I think there are a few concepts which might help you:
- Arabic music often has no concept of harmony but rather a melody sounding over a drone sound which plays the root note of your scale the whole time. This can be great for intros and interludes.
- Assuming that your root note is A like in your examples I would try to only use the following chords: A, Bb, Gm and Dm. There is no need to use chords which are diminished or augmented as those chords sound themselves rather dissonant and nothing like arabic music. Also the the C#m which would be theoretically a chord of the A double harmonic scale sounds out of place as it is far too dark.
- In my experience the 7th scale degree can be both natural and flat. It depends on if you have a Bb in the nearer part of the melody or not. Either use Bb-A-G-A or A-G#-F-E-F-G#A but never use two halftone steps in a row. Never do something like Bb-A-G#-A.
- When using the Gm chord try to avoid the G# but use G instead.
- Try bring your chords always back to A-major. Something like A-Bb-Gm-A or even only A-Gm-A-Gm might be appropriate. Try to use those three chords for a while and the start another chord progression with Dm to get a different sound there. But bring the progression back to A-major. Something like Dm-Bb-Gm-A might work.
Only for the record if you want to find a G# double diminished chord you might look for a Bb7 in third inversion with no5. But I wouldn’t advise to use that chord.
Have fun playing around with those concepts a bit. I hope that helped a bit.