Tombak (musical instrument)

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In Isfahan prepared tombak chestnut wood

Tombak - also tonbak, dombak, donbak, dumbek ( Persian تنبک / تمبک) Or zarb (originally in Arabic, blow 'or "beat" called) - is a beaten with hands wooden mugs drum (also chalice drum called), which in Persian folk music and classical Persian music of Iran , the most played percussion instrument represents.

Design

The body of tombak was formerly mostly from solid mulberry wood carved, but is now almost exclusively from other hardwoods (mainly walnut and ash ) gedrechselt . The shape of the body is similar to a red wine glass (but with a hole through the foot) and is traditionally made from one piece. However, some instrument makers also use blanks assembled from many pieces to create decorative wood patterns. The upper wide opening is animal skin, usually of camel , goat covered or calf by soaking the depilated skin in water, then suspended over the opening and from the Persian Sarisch root (of a eremurus -type) prepared glue (سریش Séris ) is glued to the outer edge. When it dries, the skin contracts and thus maintains its tension. Traditionally, the pitch can only be influenced by warming the skins with moisture. There are, however, some mechanically tunable types of tombac; one was developed by the Iranian Ney player and architect Hossein Omoumi. There are innumerable manufacturers, mostly small companies; Outside of Iran, however, instruments from the major manufacturer Helmi are mainly available.

Style of play

Hossein Tehrani (1912–1973) is considered to be the founder of the modern game of tombak in Iran.

The tombak is played seated, usually cross- legged on the floor, but often on a chair. For right-handers , the hand drum lies on the left thigh, which results in a different playing position for the two hands. Despite some similarities with other cup drums (such as the darabuka or the Afghan zerbaghali ), the playing technique of the tombak differs significantly from that of most of its relatives. In modern playing styles, all fingers are used in a very differentiated way (even individually). Probably the eponymous syllables tom (or dom ) and bak correspond to two (main) sounds: the depth ( tom ) is by an impact close to the center of the head with the finger tips and the palm of the hand cupped batch produced and the high ( bak ) by hitting the tip of one or two fingers on the edge of the skin.

Another etymology traces the name of the instrument back to the word chombak , the name of an earthen pot. The great tombak-e zurchāneh , played in the Zurchaneh by the Morsched , is also made of clay.

The full roll ( riz-e por ) is a typical element of playing tombak and is often used by many percussionists on other drums as well. For right-handers, it is generated with all five fingers of the right and the four free fingers (i.e. without the thumb) of the left hand by alternating strokes of the whole hand. The fingers of each hand are guided in such a way that they do not all touch the skin at the same time, but one after the other, which creates a rapid sequence of strokes. A further characteristic element ( eschareh ) is obtained in combination with strikes at high speed on the edge . A hard sound ( peleng ) produced with two fingers on the edge of the tombak is also typical for the way it is played.

meaning

Nowadays the tombak is not only responsible for the meter of a piece of music, but usually its melodic sound, like that of any other instrument, is an important part of the music. Until the middle of the 20th century, however , the tombak was not regarded as a solo instrument (a zarb player and singer in the private ensemble of Nāser ad-Din Schāh was about Āqā Bāshi). This only changed through the achievements of the great master Hossein Tehrani (1912–1973). The Tehrani school was spread in Europe mainly through his pupil Djamchid Chemirani , who has lived and worked in France since the late 1960s. After Tehrani, Bahman Rajabi, Nasser Farhangfar and others further developed the playing techniques in a wide variety of ways. Today's zarbists contribute to the further development of playing technique. They include, for example, Keyvan Chemirani , Zia Mirabdolbaghi, Madjid Khaladj (* 1963 in Qazvin), Navid Afghah, Mohammad Akhavan, Pejman Hadadi , David Kuckhermann, Mohammad Reza Mortazavi and Pedram Khavar Zamini (or Khavarzamini) as well as Peyman Nasehpour and Hadi Alizadeh. In contrast to the tombak, other Persian, Afghan or Arabic percussion instruments (such as dohol , doholak , naqqare , kūs etc.) have not found their way into Persian art music.

literature

  • Nasser Kanani: The Persian Art Music. History, instruments, structure, execution, characteristics (Mussighi'e assil'e irani). Friends of Iranian Art and Traditional Music, Berlin 1978, p. 19 f.
  • same: traditional Persian art music: history, musical instruments, structure, execution, characteristics. 2nd revised and expanded edition, Gardoon Verlag, Berlin 2012, pp. 177–180.
  • Jean During, Zia Mirabdolbaghi, Dariush Safvat: The Art of Persian Music . Translation from French and Persian by Manuchehr Anvar, Mage Publishers, Washington DC 1991, ISBN 0-934211-22-1 , pp. 11, 44, 83-93, 146-151, etc.
  • Madjid Khaladj, Philippe Nasse: Le Tombak. Méthode d'initiation à la percussion persane. Supplement to the DVD, Improductions / École de Tombak, Bornel (La Salon de Musique) 2004.

Web links

Remarks

  1. ↑ Both spellings are pronounced the same in Persian ( “nb” like “m” ). Regarding the nomenclature: Hossein Tehrani:آموزش تمبک( Amuzesch-e Tombak ) . Moasseh Farhangi Mahor, Tehran 2000, ISBN 964-6409-19-9 , p. 31 .
  2. ↑ Madjid Khaladj, Philippe Nasse: Le Tombak. Méthode d'initiation à la percussion persane. Supplement to the DVD, Improductions / École de Tombak, Bornel (La Salon de Musique) 2004, p. 75.
  3. ↑ Hossein Omoumi: Tunable Tombak. Archived from the original on March 14, 2008 ; Retrieved January 3, 2008 .
  4. ↑ Madjid Khaladj: Le Tombak [...]. 2004, pp. 47-49.
  5. ↑ Madjid Khaladj, in: Madjid Khaladj, Philippe Nasse: Le Tombak. Méthode d'initiation à la percussion persane. Supplement to the DVD, Improductions / École de Tombak, Bornel (La Salon de Musique) 2004, p. 10 f., 43 and 75.
  6. ↑ Jean During, Zia Mirabdolbaghi (1991) 160th
  7. ↑ Madjid Khaladj, Philippe Nasse: Le Tombak avec Madjid Khaladj. Méthode d'initiation à la percussion persane. Supplement to DVD, Improductions / École de Tombak 2004, pp. 38–41 ( Master Hossein Tehrâni ).
  8. ↑ Madjid Khaladj, Philippe Nasse: Le Tombak avec Madjid Khaladj. Méthode d'initiation à la percussion persane. Supplement to the DVD, Improductions / École de Tombak 2004, p. 72 f. (French and English).
  9. ↑ Mohammad A (c) hawān: Dastur-e moqadamāti-e Tonbak. (= Elementary method of Tonbak & 13 Pieces for Beginners. ) Mehrān, Tabriz 1991.
  10. ↑ Jean During, Zia Mirabdolbaghi (1991) 150th