If you want to know about Persian tombak player be with us during the essay. The tombak is typically situated corner to corner across the middle, while the player utilizes at least one fingers as well as the palm(s) of the hand(s) on the drumhead, frequently (for a ringing tone) close to the drumhead’s edge. In some cases, tombak players wear metal finger rings for an extra-percussive “click” on the drum’s shell. Tombak virtuosi frequently perform performances enduring ten minutes or morePersian drums set the beat of traditional Persian music. Tombak (or tonbak) is one of these drums and our index incorporates an extensive variety of tombak. Tombak is a percussion instrument under the membraphone family.

It is additionally known aşkım “Zarb” and that implies beat. It is a cup molded, wooden drum with a more extravagant sound contrasted with the edge drums. They are generally utilized in people and diversion music. The drum is produced using a solitary block of pecan, debris or mulberry wood. The skin extended on the top might be goatskin, camel skin, calfskin and so on.

Hamid ghanbari Persian tombak player

Hamid Ghanbari as a Persian tombak player  and also A famous percussionist in asia has performed in several international music festivals, including the Lute Festival in Oman, Case de Cultura Festival in Spain, Les Arts Renaissanse World Music Day Festival in France, the first Classical Music Festival in Iran (held in 1395 at Rudaki Hall), the International Music Festival in India, and the Tamburi Mundi Festival in Germany. He is the founder and leader of a group called “Colon Zaman,” which began its activities in 1394 with a focus on rhythm. Other members of this group include Setareh Khatibi, Hesam Azimi, and Milad Ghorishi. In 1395, the group released an album titled “Caught in the Rhythm,” which was nominated for the Barbad Award in the instrumental Iranian music composition category in the same year.

His other artistic activities include teaching at the School of Fine Arts at the University of Tehran, offering private lessons on percussion instruments, and conducting research in the field of music. These pursuits led to the authorship of two books: the instructional book “Zarb Ava, Khonyagari Davaazdeh Tasnif” (published in 1394 with an introduction by Mohammad-Reza Shajarian) and the book “Tanboor Playing: An Account by Amir-Nasr Eftetah.”