Chapter 3 Instruments

Are a living testimony to: 1. Arab History 2. Musical and Visual aesthetics 3. Social and Cultural facets of a rich, complex society 4. Important feature of musical unity in the contemporary AR world lies in the area of musical instruments. V.Imp to have an instrument capable of playing the music. EX: Microtones played on ud. For Qanun, 1 note is made up of 3 strings tied at the end in the wooden flap. There are 4 metals on each string which shape the maqam (b, #, [flat or sharp]...). Ex: in Turkey, they have 8 metal pieces. The main AR instruments are used in most AR countries.

Some instruments predominate: 1. End-blown reed flutes (mizmar qassab) 2. Double-reeds (mijwiz qassab) 3. Single reeds (Nay) 4. Fiddles (Qanan? Violin played with a bow) 5. Lutes 6. Frame drums Construction and playing techniques are affected by: 1. Local intonation and sound ideals (ex: walnut is the best for ud) 2. Availability of Construction Materials (ex: Nay has to have = length between segments) 3. External music influences 4. The functions assigned to each instrument 3 kinds of musical instruments: 1. String instruments a. Instrument played with a peck (risha) or sticks (ud, Qanun, Santur, Buzuq) b. Instruments played with a bow (violin family) (Rababa, jawza) 2. Wind instruments a. wooden (Nay, Mizmar, Mijwiz) b. Brass (Clarinet, Bouq) 3. Rhythm instruments a. (Riq [formal name for Daf], Tabla [dirbaka], Tabl [double sided], Mazhar) Some instruments are frequently associated with specific social functions: 1. Bowed instruments often accompany the solo voice, singer + accompanist are same person. The Bedouin Shair uses the Rababah to accompany the love song genre known as the ataba and the heroic poems known as Shruki and Qasid. Also, the Egyptian Shair uses the Rababa to accompany his recitation of the Medieval AR epic known after its hero, Abu Zayd al-Hilali. Mawwal forms = free vocal form mostly improvised and without musical instrument/rhythm. 2. Wind instruments (in folk music) are generally played outdoors. The mizmar of Egypt and the Tabl Baladi are used at weddings and festive events, mostly for the accompaniment of dance. At Lebm Syr, Pal weddings, the Mijwiz is used with the Dabke or line dance.

Takht Traditional AR ensemble typically made of one player of each of the primary instruments (5): ud, Qanun, Nay, Riqq, Kamanja (violin). Takht, literally platform, is a reference to the elevated area where musicians sat and played. It was used to mean either the group of instrumentalists or the complete ensemble, including the Mutrib (main vocalist) and the Sannidah (small supporting chorus). In the late 19th century, the Western Violin became an accepted takht instrument. After WW1, the Takht expanded into an orchestra that combined other instruments borrowed from the west, esp the violin fam. Tarab: enchantment or musical entertainment Mutrib: one who enchants others, to induce an ecstatic state in the listeners the singer. Old traditional AR male singers had high-pitched voices vs. females: low-pitched and strongly projected.

1) UD
Short-necked, pear-shaped, fretless instrument, 5 double courses (meaning 10 strings, each note is 2) of nylon and metal-wound silk strings (a 6th string was added by Bachir, critizied bcz sounded like guitar). Plucked with an eagles feather or piece of plastic. Old name = Mizhar, used to be leather covered. The sound box = Qasah (belly). The openings = Shamsiyyat Quill: Risha Rosette: Qamra Small plastic piece used to protect the wooden cover = Raqmah. Faras (place to tighten strings). Historic origin: back to pre-islamic days. Some speculation as to whether the AR or Persians first invented it. Some including Farther (AR history writer) credited the AR saying that Persians Lute was a later version. Great example of AR influence on EU music in Middle Ages, introduced when AR were in Andalusia known as Lute later. Diff players: 1. Riad El Sanbati Egypt 2. Mounir Bashir Iraq 3. Farid El Atrash Syria 4. Saeed Shreybi Morroco 5. Mohammad Al Cassabji Egypt (not great with speed and capacity but had special style) 6. Simon Shahim Palestine contemporary ud player ud musical characteristics: 1. Suitable for both solo and ensemble playing 2. Has a warm timbre 3. Microtonal flexibility 4. Known as amir al tarab = prince of enchantment 5. Used for accompanying singers in the AR world (ex: unline Qanun) 6. Few instruments among theorists, composers, and amateur performers

7. Visual ornamentation especially in the rosette design and wood inlay

2) QANUN
A psaltery with a right-angled trapezoidal shape with 26 sets of triple strings (18), every 3 in unison. Strings made of gut before, but now of nylon, metal, and copper, or silverwound silk. The bridge on the right-hand side sits on 5 rectangular pieces of fish slan, giving the instrument its char, brilliant sound. On the left-hand flipped up and down to supply intervals. Levers can change maqam of song. 1 note is made of 3 strings tied at the end in the wooden flap. There are 4 metals on each string which shape the maqam (b, #, ..) 8 in turkey to play their music. Before 20th century, qanun had no levers and performer precluded the accidentals using the left thumb. The strings are plucked by water buffalo horn picks held onto the index finger by metal rings. Qanun is used in classical and popular music. Origin: descended from ancient Egyptian harp and has been used since 10th century. Its name is derived from Greek, means Law, but not Greek inst. Dev and modified by Al Farabi (wrote grand book of music). Came to Europe 12th century through AR spain where it kept its name psaltery and form 15th century. Characteristics: 1. Powerful sound; gives impression of 2 isntruments because uses both hands (right: high pitch notes jawabat; left: low pitch notes, Qararat) 2. Essential in AR takht takht named after player or mutrib. EX: Mohammad El Aqqad (Egypt) improvising but playing ard the qanun, Imad Morkos (Leb). Iman Homsy: plays with 10 fingers not just index.

3) SANTUR
a kind of dulcimer of Persian and Iraqi origin. Consist of a shallow box made of chestnut wood, slightly trapezoidal in shape, 18 quadruple (7 2) brass strings tuned by pegs inserted in the side of the box. Metallic (high pitched qanun sound), even more powerful than it, not in AR takht Resembles qanun in shape, differs in way it is played. Qanun with metal ring on tip of index fingers plucks strings. Santur hits strings with 2 very light sticks with a broad blade end. Influenced greatly with music known to EU in 12th century, known as Dulcimertic of its sweet tones. The trad Iraqi ensemble: Ud, Qanun, and Nay are used in addition to 2 others that r locally important: 1. Santur, 2. Jawzah: a 4 string spike-fiddle (violin fam) whose box is a part of a coconut shell covered with skin.

4) NAY
Set of 7 nays Oldest inst. Persian word meaning flute. An urban instr. But attributed to shephers because of its dev and use. Appear sin some Sufi musical performances. EX: Ahmad El Brayn Egyptian Safi Sheikh. An open-ended obliquely blown flute (mouth does not cover full opening); made from reed. In Iraq and Levant some wind inst must appear in weddings and dances. Space between the holes differ depend on what interval is needed. One hole in the backside of the reed is used to control the notes Extremely expressive and capable of producing dynamic and tonal inflections. Has a wide range of almost 2 octaves Called Minjayrah in Leb Shabbabah (Pal.): flute type with a limited melodic range, often combined with the performers intermittent humming. In weddings raqs. Mijwiz (Leb): literally doubled 2 identical reed tubes each with 5-6 holes. Fitted into each tube is a smaller tube, slit in a manner to vibrate and produce sound used with dabke Mizmar (Egypt) with tabl baladi wedding festivities. Mitbiq (Iraq) Yarghul (Palestine): same blowing technique and construction as Mijwiz but just one melody tube and a longer tube with no holes to produce a drone (sustained accompanying sound). Mijwiz and other doubled clarinets are played by circular breathing to produce a continuing sound without interruptions.

5) BUZUQ like ud but high-pitched (Tom & Jerry)

Smaller body, longer neck than ud; 2 or 3 strings (3 is better because more capacity). Played in both folk and urban context in the Levant and Iraq. It has a metallic and bright timbre that can be used very effectively to accompany a singer. Hands move along neck to play (unlike ud). A long-necked fretted lute with metal strings. Resembles the Turkish saz from which it appears to have been derived. One of the greatest Arab players: Matar Mohd An older buzuq player and maker: Mohamad Abdel Karim Persian Setar (Se 3) (tar: strings) Persian musical instrument, member of lute family with 3 strings.

6) RABABAH
Sad sound (Ex: Mahdi Zarour). Bedouin Rab is most employed throughout this region. Capable of a side range of dynamic accents and ornaments and it is the essential melody instrument of the nomadic Bedouins. played by poet singer to accompany heroic and love songs.

Egyptian shair uses it to recite medieval AR epic known after Abu Zayd Al Hilali A quadrilateral sound box covered with skin and a single string made from horsehair. One of the earliest forms of violin and ancestor of violin. Rab in Egypt is a 2-string spike fiddle with a sound box from coconut shell. Moroc. Moorish Rabab: small boat-shaped fiddle similar to Eur febec.

7) TABLA
Used more in popular and dance AR music. Did not exist in original AR takht. Riq (Daff) is more suitable for classical AR music (muw) Riq is most difficult percussion instrument, small tambourine, typically used by Leb, performance of Zajal (song folk; poetry) In the Gulf (Kwt, Bah, Qatar), they use Jahlah: clay pot. In Gulf, percussion plays central role in music. Construction and sonority: reflect exposure to Levant and Africa and south Asia with sticks to drum with both hands and the Mirwas (like mini tabl). The songs of the pearl fishermen: fijri with percussion sounds by group clap Riq and table used to do it from skin, now plastic Toned by heating Tabl: large double-sided drum Table: derbakkah: vase-shaped hand drum placed on thigh, Dum is beaten on center of skin with open right hand, Tak on edge, fingrse of left hand produce ornaments by beating on edge of skin. It is largely used for popular dance music and folk songs.

8) KAMANJAH
History: evolution of Rab that AR took to Andalusia. It evolved from 2 to 4 strings, EU liked it and started working on string instrument with a bow. FR did first EU version of Rababah called Rebec (medieval instrunment). Kept developing it till most refined version violin. Charac: essential member of the takht. The western violin, Karam or kamanjah, has been fully adapted to the AR musical ideal in matters of tuning and playing techniques.