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Peyman, most of your performances are in the form of tonbak recital, while tonbak is considered
as an accompaniment?
After the effort of outstanding tonbak players such as Ostad Hussein Tehrani and
Ostad Nasser Farhangfar, tonbak has shared in instrumental music more than the past and this can be considered an advance
in the art of tonbak playing. As you know tonbak before Ostad Tehrani was metronome! Since tonbak players have not given enough
solo performances, even now tonbak is considered as an accompaniment. In my opinion tonbak as a chief percussion skinned instrument
of Persian art music, is the most suitable instrument for expressing the rhythmical characters of Persian art music and tonbak
recital is the best method for this subject.
Do you work on any other percussion instruments?
Yes,
I work on ghaval (Azerbaijani frame drum), daf (Kurdish frame drum) and Indian tabla.
But why Indian tabla?
Tabla
is the chief percussion instrument of North Indian music (Hindustani sangeet). It is about forty years that tabla has been
popularized in the world. This is due to great tabla players such as Ustad Alla Rakha (accompaniment of Pandit Ravi Shankar)
and his son, Ustad Zakir Hussain. Indian music is rich in rhythm. I try to gain the experiences of Indian percussionists.
How
much has the researching of Indian music influenced on your tonbak playing?
First of all there is a relationship
among Persian and Indian culture and their sub-cultures that it is called Indo-Persian culture. Also there is a special characteristic
in Indian music that it is called mathematical complexity of rhythm (tal). I have tried to apply it in some of my tonbak solo
performances.
What is your style in the art of tonbak playing?
Since I have been one
of the students of Ostad Farhangfar, so his style has had a great influence on my style of tonbak playing.
What
should somebody do if he wants to be a good tonbak player?
He should have a good tonbak. Never buy a
mashghi (low-level) instrument! He should have a good teacher too. He should listen, practice and research.
Research
about what?
Many things: 1. Tonbak performances of great tonbak players (cassette, video, CD, book) 2.
Rhythms of Persian regional music 3. Ancient music of zourkhaneh 4. Rhythms of other countries esp. neighbors 5. Old Persian
rhythms (Igha') and so on.
Please explain a little about Igha'?
Igha' was the second
important topic of music in the past. It has been discussed in Persian, Arabic and Turkish manuscripts. The rhythms have been
notated by Atanin method (Persian onomatopoeia system) e.g. tanan tanan tananan tan (the cycle of Kereshmeh). These rhythms
can be found in today Middle Eastern Music.
What is today notation?
Today notation
comes from West. We have two systems: 1. One-lined system 2. Three-Lined system. Three-lined system has been used in the famous
book of Ostad Tehrani, named Amouzesh-e-Tombak. One-lined system has been used in the book of Ostad Amir Nasser Eftetah. This
book has been published by the effort of Mr. Fereydoun Helmi and some other people.
Which system is better?
Every
system that is able to notate the rhythms of tonbak is good but one-lined system is much better, because it is written, read,
taught and learnt easier. Anyway today everybody should know the both.
What is your view about the future
of art of tonbak playing?
I'm hopeful!
Thank you Peyman.
You're
welcome Azita.
Interview with Peyman Nasehpour by Sama Babayi at Eqbal
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