The tombak, also tombak, tompak,donbak, dombak or zarb, in Afghanistan zer baghali, is a goblet drum from Persia. It is considered the principal percussion instrument of Persian music. The tombak is normally positioned diagonally across the torso while the player uses one or more fingers and/or the palm of the hand on the drumhead, often near the drumhead's edge. Sometimes tombak players wear metal finger rings for an extra-percussive "click" on the drum's shell. Tombak virtuosi perform solos lasting ten minutes or more. The tombak had been used to create a goblet drum.
Description
The tombak is a single-headed goblet drum about 43 cm in height with a 28 cm diameter head. Its shell is carved from a single block of wood, maybe with a carved design or geometric pattern. At the bottom the shell is somewhat thicker than at the top for strength. The shell's wall thickness is approximately 2 cm. The throat is nearly cylindrical and connects the top cavity to the hollow base. A sheepskin or goatskin head is stretched and secured with glue, tacks or both. The fairly wide top opening permits full bass tone as well as various treble tones. Tombaks with adjustable tuning have been produced experimentally but the head tension is normally fixed prior to performance with careful attention to the temperature and humidity. The player may heat or cool or dampen or dry the membrane to reach a desiredfundamental pitch. The pitch can be raised somewhat during a performance by applying finger pressure but a variety of tapping and clicking timbres reduce overall focus on the drum's pitch. Typically, two or three clearly contrasting timbres are played in an antiphonal style. Goblet-shaped drums are played in different regions of Asia, Eastern Europe and Africa. Although similarities exist among all goblet drums, the techniques for playing the tombak are different from most other goblet drums. The modern tombak described in this page is most closely associated with the music of Iran. The tombak was not considered a virtuososolo instrument until the pioneering work of Hossein Tehrani in the 1950s, as well as innovations of Nasser Farhangfar and others. Modern tombak players are exponentially expanding the techniques used in playing the instrument. The Tombak was not considered a solo instrument until the pioneering work of Hossein Tehrani in the 1950s. His pupils included Mohammad Esmaili, Jahangir Malek, Jamshid Chemirani, Amir Nasser Eftetah, renowned teacher whose disciple Bahman Rajabi, develop modern technology. Farhangfar Nasser revolutionized the principles of accompaniment, often away much of the melody without ever interfering, he drew on many styles of play of Zarb-e zourkhâné that accompanies Varzesh-e Pahlavani, traditional martial gymnastics practiced in Zurkhaneh and motrebs. His knowledge of poetry and a clear and powerful voice make an improviser and especially an outstanding accompanist, always anticipating phrases soloist. Very few players assimilate his art. Modern players open new perspectives amount to the game of Tombak, as Madjid Khaladj, Jamshid Mohebbi, Morteza Aayan, Mohammad Akhavan, Dariush Zargari, Navid Afghah, Farbod Yadollahi, Dariush Es'haghi, Ahmad Mostanbet, Sahab Torbati, Khâvarzamini Pedram, Siamak Barghi, Pezhham Akhavass, and Pejman Haddadi.
