Tonbak

Tombak, also Tonbak, dombak, donbak, dumbek or zarb (Persian تنبک / تمبک [ Note 1 ] ) is a beaten with hands wooden goblet drum, which in Persian folk music and classical Persian music in Iran, the most frequently is played percussion instrument.

The body of the tombak was formerly mostly carved from solid mulberry wood, but is now turned on the lathe almost entirely of other hardwoods (primarily walnut and ash). The shape of the body has similarities with a glass of red wine ( albeit with a hole through the foot ) and is traditionally made from one piece. However, some instrument makers also use many pieces attached blanks to produce decorative wood pattern. The top wide opening is covered with animal skin, usually by camel, goat or calf by the depilated skin soaked in water, then stretched over the opening and is glued to the outer edge. With drying, the skin pulls together and so receives its voltage. The mood is dependent on humidity and can therefore only by moistening or heating ( drying ) of the coat can be influenced. However, there are some tunable Tombaktypen; a framework developed by the Iranian Ney player Hossein Omoumi. There are countless manufacturers, mostly small businesses; outside Iran but are primarily instruments of the big producers Helmi available.

The tombak is played sitting down, usually cross-legged on the ground, but often also on a chair. The hand drum is in right-handers on the left thigh, which results in a different playing position for both hands. Despite some similarities with other cup drums ( like the darabuka or the Afghan zerbaghali ), the technique of tombak differs significantly from that of their most relatives. In modern ways of playing all the fingers in a very differentiated way ( also available separately ) are used. Probably the eponymous syllables tom and bak correspond to two ( main) sounds: the deep ( tom ) is produced by a blow near the fur center with the fingertips and the Handball approach the curved hand and the high ( bak ) by a blow to the dome one or two fingers on the edge of the coat.

The full vortex ( riz -e por ) is a typical element of the Tombakspiels and used by many percussionists on other drums often. It is produced in right-handers with all five fingers of the right and the four free fingers (without the thumb) of the left hand by alternating strokes of the whole hand. The fingers of each hand routed so that they are not all simultaneously, but one after the other to touch the fur, creating a quick succession arises.

Nowadays tombak is responsible not only for the meter of a piece of music, but usually is their melodic sound, like that of any other instrument, part of the music. Until the mid- 20th century, the tombak was not considered a solo instrument. This changed only by the achievements of the great Master Hossein Tehrani. The school Tehrani was in Europe mainly by his pupil Djamchid Chemirani who lives and works since the late 1960s in France, spread. After Tehrani, Bahman Rajabi developed, Nasser Farhangfar and other playing techniques in many different ways on. Today's drummers contribute to the further development of the technique. They include, for example, Madjid Khaladj, Navid Afghah, Pejman Hadidi, Mohammad Reza Mortazavi and Pedram Khavar Zamini ( also written as Khavarzamini ).

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