What stands out in the exploration of the history of the tombak and among tonbak players is the presence of Master Hossein Tehrani. Undoubtedly, tombak players can directly or indirectly be disciples of the school of Hossein Tehrani. Hossein Tehrani is a turning point in playing the instrument; the technical changes and advancements that occur after him are incomparable to the previous tombak players.

Previous tombak players, like Hossein Khan Esmaeili Zadeh, who taught the fundamentals of tombak playing to Hossein Tehrani, had a foundation, but the transformation introduced by Hossein Tehrani in playing the tombak is not comparable to the playing and technical level of previous players. Hossein Tehrani primarily attributes his skills to Abolhasan Saba, stating that what he learned from Saba exceeded other tombak instructors.

Master Abolhasan Saba was proficient in all musical instruments and was recognized among tonbak players. Due to their excellent taste in sound aesthetics and sound solanity, they could assist Hossein Tehrani in producing a desirable sound from the instrument. In the realm of music theory education, a music school was established during the period when both Abolhasan Hasan Saba and Master Hossein Tehrani were active, under the supervision of Alinaghi Vaziri. This school has been actively operating, and other instructors like Rouhollah Khaleghi played a significant role in this field.

In fact, all these esteemed individuals are products of the Alinaghi Vaziri school. Hossein Tehrani enhanced the tombak instrument by adding diverse techniques such as fine strokes, fine beats, open-hand techniques, performance techniques, bak, plang, and various other techniques. These techniques existed before Hossein Tehrani but underwent changes that are incomparable to other players.

Mohammad Ismaili among Tonbak Players

Mohammad Ismaili is one of the renowned tonbak players today, considered a master in the field. All of them are disciples of the school of Master Hossein Tehrani. Direct disciples include Master Mohammad Ismaili, who received training directly in Master Tehrani’s school. Today, the primary reference to Master Tehrani is Master Mohammad Ismaili, making him the best reference for those who want to familiarize themselves with the school of Master Hossein Tehrani.

Master Amir Naser Eftetah among Tonbak Players

Another distinct figure who followed a unique path is Master Amir Naser Eftetah. They are among the players who emerged after Master Tehrani and continued their own path and school. Many contemporary tombak players follow the school of Master Amir Naser Eftetah, including notable instructors like Behnam Rajabi, Master Morteza Ayan, and Master Mahmoud Farhmand.

Hamid Ghanbari

Hamid Ghanbari is currently one of the prominent tombak instructors in Iran. He learned tombak in Behnam Rajabi’s school, then pursued a degree in music at the university. For years, he has been dedicated to teaching percussive and rhythmic instruments.

As much as he values performance and composition, Master Ghanbari has a notable career collaborating with renowned figures such as Master Mohammad-Reza Shajarian and Master Hossein Alizadeh. His professional portfolio includes participation in international festivals. Additionally, he has a keen interest in composing and researching in the field of music.

Editing handwritten notes of Master Amir Naser Eftetah and authoring an instructional book titled “Zarb Ava” (with a note from Master Shajarian) are among his notable activities.

Jamshid Shemirani

Jamshid Shemirani is another master who received training in Master Tehrani’s school but migrated from Iran for certain reasons and currently resides in France. Due to their departure from Iran, they became familiar with Western musical instrument techniques and rhythmic patterns uncommon in Iran. Observing Master Jamshid’s playing reveals significant differences compared to Iranian players, making it a fascinating subject.

Behnam Rajabi in the Category of Tonbak Players

Another noteworthy tonbak player is Master Behnam Rajabi. He introduced the most significant changes in playing the tombak after Master Tehrani and Master Eftetah. His instructional book is rich in content and various techniques, serving as a valuable reference for those aspiring to learn the tombak. Master Rajabi wrote unique pieces, a departure from conventional norms, and introduced principles of aesthetics and design into tombak compositions, marking a groundbreaking approach in the instrument’s history.

Master Morteza Ayan

Master Morteza Ayan is also among the distinguished tonbak players. Due to personal reasons, he travels and is currently not in Iran. Fortunately, he has returned to Iran and has authored books. He is one of the prominent disciples of Master Eftetah.

Mahmoud Farhmand

Master Mahmoud Farhmand is another disciple of Master Ayan and a graduate of Master Eftetah’s school. They are considered tombak players who have gained recognition in the context of Master Eftetah’s school.

Arjang Kamkar among Renowned TonbakPlayers

Master Arjang Kamkar is part of the Kamkar group, known as the Kamkars. This group is among the most famous traditional music groups in Iran. Their collaboration has significantly impacted post-revolutionary Iranian music, as evident in all their works featuring the outstanding tombak playing of the Kamkar brothers.

Master Kamkar possesses a unique style, particularly notable for simultaneous playing in widely heard Iranian musical pieces. Collaborations with Masters Meshkatian and Alizadeh resulted in enduring works. Their departure from Iran exposed them to Western instrument techniques and unconventional rhythmic patterns.

Naser Farhangfar

Master Naser Farhangfar, another disciple of Master Tehrani, has undergone training in tombak both at Master Tehrani’s school and under the guidance of Master Ismaili. He has developed a distinct style and techniques in tombak playing. His mastery extends to other musical aspects beyond tombak, such as in row sections and various musical instruments.

An intriguing technique of simultaneously singing and playing the tombak is among the notable skills of this outstanding musician. Besides tombak, they have an interest in calligraphy and poetry, leaving behind well-crafted verses. Their collaboration with Masters Shajarian and Meshkatian resulted in the creation of enduring works for Iranian music, particularly the album “Astan-e Janan,” recorded live and considered a flawless and significant reference in Iranian music.

Their contributions in other albums, such as “Bidad,” showcase unique works that contemporary musicians should consider for the evolution and innovation of Iranian music.