The maqam singer is usually accompanied by a small group of musicians. The group is called "Al-Chaalghi Al-baghdadi". The word chaalghi is of a Turkish origin. Because Baghdad is where the main origin of the Iraqi maqam is traced, this group is named after it. The group consists of performers using traditional musical instruments.
Those instruments are:
The djooza (aspiked four string fiddle), the santur (a cither brought to sound through sticks), the tabla (vase drum with two open sides of which one side is covered by the drum skin), the riqq (a tambourine) and occasionally, the naqqara (metal shells beaten by metal sticks).
The players of the group are expected to be fully acquainted with the minute technicalities of each instrument they play and how it suits the required performance of maqamat and pestehs. In addition they are supposed to have skilled voices and eloquent performance. This is because their role is not confined to the playing of the instruments only but is extended to the singing of the pesteh (the popular song) which is sung at the end of each maqam, this pesteh gives the maqam singer some time to rest and be prepared for the following one. The texts recited in each maqam differ from one maqam to another. There are maqamat that are performed in classical Arabic poetry, while others are performed in the Iraqi vernacular known as Zuheeri Mosabba, (seven Zuheeri). In addition, there are some maqams that are performed while accompanied with some Iraqi rhythms from the beginning to the end, while others are without these. It is worthwhile saying that there are more than 50 Iraqi maqams.