The Dong Nam is made from a hollow gourd the size of a soccer ball, along with two bamboo tubes, called drao, sealed at one end, arranged into 3 upper tubes, 3 lower tubes, and sealed with beeswax. Holes of different heights are drilled on the body of the bamboo tube to create sound. The player blows air into the stem of the gourd, and coordinates his hands to press the holes on the bamboo tube to change the notes, creating a melody. To play the Dong Nam, the artist must coordinate smoothly between the blowing air and the fingers to produce the correct sound. The Dong Nam can be played solo or as an accompaniment to arei folk songs, a type of rhyming song with a cheerful, bustling rhythm. Uncle Y Mip Ayun, commonly known as Ama Kim, meaning Kim's father, a Dong Nam player, explained: "The tassels at the end of the bamboo tube are so that when the hand moves the trumpet back and forth to the music, the tassels will sway, making it pleasing to the eye."

The Dong Tut is a musical instrument with a very special way of playing, consisting of five or six bamboo tubes, called drao, straight without holes but with different lengths, the small one has a high pitch, the large one has a low pitch. Each flute can only produce a single sound, depending on the person blowing it using their tongue and lips, fast or slow, to create a rhythm. A leader will blow out the leading rhythm, the rest of the people will listen and gradually blow in harmony, creating a rhythmic melody. The melody created by the Dong Tut changes depending on the feelings of each individual to harmonize into a whole. Therefore, each player in the Dong Tut ensemble must be able to both keep the rhythm and interact with the overall melody. In the past, the Dong Tut was often played by women and girls during their breaks when they came to help with funerals in the village. Uncle Y Due Nie, affectionately called Ama Pur, which means Pur's father, said: "In the past, only women knew how to play the Đïng tut. After the funeral meal, they would cut the bamboo tube and play it to share the sadness with the family of the deceased. I also had to ask the older women to learn how to play. Now, whenever there is a funeral in the village, I encourage the women to gather and play the Đïng tut in the house, so that our tradition will not be lost." The uncles who play the Đïng tut are Y Mip Ayun, Y Due Nie, Y DHư Nie, Y Phiơp Ê Ban, and Y B'Lim Nie.

The Đïng buột chok is a type of vertical flute made of bamboo tubes, called drao, with four holes forming four different notes, each hole is about two fingers apart, and a small piece of bamboo is attached at the end to make it easier to blow. The player blows the Đïng buột chok vertically, pressing the holes with both hands to change the sound produced. The story goes that the Đïng buột chok was born when a husband heard the sound of the wind blowing through dry bamboo bushes that had several holes eaten by termites, sounding like crying. He wanted to express his regret for his wife who had died early, so he sharpened the bamboo and attached a piece of bamboo at the end where it was easy to blow. Therefore, the sound of the Đïng buột chok is also soft and sad. The word chok in the Ede language means crying. Đïng buột chok is now often used to accompany k'ưt singing, a spoken, unrhythmic singing style during meetings, especially when the two families of a man and a woman meet to discuss pairing.

Ky means horn, pah means clap. The buffalo horn used to make Ky pah is the horn from the buffalo skull that was offered to Yang - the gods, made into a trumpet with a reed and a blowing knob in the middle. When playing Ky pah, the player blows into the middle of the trumpet, when wanting to change the pitch, he will use the thumb of his left hand to cover the sharp end, and use his right hand to clap the large end, creating a sound that resonates in the space. Therefore, in the past, people avoided playing Ky pah indoors, for fear of disturbing the gods. Uncle Y Bhiông Nie, also known as Ama Loan, meaning Loan's father, recalled: "The sound of Ky pah must echo in the old forest, leading the procession of people carrying wood back to the village, herding elephants into traps to tame them". Nowadays, the sound of Ky pah is combined with other musical instruments, adding a majestic touch to the traditional music of the Ede Kpa.

The Đïng tak tar is made from a small dried gourd the size of a fist attached to a bamboo tube with three holes, about the length of the wrist to the elbow. The Đïng tak tar is attached to a bamboo blade, or reed, as small as a fingernail, which is cut into three lines and then bent into a U shape to attach to the end of the blowpipe. The sound of the Đïng tak tar is clear, flexible, and cheerful, and is often blown during festivals to stir up the spirit of the participants. Uncle Y Bhiông Nie, also known as Ama Loan, meaning Loan's father, explains: "The bamboo blade must be made correctly. If it is too thick, it will not vibrate well, if it is too thin, it will easily tear. You have to get used to it, get used to it, and make the bamboo blade and attach it to the trumpet to produce the right sound." Uncle Y Mip Ayun, often called Ama Kim, which means Kim's father, recounted: "The sound of the Đïng tak tar is free and easy, modeled after the sound of black starlings singing in the fields, often played on happy occasions, without taboos, whoever hears it will feel happy inside."

The way local words are written in this note is according to the way local people transcribe them into common language (Vietnamese) according to their pronunciation. This means that there may be different ways of transcribing them and they do not follow a common standard.