‘ocna, Miamar, Raita end Zatra Care and Feeding ‘The Zurn, the Tuckish folk shwm, and the seplosal variants Ibcluding to Egypta/Levanine Mima, Nort Afican Raitt, and Tunisian, Zukza, are populse outdoe, fesval, celebration and Ceremonial reed instments, Baleally the same. deiga, they vary fino details ofthe tape of the body and even moreso in playiog ple however from an ergaoloieal polat of view, they are virauly, nial All are stepped-coical bore construction, with 7 fingeroles end eae tumble, and small tlag Boles near te bell, ‘They have no dyeamie range a1 they are fre blowing reeds not onvlled ty the hip, but they have a marvelous loud pene fone tat are listenerr and cancers. ‘A closely slate instrument isthe Chinese Suons, whlch was Susp feom the Middle Eastern versions centres ago. The Suora Shores the Bogereg sytem, bot licks the tuning holes Git has « meta tei) end isa fully coneal bore. The Chinese reeds, however ae hen the fiat ebolce ef many suraa and suora players inthe United Siates due to their superior plying characterises aed availablity ‘To sound the Zar (Fl se shit term to cover all vasiant Teseumonts) the seed must be wel, and fully in the mouth beh the toes air amoont of breath presse fs needed, comparable to 2% tumor Bagpipe. Many payers use a lip cing, «ise with» fot that fis on the saple beween the reed and We lop of the hor. Some sie simply + poker chip with hole dled in the centet, and front be atiacked before the feed is fixed 10 the staple (he metal: oath design its round piece of esconut shell with an oval cat-ut sihich can be placed on the tuple over the already wlached reed. ‘The Chinese Suonn bar a metal ring permanently stuched to the Staples Once in't while te Middle Eastern ones wre made this way, bot i is rae “The Scale of the Zurn faily is roughly major, bat the 31d and 70h fre somewhat lower than iempered tuning, although Tipping. nnd Aicholing wil allow paying of all chrome tones. The types sie Plays from the fuadarestal note O: otber saes te avalale, both Fighe and lover, but te G is he most sommen, ‘Thos, the typieal aura plays a rage of G to A, a lath, ints fundamental register where imost playing is done. Ovetloviag Is ppossble, wsutly up C or D above, but i fficat aad requires Geveloped bres tupport and con Regional styles vary in the amount of tongung used, circular brenthing, orientation repetolee and euomary age. Cacefl Tisteiag to tecordags wil show te many difereaces In pecformuace practices. Typically, « Turkish player uses mech circular bretthing and lle or 20" tong ‘Egyplaa much more tnguiag, for example ‘The reeds mut be tuned wo the instrument the lowest note, 6, played with all flageholes closed should be matched by the Nigher fate G played by opening al holes bu the highest Bole (st finger lett had), and the Avsounded wit) the lowest ole open and the fctaye A with all holes open shoud be use octaves. If not, be mest ommon problem is the oper notet being ft which ir comected by avefallyteimmisg Say amount from ie end of the feed. Be very ref, 4a tia tery small Inrements a5 removal of too much fmatedal will render the red vsless Sometimes a red is too soft t sound the upper notes, which require ‘more preisre thn the lover oes Ose remedy Isto crefily bute ‘he edger of Oe reed with a cgarete This is easier for nave playere ts they almost all moka! Ths sens the came nd often makes i work over he entre range. Many players ran water throught the ence horn by pouting some in the Bell snd eting ft dein out though the staple and the fingetole. This seme to make Kt ow easier OF cours 1 it suggested that the Inseumeat body be cled inside and out with ‘Sweet almond oll fs, like all fine woodwinds, to prevent erckig. Currently these ae no English language techiag matrels for the sorma and ie elativesthumb Left Hond © Teele: Hand