Small, circular frame drum with jingles, of the Arab countries (see Drum §I, 2(vi)). It is used in Egypt, Iraq, Lebanon, Palestine, Sudan and Syria; in Libya, where it is rare, it is called mriqq. It is between 20 and 25 cm in diameter and is now effectively a man’s instrument. Descended from the duff (see Daff), like the Tār, the riqq acquired its name in the 19th century so that it could be differentiated.
Essentially an instrument of music for the connoisseur, the riqq, which is also called daff al-zinjāri in Iraq, is played in takht ensembles (Egypt, Syria) or shālghī ensembles (Iraq) where it has a particularly clearcut role, going beyond the simple rhythmic requirements of the duff, tār or mazhar, and exploding in a burst of imaginative freedom to colour the orchestra with gleaming sounds: this is quite unlike the role of the duff. In Sudan, where it seems to have been introduced recently, the riqq is also related to worship, as in upper Egypt.
The instrument is carefully made. Its delicate frame is covered on both the inner and outer sides with inlay (mother-of-pearl, ivory or precious wood, like apricot or lemon) and has ten pairs of small cymbals (about 4 cm in diameter), grouped in two slits, each having five pairs. The skin of a fish is glued on and tightened over the frame, which is about 6 cm deep. In Egypt the riqq is usually 20 cm wide; in Iraq it is slightly larger.
Traditionally, frame drums have been used to support the voices of singers, who manipulate them themselves; but the player of the riqq, like that of the doira of Uzbekistan, plays without singing. While the duff and the mazhar are held relatively still, at chest or face height, with the player seated, the riqq, because of the use of different tone-colours, may be violently shaken above the head, then roughly lowered to the knee, and played vertically as well as horizontally. The player alternates between striking the membrane and shaking the jingles, and his need for freedom of movement necessitates that he stand up. Students of the instrument are required to master the technical problems imposed by the timbre of the membrane and the jingles, both separately and in combination; aside from developing a virtuoso technique they also need to learn the many rhythmic cycles and the techniques of modifying them through creative invention.
H.al-Rajab: Al-maqām al-‘Irāqī (Baghdad, 1961/R)
H.Nixdorff: ‘Die Herstellung der syrischen Rahmentrommeln’, Baessler-Archiv, new ser., xvii (1969), 101–31
M.al-Hifnī: ‘Ilm al-ālāt al-mūsīqiyya [Understanding musical instruments] (Cairo, 1971)
A.A.Bulos: Handbook of Arabic Music (Beirut, 1971)
H.H.Touma: La musique arabe (Paris, 1977)
CHRISTIAN POCHÉ