Turkish: ney; also nai, nye, nay, gagri tuiduk, or karghy
tuiduk ) is an end-blown flute that figures prominently in Persian, Turkish
and Arabic music. In some of these musical traditions, it is the only wind
instrument used. It is a very ancient instrument, with depictions of ney
players appearing in wall paintings in the Egyptian pyramids and actual neys
being found in the excavations at Ur. This indicates that the ney has been
played continuously for 4,500–5,000 years, making it one of the oldest
musical instruments still in use. It is a forerunner of the modern flute.
The ney consists of a piece of hollow cane or reed with five or six finger
holes and one thumb hole. Ney is an old Persian word for reed from the
Arundo donax plant. However, modern neys may be made of metal or plastic
tubing instead. The pitch of the ney varies depending on the region and the
finger arrangement. A highly skilled ney player can reach as many as three
octaves, though it is more common to have several "helper" neys to cover
different pitch ranges or to facilitate playing technical passages in other
maqamat.
Mizmar(Arabic: مزمار) is any single or double reed
wind instrument. In Egypt, the term mizmar usually refers to the conical
shawm that is called zurna in Turkey. Mizmar is also a term used for a group
of musicians, usually a duo or trio, that play a mizmar instrument along
with an accompaniment of one or two double-sided bass drums, known in Arabic
as tabl baladi or simply tabl. Mizmars are usually played in Egypt at either
weddings or as an accompaniment to belly dancers. In Lebanon, Palestine, and
Syria, it is influenced by the Turkish zurna, a higher-pitched version of
the mizmar, and may also be known in those countries as a zamr (زمر) or
zamour, as well as mizmar. In Morocco a similar instrument is called ghaita
or rhaita (غيطه). Along with belly dancing, the mizmar may accompany the
dabke, a folkloric line dance done in Lebanon, Syria, Palestine, and Iraq.
kāwālā
(Arabic: كاوالا or كولة; also called salamiya, سلامية) is an end-blown cane
flute used in Arabic music. It is similar to the ney but has six finger
holes, while the ney has seven (including one in the back). The kawala comes
in up to nine different sizes, according to the maqam.
mijwiz
(Arabic: مجوز) is a traditional musical instrument of ancient Egypt and the
Levant. Its name in Arabic means "dual," or "married" because of its
consisting of two, short, bamboo reed pipes put together, making the mijwiz
a double-pipe, single-reed woodwind instrument.
The mijwiz consists of two pipes of equal length, between 6
and 8 centimeters; each pipe has around five or six small holes for
fingering. It requires a special technique of playing known as "circular
breathing," and can only be done by trained musicians. The mijwiz is played
in Egypt and the Levant as an accompaniment to either belly dancing or dabke,
the folkloric line dance of the Levant. Although Egyptian in origin, the
mijwiz is most popular today in the Levant (Lebanon, Palestine, and Syria).
Many popular folk songs either include the mijwiz on recordings
Winds Gallery