This article analyzes the technical methods of improvisation (badiha) in maqom performance. Based on scholarly sources, the concept of improvisation, its place in maqom practice, and traditional and modern approaches are explored. In particular, it examines how performers use melodic ornamentation, voice registers (high/jo‘r levels), and rhythmic and structural techniques to create musical richness and freedom of expression. The article also discusses the traditional “master-pupil” school and the individualization of interpretation.