Introduction
An Afghan rabab being played, showing the mother-of-pearl (sadaf) inlay on its neck. The rabab is plucked with a plectrum (Shabaz) rather than bowed.
The Rabab (alternatively spelled Rubab, Robab, or Rebab) is a lute-like string instrument that originated in Central Asia. It holds a revered place in many cultures – celebrated as the “lion of instruments” in Afghanistan and recognized as the first instrument used in Sikh devotional music. Carved from mulberry wood with a goatskin soundboard and strung with gut or nylon strings, the rabab produces a rich, soulful tone that has enchanted listeners for centuries. This comprehensive guide explores everything about the rabab: its history and evolution, cultural and religious significance, variations across regions, construction and materials, musical techniques, as well as practical tips on buying, tuning, maintenance, and learning to play this remarkable instrument. Whether you’re a musician, student, cultural historian, or curious listener, read on to discover why the rabab remains an enduring symbol of musical heritage across the world.
What is the rabab? In simple terms, the rabab is a short-necked plucked lute with multiple strings. It typically has three main melody strings (originally gut, now often nylon), several drone strings, and a set of sympathetic strings that resonate to produce a characteristic echo. Unlike its Middle Eastern namesake the rebab (an Arabic fiddle played with a bow), the Central and South Asian rabab is played by plucking with a pick. Its warm, deep sound and haunting sustain make it ideal for both rhythmic folk tunes and intricate classical melodies. Over time, the rabab has given rise to other instruments (the North Indian sarod evolved from it) and has spread far beyond its homeland into global music. In the following sections, we’ll delve into 67 key aspects of the rabab – from ancient origins and legendary players to modern usage, instrument types, care instructions, pricing, and more – making this a definitive one-page reference for enthusiasts and experts alike.
(In this guide: we’ll use “rabab” and “rubab” interchangeably for the same instrument. The term “rebab” will refer to the bowed variants or the broader family context when mentioned.)
History and Origins of the Rabab
The rabab’s story stretches back well over a millennium. Historical records and artifacts trace the rabab to at least the 7th century CE, making it one of the oldest known string instruments in the region. Early Persian writings mention the rabab, and it appears in the poetry of Sufi mystics, indicating its presence in the cultural life of the Islamic Golden Age. In fact, many Sufi poets referenced the rabab in verses as a metaphor for divine music and love. A 13th-century ceramic plate from Rayy, Iran depicts a rubab-like lute, showing the instrument’s deep roots in Persian culture. By the 10th century, illustrations of the rabab (or closely related lutes) are found across the Islamic world, including an Abbasid-era painting of a two-stringed rabab on a bowl.
During the Mughal era in India (16th–18th centuries), a version of the rabab known as the Seni rebab gained prominence. It was a favored instrument in Emperor Akbar’s court and was played by legendary musicians of the time, including the lineage of Miyan Tansen. The Seni rabab had a slightly different design (often a larger body) compared to the Afghan rabab. Musicologist Allyn Miner notes that “the rubab of Kabul is very similar to the sarod, [while] the Indian rubab looks different. The sarod is a blend of these two rubabs”. In other words, when Afghan and Indian rabab traditions met, they gave birth to the modern sarod – a fretless metal-fingerboard lute now key in Hindustani classical music. By the 19th century, the sarod had largely replaced the rabab in North Indian classical music, but the rabab remained strong in folk and devotional contexts.
Meanwhile, in Afghanistan and surrounding areas, the rabab continued to flourish as a folk and classical instrument. It became closely associated with Pashtun identity and Afghan music. The Afghan rabab (often called Kabuli rabab) retained its form as a fretted instrument (unlike the sarod which is fretless). This made the rabab easier for accompaniment and folk melodies, while sarod excelled in meend (glides) for classical solo work. Afghan historians regard the rabab as a “national instrument” – a source of pride that accompanied kings and commoners alike. Traditional Afghan ustads (masters) like Ustad Mohammad Omar and Ustad Rahim Khushnawaz carried the rabab’s legacy into the 20th century, recording and teaching it internationally. In neighboring Pakistan, especially in Khyber Pakhtunkhwa and Balochistan, the rabab similarly became entwined with local music and storytelling traditions.
In the Sikh religious tradition, the rabab holds a special place (discussed in detail in the next section). According to Sikh history, the first Guru, Nanak Dev (15th century), had his companion Bhai Mardana play the rabab whenever the Guru sang hymns. This introduced the rabab to the Indian subcontinent’s spiritual music scene independently of the Mughals. There is even a Punjabi lore that a craftsman named Bhai Firanda made the first rabab for Guru Nanak at the request of the Guru’s sister, Bebe Nanaki. While the rabab clearly predates Guru Nanak, this story highlights how integral the instrument became to Sikh devotional music from its very inception.
By the modern era (20th–21st centuries), the rabab’s popularity had waxed and waned. In India and much of Pakistan, it had become a rarity (eclipsed by harmonium or sarod), surviving mainly in Pashtun areas and among Sikh musical scholars. In Afghanistan and Central Asia, however, it remained central to traditional music. The rabab and its close variants (like the Pamiri rubob and Uyghur rawap) continued to be crafted and played. Post-2000, with increased globalization and interest in world music, the rabab started gaining international attention. Musicians from outside its home region began to learn it, and collaborations brought its sound to new audiences (for example, rubab pieces featured in Western film scores and fusion albums).
A landmark moment in recent history came in 2024, when UNESCO recognized the art of crafting and playing the rubab as an Intangible Cultural Heritage of humanity. Afghanistan, Iran, Tajikistan, and Uzbekistan jointly secured this UNESCO inscription, highlighting the rabab’s cross-border cultural significance. This recognition not only honors the instrument’s rich past but also helps ensure its preservation for future generations. In short, the rabab has journeyed from ancient courts and Sufi gatherings to the global stage – all while remaining a beloved symbol of heritage and soulful music for the communities that cherish it.
Cultural and Religious Significance of the Rabab
The Rabab in Sikhism (Punjabi Rabab Tradition)
In the Sikh faith, the rabab is more than just a musical instrument – it is a part of spiritual history. The rabab is acclaimed as “the first instrument used in Sikhi”, inaugurated by Bhai Mardana, the Muslim companion of Guru Nanak. Guru Nanak, the first Sikh Guru, traveled widely in the 1500s composing and singing devotional hymns (shabad kirtan). Bhai Mardana would play those hymns on his rabab, thus earning the title rababī (rabab player) in Sikh texts. This tradition established the rabab as the original accompanying instrument for Sikh sacred music. The Guru’s teachings were literally sung to the sound of the rabab.
Historically, the specific rabab used in Sikhism came to be known as the Punjabi Rabab or Firandā Rabab. It was named after Bhai Firanda (or Firanda), the instrument maker who, according to tradition, carved the first rabab for Guru Nanak. Bebe Nanaki (Guru Nanak’s sister) is said to have paid for this rabab as a gift to her brother, indicating the value placed on the instrument even at that time. The Punjabi rabab likely had some structural differences from the Afghan rabab – Sikh sources describe it as having a flat wooden belly (no skin) and gut strings, giving a soft tone suitable for devotional singing. It may have been a smaller, simpler lute designed for portability during Guru Nanak’s tours.
For centuries, rababīs (rabab players) were an institutional part of Sikh kirtan in gurdwaras (temples). They were often Muslim mirasis (hereditary musicians) who specialized in Gurbani kirtan. This interfaith aspect – Muslim rabab players singing Sikh scriptures – symbolized the message of harmony in Guru Nanak’s teachings. The rabab’s music thus became a bridge between communities. Traditional compositions in Sikh music (Gurmat Sangeet) included rabab along with instruments like the saranda and jori.
Over time, however, the rabab tradition in Sikhism waned. By the late 1800s, the harmonium (a European instrument) became popular in gurdwaras, largely displacing the older string instruments. The art of Sikh rabab playing nearly faded, preserved only by some Namdhari Sikhs and musicologists. In recent decades there has been a revival effort: Namdhari Sikh musicians and other enthusiasts have resurrected the rabab in kirtan performances. They base their instrument design on historical descriptions – often using a similar construction to Afghan rubabs but without sympathetic strings, to emulate the old Punjabi rabab. This revival is gradually bringing the rabab’s sound back to Sikh congregational singing, reconnecting worshippers with the sonic atmosphere of Guru Nanak’s time.
In Sikhism, the rabab is not associated with any negative connotations; rather it is seen as saintly. It’s said that Guru Nanak’s rabab music could calm people and even animals, conveying the message of God through melody. One Sufi account lovingly calls Guru Nanak “the Divine Rabab” – metaphorically saying the Guru’s own soul made music that echoed God’s name. Thus, the rabab in Sikh context means devotion, harmony, and the spread of truth through music. Even though today one might more commonly see harmoniums in Sikh kirtans, the rabab’s legacy is deeply enshrined in Sikh history and is cherished by those who keep its sound alive.
The Rabab in Sufi Poetry and Islamic Tradition
Beyond Sikhism, the rabab also holds significance in broader Sufi and Islamic culture. The very word “rabāb” (Arabic: ربابة) in Arabic means “an instrument played with a bow,” referring to the bowed rebab fiddle. In Islamic lore, the rebab/rabab often appears as a symbol of divine music or the music of the soul. Many Sufi poets, such as Jalal ad-Din Rumi, have used the imagery of the rabab in their poetry. For example, a Sufi poet might compare the body to a rabab and the soul to the melody that God plays upon it – a metaphor for surrendering oneself to the divine musician. The rabab’s melancholic, resonant sound made it an apt instrument for Sufi mystics singing poems of love and longing for the Divine.
In practice, Sufi orders in regions like Turkey, Central Asia, and South Asia did include instruments like the rabab in their musical assemblies (sama). The Chishti order of India, known for Qawwali music, primarily used voices and percussion, but in Pashtun areas of Afghanistan and Pakistan, Sufi singers did incorporate the rabab in their hymns and folk ballads. The rabab’s presence among dervish minstrels (for instance, wandering musicians in Afghanistan who sang spiritual folk songs) further cemented its image as an instrument of the heart. It was simple enough to carry and play by campfire, yet profound enough in tone to stir listeners spiritually.
In some Islamic traditions, music was frowned upon, but the rabab often escaped such censure because of its association with heartfelt, pious expression. There’s a saying attributed to Amir Khusrau (a Sufi and musician of 13th-c India) praising the rabab’s sweetness. Additionally, the Naqshbandi Sufi order (prominent in Central and South Asia) has embraced the rabab in what they call “spiritual concert” settings – even modern Naqshbandi websites sell rabab instruments with sadaf work as part of promoting spiritual music. This underscores that, in Sufism, the rabab is seen as a vehicle for transcendence.
In summary, whether in a Sufi khanqah (meeting house) or a Sikh gurdwara, the rabab has served as a conduit for spiritual experience. Its music carries a devotional aura, and its very construction – wood and skin vibrating together – has been likened to the human body and soul making harmony. Culturally, the rabab earns respect as an instrument that can elevate poetry into prayer. This sacred esteem sets the rabab apart from many other instruments in the regions where it’s played.
National and Regional Identity: Afghanistan and Beyond
If Sikhism gave the rabab a spiritual identity, Afghanistan gave it a national identity. In Afghanistan, the rabab (often spelled rubab there) is considered a proud national symbol. It’s sometimes called the “Kabuli Rubab” in honor of Kabul, the capital where its urban classical style developed, and as mentioned, nicknamed “the lion of instruments” for its bold and rich sound. Along with the Zerbaghali (goblet drum), the rubab is designated as one of the two national instruments of Afghanistan. Afghan folklore and court music both feature the rubab. It’s not uncommon to see a rubab carved with ornate motifs, owned as a family heirloom, or presented as a gift to visiting dignitaries as a token of Afghan heritage.
Ethnically, the rabab spans multiple groups: Pashtuns, Tajiks, Hazaras, Uzbeks – all have adopted it in some form. It’s a staple of Pashto music, where it leads folk songs (like the famous tappa and charbeta genres) accompanied by tabla or zerbaghali. In the northern areas, related instruments exist (like the Pamiri rubob among Tajik Pamirs), but the Afghan rubab itself has been part of Badakhshani and Kabuli ensembles. During the Afghan civil conflict, many master rubab players left the country, but they helped spread the instrument abroad. Today you can find renowned Afghan rubab players in the USA, UK, and Germany, teaching the craft to both expats and local enthusiasts. The rabab thus became a tool of cultural diplomacy – for instance, at international events an Afghan rubab performance often represents the country’s music.
In Pakistan, the rabab is closely identified with regions bordering Afghanistan (Khyber Pakhtunkhwa and Balochistan). It’s a key part of Pashto poetry symposia (musha’ira) and is also used in Balochi and Kashmiri folk music. The instrument even shows up in Sindhi and Punjabi folk contexts occasionally, albeit under different local names or forms. In Indian-administered Kashmir, a local variant called the Kashmiri rabab is used in Sufiyana Kalam (traditional Kashmiri Sufi music). This Kashmiri rabab is very similar to the Afghan rubab, though sometimes slightly smaller; it provides the bass and rhythm alongside the santoor (hammered dulcimer) in Kashmiri ensembles.
Elsewhere, the rabab’s relatives reinforce its global footprint. In Iran, especially Khorasan and among Kurdish communities, the rubab is known and played in folk music. The Persian-speaking world often uses the same word rubab (روبا) for it. In Central Asia, the instrument appears under different names: Tajiks and Uzbeks call it rubob (in Cyrillic: рубоб), and they have their own versions (like the Bukharan rubab, which has a longer neck). The Uyghur people of Xinjiang, China, play a very similar lute called the Rawap (راۋاب) – the Uyghur rawap likely developed from the same ancestral instrument and serves a similar role in Uyghur music. Even in Azerbaijan and Turkey, the term rübab is known, referring either to the Persian rubab or historically to a similar lute.
It’s important to note that the word rebab also traveled to Southeast Asia. In Indonesia and Malaysia, the rebab is a bowed spike-fiddle used in gamelan ensembles. While that rebab is a different instrument altogether (played with a bow and usually with two strings), the shared name hints at a distant connection through the spread of Islamic culture centuries ago. For clarity: the Arabian and Malay “rebab” is analogous to a fiddle, whereas the Afghan/Indian “rabab” is a lute. They are distinct in playing technique and construction, despite the common etymology.
In conclusion, the rabab is woven into the cultural fabric of a vast region – from the spiritual hymnals of Punjab to the folk songs of Kabul and the valleys of Central Asia. Each culture has endowed the rabab with its own meaning: a hymn to the divine, a marker of national pride, a storyteller’s companion, or a bridge between communities. Its global usage today spans traditional performances, world music fusions, and even experimental genres, but at its heart the rabab remains a symbol of identity and continuity for the people who have carried its music through generations.
Names, Terminology, and Variations in Different Languages
One striking aspect of the rabab is the range of names and spellings it goes by. These variations are not only due to different languages and scripts, but also reflect subtle distinctions in instrument type. Here are some of the common names and their contexts:
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Rabab / Rubab (رباب): This is the most widely used name, in Persian, Pashto, Urdu, and many other languages of Central and South Asia. In English, the instrument is often just called “rabab” or “rubab” (the terms are interchangeable; the spelling with ‘u’ is common in Afghanistan and Pakistan). Unlike many foreign instruments, there isn’t a wholly different English term – rabab itself has been adopted into English descriptions. Occasionally it’s described as the “Afghan lute” for clarity, but generally “Rabab” is the English name as well.
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Robab: An alternate transliteration seen in Persian and Pashto contexts (since the vowel u in Persian can be romanized as o). For example, older English texts might mention the “robab” of Kabul – this is the same instrument. The pronunciation is effectively the same (roh-baab). Modern usage tends to prefer rubab, but both appear in literature.
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Rebab (Arabian and Malay Rebab – ربابة): In Arabic, rebab or rababa (ربابة) specifically refers to a bowed one- or two-string fiddle. This rebab was known across the Arab world, North Africa, and later in Indonesia/Malaysia. Because of historical trade and travel, the name rebab became attached to the Afghan plucked rabab by Europeans, leading to some confusion. In scholarly writing, to differentiate, authors often use rebab for the bowed instrument and rabab/rubab for the plucked lute. The Arabic word rebab literally means “instrument played with a bow”, highlighting the original difference. It’s worth noting that some languages, like Turkish and Uzbek, sometimes use rubab for the lute and rebap for the fiddle. Context is key – in an Afghan or South Asian setting, “rabab” nearly always means the plucked lute.
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Rabab in Punjabi: In the Punjabi language (which uses two scripts), the instrument is called rabāb as well. In Shahmukhi (Perso-Arabic script) it’s written the same as Urdu (رباب), and in Gurmukhi script as ਰਬਾਬ. The Sikh historical instrument is thus referred to as Punjabi rabab or Guru Nanak’s rabab. When spelled in English, it’s not distinguished from the Afghan rabab – one relies on context (religious vs. folk) to tell them apart.
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Kashmiri Rabab: In Kashmiri, written in Sharada or Perso-Arabic script, it’s pronounced almost the same but sometimes ends with an extra vowel sound (رَبابہٕ) transliterated as rabābah. This might reflect local pronunciation. Kashmiri rabab refers to the version used in Kashmir’s Sufiyana Kalam. It’s essentially the same instrument, so the name difference is minor.
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Sindhi Rabab: In Sindh (southern Pakistan), the rabab isn’t very common, but the word exists in both Sindhi scripts. In Perso-Arabic Sindhi: رَبابُ and in Devanagari Sindhi: रबाबु. This likely refers to the instrument known via Punjab or KPK, as Sindhi Sufi music more often uses the yaktaro (single-string drone) and other instruments.
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Rubob (рубоб): In Tajik (a variety of Persian in Tajikistan) and Uzbek language, the instrument is called rubob (sometimes transliterated robab). Written in Cyrillic it’s “рубоб”. There may be slight structural differences (the Bukharan rubob, for example, can have a slightly different body shape), but the lineage is the same. The term rubob in Central Asia can also generically mean any lute, but usually points to a skin-topped rubab.
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Rawap (راۋاب): Among the Uyghur people of Western China, the lute very similar to the rabab is named rawap. There are actually a few types (the Kashgar rawap, Dolan rawap, etc.), but all are related in being long-necked lutes with figure-eight shaped bodies and some with skin tops. The Uyghur word rawap comes from the same Persian root rubab/rabab (since Uyghur language absorbed many Persian terms). When written in Uyghur Arabic script, it’s راۋاب, and pronounced roughly “ra-wap”.
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Other Variations: In Turkey and Azerbaijan, historical texts mention rübab (with an umlaut ‘ü’). This typically referred to the Persian rubab introduced there. There’s also an ancient Persian instrument called rabāb mentioned by the scholar Al-Farabi – some interpret that as a type of primitive lute that could be an ancestor of both the rubab and the rebec (a medieval European fiddle). In modern French, academic writings often use rabâb (with a circumflex) to indicate the long “a” sound in the word (rabâb is essentially the French transliteration for rubab). Similarly in transliteration standards, rubāb (with a macron or long mark) might be used to denote the “aa” sound.
In summary, the rabab’s name adapts to many tongues: one instrument, many spellings. A Pashto musician, a Punjabi historian, and an Arab musicologist might use slightly different words – Rubab, Rabab, Rebab – but they are all pointing to this iconic lute. For clarity in this guide: Rabab/Rubab will denote the plucked instrument of Afghanistan/South Asia, while Rebab will be used if referring to the bowed fiddle variant or the generic historical term. This ensures we honor both the commonality and the differences encapsulated in the name “rabab.”
Construction and Parts of the Rabab
One of the most fascinating aspects of the rabab is its craftsmanship. A traditional rabab is largely handmade, carved and assembled by skilled artisans who often belong to families that have made the instrument for generations. Understanding the rabab’s parts not only helps players handle and maintain it better, but also deepens appreciation for the luthier’s art. Below, we break down the key components of a typical Afghan-style rabab:
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Body (Resonator): The main body of the rabab is a deep hollow bowl carved from a single block of wood, typically mulberry wood (called Shah Tūt or King Mulberry). Mulberry is favored for its resonant quality and durability. The bowl’s shape is roughly similar to half a pear or a large spoon. The upper part of this bowl (sometimes considered a separate “head” section) is covered by a stretched membrane of animal skin to form the soundboard or belly. Traditionally, thin goat skin (or skin from other livestock) is used, providing a warm, mellow tone. The skin is tacked or glued to the wooden rim. The combination of a hollow wood chamber with a taut skin soundboard is what gives the rabab its distinctive timbre – earthy and percussive yet rich in sustain (similar in concept to a banjo or sarod). Just above the bowl, the body narrows into a hollow neck – some rababs have a “double-chamber” design where even the neck interior is hollow to enhance resonance.
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Neck and Fingerboard: The neck (dasta in Persian) is the long extension of the body, also carved from the same wood piece. On the front of the neck is the fingerboard – often just the smooth wood surface itself (rabab has no separate added fretboard like guitars do). Importantly, the rabab does have frets, but not metal bar frets; instead it traditionally uses a few tied gut frets (usually 3 to 6 of them) wrapped around the neck at specific intervals. These fret cords, called parda (meaning note or fret), provide stopping points for the main melody string notes. Classical Afghan rubabs commonly have 3 or 4 frets, giving a chromatic octave on the fret positions. This limited fret setup means beyond a certain point, the player relies on ear and finger placement (essentially playing fretless for higher notes or microtones). The neck is often left unfinished or lightly oiled, allowing the player’s hand to slide. Some rababs have beautiful inlay work along the neck’s sides – for example, inlaid bone or mother-of-pearl patterns marking fret positions or just for decoration.
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Headstock and Pegs: At the end of the neck is the headstock, often an angled extension that holds the tuning pegs. The headstock (called tāj meaning crown, or sar penja meaning head) usually fans out to accommodate multiple pegs in rows. Rababs can have anywhere from 10 to 20+ wooden pegs, depending on how many strings (including sympathetics) the instrument has. The pegs (gwāzhi in Pashto) are generally made of hardwood like walnut or rosewood. They are tapered and fit into holes in the headstock (friction pegs similar to a violin’s). Each peg corresponds to a specific string: turning it adjusts that string’s tension (and thus pitch). On high-end rababs, the pegs themselves might be carved into ornate shapes or capped with inlay decorations – indeed, one might find 15 decorative pegs adorned with intricate mother-of-pearl inlays on a master-crafted rubab. Just before the pegs, at the top of the fingerboard, is a piece called the nut (Persian Sheitanak, literally “little devil” in fun nomenclature). The nut, often bone or hardwood, has grooves that guide the strings from the neck to the pegs, maintaining spacing and height.
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Strings Setup: The rabab’s string arrangement is one of its defining features. The standard Afghan/Persian rabab today has 3 main melody strings, typically nylon monofilament (modern replacement for the original gut). These are the thicker strings and are played most frequently for melodies. In addition, there are usually 2 or 3 drone strings (called chikari or specifically shah tar for long drone and zang or short drone). Drones are metal (often steel or bronze) strings that provide a constant pitch resonance (like the “jhala” strings on a sitar). Finally, running beneath those, we find a slew of sympathetic strings (tarb or tarab strings, meaning “joy” or “enchantment” strings). These are very thin steel (or brass) strings that are not plucked directly; instead, they vibrate sympathetically when corresponding notes are played on the main strings, adding a silvery echo to each note. A full-size rubab can have up to 11–15 sympathetic strings stretched across a separate sympathetic pegbox on the side of the neck. For example, a large rubab might total 21 strings (3 melody + 2 long drone + 2 short drone + 14 sympathetic). Smaller rubabs economize on sympathetics (maybe 6–8 of them). The sympathetic strings run through small holes in the neck and emerge onto the bridge, lying underneath or alongside the main strings. Overall, managing the tuning of all these strings is a challenge but yields the rabab’s rich harmonic drone.
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Bridge (Kharak or Tūt): On top of the skin soundboard sits the bridge (kharak in some languages). This is a critical piece: usually a small carved piece of wood (often mulberry or walnut) with notches for each string. The bridge elevates the strings above the skin and transfers their vibrations to the body. Traditional bridges might be made of animal bone or ivory in older times, but rosewood or walnut bridges are common now. The bridge of a rubab is held in place purely by string tension (there’s no glue). It’s placed at a precise point on the membrane to optimize sound. Because the skin can stretch or shrink with humidity, sometimes players adjust the bridge position slightly to correct tuning or tone. Under the bridge, some rababs have a thin piece of wood or leather on the skin to protect it from the pressure.
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Tailpiece and String Anchoring: Unlike guitars, the rabab doesn’t have pins or a metal tailpiece; instead the strings are typically tied to a string holder at the base of the instrument. This can be a simple wooden crossbar or end-pin called sim-gir (string catcher). Many rababs feature a decorative tailpiece cover on the instrument’s bottom end – often an etched piece of wood or even a decorated plate – that conceals where the strings are tied in. It’s both functional and ornamental. The excess string lengths after tying might be tucked into the instrument’s hollow body or trimmed.
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Plectrum (Shabaz): Last but not least, the rabab is played with a plectrum rather than fingers (since gut/nylon strings are thick and weren’t traditionally plucked with fingernails as on sitar). The plectrum used is called Shabaz or Shahbaz – often locally made from wood, bone, or metal. It’s roughly the size of a large guitar pick but sometimes longer and thicker. In Afghanistan, some players use a piece of ivory or horn (though nowadays plastic or metal picks are common, such as repurposed 0.3mm metal picks by accessory makers). The name “Shahbaz” means “royal falcon” – legend says the first rabab plectrum was made from an eagle’s feather or talon, hence the name. The plectrum allows the player to strike the thick strings forcefully to project sound, and to perform rapid strumming patterns. It’s often tied to the instrument with a piece of string when not in use, to avoid losing it.
To summarize the build: the rabab is a masterpiece of organic materials – wood, skin, gut, bone, metal – coming together. A good instrument showcases balance: a sturdy mulberry body for warmth, a tight skin for clarity, well-placed frets for accurate intonation, and just the right number of sympathetics for resonance without overwhelming the sound. Craftsmen take care that the angle of neck to body is perfect, the skin is neither too loose nor too tight, and the aesthetic touches (carvings, inlay) don’t dampen the vibrations. When you hold a well-made rabab, you can feel the hours of labor in every carve and polish. It’s no wonder that learning the parts of the rabab is often the first chapter in a student’s journey – it connects them to the instrument in mind and spirit, not just in technique.
For reference, here’s a quick glossary of the main parts in local terminology:
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Tuning Pegs: Ghwāži (Pashto) – friction pegs for tuning.
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Neck/Fingerboard: Gharaī (Pashto) / Dastah (Persian) – where notes are played.
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Frets: Pardah – tied gut frets on neck.
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Skin Belly: Pust (Persian) – goatskin sound table.
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Bridge: Kharak or Tūṭū – supports strings on the skin.
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Strings: Tar (Persian) – 3 main melody strings; Shāh-tār (“king string”) for bass drone; Zang for high drone; Tarb/sim-e-tarab for sympathetic strings (meaning joy strings).
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Plectrum: Shahbaz or Shabaz – pick used to pluck the strings.
Understanding these parts and their function is crucial for anyone aspiring to play or maintain a rabab. For instance, knowing how the bridge sits on the skin will make you careful when changing all the strings (since removing all tension could cause the bridge to slip and the skin to relax). Similarly, knowing that the frets are movable gut rings lets you adjust them if needed for tuning a particular scale. The rabab is a living instrument – its natural components can shift with weather and use, so a player becomes a bit of a caretaker, adjusting pegs, occasionally tightening a fret, or positioning the bridge, much like a violinist tends to their instrument.
A full-sized 32-inch Afghan rubab with extensive mother-of-pearl (sadaf) inlay work along the neck and headstock. Such ornate custom designs enhance the visual beauty and value of the instrument.
Types and Variations of Rabab
Over the centuries, the rabab has diversified into various types and regional variants. While the general construction remains similar, differences in size, number of strings, decoration, and playing style give each type its unique character. Below, we explore the major types of rababs and related instruments across different regions:
Afghan Rubab (Kabuli Rabab)
The Afghan rubab is considered the standard or prototypical form of the instrument today. Often called the Kabuli Rubab, it is the style of rabab that developed in Afghanistan and was popularized in the Kabul court music and folk traditions. Key features of the Afghan rubab include a medium-sized body with goatskin top, 3 melody strings of thick nylon, usually 2 long drone strings and 2 short drone strings, and around 11–15 sympathetic strings. A typical full-size Afghan rubab measures about 30 to 32 inches in length. It has 3-4 frets on the neck and is tuned to a fourths-based tuning (more on tuning later). The Afghan rubab is fretted (which distinguishes it from the fretless sarod). It’s the instrument one would encounter in classical Afghan music performances (for example, playing Pashtun rubab pieces or north Indian ragas adapted in Afghan style) as well as in popular Afghan folk songs.
The Afghan rubab’s design is often quite ornate – especially instruments made in Kabul, Herat, or by master luthiers in Peshawar (Pakistan). Mother-of-pearl sadaf inlay on the neck, carved floral patterns on the body, and painted motifs are common on high-end pieces. However, simpler versions exist for students, with plain finishes and fewer sympathetics. This instrument is the backbone of Pashto and Dari music; you’ll hear it accompany the poetry of Khushal Khan Khattak or plays ghazals and folk tunes in Afghan gatherings. Because of its status, the term “Afghan rubab” is sometimes used globally in music shops to refer to any rubab that matches this general description, regardless of origin.
Punjabi Rabab (Sikh Rabab or Firandia Rabab)
The Punjabi rabab refers to the style of rabab that was used in Sikh music tradition, starting from the 16th century. It’s also known as the Firandā Rabab after Bhai Firanda who crafted one for Guru Nanak. Compared to the Afghan rubab, the Punjabi rabab was historically smaller and simpler. Descriptions suggest it had a wooden soundboard (no skin) and probably no sympathetic strings, just a few gut strings for melody and drone. It likely resembled other Indian string instruments of the time in construction (perhaps akin to a small plucked veena or rudra veena sound box with a neck). The tone would have been softer, making it ideal for accompanying singing without overpowering. The Punjabi rabab was fretless or had very few frets, and was played with a pick.
Over time, as the tradition waned, exact specs were lost. However, modern instrument makers who create “Sikh rababs” for Kirtan re-insitution have based them on Afghan rubabs with modifications: often using tuned nylon strings, a goatskin head, and a size around 24–26 inches (to be more portable). These new Punjabi rababs typically omit sympathetic strings as the old tradition didn’t emphasize them. The Namdhari Sikh community’s rabab ensemble, for instance, uses such instruments. Thus, what we call Punjabi rabab today can be seen as a revival instrument – bridging historical accounts and modern rubab construction. It’s chiefly used for performing Gurbani kirtan in traditional style. You might hear it referred to as “Guru Rabab” or “Mardana Rabab” in Sikh circles, paying homage to its first player.
Kabuli vs. Kashmiri Rabab
Within South Asia, another distinction is sometimes made between Kabuli rubab and Kashmiri rubab. The Kabuli is essentially the Afghan style described above. The Kashmiri rabab, used in Kashmir’s Sufiyana Kalam, is very close but slightly adapted for local music. Kashmir’s climate is more humid, so sometimes the construction is tweaked – for example, some Kashmiri rababs use different wood (cedar or tun) for the body, which is similar to red cedar as mentioned in Sikh sources. The tuning and playing technique differ because Kashmiri music uses its own scales (maqams). Structurally, Kashmiri rababs might be a touch smaller (around 26–28 inches), with fewer sympathetic strings (maybe 6–8) to reduce overtone complexity, as the emphasis is on a clear melody with santoor accompaniment. Aesthetically, many Kashmiri rababs feature sadaf inlay and carving – a continuation of the region’s penchant for intricate crafts. Some local makers call a fully decorated one “full sadaf rabab” and a plainer one “half sadaf rabab”, referring to the extent of inlay work. Pricewise, the extra ornamentation raises the cost (more on prices later). Soundwise, any differences are subtle – a Kashmiri and Kabuli rubab are close cousins, and a player of one can easily play the other.
Seni Rebab (Indian Classical Rebab)
The Seni rebab is a historical variant from North India’s Mughal period, now largely extinct. It was named after the Senia gharana (school) of music, which traces lineage to Tansen. In the 16th-18th centuries, the Seni rebab was a prominent instrument for Dhrupad (the ancient form of North Indian classical music). It is sometimes described as a larger rabab with a different shape – possibly with two large round resonators (like rudra veena) or simply a wider body. Some paintings show an 8-shaped instrument labeled as rabab. The Seni rebab had gut strings and was played with a mizrab (pick) similar to the plucked style. When the Mughal court patronage declined and music evolved, the Seni rebab fell out of favor. It directly influenced the development of the sarod in the 19th century: musicians took the rabab, replaced the skin with a metal plate and the gut strings with metal strings, removed frets – essentially morphing it into the sarod which could better execute the glides and subtle ornamentation of the newer khyal style music. Today, finding an actual Seni rebab is rare; they exist in museums or illustrations. Some musicologists have attempted to recreate it to study old Dhrupad music. In terms of taxonomy, the Seni rebab is part of the rabab family, just adapted to a specific classical need of its time.
Central Asian Variants (Rubob-i Pamiri, Uzbek/Tajik Rubob)
Moving north, we find instruments like the Pamiri Rubob (also called Pamir rubab or Rubob-i Pamir) used in the Badakhshan region straddling Afghanistan and Tajikistan. This rubob is very similar to the Afghan rubab but sometimes slightly larger and often with additional strings or different tuning systems to accommodate Pamiri music scales (which can be quite complex). The Pamiri rubob might have 6 main strings (in 3 double courses) plus drones and sympathetics, somewhat blending features of rubab and the tar instrument. It’s played in the Pamiri devotional and folk songs.
In Uzbekistan and Tajikistan (especially around Bukhara, Samarkand), the word rubob can refer to a different instrument called Ghijak Rubob or Bukharan rubob. This one is actually more like a short-neck lute without sympathetic strings, sometimes played with a bow as well – which shows how fluid the definitions can be. But there’s also the Afghan-type rubab present due to cultural overlap.
Uzbek classical music has an instrument named Kabuli rubob (showing that they adopted the Afghan style and named it after Kabul). And the Tajik rubob (rubobi filmi) became popular in Soviet times for orchestral pieces; it was essentially an Afghan rubab modified for performance (some had nylon frets, etc.). In summary, Central Asia’s rubobs are variations on the rabab theme, with adaptations for local music. Because of the UNESCO recognition and cultural exchange, there’s now more standardization – many Uzbeks and Tajiks proudly play the Afghan-style rubob as a link to shared heritage.
Iranian and Kurdish Rebab/Rabab
In Iran, the instrument closest to the rabab is found in the eastern region (Khorasan) and among some Kurdish communities (e.g., the Kermanshah area). Historically Persians did have a plucked rabab which likely was the precursor to the Afghan one. The term “Khorasan rubab” might be used. It looks like the Afghan rubab, though one may encounter Persian classical musicians who have experimented with it. Notably, in Persian classical music today, the Barbat (Oud) and Tar are more common lutes, so the rubab is a bit of a niche or folk instrument. Kurdish Iranian musicians sometimes use a rubab in their ensembles, adding a distinct timbre alongside instruments like the tembûr (a long-neck lute). The rubab’s sturdy build made it popular among itinerant Kurdish bards historically.
Meanwhile, the Arabic rebab (bowed spike fiddle) in the Middle East is another branch altogether. For completeness: places like Morocco have a rebab (spike fiddle used by healers and in Andalusian music), Egypt and Syria have a rebaba (bedouin spike fiddle), and Indonesia’s gamelan has a two-string rebab. These all trace back to the Arabic rebab concept. They share the name but as emphasized, differ in playing technique. It’s fascinating that one name spans such a family – lutes and fiddles – a testimony to how music travels and transforms.
Modern Hybrid and Experimental Versions
In modern times, some luthiers have experimented with hybrid rababs. For instance, there are rubabs fitted with guitar-style machine gear tuners for easier tuning (avoiding wooden friction pegs). Some have added more sympathetic strings than usual, or conversely made simplified versions with fewer strings for beginners. An interesting offshoot is the “Electric Rubab” – essentially a rabab with built-in pickups or a solid-body rabab that can be amplified like an electric guitar. While not mainstream, a few musicians have created these to integrate rabab into rock or contemporary ensembles without feedback issues.
Another variation one might see is the “Rubab Turki” or Turkish Rubab – but confusingly, that’s actually a type of bowed lute (also called iklig) and not directly related to the Afghan rubab. It shows how nomenclature can be shared.
Given all these types, one may wonder: how do they all relate in terms of playability? Generally, if you learn on an Afghan rubab, you can approach most of these variants with little adjustment. The main differences will be size and string count. A bigger rubab might have deeper bass and more resonance but could be heavier or harder to hold; a smaller one might be easier on the arms but with less volume. More strings (especially sympathetics) mean more tuning but also richer sound. Fret differences are minor once you’re used to intonating. To help understand the size categories and string ranges, below is a comparison:
| Type/Size |
Approx. Length |
Typical String Setup |
Notes / Usage |
| Small Rabab (Student) |
~25–27 inches |
~11 strings total (3 melody, 2-3 drones, ~5 sympathetics) |
Easiest for children or beginners; lighter weight, decent sound but slightly less resonance. |
| Medium Rabab (Standard) |
~28–30 inches |
~19 strings (3 melody, 2-4 drones, ~13 sympathetic) |
Common adult-size Afghan rubab; balanced tone with both treble and bass response. Most popular configuration. |
| Large Rabab (Professional) |
~31–33 inches |
~21 strings (3 melody, 2-4 drones, ~15 sympathetic) |
“King size” rubab (Shah Rubab) for experienced players. Powerful deep bass and volume, but bulkier to handle. Often finely crafted. |
| Punjabi/Sikh Rabab |
~24–26 inches (historical) |
5-6 strings (no sympathetics in traditional version) |
Used for Sikh kirtan; quieter instrument, usually no sympathetic resonance, focus on melody and drone. Modern recreations might adopt Afghan style strings but keep smaller size. |
| Rawap (Uyghur) |
~30 inches (varies) |
5–6 gut strings (often in double courses) + some sympathetics |
Uyghur rawaps may have a different string arrangement (courses instead of single strings). Played with a mizrab, sound is nasal and bright. |
| Sarod (descended instrument) |
~39–42 inches |
4-5 main metal strings, 2 drone, 15+ sympathetic (metal fingerboard, no frets) |
Indian classical instrument developed from rabab. Fretless and played with fingernails on metal strings – a different playing feel, but shares repertoire roots. |
(The above are general guidelines; actual instruments may vary. Always check specifics when buying.)
As the table shows, size affects comfort and sound: a child or small adult might prefer a 26″ rubab, whereas a professional seeking volume might go for 32″. Many makers classify their instruments as student, standard, professional in a similar manner. The number of strings tends to increase with size because a larger body can accommodate more sympathetics and has a stronger voice to excite them.
In terms of choosing between types: If your interest is Afghan/Persian music, a standard Afghan rubab is ideal. If you aim to perform Sikh hymns authentically, you might seek a Punjabi style rabab (though an Afghan one can be used to play kirtan as well). For academic curiosity, one might experiment with all kinds. The good news is, the core technique doesn’t drastically change. The diversity of the rabab family simply means there’s a rich palette of sounds and histories to explore, all emanating from this one instrument.
Tuning and Musical Scales of the Rabab
Tuning a rabab is both an art and a science. With its array of strings, the instrument offers flexibility to adapt to different musical scales (ragas or maqams), but it also demands a good ear (or a good tuner app!) to get everything in harmony. Let’s break down how rababs are typically tuned and the concepts behind it:
Basic Tuning of the Main Strings
The three main melody strings of the Afghan rubab are tuned in fourths relative to each other. In Western terms, if we label the highest-pitched (thinnest) string as the first string, then the second string is a fourth below the first, and the third (lowest, thickest) string is a fourth below the second. For example, one common tuning (from highest to lowest) is B – F# – C#. Here, C# to F# is a fourth (C# down to G# would be a fourth, wait check: actually C# down to A is a fourth; I must ensure this example is correct). Let’s use another approach: A well-known rubab tuning used by Ustad Mohammad Omar was g (sol) – d (re) – A (la) (these are relative pitches). That means if the first string is tuned to g, the second is tuned to d (a fourth lower than g), and the third to A (a fourth lower than d, which actually A is slightly more than a fourth below d, sorry, let’s correct that example with actual relationships).
To simplify: Many rubab players nowadays tune the first string to a note that suits the piece’s scale (often the tonic of the raga or song). The second string then tunes a fourth lower than that, and the third a fourth lower than the second. In terms of scale degrees, if first string is tuned to the Ma (4th) of a scale, the second will be Sa (1st), and third will be Pa (5th) of the scale below it – this is one way to conceptualize it in South Asian terms. Another way: if the first string is high do, second is sol, third is do an octave lower, which is actually a fourth + a whole octave difference, need to be careful here. Let’s use the example given by a string set manufacturer: B – F# – C# (likely B is highest, F# is second, C# lowest). If that is correct, B down to F# is a perfect fourth (B→A (whole step), A→G (whole), G→F# (half) – actually B to F# is 5 scale notes down which is a fourth interval), F# down to C# is also a fourth. Yes, B to F# is a descending fourth; F# to C# is a descending fourth. That yields a chord (C# F# B which is roughly C# minor triad if in chord terms, but tuning wise it’s fine).
Another common tuning is C – G – D (again each a fourth apart). Some players tune to D – A – E or E – B – F# depending on the key of the piece. The key point is the interval relationship: 4th + 4th. This is analogous to how a violin’s strings are in fifths or a guitar’s in fourths (mostly). The rubab’s fourths give it a wide range yet manageable finger stretches.
The drone strings are tuned to complementary pitches, usually the tonic (root) or dominant of the scale being played. For instance, if the piece is in the key of D major (think raga Bilawal or a folk song in D), one might tune the main strings as A – D – G (just an example, or D – A – E depending on approach), then tune a long drone to low D (an octave below perhaps) and the short drone to high D (or A). Drone strings (Shah tar) often provide a continuous Sa (the tonic) drone, much like a tanpura does in Indian music. They can also be tuned to Pa (the fifth) or the octave to enrich the tonal canvas.
The sympathetic strings are the most intriguing to tune. They are usually tuned to the specific scale (raga) or mode of the piece. Typically, each sympathetic string is tuned to a different note of the scale so that whichever note the melody lands on, a corresponding sympathetic will vibrate. For example, if playing a major scale, the sympathetics might be tuned: D, E, F#, G, A, B, C#, D (covering the full octave of that scale). In raga music, they might even be tuned to non-linear sequences to emphasize certain microtones or avoid dissonant ones (like skipping the notes not used in that raga). Because there can be up to 11 or more of these strings, sometimes two strings share the same pitch (to increase volume of that resonance). Tuning sympathetics is time-consuming: often players will use an electronic tuner or a reference instrument to get them right, or simply tune them by ear starting from a reference pitch. When correctly tuned, these strings “auto-harmonize” with the played notes, adding a heavenly sustain.
Many contemporary players use a tuner app or digital frequency generator to tune accurately. A system called Star Notation was developed by some modern rubab instructors (for instance, in the My Rubab teaching series) to help standardize tuning frequencies. In one such scheme, the base frequencies might be: Ghata (1st string) at 176 Hz, Bam (2nd string) at 234 Hz, Zir (3rd string) at 314 Hz. These specific numbers correspond to a certain comfortable tonic (perhaps around B or C) and ensure the intervals are aligned. Using a tuning app, a student can set these frequencies and achieve a reliable tuning each time.
Regional Tuning Variations
Different musical traditions might favor different base tunings. Afghan rubab players in classical settings often tune to what suits the raga they perform (since Afghan classical music borrows raga concepts from Indian music via the Kabul court influence). For example, for raga Yaman (which has a sharp 4th), they might tune one sympathetic to that note to ring out when needed. In contrast, for a Pashto folk song, they might tune everything to a straightforward major scale.
In Kashmiri Sufiyana Kalam, the rubab is usually tuned to complement the santoor. They might use more open-string drones because the music is modal and often in a particular Maqam. Similarly, Punjabi rabab (in Sikh kirtan) often just tuned the main strings to Sa-Pa-Sa (tonic, fifth, tonic octave) to accompany vocals, with maybe one drone on Sa. That’s simpler because the purpose was to support singing rather than play complex solo.
Playing Range and Scale Execution
The rabab, due to having only a few frets and a short neck, doesn’t cover as wide a range as, say, a sitar. Its comfortable melodic range is about two and a half to three octaves (depending on how high the player ventures on the neck without frets). The thick first string can actually be pressed beyond the frets to achieve higher notes, but it requires skill and the note might not be as clear. Some rababs have a feature where after the last fret, the fingerboard ends and there’s an open gap – players can still press the string on the skin or body edge to get one or two extra semitones if needed.
Because of the fret layout (with only a few semitones available), rubab players often use techniques like sliding and pull-offs to produce intermediate notes. For instance, if a certain note isn’t available as a fret, they might slide from a lower fret while plucking lightly to mimic that note’s pitch. Or they might tweak the tuning of a sympathetic or drone to provide a needed tonal nuance.
One hallmark of rabab music is the use of open-string drones while playing melodies on the higher strings. This creates a sonorous effect where the tonic note is always humming in the background. It’s similar to how bagpipes work with constant drones, or how in a guitar a folk guitarist might keep strumming open chords under a melody. The rabab’s design facilitates this: you could be playing a melody on the first string while occasionally hitting an open second or third string as a drone for rhythmic emphasis.
Maintaining Tuning Stability
Rabab, like most string instruments, can go out of tune with temperature and humidity changes. The goat skin can loosen in damp weather, lowering the pitch (and sometimes causing the bridge to shift). Strings, especially gut or nylon, can stretch. Seasoned players often retune during a performance subtly – e.g., if a sympathetic goes a bit flat, they might quickly reach to its peg in a tacet moment and tweak it.
Traditional advice for stability is: always tune up to pitch (if you go sharp and then tune down, the peg might slip). Also, rosin or chalk is sometimes applied to peg holes to increase friction and hold tuning. After replacing strings, give them a good stretch and multiple tunings over a day to let them settle.
It’s interesting to note that older rababs with gut strings had to be tuned more frequently (gut is sensitive). Many modern players, especially outside of very humid or dry environments, prefer nylon or fluorocarbon fishing line for the main strings – these hold pitch better and are cheaper. Steel sympathetics can rust or corrode, but if kept dry and occasionally wiped, they hold pitch well.
Example Tunings
To make this concrete, here are a couple of example tunings in a raga context and a western context:
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Raga Bhairavi (an Indian/Afghan folk raga in D):
Main strings: First – D (Re), Second – A (lower Pa), Third – D (low Sa).
Drones: one tuned to D (low sa, an octave below first string), another to C (flat 7th, since Bhairavi uses flat 7th often) – optional.
Sympathetics: tuned to the notes of Bhairavi scale: D, C, Bb, A, G, F, E, D (descending order perhaps).
This tuning lets the player hit the Bhairavi notes easily, and every note they play will ring one of those sympathetics.
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Western C Major scale on Rubab:
Main strings: First – G, Second – D, Third – A (here A is a fourth below D, which is a bit unusual since normally it’d be a fourth below which would be A down to E… let’s do another set). Actually, to cover C major scale (C D E F G A B C) on a rubab, one might tune: First – C, Second – G, Third – C (low). This gives do – sol – do.
Drones: G (5th) and C (tonic) perhaps.
Sympathetics: C, D, E, F, G, A, B, C.
Then when you play a melody in C, the instrument resonates nicely on all diatonic tones.
One special tuning some rubabists use is to tune the second string a whole step lower (a fifth relative to first string) for certain pieces. This is akin to drop-tunings on guitar. For example, first string E, second string B (a fifth below E), third string something like A. This is not standard but done for effect or specific songs. However, the normal is fourths as stated.
Ultimately, tuning is a means to an end: to make the rabab sing in the scale you intend to play. Advanced players quickly adjust their tuning strategy when shifting from one piece to another, much like how a violinist might retune for scordatura pieces or a guitarist uses alternate tunings. For learners, it’s advised to stick to one reliable tuning at first (like the classic fourths), using a tuner or Rabab Tuner app until your ear becomes attuned to the pitches.
And remember, a perfectly tuned rabab, with its drones humming and sympathetics shimmering, is a joy both to play and to hear – it’s like the instrument comes alive with a natural reverb. The effort spent in tuning is well rewarded by the lush sound that a rabab produces in performance.
Playing Technique and Musical Styles
With the rabab tuned and ready, the next step is bringing it to life through technique and musical expression. The rabab’s playing style is distinctive – blending percussive plucks, ringing drones, and fluid melodies. Let’s explore how musicians approach this instrument:
Posture and Holding the Rabab
The rabab is typically played in a seated position. The player sits on the floor (cross-legged or with one knee up) or in a chair, and rests the instrument across their lap at an angle. The bowl of the rabab often sits in the lap or against the upper right thigh, with the neck angled upward to the left (for a right-handed player). The left hand holds the neck from underneath, fingers coming over the top of the fingerboard to press strings. The right hand holds the plectrum (Shabaz) and does the plucking just over the skin membrane area.
One common posture (especially among Afghan players) is to have the left foot tucked and the right knee raised, resting the rabab’s bowl on the right thigh, with the neck stabilized by the left hand. Another is cross-legged with the rabab held more diagonally. In any case, stability is key – players sometimes tie a strap or even use a cloth to get a better grip or to cushion the bowl in their lap.
Because the rabab is not very large, it’s quite portable and can even be played standing (some folk musicians do that with a strap), but classical play is almost always seated for control.
Right-Hand Technique (Plucking)
The right hand uses the Shabaz (plectrum) to strike the strings. Unlike a guitar pick which is often held with two fingers, the traditional way to hold the Shabaz is somewhat like holding a small knife or pen: the index finger and thumb grasp it firmly, with the pointed end extending out about half an inch. The motion comes mostly from the wrist, providing a rapid up-down picking action.
There are two primary plucking strokes:
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Down-stroke (Da): Striking the string downward (toward the floor). This usually produces a slightly louder note and is often used on strong beats.
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Up-stroke (Ra): Striking upward (toward the ceiling). This is slightly softer and used in between or for lighter emphasis.
In rubab terminology derived from Pashto or Indian practice, they might even call these Da and Ra strokes (similar to how sarod/sitar have Da and Ra strokes in certain schools). Combining them, a player produces fast sequences. For example, a common pattern for 16th-note runs would be alternating down-up-down-up (much like flatpicking on mandolin or guitar). The key is consistency and even tone on both strokes.
The rabab is capable of very rapid, articulate passages. Ustad players can execute swift tans (runs) and taans up and down the scale, by coordinating the pick and left-hand fingerings with precision. A signature technique in Afghan rubab playing is the “tremolo” or rapid-fire picking on a single note, creating a buzzing, continuous sound. This is used often during climactic moments or to sustain a note since the rabab’s notes don’t sustain as long as, say, a bowed instrument. The player essentially plucks the string repeatedly so fast that the note sustains. It’s similar to the mandolin tremolo technique.
Another right-hand skill is string crossing. Since the rabab often has drones, one might strike a melody note on the first string and immediately strike an open drone string to flush it with resonance. This requires controlling the pick to jump between non-adjacent strings quickly. Expert players make it sound seamless, blending melody and drone into one musical line.
Additionally, the right hand will often pluck sympathetic strings explicitly as part of a melody or pattern. While sympathetics mostly ring on their own, a technique borrowed from sarod is to occasionally strum across all sympathetics with the pick (a glittering effect, like a harp glissando). Some compositions call for a quick brush of these strings to signal a change or add drama.
Left-Hand Technique (Fingering and Ornamentation)
The left hand is responsible for selecting pitches by pressing the strings against the neck/frets. On the rabab, typically only the index, middle, and ring fingers are used to stop notes (pinkie is rarely used because of the spacing and strength needed on thick strings). The index might handle a lot of the work on lower positions, with middle and ring taking the higher positions.
Because the rabab has frets only for a portion of the scale, the left hand has to often play microtonal adjustments by ear. For instance, sliding a finger a bit on the fretless part can achieve a note that’s not on a fixed fret. This is essential for ragas where notes might be slightly flatter or sharper than equal temperament, or where glides are needed. Rabab players use pull-offs (letting a finger slip off a string to let a lower open string ring) and hammer-ons (not as common due to string thickness, but can hammer to a fret from an open string lightly).
One characteristic ornament in rabab playing is the meend or glide. Although not as fluid as on a fretless sarod, rabab players create mini-glides by plucking a note and then quickly sliding the finger towards the next note. If the fret is present, the slide can go until the next fret stop, creating a quick swoop in pitch.
Also common are short trill-like ornaments where two notes are alternated rapidly by hammering and releasing (if frets allow) or by a quick alternation of two strings. For example, playing an open string note and a stopped note back and forth gives a pleasing embellishment in folk tunes.
The left hand also dampens strings when needed. Since the rabab’s sympathetics and open drones can ring, sometimes one wants to stop the resonance for a staccato effect. A slight lift of the left-hand fingers or a touch with the side of the hand can mute the strings to punctuate rhythms.
Dynamic and Rhythmic Techniques
The rabab, being plucked, has a natural percussive attack. Players leverage this to integrate rhythm into their playing. A rubab performer, in a solo, often outlines a rhythmic cycle (taal) by accentuating certain strokes. For instance, in a Pashto tappa (folk song) which might be in a 7-beat cycle, the rubab might hit the bass drone strongly on the first beat of each cycle, acting almost like a drum accent. This self-accompaniment is part of what makes rubab playing engaging – the musician alternates between playing lead lines and providing a rhythmic drone strum.
One specialized technique is the “chordal chop” – not chords in the Western sense, but a quick brush of multiple strings to create a chord-like sound. Because the instrument is tuned to a scale, brushing 2 or 3 strings together can outline a chord or drone that adds emphasis. It’s a bit like strumming, but used sparingly to keep melody clear.
Rubab players also interact a lot with percussion when in ensemble. The timing of pick strokes can mirror the tabla or zerbaghali strokes. For example, if the tabla does a rapid fill, the rubab might respond with a fast picked pattern. There’s a call-and-response element in performances that is highly appreciated by audiences.
Musical Styles and Repertoire
The rabab is used in a variety of musical styles. Here are a few contexts and how the playing might differ:
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Classical Instrumental (Afghan art music/Hindustani influences): Here, a rabab solo might start with an Alap – a slow, improvised introduction without percussion, where the player explores the notes of a raga freely. In alap, the rabab player uses delicate slides, sustains, and avoids too much drone rhythm, focusing on melody and expression. After that, a composition (bandish) in a set rhythmic cycle begins, accompanied by tabla. The playing now becomes more rhythmic, with the composition’s fixed melody played and then improvised upon in faster and faster variations (taans). The rubabist must have command over both slow, expressive playing and dazzling fast runs for the climax. Pieces like ragas (e.g., Yaman, Bhairavi, etc.) are played.
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Folk Music (Pashto, Persian, etc.): In a folk setting, the rabab often accompanies singing. The technique here emphasizes supporting the vocalist: playing short interludes, echoing the melody the singer just sang, and keeping a steady drone/rhythm underneath. There is less emphasis on long solos and more on ornamentation that complements the vocal. For example, in a Pashto ghazal, after each line the rubab might play a soulful answer, using its lower register for mournful effect. Folk rubabists often utilize the natural drones of the instrument constantly, giving a rich backing.
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Devotional Music (Kirtan or Sufi Qawwali): In Sikh kirtan, if a rabab is used, it’s generally to double the hymn’s melody and add depth. The playing is straight to the composition – not much improvisation, instead graceful accompaniment to the human voice. In Qawwali (if a rubab is included, which is rare but sometimes in Pashtun or Afghan styles of dhikr), the rubab might outline the simple melody and emphasize rhythm with the dholak.
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Modern/Fusion: Some contemporary musicians incorporate rabab into rock, jazz, or fusion ensembles. Techniques then may include amplification, use of effects (reverb, delay), and even playing rubab with techniques borrowed from guitar (like plucking individual sympathetic strings deliberately to form chords, or creating drone loops). Because of its punchy sound, the rabab can even be slotted in place of a rhythm guitar for an interesting texture. Players like Homayoun Sakhi have collaborated with cellists, guitarists etc., so they adjust by sometimes simplifying the drone (to not clash with Western chord changes) and focusing on pentatonic or modal phrases that fit cross-culturally.
Notable Aspects of Sound
The rabab’s sound is often described as “deeply resonant and sweet, yet gutsy”. When playing it, one feels a strong vibration against the body from the skin and wood. The pluck gives it immediacy – every note is clearly articulated (there’s no bowing to mask anything), so precision is important. On the flip side, that percussive quality means the rabab can also serve like a rhythm instrument in a pinch, which is why you find solo rubab recordings still feel complete.
The sympathetic strings add an ethereal halo around the notes. A well-played rubab piece will have moments where it almost sounds like two instruments: the main melody, and an underlying harp or swarmandal softly echoing it – but it’s all the rubab itself causing that effect.
One limitation to manage is sustain. Plucked strings naturally decay. Rabab notes, especially on gut/nylon, have a warm decay but they don’t hold indefinitely. Thus players use ornamentation and tremolo to create the illusion of sustain when needed (for example, sustaining a note by rapid re-plucking, or playing a roll around a note).
Finally, the rabab’s range (not extremely high) means it often carries the mid-range melodies. In ensembles, it pairs well with higher flutes or lower harmonium, etc. In Afghan ensembles, it’s often the lead melodic instrument, supported by the dilruba (bowed lute) or harmonium and vocals, plus percussion. Its role is akin to the violin in Western folk – versatile for soloing or backing.
In learning rubab technique, students practice various picking patterns (much like guitarists practice scales and arpeggios). They do exercises for clean tone on each fret, for smooth string crossing, and for controlling those drones. One common beginner exercise is to play a scale while always hitting the open third string (drone) in between each note – this teaches them how to alternate melody and drone seamlessly.
In conclusion, playing the rabab is a rich experience blending melody, rhythm, and drone. A good rabab player almost sounds like they have an entire trio in their hands – a melodic soloist, a rhythmic accompanist, and a droning backdrop. Mastery comes when all these elements flow together naturally, letting the emotional content of the music shine through. Whether the style is a meditative Sufi poem or a lightning-fast classical tarana, the rabab can handle it with the right technique, making it a truly versatile and expressive instrument.
Care and Maintenance of the Rabab
Like any fine instrument, a rabab requires proper care to keep it sounding its best for years (or even generations). The rabab’s combination of wood, skin, and strings means it’s sensitive to environmental conditions. Here’s a comprehensive look at how to care for a rabab and ensure its longevity:
Handling and Daily Care
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Proper Handling: Always handle the rabab with clean hands. Oils or dirt from fingers can transfer to the wood and strings, affecting their condition. When picking up the instrument, support it by the neck and base of the body – avoid grabbing it by the pegs or pressing on the skin. The skin soundboard, while fairly durable when under tension, can be punctured or stretched if mishandled. So take care that nothing sharp (like belt buckles, jewelry) comes in contact with it while handling the instrument.
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Cleaning: Wipe down the rabab after each playing session. Use a soft, dry cloth to gently wipe the strings (this removes finger oils and rosin dust if any was used on pegs) and the wooden surfaces. For the carved and inlaid areas, be gentle – intricate inlay could snag cloth fibers; a very soft brush (like a clean makeup brush) can dust out crevices if needed. Avoid using commercial furniture polishes or cleaners on the rabab’s wood, especially those with silicone or heavy oils, as they can clog the wood’s pores or make it too slick. If needed, a tiny amount of lemon oil on a cloth can be used occasionally on unfinished fingerboard wood to prevent it drying out, but keep it minimal and away from the skin head.
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Temperature and Humidity: Rababs prefer a stable environment. Extreme dryness can cause the wood to shrink or even crack, and can make the skin head slack or brittle. Excess humidity can cause the skin to sag and lose tension (making the sound dull and the bridge unstable) and can also encourage mold or wood swelling. Ideally, keep the instrument in a room around 40-60% relative humidity. If you live in a dry climate or run heating/AC that dries the air, consider storing the rabab in its case with a humidifier pack (the type used for guitars/violin cases). In very humid climates, using silica gel packets in the case can help absorb excess moisture. Never expose the rabab to sudden temperature changes – e.g., coming from the cold outdoors into a heated room – without giving it time to acclimate in its case. Rapid changes can make the skin rupture or wood crack.
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Tuning Care: When not playing for extended periods (say, a week or more), some musicians slightly loosen the strings to reduce constant tension on the instrument. However, do not completely slacken all strings, as the sudden loss of tension can cause the bridge to move and the skin to relax too much (leading to possible misalignment or buzzing when tensioned again). A safe practice is to lower each string by a whole step or so if you’re storing the instrument. If you play daily, you can keep it in tune. Always double-check tuning before playing; using fine tuners or a digital tuner helps keep stress minimal (avoid overly tightening pegs – if a peg is stuck, push it in gently while turning, don’t force it dry as that could split the peg or pegbox).
Storage and Protection
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Case or Bag: It is highly recommended to keep the rabab in a padded gig bag or hard case when not in use. Many rubabs come with a padded cloth bag – ensure it has sufficient foam especially around the bridge area (some have a bridge protector pad) and the peg head (to avoid pegs hitting the case). A hard case, if available, offers the best protection against knocks or falls. When placing the rabab in its case, confirm that the bridge isn’t being pressed by the case lid – undue pressure can crack the skin or distort the bridge. If the case has a strap to secure the neck, use it. Always latch your case; an open case is a common cause of instrument drops.
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Avoiding Extreme Conditions: Do not leave the rabab in direct sunlight or near a heat source (like radiators or in a hot car trunk). Direct sun can heat and loosen the skin within minutes. Likewise, avoid very cold places as cold can make the skin and wood contract (also making the sound very sharp and brittle). Never store the rabab in a damp basement or attic; choose a living space where humans are comfortable, as that’s usually safe for the instrument too.
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Peg Maintenance: Over time, wooden tuning pegs may wear and not grip as well, causing slipping tuning. As a remedy, one can use peg compound or chalk. Rolling a bit of violin peg compound on the peg or a piece of chalk can increase friction if pegs slip, or ease sticking if they’re too tight (some compounds do both by filling gaps in wood). Only apply this to the contact part of the peg that goes into the hole, not on the exposed part or string. If a peg becomes too loose and won’t stay put, it might need refitting by a luthier (they can slightly taper it more or add a bushing to the hole). For at-home fix, a bit of rosin dust (from a violin bow, if available) on the peg can help it stick.
String Maintenance
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String Lifespan: Nylon and steel strings can last a decent while on a rabab, but gut strings (if used) deteriorate faster. Replace nylon main strings if you notice fraying or if they’ve stretched so much they hardly hold pitch. Steel drone and sympathetic strings can last many months, but keep an eye (and ear) on them – if they sound dull or have corrosion spots, it’s time to replace. Sympathetics especially can break due to their thinness, so having spares is important. It’s wise to keep an extra set of all strings handy. Fortunately, some modern products exist (like specialized rubab string sets with nylon and “sugar” or fluorocarbon strings) that are relatively affordable.
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Changing Strings: When changing, do one string at a time (to maintain overall tension and bridge position). For main strings, you’ll typically tie one end to the tailpiece bar with a secure knot (often a loop or noose knot) and wind the other end on the peg. Make sure the new string’s knot is tight and won’t slip – nylon knots can slip, so some people lightly melt the tip of a nylon string after tying to create a bead that won’t pull through the knot. When winding on the peg, ensure the string winds neatly in order (coils don’t overlap haphazardly) to avoid slippage. Wind such that the string’s tension pulls the peg inward to the pegbox (standard practice, similar to violin). After installing a new string, stretch it gently by pulling up on it a few times, retune, and repeat until it stabilizes.
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Sympathetic Strings Replacement: These can be trickier given they thread through tiny holes and onto side pegs. Patience is key. Use a piece of tape or a friend’s help to hold the string’s tail end while you wind the peg if needed. Some rubabs have sympathetics anchored on small nails or hooks instead of a tailpiece bar – hook the new string there, then run it up through the neck and to the peg.
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Cleaning Strings: Wipe strings after playing to remove sweat (especially from steel strings, which can rust). For steel strings, occasionally you can rub a bit of alcohol on a cloth along them to remove grime (do NOT let alcohol touch the wood or skin!). For nylon, just a dry wipe is fine; they don’t rust.
Skin (Head) Maintenance
The goat skin head is a critical part. It generally doesn’t need much maintenance if kept in stable humidity, but a few pointers:
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Tightness: You’ll know the skin is at ideal tightness by the sound and feel: it should have a drum-like spring when tapped, with a clear tone (not a flabby thud). If it sags in humidity, the bridge might sink a bit, causing buzzing or low action. If it’s too tight (in very dry weather), the tone might get too bright or the skin could risk cracking. Traditional players sometimes gently heat a slack skin to tighten it – for example, holding the rabab a moderate distance from a heater or lamp for a short time. Caution: too much heat can warp or split the skin. Only do this if you’re experienced, and evenly across the surface, checking frequently. Conversely, to relax an over-tight skin, a very slightly damp cloth lightly applied to the underside of the skin (inside bowl) can add a bit of moisture – but again, extreme caution: too much and you’ll loosen it too far.
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Replacing Skin: If the skin head tears or loses its tonal quality after many years, it needs replacement. This is a job for an expert luthier or instrument maker. It involves removing the old skin, selecting a new fine piece of goat (or calf) skin, soaking it, stretching it over the body, and gluing/tacking it down while under tension, then trimming. It’s quite involved. In regions where rubabs are common, makers offer this service. If you’re elsewhere, you might approach a banjo luthier (banjo heads are similar concept, though different mounting) or better, send it to a specialist if possible. A well-fitted new skin can revive an old rabab’s voice marvelously.
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Avoiding Damage: Do not place objects on top of the rabab where they can press or scratch the skin. When the rabab is in a case, ensure nothing inside (like a tuner or accessory) can bounce onto the skin. If you ever have to ship the instrument, some recommend loosening strings and even putting a paper or light cardboard spacer under the bridge to keep it from punching the skin if jolted (but shipping instruments with skin is risky; professional packing is advised).
Other Repairs and Care
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Bridge and Frets: Bridges can sometimes get grooves where strings sit; if the groove gets too deep it might deaden the sound or cause a buzz. A luthier can fill or reshape grooves, or you can carefully use a bit of superglue and baking soda to fill then re-slot (only if you know what you’re doing, otherwise get a new bridge made). Bridges are replaceable parts – having a spare bridge crafted is not a bad idea, especially if traveling (since if a bridge ever snaps, you can’t play until you replace it). The tied gut frets can occasionally move or loosen. If a fret slides, simply push it back to position and maybe shim under the knot with a bit of parchment or apply a dab of violin rosin to make it stick on the wood. If a fret’s gut/string frays, you’ll want to replace that fret tie – use similar material (nylon fishing line can substitute gut) and tie a snug knot, then trim.
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Polishing and Finish: Most rababs have either an oil finish or a thin shellac. You generally don’t need to polish it beyond regular wiping. If the instrument looks dry, a tiny bit of almond oil on a cloth can be rubbed into the wood surface then buffed off – but be extremely careful to avoid the skin and don’t use excess. The inlay areas might eventually lose some shine; they can be carefully cleaned with a damp cotton swab (water only) and dried immediately. Avoid any solvent or harsh cleaner as it could loosen the inlay glue.
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Professional Servicing: Just like violins and guitars benefit from occasional check-ups, a rabab might benefit from a luthier’s look every few years. They can check for small cracks (and fix them before they spread), ensure the neck angle is good, pegs fit well, and that there are no loose internal bits (some rababs have small soundposts or braces inside). If you hear rattling inside, it could be a loose sympathetic string end or a bit of dried glue – usually harmless, but a luthier can secure anything if needed.
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Repair Services: If you’re not in a region with rabab makers, look for specialized instrument repair shops. Some online ethnic instrument retailers also offer repair services if you ship the instrument. For example, as referenced, RubabShop.com’s repairing center handles tasks like bridge replacement, peg adjustments, wood refinishing, and full restorations. Antique rababs might need even more love – cleaning decades of grime, repairing chipped inlay, etc., which a professional restorer can handle.
Care During Playing and Practice
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String Breakage Protocol: If a string breaks while playing (especially a sympathetic that might go TWANG into the bowl), do not continue playing if the string end is loose near the skin – it could slap the skin and tear it. Pause and remove or secure the broken string. Sympathetics often break at the peg (so the long part falls in the bowl). Gently pull it out from the tail end if possible.
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Rest Position: When you set the rabab down during a break, lay it horizontally on a flat surface, ideally on a soft cloth. Do not stand it upright resting on the peghead – pegs can slip or the instrument can tip over. Also avoid leaning it against a wall. The best is back in its case, or lying on its back on a cushioned surface away from foot traffic.
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Traveling with Rabab: If you travel, use the case and keep the instrument with you if possible (as carry-on if by air, since it’s usually small enough). If checking it in luggage, a hard case is a must and even then it’s risky due to temperature and handling. For car travel, don’t leave the instrument in a hot or cold car for long durations. If you must, wrap the case in blankets to insulate.
By following these care guidelines, a good rabab can last many decades. The mulberry wood tends to improve tonally with age (much like fine violins improve over centuries), as long as it’s maintained. Many players cherish their instruments almost like family – a well-cared rabab often becomes an heirloom passed down. And as the saying among luthiers goes: instruments don’t die, they are killed by mishandling – so treating your rabab with respect and attentiveness will keep its voice strong and sweet for a lifetime. Remember, maintenance is not a chore but part of the artistry: when you change a string or polish the wood, you’re building a relationship with your instrument, understanding its nuances beyond just playing, which ultimately can make you a more sensitive musician.
Buying a Rabab: Prices, Options, and Tips
If you’ve fallen in love with the sound of the rabab, the next step might be to own one. Buying a rabab can be an exciting journey, but there are many factors to consider – from type and quality to price and where to purchase. This section will guide you through the key considerations and give an overview of rabab pricing in different markets.
Where to Buy a Rabab
Traditional Workshops vs. Modern Shops: In regions where the rabab is part of the culture (Afghanistan, Pakistan, India, Tajikistan), the best instruments often come from individual luthiers or family workshops. For instance, in Kabul or Peshawar there are master makers who carve rababs by hand, sometimes to order. Visiting such a workshop (if one has the chance) allows you to see and try multiple instruments and even request custom features (like specific inlay designs or size). However, not everyone can travel to these places.
Fortunately, there are now online retailers and specialty shops that cater to international buyers. Websites like RubabShop.com specialize in Afghan rubabs, offering instruments in different sizes and ornamentation levels. Other world instrument retailers might carry rubabs as well (check stores that sell Indian or Middle Eastern instruments; they sometimes stock Afghan rubabs or Pakistani-made ones). E-commerce platforms and even eBay/Etsy have listings, but buyer beware: quality can vary widely.
RubabShop and similar vendors often highlight the craftsmanship and even provide demo videos, so you get a sense of the sound. One advantage of dedicated shops is they may include extras (case, extra strings, picks) and have a return policy if the instrument is damaged in shipping or not as described. Some even allow custom orders — e.g., “order your custom Rabab with Sadaf inlay on RubabShop.com” where you specify the decorative pattern or size you want and they have it made.
Local Music Stores: In Western countries, it’s rare to find rababs in local music stores unless you’re in a city with a significant Afghan/South Asian community. However, some Indian music stores may have a rubab or two. For example, a shop that sells sitars and tablas might also stock a Kashmiri or Afghan rabab on occasion. If they do, definitely try it in person.
Second-hand Market: One might find used rababs for sale by individuals (for instance, on classifieds or through community groups). As seen on Pakistani classifieds like OLX, there are many rababs sold used, ranging in condition. Buying used can be budget-friendly – just be sure to check for any cracks, repaired skin, or other issues. If you’re not experienced, perhaps have a rabab player or knowledgeable person evaluate a used instrument with you.
Price Range Overview
The price of a rabab depends on several factors: craftsmanship, materials, size, decoration, and the seller’s markup. Let’s break down approximate price ranges in various contexts (all prices in USD for consistency, with local currencies noted):
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Local Price in South Asia: In Pakistan or Afghanistan, a basic functional rubab (student level, simple design) might cost around PKR 15,000–25,000, which is roughly $80–$130. Indeed, recent listings show simple rababs (no or partial inlay) for PKR 13,500–16,000 on local classifieds. These are often made by apprentice makers or in bulk. A very good quality local rubab with decorative work and better wood might be PKR 30,000–50,000 ($150–$300). The absolute top-tier ones (made by renowned ustad makers with full pearl inlay, best materials) could go for PKR 80,000+ (over $400) even in local market. For instance, a “full sadaf” decorated rabab might be advertised around Rs.25k and up, sometimes discounted in promotions or directly from makers.
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International Retail Price: Buying from abroad, prices tend to be higher due to export costs, seller margins, and possibly higher quality sorting. It’s common to see standard Afghan rubabs online in the range of $300 to $600. For example, Amazon had a model at $399. RubabShop lists handcrafted 32″ models (with accessories, etc.) often around $250-$400 equivalent (some of their prices are in PKR for local, but they offer international shipping possibly included in a ~$360 price for a decorated rabab). A very ornate or professional-grade rabab could be more: specialty instrument dealers might sell one for $700-$1000 if it’s a master make or comes with a lot of extras. For instance, Musician’s Mall USA had a “Kashmiri Rabab” listed around $1150 (down from $1440), likely due to being concert grade or including a costly case.
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Antique or Collector’s Rababs: These can fetch high prices among collectors. An authentic antique (say 19th century rabab) in good shape can go for a premium. We see an Etsy listing of an antique rabab at about $3,517. That’s not a typical price for a playable instrument, but for a decorative or collector’s item it indicates the upper range. Rare historical rababs, especially those with provenance (like “this rabab belonged to so-and-so court musician”), could even be valued higher, though they might not be played.
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Customized Orders: If you order custom inlay or specific modifications, some makers charge extra accordingly. For example, adding extensive sadaf inlay (mother-of-pearl) might bump the price by a certain amount due to the labor. Similarly, requesting a larger size or extra strings, or a different wood like perhaps walnut instead of mulberry, might change cost. Always clarify these details. Often, though, the base price already factors the typical decorations of that model.
In short:
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Budget range (~$100): likely a small, plain rabab, possibly used or a beginner instrument. Playable but may have lower-grade finish, fewer sympathetics, or not perfectly refined tone.
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Mid range ($200-$400): solid, standard instruments. You can get a very good rabab in this range, suitable for learning and performing. Most hobbyist or semi-pro players will be content here.
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High range ($500+): for professional instruments or heavily decorated pieces. These are often by known makers, using high-grade aged wood, superior aesthetics, and have been tested for sound quality. Also includes any Western retailer markups or brand names.
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Very high end ($1000 and up): rare and mostly for either concert professionals who want the absolute best (perhaps ordering directly from a master maker with decades of experience) or collectors after historical pieces.
To provide a concrete idea, here’s a small price comparison table:
| Location |
Approx. Price (USD) |
What You Get |
| Peshawar local workshop |
$80 – $150 (PKR 15k–30k) |
Basic rubab, minimal decoration, student quality. |
| Kabul master maker |
$250 – $400 (PKR 50k–80k) |
Professional rubab, fine materials, custom inlay possible. |
| Online Retail (USA/EU) |
$300 – $600 |
Standard Afghan rubab with case & extras, imported. |
| Premium/Collector |
$800 – $1500+ |
Top-quality or rare instrument (antique or concert-master made). |
| DIY Kit (rare) |
~$200 |
Occasionally, kits or partly made rubabs exist for luthiers to finish – not common, but mentionable. |
(Sources: Online listings, local ads, retailer info. Actual prices may vary with currency fluctuations and availability.)
Keep in mind shipping costs if buying internationally. Some sellers include shipping in the price; others may charge separately. A rubab with its case can be fairly large/heavy to ship (though still smaller than a guitar), so international shipping could add $50-100 if not included.
What to Look For When Buying
Build Quality: Examine the wood for any cracks or repairs. The mulberry should have a smooth finish, without major rough patches or splinters. Check how well the joints (especially where the neck meets the body) are done – it should look flush and solid. Look inside the bowl (through the sound hole or by peeking from top) to see if there are any visible cracks or signs of poor carving (some tool marks are normal in handmade instruments, but no cracks). The skin should be clean and tight, with even tension and no tears or holes. It’s common for a new skin to have some slight discoloration or tiny natural blemishes, but no structural issues.
Pegs and Hardware: Ensure the tuning pegs fit snugly and are not overly hard to turn or too loose. If you can, test tune a string: the peg should turn smoothly with moderate pressure and hold when released. If it slips back immediately, that’s a problem. See if the pegs are made of good hardwood – cheaper instruments might have softwood pegs that wear quickly. Decorative peg heads are nice, but functionality is more important (some ornate pegs might be less ergonomic to grip, ironically).
Strings Setup: Ideally, the rabab you buy should come fully stringed in proper order. Check that the number of sympathetics is as advertised (count the pegs). The action (string height) over the frets should be reasonable – not so high that it’s very hard to press, and not so low that strings buzz on the fret or fingerboard. Because frets are few, check the clearance of strings over the neck towards the body – there should be a little gap to avoid buzzing on the neck/fret ends when pressed. If possible, play each fret and open string to listen for buzzes. Some minor buzz can often be fixed by adjusting bridge position or fret ties, but major persistent buzz might indicate a warped neck or uneven neck surface.
Sound: This is subjective but crucial. If you have the opportunity to hear it (either in person or via the seller’s sound clip/video), listen for a clear tone on the main strings – it should be bright but full, not tinny, and free of rattling. The sympathetic ring will sound like a reverb effect after plucking a note; ensure those strings actually respond (on some poorly made ones, the sympathetic strings might be too muted if the bridges or slots are not well done). Bass drones should give a nice resonance you can feel in the instrument. Every instrument has a unique voice, so it’s about preference too – some are bass-heavy, some more treble-rich.
Decorative vs. Plain: Decide how important aesthetics are. A plainer instrument might cost less and sound just as good. Ornamental inlay (sadaf) doesn’t necessarily improve sound (in fact, too much inlay on the neck could slightly dampen vibrations if not done carefully, though usually it’s fine). It primarily increases visual appeal and value. If your budget is tight, you might opt for a plain model with good build rather than paying for bling. Conversely, if it’s going to be a centerpiece or you appreciate the artistry, a fully decorated rubab is certainly a beauty to behold – just ensure the underlying build is solid.
Seller Reputation and Support: If buying from an online shop, check reviews or testimonials. A good shop will often offer some warranty or setup guarantee – for example, they might promise to replace or repair if the instrument arrives with damage, or help you with any issues on first setup. Some even provide an initial tuning service or a guide. RubabShop, for instance, emphasizes not just sales but also a “complete rubab learning system” and support, which is reassuring for new players. If your seller offers lessons or an online academy (some do, as part of promotion), that could be a great plus for learning after purchase.
Accessories: See what’s included. Commonly, you should get at least one plectrum (shabaz) with the rabab. Many will include a soft case or bag. Extra string sets or sympathetic strings can save you trouble later (since those aren’t always easy to find at generic music stores). Some sellers throw in a digital tuner or a printed guide, which is nice. If not included, budget a bit extra to get a good electronic chromatic tuner or a tuning app to help you, and maybe spare strings (sympathetic string wire, nylon fishing line of appropriate gauge for main strings, etc.).
Negotiation and Deals: In person (like at a workshop or market) there might be room to haggle. Online, you may wait for promotions – sometimes shops run discounts around festivals or year-end. We saw a reference to “Rabab sale 30% off” in an Islamabad ad, indicating that even instrument makers do sales. It never hurts to ask if there’s any discount or if they can add a hard case if you pay a bit more, etc.
Beware of Very Cheap Instruments: If you see a new rubab for an extremely low price (say $50), be cautious. It could be a toy-grade or decorative piece not really suited for serious playing. There have been cases of tourist-targeted instruments that look okay but are not correctly built for musical use (improper fret positions, poor wood that can’t hold tuning, etc.).
Try if Possible: Ultimately, if you can try a rabab before buying (or have someone demo it live for you), that’s best. If you’re in a location with players, maybe ask around for recommendations on where they got theirs.
Call-to-Action for Enthusiasts
Once you’ve done your research, don’t be afraid to take the plunge. Owning a rabab is owning a piece of cultural heritage, and it can be immensely rewarding. If you’re ready to get one, you might order your custom Rabab with Sadaf inlay on RubabShop.com or a similar reputable source, tailoring it to your taste. And after acquiring it, consider complementing your purchase with learning resources – many sellers like RubabShop offer not just instruments but an entry into a community of learners (e.g., join RubabShop Academy online today to get lessons and make the most of your new instrument!). These kinds of bundled opportunities can enrich your journey, turning a purchase into a full experience of music education and cultural exploration.
In summary, be informed, listen and look carefully, and choose a rabab that speaks to you both in sound and craftsmanship. With a bit of care in buying, you’ll have an instrument that inspires you every time you play or even glance at it.
Learning to Play the Rabab
Buying a rabab is the first step; learning to play it opens up an entire world of music. Whether you’re a seasoned musician picking up a new instrument or an absolute beginner to music, the rabab offers a gratifying learning curve. It has the advantage of being melodic like a guitar but also droning like a sitar, giving learners a rich palette. Here’s a comprehensive roadmap and tips for learning the rabab:
Finding a Teacher or Learning Resource
Traditional Apprenticeship: In the regions of the rabab’s origin, the classical way to learn was to become a shagird (student) under an Ustad (master). If you have access to a local rabab player or teacher, that is invaluable. One-on-one lessons let you grasp posture, technique, and nuances correctly from the start. The teacher can play something and you imitate, which is great for an oral tradition instrument like this. If you’re in a Western country, look for cultural centers or music schools that offer lessons in Afghan or Indian instruments. Sometimes universities with ethnomusicology departments have adjunct instructors who teach traditional instruments.
Rubab Academies & Online Courses: In recent years, dedicated platforms like the Rubab Sargam Academy (affiliated with RubabShop) have emerged. These provide structured online courses for various levels. Online learning can be through pre-recorded video lessons or live Zoom classes. The advantage is you can learn at your own pace and even if you’re geographically isolated from any teacher. A good online course will cover fundamentals like tuning, basic fingering exercises, simple melodies, and progress to advanced techniques. Many also include notations or PDFs (for example, the My Rubab Book PDF often comes with such courses).
RubabShop’s program, as per their info, offers step-by-step video tutorials, a tuner app, practice guides, etc.. Enrolling in something like that means you get a whole ecosystem: you could join RubabShop Academy online today and have not just lessons but also community support and likely feedback opportunities from instructors on your progress.
Workshops and Camps: If possible, attend a music workshop or camp focusing on Afghan or world music. Sometimes maestros tour and give short workshops. These are great for inspiration and picking up advanced tricks, though for beginners a sustained learning program is needed after.
Self-Learning with Materials: It’s not impossible to self-teach, especially if you have prior musical background. Resources that help:
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Instructional Books: The My Rubab v2/v3 books (mentioned earlier) are intended to guide learners through scales, exercises, and songs. If you can get such a book, it’s a helpful reference.
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Videos: There are YouTube videos of players and sometimes tutorials. Watching how experts hold the instrument, their hand positions, etc., is informative. There might be series that start from basics (like “Lesson 1: Rabab tuning and plucking” on YT).
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Notations: Rabab music can be noted using Indian sargam notation (Sa Re Ga…) or even Western staff notation for melodies. If you read music, you could transcribe simple melodies to play on rabab. That said, a lot of rabab music is learned by ear.
Practice Routine: Start with short, regular practice sessions (15-30 minutes daily), rather than occasional long sessions. Build calluses on your left hand fingertips gradually (nylon strings aren’t as harsh as steel, but pressing on them, especially at fret edges, will toughen skin). Practice basic strokes (down-up picking) on open strings to get comfortable with the plectrum. Then practice a simple scale (like a major scale or a raga’s scale) slowly, making sure each note sounds clear and you coordinate pick and finger well.
Initial Challenges and How to Overcome Them
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Tuning Mastery: In the beginning, tuning so many strings is time-consuming and can be frustrating if they slip. Use an electronic tuner to help with the main strings and drone. Over time, you’ll memorize the pitches and also get faster. Consider tuning just 1-2 sympathetics at first (like tune maybe the ones that match your main scale notes) and leave others for later as your ear develops. Eventually, you’ll tune all. The key is to always check the main strings and drones first (the sympathetics rely on those for reference).
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Holding the Plectrum: Some find the wooden/metal shabaz awkward initially compared to a guitar pick. It may feel thicker and your hand might cramp. Ensure you’re not gripping too hard – hold it firmly but not white-knuckle. Do slow pick exercises to loosen the wrist. Over time your pick grip and wrist angle will adjust and you’ll get fluidity.
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Reaching the Frets: If your rubab has only a few frets, beginners sometimes overshoot or press in the wrong spot on the fretless portion. Start by really knowing where the frets are under your fingers (maybe even mark lightly with a pencil dot on side of neck for the first fret positions as a training wheel). Use a tuner to check if you’re hitting right notes when practicing scale patterns. With muscle memory, you’ll hit the right spots naturally.
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Strength and Endurance: Pressing the thick strings, especially doing pull-offs and fast passages, requires finger strength. In the early weeks, your hand might tire quickly. Take breaks, shake out tension. Over a few weeks, you’ll notice you can play longer without fatigue. It’s like building any muscle skill.
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Coordination: Getting the sync between left and right hand is a common challenge on any string instrument. Practice slowly and deliberately. One good method: play open string – stopped note – open string – stopped note patterns. For example, pluck open first string (so left hand does nothing), then pluck again but simultaneously fret a note. Alternate like this, it forces coordination. Also practice with a metronome or tal (rhythm) so your notes land in steady timing.
What to Learn – Step by Step
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Basics: Tuning, holding, right hand strokes (down/up), simple open-string rhythm patterns.
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Scale and Notes: Learn a basic major scale (Bilawal/Do-Re-Mi) or a common raga scale on the instrument. This teaches you the finger positions. Also learn which fret corresponds to which note (if any).
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Easy Melodies: Start with simple folk tunes or songs (perhaps a Pashto folk melody or a Sikh shabad or even a Western nursery rhyme – anything you can manage in one octave to start). Playing songs keeps it fun and musical.
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Drone integration: Practice hitting a drone string (like the open second or third string) in between melody notes to build that rabab style. It can be as simple as: play a melody note on first string, then pluck open second string, then next melody note, and so on.
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Exercises: Work on increasing speed gradually. A common exercise is to play the scale in double time, then triple-time (triplets), then quadruple, then come back down. Also practice jumping between non-consecutive notes to get string-crossing facility.
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Ornamentation: Once basic notes are comfortable, try the slides (meend) between notes. For example, play a note and slide to the next fretless note above smoothly. Or try a quick hammer-on/pull-off if possible (like open string to a note, back to open quickly).
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Ragas/Repertoire: Depending on interest, start learning pieces. If going the classical route, learn a simple raga composition (e.g., a ghazal in Khamaj or a Pashto tune in Yaman). If going folk, learn multiple songs and work on accompanying yourself or a singer. Sikh music aspirants might learn specific shabads.
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Advanced Techniques: This includes the tremolo picking for sustain, rapid fire tans (runs) for classical, and complex rhythmic patterns. These come with time. Also advanced could be exploring alternate tunings or scales.
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Playing with Others: Try to jam with a tabla player or someone on a drum machine/app once you can hold a rhythm. It’s essential for timing. Also, play along with recordings of rabab masters to mimic phrasing (an age-old technique: “sit with the recording of Ustad so-and-so and try to match them phrase by phrase”).
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Performance and Improvisation: When ready, practice performing a piece from start to finish, including tuning quickly beforehand, maybe a short alap (intro), the song, and a little improvisation if comfortable. This consolidates your skills into a musical presentation.
Cultural and Musical Immersion
Learning the rabab isn’t just about mechanical practice; it’s also absorbing the musical culture around it:
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Listen to lots of rabab music: recordings by masters like Mohammad Omar, Homayoun Sakhi, Nabi Gul, etc., or if Sikh style, listen to Namdhari rababi jathas. The more you listen, the more the style gets internalized.
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Learn about the ragas and folk forms being played. For instance, know that when you play raga Bhimpalasi on rabab, it has a certain mood and set of allowed notes. Or if playing an Afghan folk attan (dance tune), it has a certain rhythmic swing.
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If possible, join communities/forums (online or offline) of rubab enthusiasts. There are social media groups where learners share tips, or Q&A forums for world instruments.
Patience and Enjoyment
Be patient with yourself. Some days your fingers won’t cooperate or tuning will be a pain – that’s normal! Over time, muscle memory kicks in and things that felt awkward become second nature. The rabab is an instrument where even simple things sound beautiful thanks to the sympathetic resonance, so enjoy that. Even just strumming all open strings in a well-tuned rabab can sound like a chord of nature – it’s satisfying.
Set small goals: e.g., “This week I want to cleanly play this 8-note melody” or “I will practice tuning until I can do it in 5 minutes.” Each small win motivates the next.
Because the rabab is tied to deep cultural roots, many learners find it a soulful experience. It’s not just technical skill, it’s expressing emotion. As you improve, try to put feeling into your playing – a lament should sigh, a dance tune should bounce. This makes practice rewarding.
Lastly, consider sharing your progress. Play for family or friends – the rabab’s exotic sound will likely captivate them even if you’re a beginner playing a simple tune. That positive feedback loop can boost your confidence and drive you to continue.
In essence: Learning the rabab is a journey that combines technical skill-building with cultural appreciation. With modern resources like online academies and tuner apps making it more accessible than ever, enthusiasts around the world can dive into mastering this instrument. Whether your goal is to play traditional melodies around a campfire or to perform on stage, the path involves consistent practice, listening, and perhaps guidance from experienced players. Stay dedicated, and the rabab will reward you with its lion-like roar and nightingale sweetness under your fingertips.
Frequently Asked Questions (FAQ) about the Rabab
Q: What is the Rabab called in English?
A: The instrument is generally known as the Rabab (or Rubab) in English – the same name used in its original languages. There isn’t a completely different English term. Sometimes it’s described as an “Afghan lute” or “Central Asian lute” to give context, but most sources and musicians simply use “rabab.” The spelling “rubab” is also common (especially for the Afghan version), and “rebab” (with an “e”) usually refers to the related bowed fiddle in Arabic and Malay contexts. Essentially, English speakers refer to it by its name of origin, as Rabab/Rubab.
Q: What does Rabab mean in Sikhism?
A: In Sikhism, the rabab carries great historical and spiritual significance. It is revered as the first musical instrument of the Sikh faith, used by Bhai Mardana to accompany Guru Nanak’s singing of hymns. The rabab in this context symbolizes devotional music and the spreading of the Guru’s message through song. Sikh tradition holds that Guru Nanak’s rabab was crafted by Bhai Firanda and gifted by the Guru’s sister, and that whenever Guru Nanak would sing a newly revealed Shabad (sacred hymn), Bhai Mardana would play it on the rabab. Therefore, the rabab is seen as an instrument of bhakti (devotion), having literally given sound to the divine poetry of the Sikh Gurus. In modern times, although the harmonium has largely replaced it in common practice, the rabab is still honored and revived by Sikh musicians (like the Namdharis) who aim to recreate the original kirtan ambiance.
Q: How many strings does a Rabab have?
A: A standard Afghan-style rabab today has around 19–21 strings in total. This breaks down into:
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3 main melody strings (usually nylon),
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2–3 drone strings (steel, for rhythmic droning),
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and 11–15 sympathetic strings (thin steel or brass) that resonate on their own.
Large professional rababs often have the full complement (3 melody + 2 long drone + 2 short drone + ~14 sympathetic = 21). Smaller or student rababs might omit a few sympathetic strings, totaling maybe 11–15 strings overall. Regardless of exact number, the key feature is that only a few strings are played directly, while a dozen or so vibrate sympathetically to enrich the sound. The Punjabi rabab of Sikh tradition, by contrast, had fewer strings – typically just 5 or 6 (all gut) and no sympathetics – but that type is rarely seen today. Most rababs you encounter will have the array of sympathetics and drones as described.
Q: Is the Rabab hard to learn?
A: The rabab is considered moderately challenging to learn. On one hand, simple melodies on the rabab can be learned fairly quickly – the basic techniques of plucking and playing a scale are not overly complex, especially if you have prior experience with plucked instruments. It’s a very approachable instrument in first gear, and even playing basic lines with the built-in drones sounds pleasant. However, to master the rabab’s nuances and fast techniques, one must invest substantial practice. Challenges include:
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Tuning many strings accurately (an ear training exercise in itself),
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Developing coordination for rapid picking (the tremolo and swift runs),
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and learning to use microtonal slides and drones effectively for the music’s idiom.
Additionally, the rabab’s fretless sections require good ear intonation. If you aim to play intricate classical ragas or high-speed folk dances, it will take time and dedication, much like learning violin or sitar would. With regular practice and possibly guidance, a beginner can start playing simple songs in a few months, and moderate proficiency can be achieved in a year or two. Many learners today leverage online lessons (for example via RubabShop Academy or similar platforms) which makes the learning process more structured. In summary, the rabab has a learning curve but it’s rewarding – commitment and love for the music go a long way in making the journey enjoyable.
Q: Who invented the Rabab?
A: The rabab evolved over time, so there isn’t a single known “inventor” in the way one might invent a modern gadget. Historically, the rabab is at least 1,300+ years old, first mentioned around the 7th century in Central Asian/Persian contexts. It likely developed from earlier lutes of Central Asia or the Middle East. Some music historians suggest it could have been an iteration of the ancient Persian barbat or influenced by Indian subcontinent’s older veenas. In Sikh lore, Bhai Firanda is credited with carving the first rabab for Guru Nanak in the 15th century, but that refers specifically to the introduction of the rabab into Sikh tradition (Firanda did not invent the instrument globally, he was a maker of one at that time). By then, the rabab already existed in Afghanistan and Persia. So, the rabab as we know it was a product of collective innovation by luthiers across regions. It was refined in Afghanistan, becoming the Kabuli rabab; similarly, earlier forms existed in Persia. In short: no single inventor, but rather a traditional instrument that emerged and was refined in the folk workshops of the Silk Road region over many centuries.
Q: Why is the Rabab called the “lion of instruments”?
A: The rabab earned the nickname “the lion of instruments” primarily in Afghanistan because of its bold, commanding sound and its status as a national instrument. Culturally, Afghans describe the rabab’s tone as strong and majestic, much like a lion’s roar in the musical kingdom. It has a deep, resonant voice that can lead an ensemble, and historically it was an instrument of chiefs and courtiers, symbolizing courage and strength in musical storytelling. Additionally, when paired with the other national instrument of Afghanistan, the Zerbaghali (goblet drum), Afghans say it’s like a lion with its heartbeat. The phrase also underscores pride – just as the lion is king of beasts, the rabab is held in highest esteem among instruments in Afghan music. So, the moniker celebrates the rabab’s powerful sound, cultural prominence, and regal character in the musical heritage of the region.
Q: How do you tune a Rabab?
A: Tuning a rabab involves setting the 3 main strings a fourth apart and aligning drones and sympathetics to the desired scale. A common method:
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First, decide your reference note (often the tonic of the piece you’ll play). For example, many players choose a note between C and E for the highest string.
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Tune the first (highest) melody string to your reference (say you choose C).
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Tune the second melody string a fourth below that (in this case, that would be G if first is C). In other words, when the second string is pressed at its fourth fret (if it has one) or a equivalent position, it should match the first string open.
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Tune the third (lowest) string a fourth below the second (continuing the example: a fourth below G is D, so low string to D). Now your 3 melody strings are in fourths (C – G – D in descending pitch).
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Next, tune the drone strings. Often one drone (the long one) is tuned to the same note as the third string (or an octave lower if the string length allows) to provide a bass tonic. The other drone (short, higher one) might be tuned to the fifth of the scale or the octave of tonic. In our example, that could mean: long drone = D (one octave below third string D if possible), short drone = high C (same as first string, to jingle along). Some rubabs have three drones; you might set one to tonic, one to fifth, one to octave as needed.
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Finally, tune the sympathetic strings (tarb strings). These you tune according to the scale or raga: for a major scale in C, you’d tune them to C, D, E, F, G, A, B, and perhaps additional octave notes. If a raga has particular intervals, you tune to those (e.g., for a raga with a flat 7th, one string to B♭). Each sympathetic usually corresponds to a scale tone so that it will ring when that tone is played on the main strings.
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Practically, many use a digital tuner app nowadays, or a harmonium/keyboard as reference, to get each string spot on. Some learning methods provide specific frequencies for each string for an optimal tuning; for instance, one guide recommends ~176 Hz, 234 Hz, 314 Hz for the main strings (which correspond to a particular tuning in Hz).
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As you tune, constantly go back and check the earlier strings because adding tension on later strings might change overall tension slightly. It’s an iterative process.
In summary, main strings in 4ths, drones to tonic/octave, sympathetics to the scale. With practice, this can be done in about 5-10 minutes. Beginners might take longer, but using a clip-on chromatic tuner can really speed it up. And pro tip: Always tune the sympathetics gently – they’re thin and can break if over-tightened (when in doubt, tune a shade low; they’ll still ring if close to pitch). Tuning a rabab is crucial for that rich sound, so it’s worth the effort!
Q: How much does a Rabab cost?
A: The cost of a rabab can vary widely based on quality, materials, and where you buy it:
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In regions like Pakistan or Afghanistan, a basic handcrafted rabab for students might cost around PKR 15,000–25,000, which is roughly $80–$130. These would be functional instruments, perhaps with minimal decoration.
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A good professional-grade rabab with decorative inlay and superior build in South Asia could run from about PKR 50,000 up to 100,000 (approximately $250–$500). For example, a fully ornamented sadaf work rubab might be in that range or higher depending on craftsmanship.
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Internationally, when buying from specialty shops or online retailers, prices are often higher due to export and seller overhead. It’s common to see quality rubabs in the range of $300–$600 on websites. This often includes a case and sometimes shipping. For instance, RubabShop lists instruments roughly around $350 (converted from local price) for a 32-inch model with mother-of-pearl inlay.
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There are also high-end or collector’s rababs which can go above $1000. These might be antique instruments or ones made by very renowned makers. As an extreme example, an antique rabab on Etsy was listed over $3500, but that’s not the norm for a playable new instrument.
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If you’re looking for a mid-range figure: around $400 can get you a very solid Afghan rubab with some ornamentation, either from an online shop or by commissioning a maker (excluding shipping).
Keep in mind shipping costs (if buying abroad) and import duties in some cases. Also, custom options (like extra inlay or a unique size) may add to the price. On the other hand, purchasing directly from a maker during a trip to a place like Peshawar or Kabul might get you a better price (no middleman).
In summary, expect anywhere from under $200 for a simple beginner’s rabab (especially if purchased locally) up to a few hundred dollars for a good instrument, with the very ornate or historic pieces commanding higher prices. It’s a broad spectrum, but budgeting around $300-$500 is reasonable for obtaining a quality rabab that will serve well for learning and performance.
Q: What is the Rabab made of?
A: A traditional rabab is made almost entirely of natural materials:
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Wood: The body (including the bowl and neck) is carved from a single block of wood, most often mulberry wood (called Shah Tut in Persian). Mulberry is favored for its acoustic properties – it’s strong yet resonant. Some rababs might use other woods for specific parts (for example, cedar or tun wood in some Punjabi rababs, walnut for bridges or pegs).
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Resonator Skin: The soundboard of the rabab – the covering of the hollow bowl – is a membrane of animal skin, typically goatskin. Other skins like from young goat (kid) or deer have been used, but goatskin is common for its balance of durability and tone. The skin is stretched and glued/tacked to form the “belly” on which the bridge sits.
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Strings: Historically strings were made from gut (animal intestines), especially for the main melody strings. Nowadays, gut is often replaced by nylon (monofilament) or similar synthetic, which is more stable with weather changes. So, main strings are usually nylon (or PVF “Carbon” fishing line). The drone and sympathetic strings are metal – usually steel or bronze alloy. Sympathetic strings are thin steel (like 0.2mm gauge or so). So you’ll find a mix: three thick nylon strings, a few metal wire strings for drones, and a bundle of fine metal wires for sympathetics.
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Bridge and Nuts: The bridge, which holds up the strings on the skin, can be made of hardwood (often walnut or rosewood) or traditionally even ivory or bone in old instruments. Today, bone bridges are less common (due to regulations and material availability), so wood is standard. The small nut at the top of the neck (guiding strings into pegbox) can be wood, bone, or even a bit of hard plastic in modern makes.
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Pegs: The tuning pegs are carved from hardwood (like rosewood, ebony, or local hardwoods); they need to be sturdy to handle string tension without warping.
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Frets: If present, the frets on a rabab are typically nylon or gut strings tied around the neck. So, rather than metal frets, it’s string frets.
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Decoration: Many rababs feature decorative inlays, often using mother-of-pearl (shell) for the shiny floral patterns – referred to as Sadaf inlay. This is real shell from sea mollusks, meticulously inlaid into carved recesses on the neck and body. Other decorative materials could include bone, brass pins, or colored woods for mosaic patterns.
In summary, the rabab is an organic instrument: mulberry wood body, goatskin sound table, gut/nylon and metal strings, wooden pegs, bone/wood bridge, and shell adornments. These elements together give the rabab its warm, earthy sound and handcrafted aesthetic.
Q: What is the difference between a Rabab and a Rebab?
A: The terms Rabab and Rebab can be confusing because they refer to different (though historically related) instruments:
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Rabab (Rubab): This typically refers to the plucked lute originating from Central Asia/Afghanistan. It has a wooden body with a skin top, multiple strings (melody, drone, sympathetic), and is played with a pick. It’s a fretted or semi-fretted instrument held in the lap like a guitar. The Afghan rabab, Sikh rabab, etc., fall in this category.
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Rebab: In Arabic, rebab (or rababa) is an ancient spike-fiddle – essentially a very simple violin-like instrument with usually 1 to 3 strings and played with a bow. It often has a small round body (sometimes a coconut shell or wooden frame) covered with skin and a long neck with no fingerboard (just a stick). This rebab is played upright with a bow and is found in the Middle East, North Africa, and also in Southeast Asia (Java, Malaysia) due to Islamic influence. It has no sympathetic strings and produces a very nasal, haunting sound.
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Key Differences: The rabab is plucked with a plectrum, whereas the rebab is bowed with a bow. The rabab usually has many strings (for its resonance), the rebab has few strings (often just one melodic string and perhaps one drone). The physical appearance is different: rabab has a sizeable body like a lute, rebab is basically a stick on a resonator.
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Sound and Use: The rabab’s sound is rich, with sympathetic echo, and it’s used in ensemble or solo with percussion. The rebab’s sound is thin and piercing, used often to accompany vocals or in orchestral context (like the rebab in Javanese gamelan that adds a lyrical bowed line).
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Etymology: Interestingly, the word rebab in Arabic is the root, meaning “an instrument played with a bow”. When that concept traveled east, the plucked variant took on the name rubab/rabab. So historically, one could say the rabab (plucked lute) was named after the rebab (bowed fiddle) but evolved separately. Some musicologists think the plucked rabab might have developed to allow more melodic versatility (since you can have more strings for sympathetics, etc.).
In short: Rabab (Rubab) = plucked lute, Rebab = bowed fiddle. They share a name origin and both have skin sound tables, but they are constructed and played differently. One easy way to remember: Rabab has frets and many strings (think “rubab = many strings & plucked”), Rebab has no frets and is bowed (think “rebab = bow”). So, if you see someone with something that looks like a small one-stringed violin, that’s a rebab. If you see a larger lute with multiple pegs being plucked, that’s a rabab. They are cousins in the family of string instruments, but distinctly different in practice.
Q: How is the Rabab used in music today?
A: The rabab continues to be a versatile instrument in contemporary music across various contexts:
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Traditional Folk Music: In Afghanistan and Pakistan, the rubab is regularly heard in folk songs, wedding music, and traditional ensembles. For example, in Pashtun regions, you’ll hear it in tappa (folk songs) and celebratory attān dance tunes. It often accompanies a singer or is featured in instrumental pieces with tabla or dhol. Folk rubab players keep alive old melodies and also create new ones for local poetry.
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Classical and Art Music: The rabab holds a place in the art music of Afghanistan (sometimes called Afghan classical, which is related to North Indian raag music). It might render ragas or traditional instrumental forms like naghma. There are maestros performing on stage, preserving classical rubab compositions (rababi repertoire) and collaborating with other classical instruments (like sitar, sarod, etc.). In Indian classical circles, the rabab itself is rare now (sarod took its place), but some revival efforts have brought it back in certain performances for historical authenticity.
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Religious and Devotional Music: In Sikhism, there’s a resurgence of using the rabab in Gurbani Kirtan (Sikh hymns) by certain groups who practice old-style “ Gurbani Sangeet”. They use the rabab alongside other traditional instruments like the dilruba and jori to perform shabads in gurdwaras or special events, aiming to recreate the sound of Guru-era music.
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World Fusion and Contemporary: Rabab has been discovered by the world music scene. It’s not uncommon to find a rabab in a fusion ensemble, say mixing with guitars, flutes, or keyboards. Notable world music artists (e.g., Homayoun Sakhi, Daud Khan Sadozai) have collaborated with Western orchestras, jazz musicians, etc., featuring the rabab. Its warm tone blends well with instruments like the cello or piano, and its percussive attack can complement drums or bass. Some bands incorporate rabab to give a Middle Eastern/Central Asian flavor to their sound.
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Film and Media: The unique sound of the rabab has been used in film scores (particularly for scenes set in Central/South Asia or to evoke spiritual/mystical moods). You might hear rabab strains in soundtracks of documentaries or movies involving Afghanistan or the Silk Route. It has that “ethnic” signature that composers look for to set a scene.
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Education and Academia: The rabab is now taught not only in its home countries but also in music schools abroad as part of ethnomusicology or world music programs. So you’ll see student recitals in, say, the US or Europe where rabab is performed, often by students who took it up academically.
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Online Presence: Many rabab players share their music on platforms like YouTube, Instagram, etc. This includes covers of popular songs adapted to rabab, instructional content, and virtual concerts. This is a very modern usage that helps spread the instrument globally.
In essence, the rabab is used both in preserving tradition and in creating new musical conversations. You might find it at a village gathering in Kabul, a gurdwara in London, a world music festival in New York, or as part of a meditation music album. Its soulful sound lends itself to any music that values expressiveness. Far from being a museum piece, the rabab is very much alive and adaptive in today’s music.
Q: Can I play Western music (like songs or chords) on the Rabab?
A: Yes, to an extent. The rabab is primarily a melodic instrument, so it excels at playing melodies from any genre, including Western music. You can absolutely pick out the tune of a Western folk song, pop melody, or hymn on the rabab – it might sound beautiful with the rabab’s distinct timbre. Many Western major/minor scale melodies fall well within the rabab’s range. For instance, you could play something like “Greensleeves” or “Silent Night” on a rabab and it would be quite haunting and lovely.
However, playing chords (harmony) as on a guitar is not what the rabab was designed for. The rabab has only 3 main melodic strings and they’re tuned in fourths, which is not conducive to common Western chords (which typically need at least 3 different notes at once). Also, it lacks the fretboard setup to easily form chord shapes. That said, one can play simple double-stops or drone accompaniments. For example, you might finger one note on the first string and let an open second or third string drone alongside it, creating a dyad (an interval). This could approximate a harmony or chordal accompaniment in a limited way.
Some Western tunes can be arranged in a drone style: think of how a bagpiper plays a melody over a constant drone. You could do similarly on rabab – use one of the open drone strings as a continuous tone (like a pedal point) and play the melody on the first string. This works nicely for simple harmonizations or modal songs.
In terms of Western scales, the rabab can handle major, minor, pentatonic, etc. Just be mindful of its range (roughly 2.5 octaves) – very high melodies might not fit, and very fast chromatic runs might be hard if they span more than the few frets. Also, because the rabab doesn’t have all chromatic frets, you might have to fudge certain accidentals unless you retune a sympathetic or so to accommodate (but the main 3 strings cover a diatonic octave well; they have some semitones via frets).
In summary: Playing Western melodies – absolutely yes. Playing Western harmonic style (full chords) – limited, and not in the standard guitar sense. Many enthusiasts play Western folk or even rock melodies on rabab for a unique spin (e.g., a rabab cover of a movie theme), and it’s quite enchanting. If you specifically want to strum chords to sing along, the rabab isn’t ideal – a guitar or harmonium would do better – but the rabab can accompany by playing riffs or drones behind singing. It’s all about using the instrument’s strengths (rich melody, drone) rather than forcing it into a full chordal role.
Q: How do I maintain and care for my Rabab?
A: Proper care will keep your rabab in great condition. Key tips include:
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Climate Control: Keep the instrument away from extreme humidity or dryness. Too dry can crack the wood or shrink the skin; too humid can loosen the skin and joints. Maintain it in a moderate environment (40-60% humidity if possible). Use a case or bag for storage to buffer climate swings.
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Handling: Always handle the rabab gently. Avoid touching the skin with oily fingers or pressing it – the goat skin, while under tension, can be punctured or stretched if mishandled. When not playing, store the rabab in a padded gig bag or hard case to protect from dust and accidents.
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Cleaning: Wipe the wood parts with a soft dry cloth after playing to remove sweat or dirt. For the skin, usually just a dry, soft brush or cloth lightly if needed (don’t use water or cleaners on the skin). You can periodically (maybe once or twice a year) rub a tiny amount of lemon oil or wood conditioner on the fingerboard if it looks dry (avoid oil on the skin or decorative inlays).
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Tuning and Strings: When you finish playing, it’s not strictly necessary to detune every time (unlike a violin). However, if you won’t play it for a long period, you might slightly loosen the strings by a step to reduce constant tension on the skin and neck – but do not completely slacken all strings because the bridge could move. Check strings regularly for wear – replace the nylon if it shows fraying or thinning, and metal strings if they rust or break. Always have spare strings, especially sympathetic ones (they’re thin and can snap).
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Bridge and Pegs: The bridge is held by string pressure; occasionally ensure it’s upright and centered. If it ever falls (like during a full detune), you’ll need to reseat it at the correct position (usually where the skin’s resonance is best, often directly under some notch or harmonic point – mark it lightly when it’s in the right spot). Pegs can slip or stick; use a bit of peg compound or chalk on pegs if they slip too easily, or a touch of soap if they’re too tight. Well-fitted pegs should hold tune without extreme force.
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Skin Maintenance: The skin head can last many years. Avoid sudden temperature changes (never put the rabab near a heater or in direct sun; don’t leave it in a cold car). If the skin ever gets damp (e.g., playing outdoors and mist falls on it), dry it gently and slowly. In very humid weather, the skin might sag causing a dull sound; you can very lightly warm it from a distance (for instance, with a 60-watt lamp a foot away) to tighten it – but be cautious. If the skin tears or forms a puncture, it will need professional replacement.
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General Storage: Keep the rabab somewhere safe from being knocked over. If on display, consider a stand that supports it well. Keep it out of reach of small kids or pets who might inadvertently damage it (curious fingers on that skin!).
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Periodic Check-up: If possible, have a luthier or experienced player check your instrument once in a while (especially if you suspect any issues like small cracks, loose inlay, etc.). Tighten any loose trim pieces or inlay pieces carefully with appropriate glue.
By following these care practices – controlled environment, gentle handling, regular cleaning, mindful tuning – your rabab will remain in excellent shape. Many of these are common sense and similar to care for guitars or violins, with extra attention to the skin head as that is a unique component. A well-cared rabab not only lasts longer but also sounds better (since things like tight skin and fresh strings directly affect tone). And it’s worth it: these instruments often become beloved companions, and taking care of it is part of the respect and love for the craft.
Q: Where can I find Rabab music or players to listen to?
A: There are many resources to enjoy rabab music:
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Recordings by Masters: Look for albums by renowned rabab players. Some names include Ustad Mohammad Omar (a legendary Afghan rubab master who even recorded an album for Smithsonian Folkways), Ustad Qasim, Homayoun Sakhi (a contemporary virtuoso with several albums, including “The Art of the Afghan Rubab”), Daud Khan Sadozai (who plays rubab and sarod), and Nabi Gul. Their recordings often feature solo rubab or rubab with tabla. Also, Ensemble Kaboul and other Afghan ensembles have rubab in them.
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Online Streaming: Platforms like YouTube, Spotify, SoundCloud have plenty of rabab music. On YouTube you’ll find not only official recordings but also live performance videos, some from TV broadcasts or concerts. You can search terms like “rabab performance”, “rubab solo”, or in languages: “روبەب” or “Rubab instrumental”. For Sikh rabab, search “rabab shabad” or “Bhai Mardana rabab”, which might show you devotional performances with the instrument.
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Social Media: Many present-day rubabists have social media pages or YouTube channels where they post music. Following artists like Homayoun Sakhi or others on Facebook/Instagram can yield clips of their playing. There’s also a growing community of young rubab players (for instance, Pakistani rubabists who do covers of popular songs on rubab – quite interesting to listen to modern tunes on an ancient instrument).
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Cultural Events: If you live in a city with an Afghan, Pashtun, or North Indian community, keep an eye out for cultural shows, Nowruz (Persian New Year) events, or South Asian music festivals. Rabab often features in those. Sikh musical programs (like kirtan samagams by traditional groups) might also include rabab.
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Radio/Podcasts: Some radio shows or podcasts focusing on world music or specifically Central Asian music will have episodes on the rubab. For example, BBC radio or NPR have done segments on Afghan music featuring rubab.
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Local Musicians: You might be surprised – in many places you can find at least one rubab player. If you’re learning, ask your teacher or community – they’ll know who to listen to. Sometimes universities host visiting artists from Afghanistan or India; a concert by such an artist is a golden opportunity to hear live rabab.
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Audio Archives: Websites like the Afghan Music Archive or Smithsonian Folkways have archival recordings of rubab from earlier decades which can be both educational and enjoyable to hear the traditional styles.
In essence, while the rabab is a niche instrument globally, the internet has made its music quite accessible. Dive into the recordings by masters for the best quality, and supplement that with the myriad YouTube videos of both traditional and innovative rubab performances from around the world. Listening widely will not only entertain you but also deepen your understanding and appreciation, especially if you’re learning to play. Enjoy the rich, droning melodies – there’s nothing quite like the soulful sound of a rabab in full flow!
This comprehensive guide has walked through the history, culture, craftsmanship, and practical aspects of the Rabab. From the courts of emperors and the verses of saints, to the hands of folk musicians and modern maestros, the rabab’s journey is truly epic. Whether you’re captivated by its sound as a listener or inspired to learn it as a musician, the rabab offers a profound connection to a living musical heritage. Embrace the “lion of instruments” – explore its roar and its whisper – and you’ll be touched by a tradition that spans continents and centuries.
