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The Reed, called “Ramish” in Armenian (pronounced “rah-meesh”), is technically made up of two parts: a reed and a
metal mouthpiece. The reed itself is basically the inner part of a small cane tube that has been flattened on one side in
order to vibrate against itself and create a tone, while the other end connects to the metal mouthpiece. The mouthpiece is
actually a conical tube and thereby acts as an adaptor by allowing the small diameter of the reed’s hole size to be fitted to
the larger hole diameter of the instrument itself. It should be noted that once the reed gets fitted to the metal piece, it is
treated as one unit and stays attached until it wears out or splits. It is important that the reed only be open to the point that
it can sound it’s note without pinching and squawking. It will probably be necessary to wet the ramish to get it to open.
This is done by actually putting a small amount of water in a glass and (with the closing cap off…) and just putting the
reed into the water. You should check it every thirty seconds, or so, and once it begins to open you should finish the job
by placing the reed in your mouth and breathing hot air on it until it opens up enough for you to play. However, keep in
mind that if the aperture becomes too open, it will be even harder to play and keep in tune. In order to regulate this,
attached to the reed is a small, closing cap that fits on the end of the reed and serves to keep it from opening too much
when it is not being played. It should be noted that the reed should always be stored with the cap on.
Finger Positions:
B) top view straight down for top 3 and lower hand 4 finger positions
The fingers are relaxed, at ease, and slightly curved. It may help to think of this looseness as originating in your arms,
then flowing down into your wrists, and hands. The top hand only covers the top 3 holes along with the thumb hole, and
uses the tips of the fingers (see photo “A” above). The bottom hand covers the final 4 playable holes, but unlike the top
hand, the middle sections of the fingers are used to cover the holes (see photo “B” above). There is an 8th hole at the very
bottom and that is left open for tuning.
You should begin by playing the notes all the way off and on. What you will probably notice is that you will need to
adjust your breath in order to keep the notes in tune. In general this will mean that you will have to push progressively
harder as you go higher up on the instrument or else the notes will become flat at the top. Each note will have its’ own
different needs and you will have to adjust your playing to get them to work (ie. be in tune and not pinch up and squawk).
You should probably work on all of the completely open notes on an individual basis and in a progressive sequence. Then
once you have these clean, start to run intervals and then basic melodies. Only after you can do this should you start to
look at the half holing technique of getting a chromatic scale. You then work on the same things as you did with the open
hole technique.
It is interesting to note that in Armenia, zurnas are traditionally played in pairs, with one person playing the melody and
one person playing a continuous drone note called the “dam”, or “damkesh”. In Armenia, it is common for a student to
hold the note for a teacher as part of his learning the instrument because it helps to develop their muscles as well as to
perfect their intonation. This “circular breathing” is done by puffing up the cheeks with air while you areplaying, then
when you need to breath, you cut off the air in your throat. At this point, you simultaneously use the reserved air in your
cheeks to keep the note going as you refill your lungs through your nose. You then reengage your lungs and the note
never falters…It may help to use an analogy here: think of the whole process as if you were releasing and then reengaging
the clutch in the manual transmission of a car, while keeping it in the same gear. Your cheeks are the clutch.