The yueqin or yue qin (Chinese: 月琴, p yuèqín), formerly romanized as yüeh-ch‘in and also known as the moon guitar, moon lute, gekkin, wolgeum, or la-ch‘in, is a traditional Chinese string instrument. It is a lute with a round, hollow wooden body which gives it the nickname moon guitar. It has a short fretted neck and four strings tuned in courses of two (each pair of strings is tuned to a single pitch), generally tuned to the interval of a perfect fifth. Occasionally, the body of the yueqin may be octagonal in shape.[1] It is an important instrument in the Peking opera orchestra, often taking the role of main melodic instrument in lieu of the bowed string section. The frets on all Chinese lutes are high so that the fingers never touch the actual body—distinctively different from western fretted instruments. This allows for a greater control over timbre and intonation than their western counterparts, but makes chordal playing more difficult.

According to tradition, the instrument was invented in China during the 3rd- to 5th-century Jin Dynasty.[2] The ruan, another Chinese instrument, is the ancestor of the yueqin.[2] The name yueqin once applied to all instruments with a moon-shaped soundboard, including the ruan; however, "yueqin" now applies to a separate category from the ruan family.
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https://en.wikipedia.org/wiki/Yueqin

Yueqin

The tanbūra is a bowl lyre of the Middle East. It takes its name from the Persian tanbur via the Arabic tunbur (طنبور), though this term refers to long-necked lutes.[1] The instrument plays an important role in zār rituals.[1] The instrument probably originated in Upper Egypt and the Sudan [1] and is used in the Fann At-Tanbura in the Persian Gulf Arab states.

Played in "Egypt, Sudan, Djibouti, North Yemen, Southern Iraq and the Gulf States.
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https://en.wikipedia.org/wiki/Tanb%C5%ABra_(lyre)

Tanbura

The goblet drum (also chalice drum, tarabuka, tarabaki, darbuka, derbake, debuka, doumbek, dumbec, dumbeg, dumbelek, tabla, tablah, tableh, toumperleki, tumbak, or zerbaghali,[1] (Egyptian Arabic: دربوكة‎ / "Romanized": Darbuka) is a single head membranophone with a goblet shaped body used mostly in Egypt and is considered the National symbol of Egyptian Shaabi Music,[2] also in parts of the West Asia, North Africa, South Asia, and Eastern Europe.[3] The African djembe-wassolou is also a goblet membranophone.[4] This article focuses on the Eastern and North-African goblet drum.
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https://en.wikipedia.org/wiki/Goblet_drum

Tablah

A tabla[nb 1] is a pair of twin hand drums from the Indian subcontinent. Since the 18th century, tabla has been the principal percussion instrument in Hindustani classical music,[3] where it may be played solo, as accompaniment with other instrument and vocals, and as a part of larger ensembles. Tabla is also frequently played in popular and folk music performances in India, Bangladesh, Pakistan, Nepal, Afghanistan and Sri Lanka.[4][5] The tabla is also an important instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing.[6][7] It is one of the main qawali instrument used by Sufi musicians.[8] Tabla also features in dance performances such as Kathak.[9]

The name tabla likely comes from tabl, the Arabic word for drum.[10] The ultimate origin of the musical instrument is contested by scholars, though some trace its evolution from indigenous musical instruments of the Indian subcontinent.[11]

The tabla consists of two small drums of slightly different sizes and shapes.[4][12] Each drum is made of hollowed out wood, clay or metal. The smaller drum (daya) is used for creating treble and tonal sounds, while the primary function of the larger drum (bayan) is for producing bass. They are laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membranes for tuning the drums.
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https://en.wikipedia.org/wiki/Tabla

Tabla

The sitar (English: /ˈsɪtɑːr/ or /sɪˈtɑːr/; IAST: sitāra) is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in medieval India and flourished in the 16th and 17th centuries and arrived at its present form in 18th-century India.

Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s.[1] In the 1960s, a short-lived trend arose for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as the Beatles, the Doors, the Rolling Stones, Metallica and others.
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https://en.wikipedia.org/wiki/Sitar

Sitar

The shehnai is a musical instrument, originating from the Indian subcontinent. It is made out of wood, with a double reed at one end and a metal or wooden flared bell at the other end.[1][2][3] It’s sound is thought to create and maintain a sense of auspiciousness and sanctity and as a result, is widely used during marriages, processions and in temples although it is also played in concerts. It was a part of the Naubat or traditional ensemble of nine instruments found in the royal court. The shehnai is similar to South India's nadaswaram.
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https://en.wikipedia.org/wiki/Shehnai

Shehnai

The saung (Burmese: စောင်း, MLCTS caung: IPA: [sáʊɰ̃ɡaʊʔ]; also known as the saung-gauk, Burmese harp, Burma harp, or Myanmar harp), is an arched harp used in traditional Burmese music. The saung is regarded as a national musical instrument of Burma. The saung is unique in that it is a very ancient harp tradition and is said to be the only surviving harp in Asia.
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https://en.wikipedia.org/wiki/Saung

Saung

The sanxian (Chinese: 三弦, literally "three strings") is a Chinese lute—a three-stringed fretless plucked musical instrument. It has a long fingerboard, and the body is traditionally made from snake skin stretched over a rounded rectangular resonator. It is made in several sizes for different purposes and in the late 20th century a four-stringed version was also developed. The northern sanxian is generally larger, at about 122 cm (48 in) in length, while southern versions of the instrument are usually about 95 cm (37 in) in length.

Sanxian

The santur was invented and developed in the area of Iran and Mesopotamia (modern-day Iraq). "The earliest sign of it comes from Assyrian and Babylonian stone carvings (669 B.C.); it shows the instrument being played while hanging from the player's neck" (35). This instrument was traded and traveled to different parts of the Middle East. Each country customized and designed its own versions to adapt to their musical scales and tunings. The santur was originated in the country that is known today as Iran. The original santur was made with tree bark and stones, and strung with goat intestines. The Mesopotamian santur has been claimed to be the father of the harp, the Chinese yangqin, the harpsichord, the qanun, the cimbalom, and the American and European hammered dulcimers.
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https://en.wikipedia.org/wiki/Santur

Santur

Rubab, robab or rabab (Pashto: روباب, Persian: رُباب‎, Urdu: روباب‎, Kashmiri: روباب,Sindhi: رباب Azerbaijani: Rübab, Turkish: Rübab, Tajik and Uzbek рубоб) is a lute-like musical instrument originating from Northern Pakistan and Afghanistan.[1] The rubab is one of the national musical instruments of Afghanistan and other areas inhabited by the Pashtun,Baloch and also played by Sindhi people in Sindh and by Kashmiri people in Kashmir.[2] It proliferated throughout West, Central, South and Southeast Asia.[3] It derives its name from Arabic rebab 'played with a bow'; in Central Asia, however, the instrument is plucked and is distinctly different in construction.
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https://en.wikipedia.org/wiki/Rubab_(instrument)

Rubab

The qanun, kanun, ganoun or kanoon (Arabic: قانون‎, romanized: qānūn; Sorani Kurdish: قانون‎, romanized: qānūn; Greek: κανονάκι, romanized: kanonaki; Hebrew: קָנוֹן‎, qanon; Persian: قانون‎, qānūn; Turkish: kanun; Armenian: քանոն, romanized: k’anon; Azerbaijani: qanun; Uighur: قالون, romanized: qalon) is a string instrument played either solo, or more often as part of an ensemble, in much of the Middle East, North Africa, West Africa, Central Asia, and southeastern regions of Europe. The name derives from the Arabic word qanun, meaning "rule, law, norm, principle", which is borrowed from the ancient Greek word and musical instrument κανών (rule), which in Latin was called canon (not to be confused with the European polyphonic musical style and composition technique known by the same name). Traditional and Classical musics executed on the qanun are based on Maqamat or Makamlar. The qanun traces its origins to a stringed Assyrian instrument from the Old Assyrian Empire, specifically from the nineteenth century BC in Mesopotamia. This instrument came inscribed on a box of elephant ivory found in the old Assyrian capital Nimrud (old name: Caleh), which is located about 35 km from the city of Mosul in Iraq.[1] The instrument is a type of large zither with a thin trapezoidal soundboard that is famous for its unique melodramatic sound.
https://en.wikipedia.org/wiki/Qanun_(instrument)

Qanoon

A qanbūs (Arabic: قنبوس‎) is a short-necked lute that originated in Yemen[1] and spread throughout the Arabian peninsula. Sachs considered that it derived its name from the Turkic komuz, but it is more comparable to the oud.[2] The instrument was related to or a descendant of the barbat, a (possibly) skin-topped lute from Central Asia.[3] The qanbūs has 6 or 7 nylon strings that are plucked with a plectrum to generate sound. Unlike many other lute-family instruments, the gambus has no frets. Its popularity declined in Yemen during the early 20th century reign of Imam Yahya; by the beginning of the 21st century, the oud had replaced the qanbūs as the instrument of choice for Middle-Eastern lutenists.

Yemen migration saw the instrument spread to different parts of the Indian Ocean. In Muslim Southeast Asia (especially Indonesia, Malaysia and Brunei), called the gambus, it sparked a whole musical genre of its own. Nowadays it is played in the traditional dance of Zapin and other genres, such as the Malay ghazal and an ensemble known as kumpulan gambus ("gambus group"). In the Comoros it is known as gabusi,[4] and in Zanzibar as gabbus.
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https://en.wikipedia.org/wiki/Qanb%C5%ABs

Qanbus

The pipa, pípá, or p'i-p'a (Chinese: 琵琶) is a four-stringed Chinese musical instrument, belonging to the plucked category of instruments. Sometimes called the "Chinese lute“, the instrument has a pear-shaped wooden body with a varying number of frets ranging from 12 to 31. Another Chinese four-string plucked lute is the liuqin, which looks like a smaller version of the pipa. The pear-shaped instrument may have existed in China as early as the Han dynasty, and although historically the term pipa was once used to refer to a variety of plucked chordophones, its usage since the Song dynasty refers exclusively to the pear-shaped instrument.

The pipa is one of the most popular Chinese instruments and has been played for almost two thousand years in China. Several related instruments are derived from the pipa, including the Japanese biwa and Korean bipa in East Asia, and the Vietnamese đàn tỳ bà in Southeast Asia. The Korean instrument is the only one of the three that is no longer widely used.
https://en.wikipedia.org/wiki/Pipa

Pipa

The oud (Arabic: عود‎[1][2][3] ʿūd [ʕuːd]) (Somali: cuud) is a short-neck lute-type, pear-shaped, fretless stringed instrument[4] (a chordophone in the Hornbostel-Sachs classification of instruments), usually with 11 strings grouped in 6 courses, but some models have 5 or 7 courses, with 10 or 13 strings respectively.

The oud is very similar to modern lutes, and also to Western lutes.[5] Similar instruments have been used in the Middle East, North Africa (particularly the Maghreb, Egypt and Somalia), and Central Asia for thousands of years, including Mesopotamia, Egypt, the Caucasus, the Levant, and Balkanic countries like Greece, Albania and Bulgaria; there may even be prehistoric antecedents of the lute.[6] The oud, as a fundamental difference with the western lute, has no frets and a smaller neck. It is the direct successor of the Persian Barbat lute.[7] The oldest surviving oud is thought to be in Brussels, at the Museum of Musical Instruments.
https://en.wikipedia.org/wiki/Oud

The morin khuur (Mongolian: морин хуур), also known as the horsehead fiddle, is a traditional Mongolian bowed stringed instrument. It is one of the most important musical instruments of the Mongol people, and is considered a symbol of the nation of Mongolia. The morin khuur is one of the Masterpieces of the Oral and Intangible Heritage of Humanity identified by UNESCO.
https://en.wikipedia.org/wiki/Morin_khuur

Morin Khuur

The mirwās or marwas (Arabic: مرواس‎), plural marāwīs (Arabic: مراويس‎) is a small double-sided hand drum originally from the Middle East. It is a popular instrument in the Arab States of the Persian Gulf, used in sawt and fijiri music. It is also common in Kuwait and Yemen.

Hadhrami migrants from Yemen took the instrument to Muslim Southeast Asia (especially Indonesia, Malaysia and Brunei), where it is used in Zapin and Gambus musical genres. A similar drum of this area is the Gendang.
https://en.wikipedia.org/wiki/Mirwas

Mirwas

The khim (Thai: ขิม, romanized: kʰǐm; Lao: ຂິມ, romanized: kʰĭm; Khmer: ឃឹម, romanized: kʰɨm) is a stringed musical instrument derived from the Mesopotamian or Persian Santur. It is similar to the Hammered Dulcimer or Cimbalom.[1] This khim was introduced to Cambodia, Laos and Thailand from China, where a similar (though, since the late 20th century, usually larger) instrument is called yangqin. It is played with two flexible bamboo sticks with soft leather at the tips to produce a soft tone. This instrument can be played by either sitting down on the floor with the khim on the floor, or by sitting on a chair or standing while the khim is on a stand. The khim produces a bright and expressive sound when played. It is made of wood, with brass strings that are laid across the instrument. The Australian-born musician and vocal artist Lisa Gerrard specialises in the use of a khim hammered dulcimer, featuring its music on several albums and performing with the instrument live on tour.
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https://en.wikipedia.org/wiki/Khim

Khim

The kamancheh (also kamānche or kamāncha) (Persian: کمانچه‎, Azerbaijani: kamança, Armenian: Քամանչա, Kurdish: کەمانچە ,kemançe‎) is an Iranian bowed string instrument used in Persian,[1] Azerbaijani,[2] Armenian,[3] and Kurdish music.[4] The kamanchech is related to the rebab which is the historical ancestor of the kamancheh and the bowed Byzantine lyra.[5] The strings are played with a variable-tension bow. It is widely used in the classical music of Iran, Armenia, Azerbaijan, Kurdistan, Uzbekistan and Turkmenistan with slight variations in the structure of the instrument.[6][7]

In 2017, the art of crafting and playing with Kamantcheh/Kamancha was included into the UNESCO Intangible Cultural Heritage Lists of Azerbaijan and Iran.
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https://en.wikipedia.org/wiki/Kamancheh

Kamancheh

The hulusi (traditional: 葫蘆絲; simplified: 葫芦丝; pinyin: húlúsī), also known as the cucurbit flute[1] and the gourd flute[2] is a free reed wind instrument from China, Vietnam and the Shan State and by the indigenous people of Assam. It is held vertically and has three bamboo pipes that pass through a Calabash gourd wind chest; the center pipe has finger holes and the outer two are typically drone pipes. It is not uncommon for a hulusi to have only one drone pipe while the second outer pipe is merely ornamental. The drone pipe has a finger hole which allows it to be stopped. Advanced configurations have keyed finger holes similar to a clarinet or oboe, which can greatly extend the range of the hulusi to several octaves.
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https://en.wikipedia.org/wiki/Hulusi

Hulusi

The zheng (Chinese: 箏; pinyin: zhēng; Wade–Giles: cheng) or guzheng (Chinese: 古箏; pinyin: gǔzhēng; lit. 'ancient zheng'), is a Chinese plucked zither. The modern guzheng commonly has 21, 25 or 26 strings, is 64 inches (1.6 m) long, and is tuned in a major pentatonic scale. It has a large, resonant soundboard made from Paulownia wood. Other components are often made from other woods for structural or decorative reasons. Guzheng players often wear fingerpicks made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands.

The guzheng is ancestral to several other Asian zithers such as the Japanese koto,[1][2][3] the Korean gayageum and ajaeng,[2][3] Mongolian yatga,[3] the Vietnamese đàn tranh,[2][3] the Sundanese kacapi and the Kazakhstan jetigen. The guzheng should not be confused with the guqin, a Chinese zither with 7 strings played without moveable bridges.

The guzheng has gone through many changes during its long history. The oldest specimen yet discovered held 13 strings and was dated to possibly during the Warring States period (475–221 BC).[4] The guzheng became prominent during the Qin dynasty (221–206 BC). By the Tang Dynasty (618–907 AD) the guzheng may have been the most commonly played instrument in China.[5] The guzheng is played throughout all of China with a variety of different techniques, depending on the region of China and the time period. It has beautiful timbre, broad range, rich performance skills, strong expressive power, and has been deeply loved by many Chinese people throughout history.

https://en.wikipedia.org/wiki/Guzheng

Guzheng

The garmon (Russian: гармо́нь, IPA: [gɐˈrmonʲ], (commonly, garmoshka), from garmonika (Russian: гармо́ника, IPA: [gɐˈrmonʲɪkə]), which means "harmonicа"), is a kind of Russian button accordion, a free-reed wind instrument. A garmon has two rows of buttons on the right side, which play the notes of a diatonic scale, and at least two rows of buttons on the left side, which play the primary chords in the key of the instrument as well as its relative harmonic minor key. Many instruments have additional right-hand buttons with useful accidental notes, additional left-hand chords for playing in related keys, and a row of free-bass buttons, to facilitate playing of bass melodies.

The garmons can be of two major classes: unisonoric, meaning that each button plays the same note or chord when the bellows is being expanded as it does when compressed, and bisonoric, in which the note depends on the direction of the bellowswork. Examples of unisonoric type are livenka (ливенка, after Livny, Oryol Oblast) and Khromka (Russian: Хромка, for "chromatic"). Bisonoric garmons are, e.g., Tula accordion (Russian: Тульская гармонь, after Tula) and talyanka (тальянка, "Italian")

Beside Russian folk music, the garmon is an important musical instrument for Caucasian (Ossetian, Azeri, Armenia, Georgian, Cherkess, etc.) and Mari folk in Volga and Ural regions. It's also used in popular music. Known also as the Harmonika (see Steirische Harmonika) it is very popular in Slovenia. Modern music is also played on the Garmon, with some artists achieving popularity in Europe and the United States of America. The Slovenian style of play differs from the Russian. There are over 300 popular ensembles in Slovenia, one ensemble often consisting of several singers and an accordionist, the musicians very often being young or middle-aged.

https://en.wikipedia.org/wiki/Garmon

Garmon

Ektara (Hindi: एकतारा, Urdu: اِک تارا‎, Bengali: একতারা, Nepali: एकतारे, Punjabi: ਇਕ ਤਾਰਾ, Tamil: எக்டரா; literally 'one-string', also called actara, iktar, ektar, yaktaro, gopichand, gopichant, golki Nepali: गोल्, gopijiantra, tun tuna) is a one-stringed musical instrument used in the traditional music of South Asia,[1] and used in modern-day music of Bangladesh, India, and Pakistan.[1] It originated in Bengal.

In origin the ektara was a regular string instrument of wandering bards and minstrels from India and is plucked with one finger. The ektara is a drone lute consisting of a gourd resonator covered with skin, through which a bamboo neck is inserted. It is used in parts of India and Nepal today by Yogis and wandering holy men to accompany their singing and prayers. In Nepal, the instrument accompanies the singing of the Ramayana and Mahabharata.[2]

It has two forms. One form resembles a lute. To make that version, a bamboo stick (90 cm long) is inserted through side of wooden bowl (called a "tumbo") and the top of the bowl is covered with deerskin. The instrument has a single string running from a peg at the top, down the length of the stick-neck, across a bridge on the deerhide soundboard, and is tied at the "spike" where the stick pokes through the bowl. The instrument's string is plucked with the musicians index fingernail.[3][2]

The other version uses a drum-like body, and a skin soundboard with a string attached (to bend the sound of the soundboard). Two bamboo lathes are attached to the side of the drumhead and the string goes from the soundboard to where the lathes meet. This version of the instrument may be played either by plucking the string or by tapping the drumhead. Squeezing and releasing the bamboo lathes puts pressure on the drumhead and bends the pitch up and down. This form is associated with the Bauls of West Bengal, as well as the Tharu people of Udayapur District, Nepal.

https://en.wikipedia.org/wiki/Ektara

Ektara

The dilruba (also spelt dilrupa)[1] is a bowed musical instrument originating in India. It is slightly larger than an esraj and has a larger, square resonance box. The dilruba holds particular importance in Sikh history.

It attained more global prominence in the 1960s through its appearance in songs by Western artists, such as the Beatles during their psychedelic phase (most notably in the song "Within You Without You").

https://en.wikipedia.org/wiki/Dilruba

Dilruba

The daf (Persian: دف‎, romanized: daf; Kurdish: def ,دەف‎;[1][2]), is a large Kurdish[3] and Persian[4] frame drum used in popular and classical music. It is also used in religious ceremonies among Kurds.[5] The Daf is considered the national musical instrument of Pakistan.

https://en.wikipedia.org/wiki/Daf

The cümbüş (/dʒuːmˈbuːʃ/; Turkish pronunciation: [dʒymˈbyʃ]) is a Turkish stringed instrument of relatively modern origin. It was developed in 1930 by Zeynel Abidin Cümbüş (1881–1947) as an oud-like instrument that could be heard as part of a larger ensemble.[1]

The cümbüş is shaped like an American banjo, with a spun-aluminum resonator bowl and skin soundboard. Although originally configured as an oud, the instrument has been converted to other instruments by attaching a different set of neck and strings.[2] The standard cümbüş is fretless, but guitar, mandolin and ukulele versions have fretboards. The neck is adjustable, allowing the musician to change the angle of the neck to its strings by turning a screw.[3] One model is made with a wooden resonator bowl, with the effect of a less tinny, softer sound.

https://en.wikipedia.org/wiki/C%C3%BCmb%C3%BC%C5%9F

Cumbus

Cumbus Tanbur

The buzuq (Arabic: بزق‎‎; also transliterated bozuq, bouzouk, buzuk etc.) is a long-necked fretted lute related to the Greek bouzouki and Turkish saz. It is an essential instrument in the Rahbani repertoire, but it is not classified among the classical instruments of Arab or Turkish music. However, this instrument may be looked upon as a larger and deeper-toned relative of the saz, to which it could be compared in the same way as the viola to the violin in Western music. Before the Rahbanis popularized the use of this instrument, the buzuq had been associated with the music of Lebanon and Syria.

Unlike the short-necked unfretted oud, the buzuq has a longer neck, smaller body and frets tied to the neck, which can be moved to produce the microtonal intervals used in the many maqamat (musical modes). Typically, it is furnished with two courses of metal strings which are played with a plectrum, offering a metallic yet lyrical resonance. Some instruments have three courses and up to seven strings total.

The name of the instrument may come from Turkish bozuk (broken or disorderly), it refers to Bozuk düzen bağlama, a tuning of Turkish baglama. Another theory on the origin of the name is that it comes from the Persian expression tanbur e bozorg, meaning a large tanbur style lute.

https://en.wikipedia.org/wiki/Buzuq

Buzuq

The balalaika (Russian: балала́йка, pronounced [bəɫɐˈɫajkə]) is a Russian stringed musical instrument with a characteristic triangular wooden, hollow body, fretted neck and three strings. Two strings are usually tuned to the same note and the third string is a perfect fourth higher. The higher-pitched balalaikas are used to play melodies and chords. The instrument generally has a short sustain, necessitating rapid strumming or plucking when it is used to play melodies. Balalaikas are often used for Russian folk music and dancing.

The balalaika family of instruments includes instruments of various sizes, from the highest-pitched to the lowest: the piccolo balalaika, prima balalaika, secunda balalaika, alto balalaika, bass balalaika, and contrabass balalaika. There are balalaika orchestras which consist solely of different balalaikas; these ensembles typically play Classical music that has been arranged for balalaikas. The prima balalaika is the most common; the piccolo is rare. There have also been descant and tenor balalaikas, but these are considered obsolete. All have three-sided bodies; spruce, evergreen, or fir tops; and backs made of three to nine wooden sections (usually maple).
https://en.wikipedia.org/wiki/Balalaika

Balalaika

The bağlama (Turkish: bağlama, from bağlamak, "to tie", pronounced [baːɫaˈma]) is a stringed musical instrument.

It is sometimes referred to as the saz (Persian: ساز‎, "to make; to compose", pronounced [sāz]) meaning an instrument. However, the term "saz" actually refers to a family of plucked string instruments, long-necked lutes[1] used in Ottoman classical music, Turkish folk music, Turkish Arabesque music, Azerbaijani music, Kurdish music, Armenian music and in parts of Syria, Iraq and the Balkan countries.

According to The New Grove Dictionary of Music and Musicians, "the terms 'bağlama' and 'saz' are used somewhat interchangeably in Turkey."[2] Like the Western lute and the Middle-Eastern oud, it has a deep round back, but a much longer neck. It can be played with a plectrum or with a fingerpicking style known as şelpe.

In the music of Greece the name baglamas (Greek: μπαγλαμάς) is given to a treble bouzouki, a related instrument. The Turkish settlement of Anatolia from the late eleventh century onward saw the introduction of a two-string Turkmen dutar, which was played in some areas of Turkey until recent times.
https://en.wikipedia.org/wiki/Ba%C4%9Flama

Baglama

Alghoza is a paired woodwind instrument used by Baloch, Sindhi, Kutchi, Rajasthani and Punjabi folk musicians. It is also called Mattiyan, Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze.[1] It consists of two joined beak flutes, one for melody, the second for drone. The flutes are either tied together or may be held together loosely with the hands. A continuous flow of air is necessary as the player blows into the two flutes simultaneously.[2] The quick recapturing of breath on each beat creates a bouncing, swinging rhythm. The wooden instrument initially comprised two flute pipes of the same length but over time, one of them was shortened for sound purposes. In the world of Alghoza playing, the two flute pipes are a couple — the longer one is the male and the shorter one the female instrument. With the use of beeswax, the instrument can be scaled to any tune.[3]

It is an important instrument in Balochi, Sindhi, Punjabi and Rajasthani folk music.[4] Gurmeet Bawa is a notable Punjabi folk singer who uses the instrument.

https://en.wikipedia.org/wiki/Alghoza

Alghoza

The koto (箏) is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese đàn tranh, the Sundanese kacapi and the Kazakhstan jetigen.[1] Koto are roughly 180 centimetres (71 in) in length, and made from Paulownia wood (Paulownia tomentosa, known as kiri). The most common type uses 13 strings strung over movable bridges used for tuning, different pieces possibly requiring different tuning. 17-string koto are also common, and act as bass in ensembles. Koto strings are generally plucked using three fingerpicks, worn on the first three fingers of the right hand.

Koto

The ney (Persian: نی / نای‎), is an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continually for 4,500–5,000 years[citation needed], making it one of the oldest musical instruments still in use.[citation needed]

The Persian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, and to provide a sharper and more durable edge to blow at. The ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may be made instead of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called neyzen, can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technically difficult passages in other dastgahs or maqams.
https://en.wikipedia.org/wiki/Ney

About the Artist - Bassam Saba
Bassam Saba is one of the nation’s leading figures of Arabic music. Saba is a world-renowned nay virtuoso and multi-instrumentalist, performing on oud, violin, buzuq, saz and western classical flute. Saba studied nay, oud and violin at the Lebanon National Conservatory. At the age of 17, he moved to Paris where he received his BA in Western Classical music and Flute Performance at the Conservatoire Municipal des Gobelins.

In 1979, Saba moved to Moscow to study at the prestigious Gnessin Musical Pedagogical Institute where he received an MA in Western Flute Performance and Music Education (1985). He later returned to Beirut where he began to work extensively with the biggest stars of the Arab World: Fairouz, the diva of Lebanon, and composers Marcel Khalife and Ziad Rahbani.

Saba moved to New York in 1991. Since then, he has worked with artists such as Yo-Yo Ma, Simon Shaheen, Wadi El-Safi, Paul Simon, Alicia Keys, Sting, Santana, and jazz musicians like Herbie Hancock, Sonny Fortune and Quincy Jones. Saba currently performs his compositions with his own group, directs the New York Arabic Orchestra, and performs with Simon Shaheen’s Al-Qantara and Near Eastern Music Ensemble; Yo-Yo Ma’s Silk Road Ensemble; and Christian Jarvi’s Absolute Ensemble, premiering a pioneering concerto for nay composed for him by Daniel Schnyder.

As a soloist, Saba has performed with multiple symphonic orchestras around the world, such as the Philharmonics of Hannover and Detroit. He has toured throughout the Middle East, Europe, North America, South America, Australia, Africa and Japan.

Saba is New York’s primary teacher and conductor of Arabic music, and is one of the few most sought-after teachers in the U.S. He has held numerous Arabic music workshops and lectures around the U.S., and has conducted numerous orchestras and ensembles at educational institutions such as Harvard University and the Arabic Music Retreat, the most prestigious camp for Arabic music in North America, attracting participants from all over the world. As a conductor, Saba has also led orchestras for Kazim Al-Saher and Sarah Brightman, and directed the Beirut Symphonic Orchestra.

Bassam Saba & April Centrone on DaAi TV – Taipei, Taiwan

Bassam Saba, Nay/Ney improvisation Taqseem

Alghoza is a paired woodwind instrument used by Baloch, Sindhi, Kutchi, Rajasthani and Punjabi folk musicians. It is also called Mattiyan, Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw, Satārā or Nagōze.
[1] It consists of two joined beak flutes, one for melody, the second for drone. The flutes are either tied together or may be held together loosely with the hands. A continuous flow of air is necessary as the player blows into the two flutes simultaneously.
[2] The quick recapturing of breath on each beat creates a bouncing, swinging rhythm. The wooden instrument initially comprised two flute pipes of the same length but over time, one of them was shortened for sound purposes. In the world of Alghoza playing, the two flute pipes are a couple — the longer one is the male and the shorter one the female instrument. With the use of beeswax, the instrument can be scaled to any tune.
[3] It is an important instrument in Balochi, Sindhi, Punjabi and Rajasthani folk music.[4] Gurmeet Bawa is a notable Punjabi folk singer who uses the instrument.

https://en.wikipedia.org/wiki/Alghoza

Alghoza 2

Welcome to my page https://omusik.com, where you get to know the most popular oriental ethnic music instruments of the peoples of the Asian continent, from Lebanon in the west to Japan in the east. My page is distinguished by its varied content and the technique of hearing the Solo clip for each instrument separately, with the availability of a link that helps you read more about the historical, cultural and geographical background.

Oriental music spans across a vast region, from Morocco to Japan. The various nations of the region include the Arab countries of the Middle East and North Africa, the Iranian traditions of Persia, Armenian music, the varied traditions of Cypriot music, the music of Turkey, traditional Assyrian music, Berbers of North Africa, and Coptic Christians in Egypt all maintain their own traditions. It is widely regarded that some Middle-Eastern musical styles have influenced India, as well as Central Asia, Spain, and the Balkans.
Throughout the region, religion has been a common factor in uniting peoples of different languages, cultures and nations. The predominance of Islam allowed a great deal of Arabic, and Byzantine influence to spread through the region rapidly from the 7th century onward.

The Arabic scale is strongly melodic, based on various maqamat (sing. maqam) or modes (also known as makam in Turkish music). Arabs translated and developed Greek texts and works of music and mastered the musical theory of the music of ancient Greece (i.e. Systema ametabolon, enharmonium, chromatikon, diatonon).[1] This is similar to the dastgah of Persian music. While this originates with classical music, the modal system has filtered down into folk, liturgical and even popular music, with influence from the West. Unlike much western music, Arabic music includes quarter tones halfway between notes, often through the use of stringed instruments (like the oud) or the human voice. Further distinguishing characteristics of Middle Eastern and North African music include very complex rhythmic structures, generally tense vocal tone, and a monophonic texture.

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