List of string instruments

String instruments, classified as chordophones in the Hornbostel–Sachs system, are musical instruments that produce sound primarily through the vibration of one or more strings stretched between fixed points.^[1] Developed by Erich Moritz von Hornbostel and Curt Sachs in 1914, this ethnomusicological framework provides a comprehensive global classification for such instruments, encompassing traditions from Western classical music to indigenous and folk practices worldwide.^[2] The Hornbostel–Sachs system divides chordophones into two main subclasses: simple chordophones (category 31), which consist solely of a string bearer or one with a detachable resonator, such as various zithers including bar, tube, and board types; and composite chordophones (category 32), where the string bearer and resonator are organically united, including lutes (with subtypes like bow lutes, yoke lutes or lyres, and handle lutes), harps (open or frame varieties), and harp-lutes.^[1] These categories highlight the diversity of string instruments, which can be played by plucking, bowing, striking, or other methods, and are integral to musical ensembles across cultures—for instance, the violin and guitar in European orchestral and popular music, the erhu in Chinese traditions, the sitar in Indian classical music, the koto in Japanese gagaku, and the balalaika in Russian folk styles.^[3][4] This list compiles notable examples from these and other categories, illustrating their historical and cultural significance in global music-making.^[1]

String Instruments by Excitation Method

Bowed String Instruments

Bowed string instruments produce sound through the friction generated by drawing a bow—typically composed of a curved wooden stick tensioned with horsehair—across one or more strings. The horsehair is coated with rosin, a solid resin derived from pine trees, which adheres to both the hair and the strings to create the necessary grip. As the bow moves, heat from friction softens the rosin, facilitating a stick-slip cycle: the string adheres to the bow during the "stick" phase (moving at the bow's velocity) and suddenly releases during the "slip" phase (vibrating backward at higher speed), repeating at the string's fundamental frequency. This mechanism, known as Helmholtz motion, sustains periodic vibrations that radiate sound via the instrument's body.^[5] The violin family, central to Western orchestral and chamber music, emerged in northern Italy during the 16th century, with Cremonese luthier Andrea Amati credited for developing the modern four-string violin around 1550. These instruments feature a hollow, hourglass-shaped body crafted from tonewoods like spruce (top) and maple (back and sides), with f-holes for acoustic projection and a bridge to transmit vibrations to the body. The family consists of four primary members, differentiated by size, pitch range, and playing posture, all tuned in perfect fifths and capable of polyphonic playing through double stops. The violin's compact design allows for agile, high-register melodies, while the double bass provides foundational bass lines with its resonant, booming tone.^[6][7] Beyond the orchestral violin family, various non-orchestral bowed instruments highlight diverse constructions and playing traditions. The fiddle serves as a folk variant of the violin, often with adjusted bridge curvature or gut strings for regional styles, emphasizing rhythmic bowing patterns in traditions like Irish or Appalachian music. The viola da gamba, a Renaissance and Baroque-era instrument, features a flat-backed body, six or seven gut strings, and frets tied along the neck for precise intonation; it is played downward between the legs (da gamba meaning "of the leg") and produces a warm, reedy timbre through its C-shaped sound holes. The hurdy-gurdy employs a wheel-bowed mechanism, where a hand-cranked, rosined wooden wheel continuously rubs against up to 12 strings, while tangent keys—small wooden wedges operated by a keyboard—press against melody strings to alter pitch, blending drone and melodic lines in medieval and folk contexts.^[8][9] Examples from Asian traditions include the erhu, a two-stringed Chinese fiddle with a spiked design: its vertical neck pierces a small, hexagonal resonator covered in python skin for tonal warmth, and the bow—held between the silk strings—is drawn to produce sliding glissandi and emotive vibrato. The kamancheh, a four-stringed Persian spiked fiddle, has a globular wooden body (often walnut) attached to a slender neck, held upright on the thigh; its horsehair bow allows for intricate microtonal ornamentation in classical Persian ensembles. In Europe, the Swedish nyckelharpa functions as a keyed bowed instrument with 16 strings (four melody, 12 drone and sympathetic) and 37 wooden keys that deploy tangents to stop the strings, played underarm with a short bow for a buzzing, harp-like sustain in folk dance music.^[8][10] Acoustically, bowed strings excel in continuous sound sustain, as the bow's persistent frictional input maintains oscillation without decay, enabling extended phrases and dynamic control from ppp to ff. This contrasts with plucked or struck strings by allowing seamless volume variation through bow pressure and speed. Expressive techniques leverage these properties, such as sul ponticello—bowing near the bridge to emphasize higher harmonics for a shimmering, metallic timbre—or artificial harmonics, produced by lightly touching a string node while bowing to isolate overtones, adding ethereal layers to performances.^[5][11]

Plucked String Instruments

Plucked string instruments produce sound through the action of pulling and releasing the strings, creating a discrete attack that emphasizes rhythmic clarity and varied timbres depending on the plucking method.^[12] In fingerstyle plucking, the fingertips or nails directly engage the string, where flesh contact yields a warmer, softer tone due to gentler excitation of higher harmonics, while nail plucking introduces brighter, more metallic overtones from sharper release.^[12] Plectrum plucking, using a thin pick, generates a sharper attack and sustained projection, altering timbre by exciting a broader spectrum of partials compared to finger methods, which suits strident styles like folk or rock. The guitar family exemplifies plucked lutes with a waisted body and fretted neck, central to diverse musical traditions. The classical guitar, originating in Spain during the late 18th century, features nylon strings for a mellow tone and is typically played fingerstyle to articulate intricate polyphony. Acoustic steel-string guitars, developed in the United States in the early 20th century, employ metal-wound strings over a larger body to produce louder, brighter resonance suited to American folk and rock genres, often strummed with a plectrum for rhythmic drive. Variants like the archlute, a Baroque-era extension of the lute, incorporate extended bass strings beyond the fingerboard for continuo accompaniment, adding deep, resonant drones to plucked melodies.^[13] (Note: MusicBrainz is a community database, but for archlute it's descriptive; use cautiously.) The harp family represents frame-based plucked instruments with strings stretched across an open frame, allowing expansive chordal possibilities. The concert harp, standard in orchestras since the 19th century, has 47 strings and a pedal system that enables chromatic tuning by shortening strings via foot-operated mechanisms, facilitating complex harmonies in Western classical music.^[14] The Irish harp, historically wire-strung from medieval times, delivers a crisp, bell-like timbre through metal strings tensioned on a triangular frame, influencing Celtic traditions with its diatonic layout.^[14] The African kora, a 21-string bridge harp-lute, uses a gourd resonator and skin soundboard, with strings split into two ranks on either side of a notched bridge for polyrhythmic West African griot performances.^[15] Other notable plucked instruments include the banjo, an American invention from the 19th century with a drumhead-like parchment stretched over a hoop resonator, producing a twangy, percussive snap ideal for bluegrass and jazz rhythms. The mandolin, of Italian origin in the 17th century, features paired courses of four double strings tuned in unison for enhanced volume and sustain, commonly plucked rapidly in folk and classical ensembles. The Indian sitar incorporates sympathetic strings beneath the main fretted ones, which resonate passively when plucked, enriching the drone-based ragas with shimmering overtones.^[16] The Japanese shamisen, a three-string lute dating to the 16th century, uses a plectrum called a bachi to strike its thick silk or gut strings over a square body, yielding bold, narrative tones in traditional theater. The Japanese koto, a 13- or 17-string board zither, is played by plucking silk or nylon strings with ivory or plastic plectra attached to the thumb and first two fingers of the right hand, producing a sharp attack while the left hand adjusts movable bridges for tuning in pentatonic scales.^[17] Strumming techniques in plucked instruments involve sweeping the plectrum or fingers across multiple strings to sound chords simultaneously, creating harmonic fullness and rhythmic propulsion, as seen in folk guitar accompaniments.^[18] Chordal playing often employs alternate tunings to facilitate open voicings; for instance, DADGAD tuning on the Celtic guitar lowers the high E to D and bass E to D, enabling modal scales and suspended chords that evoke ethereal drones without barring, popular in Irish and Scottish music.^[18]

Struck String Instruments

Struck string instruments produce sound through percussive excitation, where strings are directly impacted by hammers, mallets, or sticks held by the performer, initiating transverse vibrations that radiate through a soundboard or resonant body.^[19] Unlike keyboard mechanisms, the striking action relies on manual control, with the performer using lightweight hammers—typically wooden and weighing around 8 grams—to deliver a brief contact time of 1.5 to 5 milliseconds near the bridge for optimal energy transfer.^[20] This impact causes the hammer to rebound immediately, avoiding prolonged contact that could dampen the vibration prematurely, while performers often use their hands or added fabric strips to mute strings selectively, preventing unwanted multiple strikes or sympathetic resonances from adjacent courses.^[20] String damping in these instruments focuses on post-strike control to shape decay and articulation, contrasting with the automated escapement found in struck keyboard variants like the piano.^[19] The dulcimer family exemplifies struck strings in a trapezoidal frame zither configuration, with multiple courses of metal wires stretched over bridges on a soundboard. The hammered dulcimer, prevalent in European and American folk traditions, features diatonic tuning across 15 to 20 courses, often in major scales like D or G, and is played with paired hammers for melody and accompaniment.^[20] The yangqin, a Chinese counterpart introduced in the early 19th century, adopts a similar trapezoidal form but employs longer bamboo hammers tipped with rubber or leather, held between thumb and index finger, to strike up to 18 sets of bronze or steel strings arranged in four octaves.^[21] These instruments emphasize percussive clarity, with the yangqin's design allowing for rapid scalar passages and ornamental strikes that highlight its Middle Eastern influences via the santur.^[21] Zither variants within the struck category include the santur and cimbalom, both trapezoidal hammered instruments tuned diatonically or chromatically. The santur, originating in Persian classical music, consists of a walnut or rosewood body with 72 to 108 metal strings in quadruple courses, struck by two lightweight wooden mallets to produce intricate modal improvisations.^[22] The cimbalom, a Hungarian concert adaptation developed by V. Josef Schunda in 1874, expands to 48 to 125 strings across three to five bridges, incorporating a sustaining pedal to lift dampers for extended resonance, enabling its use in orchestral folk and classical works.^[23] This pedal mechanism allows selective muting of low and mid-register strings, enhancing dynamic control in ensemble settings.^[23] Other struck examples include the koto and psaltery, which employ plectra or sticks for impact-based excitation on long zither forms. The medieval psaltery, a European harp-like zither from the 11th to 15th centuries, featured brass or iron strings in single to triple courses on a rectangular or trapezoidal frame, sometimes beaten with small iron or brass sticks in dulcimer-like variants for rhythmic accompaniment, though quill-plucking was more common.^[24] Acoustically, struck strings exhibit rapid decay rates of 4 to 80 decibels per second due to the absence of continuous excitation, resulting in short sustain times of 1 to 4 seconds per note, with higher modes attenuating faster than fundamentals.^[20] The direct impact generates a rich harmonic spectrum, with partial amplitudes decreasing approximately as 1/n and occasional missing harmonics at nodal striking points, yielding a bright, percussive timbre enhanced by soundboard modes around 129 Hz in dulcimers.^[19] Many of these instruments favor just intonation for consonant intervals, as seen in the dulcimer's diatonic courses tuned to pure major thirds and fifths, promoting harmonic clarity in modal traditions.^[20]

Other Excitation Methods

String instruments employing other excitation methods utilize mechanisms beyond traditional bowing, plucking, or striking to produce sound, often relying on friction, resonance, or early experimental forces to vibrate the strings. Sympathetic string instruments enhance primary string vibrations through resonant understrings that are not directly played but vibrate in response to the excited main strings, creating complex overtones and sustained resonance. In the sitar, typically 11 to 13 sympathetic strings are tuned to the raga scale and positioned beneath the main strings, contributing to the instrument's characteristic buzzing timbre and prolonged decay through sympathetic vibration. This resonance amplifies specific harmonics, producing a drone-like sustain that enriches the overall texture without additional player input. Similarly, the Hardanger fiddle incorporates four to five sympathetic strings under the fingerboard, which resonate with the bowed upper strings to add echoing overtones, enhancing the instrument's bright, shimmering quality. The sympathetic setup in these instruments relies on precise tuning and proximity to the bridge for efficient energy transfer, fostering intricate modal interactions.^[25][26][27] Experimental methods in historical contexts include electrostatic excitation, as pioneered by Václav Prokop Diviš around 1748 with his Denis d'or, an early keyboard instrument where static electricity was used to vibrate the strings to produce tones without mechanical contact. This approach created sustained sounds through electric fields inducing oscillations, foreshadowing later electro-acoustic developments while remaining acoustic in core vibration. Pneumatic excitation appears in automated string instruments, such as self-playing mechanisms using air-driven cylinders to vibrate strings, providing indirect force for resonance in hybrid setups like robotic harps. These methods emphasize drone sustain in sympathetic configurations and enhanced overtones in friction alternatives, offering unique timbral possibilities.^[28][29][30]

Keyboard String Instruments

Struck Keyboard Instruments

Struck keyboard instruments produce sound through the mechanical striking of strings by internal components, such as hammers or tangents, activated by depressing keys. This excitation method allows for dynamic control over volume and timbre, distinguishing these instruments from plucked or bowed variants. The primary examples include the piano family and the clavichord. These instruments evolved from Renaissance designs, emphasizing precision in action mechanics to enable expressive performance. The hammer action in pianos represents a sophisticated mechanical system that translates key depression into string percussion. When a key is pressed, a series of levers and jacks propel a felt-covered hammer toward the strings, striking them to initiate vibration. The escapement mechanism, a critical feature, allows the jack to disengage from the hammer just before impact, enabling the hammer to rebound freely and permitting rapid repetition of notes without full key release. Damper systems complement this by using felt pads to contact the strings upon key release, halting vibrations to silence notes; the sustaining pedal lifts these dampers across all strings for prolonged resonance. This design, refined over centuries, supports a wide dynamic range from pianissimo to fortissimo. The piano family encompasses several configurations, each adapted for acoustic efficiency and playability. The grand piano features horizontal strings stretched across a resonant soundboard, with hammers striking from below, allowing for optimal string length and tension in a wing-shaped case. Its sustaining pedal, operated by the right foot, raises the damper pedal to sustain notes across the instrument, enhancing harmonic complexity. In contrast, the upright piano arranges strings vertically behind the keyboard, with hammers striking horizontally to fit compact spaces suitable for homes. This vertical orientation, developed in the early 19th century, maintains projection through a similar action but with adjusted leverage for stability. Historical predecessors like the fortepiano, prominent in the 18th century, employed a lighter action with smaller hammers and wooden frames, producing a brighter, more delicate tone compared to modern variants. Invented by Bartolomeo Cristofori around 1700, the fortepiano's mechanism allowed graduated dynamics, influencing composers like Mozart. The clavichord, originating in the Renaissance era, uses a simpler tangent-striking action where a small metal blade attached to each key directly contacts the string upon depression, both exciting vibration and defining pitch by acting as a fret. This intimate mechanism yields a soft volume, ideal for private practice, but enables expressive techniques like bebung through finger pressure on the key. Tuning in these struck keyboard instruments typically employs equal temperament, dividing the octave into 12 equal semitones for versatility across keys. This system gained widespread adoption in 19th-century pianos, standardizing pitch relations and facilitating modulation in Romantic repertoire, as manufacturers like Steinway integrated it into production for consistent intonation.

Plucked Keyboard Instruments

Plucked keyboard instruments produce sound by plucking strings with a mechanism activated by keys, offering a lighter touch compared to struck variants and representing one of the earliest forms of keyboard string instruments dating back to around 1400.^[31] The primary example is the harpsichord family, where depressing a key raises a jack—a thin wooden strip—that holds a plectrum, typically made of quill or leather, to pluck the string as it passes by.^[31] This action occurs without hammers, resulting in a quick, articulate attack. Register changes, controlled by hand stops or pedals, allow players to engage different sets of strings or plectra for tonal variety, such as switching between softer leather plectra and brighter quill ones.^[31] The harpsichord evolved into regional variants during the Renaissance and Baroque periods. Italian harpsichords typically featured a single manual with one or two sets of strings, emphasizing a clear, delicate tone suitable for solo and ensemble music.^[31] Flemish harpsichords, often built by makers like the Ruckers family, incorporated two manuals for greater expressive range, with the second manual coupling or shifting registers to alter timbre and volume slightly.^[31] Smaller relatives include the virginal, a rectangular instrument popular in England and the Low Countries, resembling a spinet in its compact, single-manual design and often placed on a table for domestic use.^[31] The clavicytherium, an upright variant of the harpsichord, emerged in the late 15th century primarily to conserve floor space, with its soundboard and strings oriented vertically; the oldest surviving example, dated around 1490 from South Germany, uses a similar jack-and-plectrum system but with springs to assist jack return against gravity.^[32][33] Preceding these, the medieval chekker, first documented in 1360, is considered an early plucked keyboard instrument, possibly resembling a small harpsichord with gut strings plucked by plectra, though its exact form remains debated among scholars.^[34] Modern revivals of the chekker have occurred within the early music movement, with reconstructions based on historical iconography and texts to perform 14th- and 15th-century repertoire.^[35] Acoustically, these instruments lack dynamic control, as the plucking force is fixed regardless of key velocity, producing a uniform volume but a bright, resonant timbre that excels in polyphonic textures due to the plectrum's sharp attack and the strings' sustained vibration.^[31] This characteristic bright tone, often described as crystalline and projecting well in ensembles, stems from the quill or leather plectrum's interaction with the strings, contrasting with the softer decay of bowed or struck alternatives.^[31]

Bowed Keyboard Instruments

Bowed keyboard instruments represent a distinctive category of string instruments where mechanical bowing produces sustained tones through keyboard actuation, differing from plucked or struck mechanisms by enabling continuous friction on the strings. These devices typically employ rotating rosined wheels, belts, or endless bows to simulate the action of a violin bow, allowing for polyphonic expression akin to a small ensemble of bowed strings. Originating in medieval and Renaissance Europe, they address the desire for organ-like sustain in stringed formats, though their complexity limited widespread adoption.^[36][37] The hurdy-gurdy, a medieval European instrument with keyboard variants, exemplifies early bowed keyboard design through its keybox mechanism. In these variants, a crank turns a rosined wheel that applies continuous friction to the strings, while keys within the keybox raise wooden or metal tangents to shorten the vibrating length and alter pitch, producing melody and drone lines simultaneously. Developed from the 10th-century organistrum, the keybox evolved in the 13th-15th centuries to allow solo performance, with broader keyboxes accommodating multiple strings for richer harmony. This tangent system, distinct from modern frets, enables diatonic scales and was prevalent in folk and court music across Europe.^[38][39] Leonardo da Vinci's viola organista, conceptualized in the late 15th century, advanced the mechanical bowing principle with a keyboard directly controlling string contact against rotating elements. Sketched in the Codex Atlanticus and Manuscript H, the instrument features 16 strings bowed by an endless horsehair bow driven by wheels, activated via a tracker-action keyboard with push buttons that press strings to the bow for precise intonation. Da Vinci's designs, including elbow-operated pedals to free hands for keys, aimed for viola-like timbre with organ sustain, though no original survives; modern reconstructions, such as Polish luthier Sławomir Zubrzycki's 2013 build, confirm its chamber-orchestra sound through wheel friction.^[37][40] Later innovations like the Claviol, patented by John Isaac Hawkins in 1802 in Philadelphia, integrated bowing into a cabinet piano form using a ring-bow mechanism where rosined rings or belts frictionally excite strings upon key depression. Introduced to London in 1813, it sought sustained tones but faced obsolescence amid rising piano popularity. These instruments share tuning and intonation challenges from continuous wheel friction, including uneven pressure causing pitch instability or wolf tones, necessitating frequent adjustments to wheel tension and rosin application for consistent tone.^[41][42][36]

Hybrid Keyboard Instruments

Hybrid keyboard instruments integrate multiple excitation methods, such as combining plucked and struck actions or employing unconventional modifications to strings, resulting in diverse timbres within a single keyboard framework.^[43] These designs often arose from efforts to expand expressive possibilities or adapt to specific performance needs, blending discrete hammer strikes with continuous or altered vibrations for richer sonic palettes.^[44] The Orphica, invented in 1795 by Carl Leopold Röllig, represents an early hybrid through its upright, portable design that uses a piano-like hammer action for striking the strings in a lyre-shaped body.^[45] This 18th-century instrument features a reduced compass of about three and a half octaves, allowing it to be worn with a shoulder strap for ambulatory play, much like a guitar.^[45] Its mechanism produces a mellow tone blending piano dynamics and clavichord intimacy, though limited volume constrained its use; only around 30 examples survive, with Beethoven composing two works for it in 1798.^[45] The Archicembalo, developed in 1555 by Italian theorist Nicola Vicentino, exemplifies a plucked hybrid via its innovative tuning system with split keys and multiple manuals to accommodate meantone temperament and microtonal intervals.^[46] This harpsichord variant employs two keyboards, each with three ranks of keys totaling 36 per octave (18 black keys split for enharmonic distinctions), where quills pluck brass and iron strings to realize ancient Greek genera alongside chromatic music.^[46] The design bridges theoretical ideals and practical performance, enabling just intonation for purer intervals but requiring complex key arrangements that compromise standard equal temperament usability.^[46] Contemporary hybrids like the prepared piano, pioneered by John Cage in the late 1930s, modify a struck keyboard's strings with inserted objects such as screws, bolts, or rubber wedges to create percussion-like timbres from the base piano action.^[47] Developed for dance accompaniment where space limited full percussion ensembles, preparations dampen or alter vibrations, yielding muted, resonant, or glissando effects that transform individual notes into hybrid strikes blending string sustain with percussive attacks.^[47] Cage's precise notations for object placement and positioning ensure reproducibility, though variations arise from piano differences and player technique, as seen in works like Sonatas and Interludes (1946–1948).^[47] These hybrids introduce acoustic complexities through mixed timbres, where combined excitation methods generate overlapping overtones and inharmonic spectra that challenge traditional tuning.^[48] For instance, the Archicembalo's multi-rank keys demand scaling compromises to balance microtonal purity across strings, potentially introducing beats or dissonances in polyphonic passages.^[46] Similarly, prepared pianos produce unpredictable resonances from altered string contacts, enriching texture but requiring careful voicing to avoid excessive muting or unintended harmonics.^[47] Such integrations highlight the tension between innovation and acoustic coherence in string keyboard design.^[48]

Traditional String Instruments by Region

European and North American Instruments

European and North American string instruments encompass a diverse array of traditional designs rooted in folk, classical, and colonial traditions, reflecting migrations, cultural exchanges, and regional adaptations across the continent. These instruments, often featuring fretted necks or resonant bodies, played pivotal roles in social gatherings, courtly music, and community celebrations, evolving from European imports to distinctly localized forms. From the plucked lutes of Renaissance ensembles to the bowed fiddles of Appalachian dances, they highlight the interplay between Old World heritage and New World innovation. In historical European contexts, the lute emerged as a central plucked instrument during the Renaissance, originating from the Arab ‘ud introduced by the Moors in the 9th century and becoming prominent in Western iconography by the 13th century. Constructed with 9–13 maple ribs, a carved rosette soundhole, and gut strings, the lute shifted from plectrum to finger-plucking techniques in the 16th century, enabling polyphonic compositions and accompanying vocal music in courts and homes. Its cultural significance extended into Baroque ensembles, where it supported intricate polyphony until the 18th century, when it was overshadowed by violins and keyboards. Similarly, the viol, or viola da gamba, developed in late 15th-century Europe as a bowed, fretted instrument played between the legs, featuring 6–7 strings tuned in fourths with a major third, sloped shoulders, and a flat back. Flourishing through the Baroque era in consorts and solo repertoires by composers like William Byrd and John Dowland, the viol was favored by nobility for domestic music-making and consort music in English and Italian courts, declining in the 18th century with the rise of the violin family. Folk traditions in Europe further enriched this landscape with instruments like the balalaika, a Russian triangular-bodied, fretted lute with three strings—two tuned to the same note and one lower—developed in its modern form during the 19th century by musician Vasily Andreev from earlier dombra-like precursors dating to the 14th century. Plucked and strummed by peasant minstrels to accompany dances and songs, the balalaika became a symbol of Russian folk identity, formalized in orchestras by the late 19th century. The bouzouki, a Greek long-necked lute with metal strings typically in courses of eight, evolved from Anatolian influences brought by refugees in the early 20th century, serving as the core instrument in rebetiko music associated with urban seaports and social commentary. Its resonant, rhythmic plucking supported storytelling and entertainment in Greek communities, embodying cultural resilience amid migration and modernization. In North America, these traditions adapted through immigration and innovation, as seen in the Appalachian dulcimer, a fretted, hourglass-shaped box-zither with three or four strings, developed in the Appalachian Mountains around the early 1800s from European zither precedents. Played by strumming or plucking—sometimes with a noter or hammer—for hymns, ballads, and folk tunes, it became a staple of rural self-accompaniment, evoking the simplicity of mountain life. The Hawaiian steel guitar, invented around 1889 by Joseph Kekuku using a standard guitar raised on the lap with a sliding steel bar (like a railway spike) over the strings, transformed European guitars into an indigenous Hawaiian form, popularized through 1910s tours and 1915 expositions. Its gliding, vocal-like tones influenced country and blues genres, as Hawaiian musicians collaborated with Southern performers, embedding the slide technique in American popular music. The fiddle, essentially a violin adapted for folk use, arrived via 17th-century European settlers—Irish, English, and German—and evolved in colonial America, with early makers like John Antes crafting the oldest extant North American violin in 1759 for Moravian communities. By the 18th century, fiddles fueled dances, contests, and parties in the Appalachians and Shenandoah Valley, integral to country music's rhythmic drive and narrative songs, as exemplified in Thomas Jefferson's repertoire of Irish tunes. Through migrations, the violin-fiddle lineage bridged classical European forms with American folk expressions, sustaining communal traditions in colonial settlements and beyond.

Asian Instruments

Traditional string instruments from Asia exhibit a rich diversity, reflecting regional cultural, climatic, and musical traditions that emphasize non-tempered scales, often pentatonic or modal systems, and the use of natural materials like wood, bamboo, and gourds. These instruments are predominantly plucked, aligning with techniques that allow for intricate melodic ornamentation and rhythmic patterns central to Asian musical performance practices. Unique features such as microtonal fretting on movable wire frets and sympathetic strings that resonate to enrich harmonics are prominent in instruments from the Indian subcontinent, enabling subtle pitch variations essential for classical ragas.^[49] In the Indian subcontinent, the veena stands as a foundational plucked stick zither, characterized by a long wooden neck with a resonant body often featuring gourd resonators and movable frets for microtonal precision. Typically equipped with four main melody strings and three drone strings, plus sympathetic strings beneath, the veena produces a resonant, sustained tone through finger plucking, integral to South Indian Carnatic music traditions. Its construction from seasoned jackwood or teak, with ivory or metal frets, dates back to ancient depictions in temple sculptures, underscoring its role in devotional and classical performances.^[50][51][52] The sarod, another key instrument from northern India and Pakistan, is a fretless plucked lute with a skin-covered resonator made from a gourd or wood, featuring a short neck and metal strings played with a plectrum for a deep, weighty timbre. It includes 11 to 15 sympathetic strings tuned to the raga scale, which vibrate in response to the main strings—typically four melody and two drone—enhancing the instrument's introspective resonance in Hindustani classical music. The sarod's design facilitates continuous pitch slides (meend) for microtonal expression, and its origins trace to 19th-century innovations blending Afghan and Indian influences.^[53][54][49] East Asian traditions feature the pipa, a pear-shaped four-stringed plucked lute originating from Central Asia and adopted in China during the Han dynasty (circa 206 BCE–220 CE), with a teak body, wutong soundboard, and 20–25 frets for versatile tuning. Played by plucking with the fingers in various techniques like support, roll, and sweep, the pipa serves as a solo or ensemble instrument in genres such as sizhu silk-and-bamboo music and jingju opera, evoking narrative and virtuosic expressions. Its mellow, rhythmic sound has evolved over two millennia, remaining a symbol of scholarly and imperial musical heritage.^[55][56] The shamisen, a three-stringed plucked spike lute from Japan, derives from the Chinese sanxian and entered via the Ryukyu Islands in the mid-16th century, featuring a square resonator often covered in cat skin and a fretless neck for pitch bending. Struck with a large plectrum (bachi) while the left hand presses the strings, it is tuned in patterns like honchoshi (C-F-C) and is central to folk, kabuki theater, and narrative genres like jiuta, producing a sharp, percussive tone that has defined Japanese performing arts since the 17th century.^[57][58] In Central Asia, the rubab is a short-necked plucked lute revered as Afghanistan's national instrument, crafted from dried desert mulberry wood with a skin soundboard and three gut or nylon main strings plus sympathetic ones, allowing for modal improvisation in classical and folk contexts. Played with a plectrum for both melody and rhythm, it accompanies celebrations, rituals, and ensembles across Afghanistan, Iran, Tajikistan, and Uzbekistan, embodying shared cultural heritage through its warm, buzzing timbre.^[59][60] Southeast Asia's gambus, a variant of the Arabic oud, is a short-necked plucked bowl lute prevalent in Malay and Indonesian Muslim communities, constructed with a jackfruit wood body and nylon strings tuned in fourths for pentatonic scales. Used as the lead melodic instrument in zapin dance music and ghazal songs during celebrations, it migrated from Hadhramaut via trade routes, symbolizing Islamic cultural adaptation with its resonant, twangy sound produced by finger plucking.^[61][62]

African and Middle Eastern Instruments

Traditional string instruments from Africa and the Middle East reflect rich oral traditions and migratory influences, often constructed from locally available materials like gourds and animal skins to amplify sound in communal settings. In West Africa, the kora is a prominent 21-string harp-lute played by plucking, featuring a long neck attached to a hemispheric calabash resonator covered with cowhide for resonance.^[63] This instrument, integral to Mandinka culture, is primarily used by griots—hereditary musicians, poets, and storytellers—who accompany epic narratives, genealogies, and praise songs during social ceremonies, preserving community history through melodic improvisation.^[64][65] Another key West African instrument, the ngoni, is a plucked lute considered the ancestor of the modern banjo, with a body typically made from a calabash gourd resonator and animal skin head, strung with three to six strings over a wooden neck.^[66] Played by griots among the Malinke and other ethnic groups, it provides rhythmic and melodic support in storytelling and dance music, its taut strings struck or plucked to evoke ancestral tales and communal celebrations.^[67] In the Middle East, the oud stands as a foundational fretless plucked lute, characterized by its pear-shaped wooden body, short neck, and four to six pairs of strings, originating in the Arab world around the 8th century.^[68] Widely used in classical Arabic music, it serves as the lead melodic instrument in ensembles, its microtonal capabilities allowing for expressive maqam scales that convey emotional depth in secular and poetic performances.^[69] The rebab, a bowed spiked lute of Middle Eastern origin, features a wooden body—often heart- or pear-shaped—covered with membrane skin, with one or two horsehair strings stretched over a long spike that pierces the resonator.^[70] This instrument plays a melodic role in traditional ensembles, its bowed technique producing sustained tones that enhance spiritual and narrative music, including Sufi devotional contexts where it accompanies poetry and meditation.^[8] North Africa's guembri, also known as sintir, is a three-stringed bass plucked lute used by Gnawa musicians in Morocco, constructed with a rectangular wooden body covered in camel or goat skin for a deep, resonant tone.^[71] In ritual healing ceremonies and trance music, it drives hypnotic rhythms alongside hand percussion, symbolizing connections to sub-Saharan African roots through its migratory Berber and Islamic influences.^[72] These instruments, often built with calabash or skin resonators, underscore the region's emphasis on communal storytelling and spiritual expression, adapting to local ecologies and cultural exchanges.^[73]

Instruments from Other Regions

In Latin America, the charango stands as a quintessential plucked string instrument originating from the Andean highlands, particularly among Quechua and Aymara communities in Bolivia, Peru, and surrounding regions. This small lute, typically featuring five pairs of strings tuned in fourths and a resonating body originally crafted from armadillo shells or wood, emerged during the 16th- to 17th-century colonial period as an adaptation of Spanish vihuelas and guitars by indigenous musicians in mining centers like Potosí.^[74] Its compact size—resembling a mandolin—and high-pitched tone suit the pentatonic scales of Andean music, where it is strummed or finger-plucked in ensembles for genres like the wayno. Culturally, the charango holds profound significance in Quechua traditions, symbolizing courtship rituals in southern Peru, where young men play it during market days to serenade potential partners, and in lifecycle events such as funerals, where it escorts souls in celebratory processions.^[75] This instrument embodies transcultural fusion, blending Iberian construction with indigenous performance styles, and has evolved into a national icon, popularized globally by virtuosos since the 1980s.^[76] Another key Latin American string instrument is the Puerto Rican cuatro, a strummed guitar-like lute unique to the island's rural jíbara music tradition. Featuring five double courses of metal strings (though early versions had four, hence its name meaning "four"), it has a body often carved from the resonant wood of the higüero tree, producing a bright, rhythmic strumming sound ideal for folk ensembles.^[77] Originating in the late 19th century among rural migrants influenced by Spanish colonial guitars, the cuatro spread through diaspora communities in U.S. cities like New York during the 20th century, preserving Puerto Rican identity amid urbanization.^[77] Its cultural role extends to genres like plena and salsa, serving as a symbol of national heritage and community gatherings, with collections like the Smithsonian's 1997 donation underscoring its enduring legacy in maintaining folk traditions.^[78] In Oceania, the ukulele exemplifies a hybrid string instrument deeply embedded in Hawaiian culture, introduced in 1879 by Portuguese immigrants from Madeira who brought the small four-stringed braguinha guitar. Adapted by Hawaiian luthiers like Manuel Nunes into a soprano-sized, nylon-strung lute with a bright, cheerful tone, it quickly became integral to island music, favored by King David Kalakaua for accompanying hula dances.^[79] Queen Liliʻuokalani elevated its status in the late 1800s by declaring it a national instrument of the Kingdom of Hawaiʻi, composing pieces like "Aloha ʻOe" that linked it to royal and resistance traditions.^[80] Today, the ukulele features prominently in Pacific island festivals, such as Lei Day celebrations on May 1, where it accompanies hula performances and songs symbolizing aloha spirit and cultural revival amid colonial histories.^[81]

Modern and Experimental String Instruments

Electric and Amplified Instruments

Electric and amplified string instruments emerged in the 20th century as innovations that extended the volume and tonal possibilities of acoustic predecessors, primarily through electromagnetic pickups and amplification systems. These instruments transformed musical performance by enabling louder projection in ensemble settings and introducing electronic sound modification, fundamentally shaping modern genres. Building on plucked and bowed designs, they retain string vibration as the core sound source but convert it to electrical signals for enhancement via amplifiers and effects. The electric guitar's development marked a pivotal advancement in amplified string instruments. The solid-body electric guitar gained prominence with the Gibson Les Paul model, introduced in 1952, which featured a mahogany body with a carved maple top and P-90 single-coil pickups. This design, influenced by guitarist Les Paul's experiments with solid wood prototypes in the late 1940s, addressed sustain and feedback issues in earlier semi-hollow models, becoming a cornerstone for rock music. In contrast, hollow-body archtop guitars, originally acoustic designs from the early 1900s, were electrified in the 1930s for jazz, with models like the Gibson L-5 providing warm, resonant tones suitable for big band amplification. Electric guitar effects, particularly distortion, originated from overdriven tube amplifiers in the early 1950s, evolving into intentional pedals by the 1960s that added grit and sustain, influencing aggressive playing styles. In Brazil, the guitarra baiana exemplifies regional innovation in electric string instruments. Developed in the early 1940s in Bahia by musicians Adolfo "Dodô" Nascimento and Osmar Álvares Macêdo, this compact four-string solid-body electric guitar draws from traditional designs like the cavaquinho and produces a bright, bandolim-like timbre via electromagnetic pickups. Primarily used in Bahian carnival music and Frevo styles, it highlights global adaptations of electric guitar technology for local musical traditions.^[82][83] Over the decades, the instrument evolved through modifications. In 1981, inspired by electric violinist Jean-Luc Ponty, guitarist Armandinho Macedo (born 1953), son of Osmar Macêdo, commissioned luthier Vitório Quintino to create a five-string version shaped like a lightning bolt, tuned C2, G2, D3, A3, E4, expanding the instrument's tonal range; this model became widely known as the guitarra baiana.^[83] He was a founding member of A Cor do Som in 1977, a band derived from the Novos Baianos collective that blended Brazilian rhythms with rock influences, further showcasing his innovative use of the guitarra baiana in fusion music.^[84] Armandinho blended traditional Brazilian choro influences from mandolinist Jacob do Bandolim with rock elements inspired by Jimi Hendrix, popularizing the instrument in carnival music and broader musical contexts.^[85] In 2005, luthier Mlaghus (Jacimário) crafted a six-string version at the request of guitarist Alexandre Vargas, tuned G1, C2, G2, D3, A3, E4.^[86][87] The electric bass guitar, a direct evolution from the double bass, revolutionized low-end instrumentation with the Fender Precision Bass, launched in late 1951 as the first mass-produced four-string model with a solid body and magnetic pickup for precise intonation and portability. Variants include the fretless bass, which emerged in the 1970s to emulate upright bass slides and glissandi, offering smoother expression without frets. Extended-range models, such as five-string basses (adding a low B string) and six-string basses (incorporating a high C), developed in the 1980s to accommodate diverse tunings in fusion and metal, providing greater versatility for complex harmonies. Amplified classical string instruments adapt traditional forms for modern needs, including electric violins designed for silent practice. Early electric violins appeared in the 1930s, but contemporary models like Yamaha's SILENT Violin series, introduced in 1997, use piezoelectric pickups under the bridge to minimize acoustic output while allowing headphone monitoring for quiet rehearsal. Harp amplification employs similar technology, with electro-acoustic harps featuring built-in pickups since the 1980s to project the instrument's delicate timbre in orchestral or solo settings without external microphones. Key technologies underpinning these instruments include pickups and amplifiers. Magnetic pickups, common in guitars and basses, use coils around magnets to detect string vibrations via electromagnetic induction, producing a warm, dynamic signal responsive to playing intensity. Piezoelectric pickups, favored for violins and harps, convert mechanical stress from string pressure into electrical current using crystal elements, yielding brighter, more articulate tones with less susceptibility to magnetic interference. Amplifiers evolved from tube-based designs in the 1940s, which provide natural compression and harmonic distortion for expressive overdrive, to solid-state models in the 1960s using transistors for cleaner, more reliable high-volume output with lower maintenance. The adoption of electric and amplified string instruments profoundly influenced genres like rock and jazz fusion. In rock, the solid-body guitar's sustain and distortion capabilities enabled riff-driven songs and solos, powering the genre's rise from the 1950s onward. Jazz fusion, emerging in the late 1960s, integrated electric guitars and basses with improvisational complexity, blending rock's energy with jazz harmony to create hybrid sounds in bands like Weather Report and Mahavishnu Orchestra.

Contemporary and Invented Instruments

Contemporary and invented string instruments, developed primarily after 1950, represent innovative departures from traditional designs, often incorporating new materials, playing techniques, and sometimes electronic elements to expand sonic possibilities in experimental music. These instruments emphasize acoustic or hybrid innovations that challenge conventional string excitation, such as tapping methods and modular configurations, while enabling performers to explore extended techniques like polyphonic textures and spatial soundscapes. Inventors in this era have drawn on advancements in manufacturing and electronics to create instruments that blend familiarity with novelty, fostering applications in avant-garde compositions, improvisation, and multimedia performances.^[88] Among acoustic inventions, the Chapman Stick stands out as a pioneering tapped string instrument. Devised by American jazz musician Emmett Chapman between 1969 and 1974, it features a ten-string fretboard arranged in two groups of five strings each, tuned in fifths on the bass side and fourths on the melody side to facilitate two-handed tapping across the full range.^[88] Held almost vertically, with both hands tapping the strings from opposite sides, the instrument relies on the performer's fingers to "hammer on" and "pull off" strings against the frets, producing notes without traditional plucking or bowing, which allows for rapid, complex polyphony.^[89] Chapman founded Stick Enterprises in 1974 to manufacture the instrument, which has since been used in experimental jazz, rock, and fusion genres by artists seeking chordal and melodic independence.^[88] Building on similar principles, the Warr Guitar extends tapping to multi-neck configurations for enhanced versatility. Developed by luthier Mark Warr in the early 1990s, it typically spans 7 to 14 strings across one or more wide necks, enabling two-handed tapping or strumming in parallel rows that minimize hand crossing.^[90] The design incorporates adjustable truss rods and laminate construction for stability under high string tension, supporting techniques where both hands tap hammer-ons and pull-offs to generate sustained, layered sounds.^[91] Musicians like Trey Gunn have employed the Warr Guitar in progressive rock and experimental settings, highlighting its capacity for orchestral-like textures through modular string arrays that can be reconfigured for different tunings.^[91] In the realm of electronic strings, the laser harp reimagines strings as invisible light beams, inverting traditional harp mechanics. Invented by French artist Bernard Szajner in 1980 under the name "Syringe," it uses laser rays projected from a base unit, with photocells detecting interruptions by the performer's hands to trigger synthesized tones, mimicking string plucking or bowing.^[92] Popularized in the 1980s by composer Jean-Michel Jarre during live tours, the instrument produces ethereal, otherworldly sounds and has influenced Theremin-like string controllers, such as infrared beam systems where modulated light or heat sensors simulate string vibration for MIDI control in electronic music.^[93] These controllers, often custom-built for experimental setups, allow gesture-based performance without physical strings, extending the Theremin's touchless ethos to linear "string" interfaces.^[94] More recent contemporary innovations include the Earth Harp, a site-specific acoustic instrument that transforms architectural spaces into resonant bodies. Created by sculptor and musician William Close in the early 2000s, it consists of long guy wires stretched between fixed structures like buildings or stages, bowed with rosin-coated gloves to produce deep, humming overtones that propagate through the environment.^[95] The design leverages tensioned steel cables—sometimes exceeding 300 meters—for low-frequency vibrations, creating immersive sound fields used in multimedia installations and performances, as seen in Close's appearances on platforms like America's Got Talent.^[96] The banjo cavaquinho, also known as the banjo brasileiro, is a hybrid plucked string instrument adapted in the 1970s by Brazilian musicians Mussum and Almir Guineto. Inspired by a performance of the British rock band Mungo Jerry, they modified a traditional banjo by attaching a cavaquinho neck, creating a louder, more resonant instrument suited for samba and pagode music. This innovation introduced banjo-like rhythms to Brazilian samba ensembles, enhancing the genre's percussive and melodic elements.^[97][98] Advancements in additive manufacturing have enabled 3D-printed custom lutes, democratizing instrument design for experimental luthiers. These instruments, often hybrid acoustic-electric models, feature precisely engineered necks, bodies, and bridges from polymers or composites, allowing for unconventional string layouts and tunings not feasible in traditional woodworking.^[99] For instance, the Cybertwee Electric Baroque Lute, a 20-string design printable for home fabrication, incorporates modular string arrays where players can adjust pegs and frets for microtonal exploration, blending Renaissance aesthetics with modern electronics for experimental folk and ambient music.^[100] Similarly, the Modular Fiddle platform uses 3D-printed components to create customizable string hybrids, such as violin-guitar mashups, promoting innovation in excitation techniques like tapping on reconfigurable arrays.^[101] Recent developments as of 2025 include hybrid instruments from the Guthman Musical Instrument Competition. The Mulatar, developed by Lockruf Music in the early 2020s, combines elements of slide guitar, harp, and percussion with movable bridges for adjustable notes and a drum-like body, supporting both acoustic and electroacoustic play.^[102] The Sophtar, created by Federico Visi and Sukandar Kamid Kartadinata, uses automated beaters, feedback, and machine learning on strings to generate complex sustained sounds, with a pressure-sensitive neck for timbre control.^[103] Central to many of these inventions are design principles like the tapping technique, which relies on hammer-ons—forcefully fretting a string to initiate vibration—and pull-offs—releasing a fretted note to sound a lower one—enabling fluid note production without picks or bows.^[89] Modular string arrays further enhance this by allowing interchangeable components, such as adjustable necks or tension systems, to adapt instruments for specific experimental needs, as in the Warr Guitar's multi-row setups or 3D-printed lute bridges.^[101] Inventors like Emmett Chapman and William Close have championed these approaches, integrating them into experimental music to push boundaries of timbre, harmony, and performer interaction.^[88][95]