Zill
Zills, also known as finger cymbals, are small brass or metal cymbals typically played by attaching them to the thumb and a finger of the same hand using elastic or ties. Ranging in size from approximately 1.5 to 4 inches, the sound produced varies based on their size and curvature; smaller zills generate softer, higher-pitched tones, while larger ones produce lower, louder sounds. Historically, zills have been used across various cultures since ancient times, believed to have originated in Asia before spreading to the Middle East and Europe. They are particularly associated with Middle Eastern music and dance, especially in the context of belly dancing, where they serve to accentuate rhythm and engage audiences.
Zills can be secured with a single hole or two slots, impacting both ease of use and sound quality. They are integral to traditional performances, where a dancer's skill with zills is often as significant as the dance itself. Beyond entertainment, zills also appear in religious contexts, such as Sufi music and Egyptian healing rituals, reflecting their cultural significance across diverse practices.
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Zill
Zills are small cymbals, which are usually attached to the thumb and a finger on the same hand with elastic or some form of tied cording. They can also have small handles and be played with two hands. Also known as finger cymbals, zils, sil sil, and sagat, zills are used throughout the world but are especially integral to music from the Middle East. They are often associated with belly dancers, who use them to help express the beat and tempo of the music to which they are dancing.
Background
Small cymbals played with the fingers have existed throughout recorded history. It is believed that they were first made in Asia, where numerous similar instruments have existed for centuries. From there, the easily portable instrument began to spread west, first to the Middle East, then Europe, and finally throughout the world. Zills were carried to new places by travelers, traders, explorers, and invading armies.
Art from ancient Mesopotamia includes images of people playing zills. The instruments played an important role in funerals and worship services. The ancient Greeks and numerous other cultures also used small cymbals in music honoring their gods, and accounts and depictions of ancient Hebrews playing small cymbals to honor God also exist from as early as 1100 Before the Common Era. Many of these early zills were the size of contemporary finger cymbals but were not tied to or otherwise attached to the fingers. Instead, they had small handles and were played with both hands.
Some old zill-type instruments were made of wood, bone, or ivory and carved into crescents or blocks. They are still considered to be a form of zills because they were used in the same way. Eventually, many cultures made zills out of metal because of the ringing sound metal makes.
Zills were well-established in the Republic of Türkiye by the fifteenth century. These zills more closely resembled contemporary zills and had ties to attach them to the thumb and one finger on each hand. “Zill” comes from the Turkish word for these cymbals. The percussionist or dancer playing the zills usually played two pairs at once, one pair in each hand. Eventually, the instruments grew larger until they developed into the crash cymbals or plates used in orchestras and bands today, as well as those that are part of drum kits.
The Republic of Türkiye played a significant role in the development of these instruments. A Turkish artisan developed the carefully guarded techniques and formulas handed down through the centuries to make what became known as Zildjian cymbals, which were noted for their sound and quality. “Zildjian” meant “cymbal smith,” and this tradition of excellence began with the small zill cymbals of the fifteenth century.
During the Middle Ages, Turkish military bands used large cymbals as well as the smaller zills. They carried these into other countries as they fought, introducing and reintroducing the instruments into Europe. Images of the instruments appear in various art pieces from Europe in the fifteenth century. Then they disappeared for a time, possibly because the techniques for making them were lost. The Turks reintroduced them to Europe during the seventeenth century. Cymbals of various sizes were also used in Egypt, where they are known as sagat.
Overview
Zills consist of small brass-belled circles. They are made of brass or other metals. Zills range in size from about 1.5 inches to around 4 inches. The sound of the instrument is determined by its size and how deeply curved its center is. A smaller zill will have a softer, higher-pitched tone. The larger the zill, the lower and louder it will sound.
While some zills have small wooden handles attached for the percussionist to hold, most have a hole or a pair of slots through which a string, ribbon, or piece of elastic is threaded. Zills with a single hole are often less expensive but afford slightly less control, while those with a pair of slots are more expensive but are held more securely in place. The method of attachment becomes a factor in how the instruments sound, since it affects how they strike each other.
The percussionist plays the instrument by securing half of each pair of zills to a finger or thumb. Smaller zills are usually attached to the thumb and either the index or ring finger on the same hand; they can be played with either hand, or the player may have a pair in each hand. The zills are attached by looping or tying them between the fingernail and the first knuckle on each digit. The player then generates various types of sound by tapping the cymbals together at various speeds and intensities or sliding them against one another to create a different type of sound.
Most people are familiar with the zill as the instrument played by belly dancers. This dance style originated in the Middle East, where finger cymbals have historically enjoyed great popularity. The zill helps to accentuate the tempo and intensity of the dancer’s physical movements. The zill also helps to engage the audience and connect with the musicians. In many cases, a belly dancer’s skill is judged as much on the level of expertise demonstrated on the zill as in the dance moves. The zill can also be found in the religious music of Sufism and in Egyptian healing rituals.
Bibliography
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