بررسی آکوستیکی نغمات بالقوه و بالفعل نی با تأملی بر امکان افزایش نغمات بالقوه

Ney-e-Haftband (referred to as Seven-curved reed in Persian) is the only Iranian aerophone musical instrument with acoustically simple and natural structure. This instrument adjusts to the Iranian musical-instrumental system, and now it is one of the main Iranian classic musical instruments and the only aerophone instrument used either for solo or better complementation of the sound of music groups. This reveals its high capacities and desirable sound, but producing all Iranian classic musical Potential notes with this instrument is not possible or has some problems. The lack of some Active notes in this instrument, such as B note in the bass register, prevents the bass sound from connecting to the treble register and the unity of these two sounds. Also, in some tonalities of Dastgahs or Avazes, performing opening Goushes, such as Daramad which should be rationally and acoustically performed in the bass register, are not practical, and they should be inevitably performed in this (thirds sound of) sound. Creating more holes using extant technologies in the industry of manufacturing wind instruments can be a good way for improving the capabilities of this instrument and solving the mentioned problems. In this study, acoustic the construction of the including several Potential and Active notes were examined, and then a plan was offered for increasing the notes and connecting bass sound to the peak. This research was conducted based on the experiences of players and field studies were done with the help of some present teachers and players. Conducted studies about six holes and its evolution trend in the past and the shift from lip blow into dental blow showed that in the present shape, masters of this instrument have performed maximum and the best notes using six fingers with the most suitable distances. Accordingly, any change in the place of previous holes- six natural holes existing on the instrument- and any mess in the present distances can’t be a solution for the mentioned problems. Based on the studies and interviews with the players and manufacturers of this instrument and different tests in the past four years, a compelling plan was offered on the completion and optimization with the cooperation of a traditional music researcher-Rasool Sadeghi and the author which can be a solution for this issue. In the Keyed Ney, four new notes were created, three above the holes and one inside the setting. Creating B note and alliterates of this note along with C note, following bass sound is important in creating the connection of bass sound to the peak and increasing capability of the instrument. The integrity of the sounds and connecting bass sound to the peak provides the possibility of performing better and easier different tonalities in the Dastgahs or Avazes and more facilities for performing different Goshes in their proper frequencies.