Instruments

A goblet-shaped hand drum producing the fundamental Dum and Tak vocabulary of Arabic percussion. The central strike creates the low, resonant Dum, while strokes near the rim create sharper Tak and Ka sounds. Advanced players add rolls, slaps, snaps and extremely fast ornamentation.

A small frame drum, traditionally with a fish-skin head, fitted with several pairs of brass cymbals. It can produce bass strokes, dry rim sounds, finger rolls and brilliant metallic jingles. Its surprisingly wide sonic vocabulary allows a skilled player to perform very sophisticated rhythmic cycles.

It looks like a large darbuka but produces significantly deeper and heavier bass. Its Dum is broad and powerful and often provides the bottom end of a percussion ensemble.

Four small brass cymbals are worn on the thumbs and fingers, generally one pair on each hand. Different combinations produce open ringing tones, muted clicks and complex rhythmic patterns.

A large cylindrical wooden drum with skin stretched over both ends. It hangs from the musician's body and is played with two sticks: a heavier stick produces a deep Dum and a thinner stick creates the sharper Tak.

A circular wooden frame with a skin stretched across one side. Sizes vary greatly, producing anything from a light, articulate tone to a deep bass pulse.

A heavy frame drum, usually much larger than a riqq, sometimes fitted with large brass cymbals. It produces a powerful, booming drum sound combined with metallic resonance.

A heavy frame drum with a deliberately blunt, muted tone. It is normally held between the knees and struck primarily with the hands.

Usually a relatively large frame drum with a deep, earthy sound. Many traditional versions have snare strings stretched against the underside of the head, adding a buzzing resonance.

Small, cylindrical, double-headed and relatively high-pitched. Several mirwas drums may be played together, creating crisp interlocking rhythmic patterns.

A narrow wooden drum with a small membrane and an unusually dry, sharp and penetrating sound. It can produce extremely rapid finger patterns.

A short-necked, pear-shaped fretless lute played with a plectrum called a risha. Because it has no frets, a player can perform the microtonal intervals required by Arabic maqamat. Its sound is warm, woody, intimate and highly expressive.

A large trapezoidal plucked zither with many strings grouped in courses. Small levers allow rapid pitch changes so the player can move through Arabic maqamat. Its sound is bright, sparkling and extremely precise.

Structurally it is a violin, but Arabic technique can sound very different from Western classical playing. Slides, strong vibrato, microtonal intonation, ornamental runs and expressive sustained notes are common.

Depending on the region, it may have one or two strings and a skin-covered resonator. Egyptian folk versions often have a raw, nasal and emotionally direct tone.

Smaller-bodied and longer-necked than an oud, with frets and metallic strings. Its sound is brighter, sharper and more metallic than an oud.

A long-necked fretted lute with a pear-shaped body and metal strings. Movable or tied frets allow pitch organization suited to Turkish modal music.

A small plucked lyre with an open, bright and rhythmic sound.

A large bowed string instrument with a deep, warm and resonant register.

The lowest standard bowed string instrument, producing deep sustained bass notes or rhythmic pizzicato lines.

An amplified fretted string instrument. In Arabic music its identity comes less from the instrument itself and more from ornamentation, phrasing and sometimes modified fretting.

A low-pitched amplified string instrument that provides bass lines beneath percussion and melody.

A long open-ended cane flute played obliquely across the rim. Its sound is breathy, warm, intimate and sometimes haunting. Skilled players can produce extremely subtle pitch and dynamic changes.

A loud double-reed pipe with a penetrating, nasal tone designed to carry over drums and outdoor crowds.

A reed flute somewhat shorter and broader than many classical nays. Its tone is earthy, breathy and strongly connected with Egyptian folk sound.

A loud conical double-reed instrument with a piercing outdoor sound.

Two narrow pipes are tied together and sounded simultaneously. Circular breathing enables continuous sound. Its tone is bright, reedy, insistent and immediately recognizable.

It consists of a melody pipe and a second pipe producing a continuous drone. Circular breathing allows the sound to continue without interruption.

A single-reed woodwind capable of smooth glissandi, dramatic pitch bends, fast runs and a wide dynamic range.

A single-reed metal-bodied wind instrument capable of both smooth sustained tones and powerful sharp attacks.

A brass instrument with a bright, brilliant and powerful tone. Arabic players can use bends, ornaments and phrasing to bring it into a maqam-oriented musical context.

A free-reed instrument operated with a keyboard/buttons and bellows. Arabic accordion can sound nasal, warm, gritty or extremely emotional.

An electronic keyboard instrument with sustained electric tones. Arabic organ playing combines melodic lines with simple chords and ornamentation.

A synthesizer/arranger keyboard capable of quartertones, sampled oud, qanun, mijwiz and other timbres, and built-in rhythm patterns.

In Arabic music the piano can be used either conventionally or primarily as a melodic maqam instrument. Modified historical examples attempted to overcome the pitch limitations of the standard Western keyboard.