Description: The author Al Farabi (ad. 950) documented the tanbur who at the time devoted much of his work to the tanbur in his book "khitab al-musiqi al-khabir". The tanbur has a "pre-Islamic" history with in the Middle East. The tanbur has been found in Ancient Persia and Baghdad Iraq during the Akkadian era (3rd millennium B.C.). In the Sassanid period 5 to 6 century C.E. the tanbur in lute form was all ready in use. Amongst historians there is disagreement over the pricise origins of the tanbur. Documentation in the form of Egyptian bas releif sculptures prove the tanbur to be in existance during the 26th dynasty [600 B.C.]. In the Sassanid Empire [AD 224-651] the tanbur was known to be used both by the Sassanid courts and Zoroastrian courts.

The New Grove dictionary of music states " the origins of the word tanbur are in a complex situation". In Africa one finds the name tambour attached to lyres and in Europe the name tabor the attaches its self to become "tambourine". Later the tanbur spread through out the Middle East and also became popular in Mesopotamia and later on in Babylon. The influence of the tanbur is quite wide spread from Turkey, Kurdistan, Iran to Xinjiang China (Turkistan). The tanbur is often played olo or is played to accompany vocals or accompanied by other musical instruments in an ensemble settings. Derivatives of the tanbur include the Crotian Tamburitza, Bosnian Sargija, the greek Tambouras and others.

In Turkistan (Xinjiang China): The tanbur is either played solo or accompanied by other instruments arranged in ensembles to orchestras. The repertoire being played on the Uigur tanbur is called "On Ikki Maqam" or "the 12 maqam". In length the Uigur tanbur is quite long and is also highly ornate with camell bone inlay. The neck of the Uigur tanbur is often fretted with 31 plastic frets which are set to chromatic spacings. The Uigur tanbur has 5 tuning pegs, 5 strings. The neck and staves of the body are made from mullbery wood. The body of the Uigur tanbur is often constructed with up to 10 staves. A sound post is inserted underneath the scratch guard. Often the Uigur tanbur is decorated with ornamental died camel bone usually plain bone and black. The bridge of the Uygur tanbur is adjustable.

In Iran: The Persian tanbur has been mentioned in ancient Iranian literature from Khorosan. The Persian tanbur is almost identical to the dutar both of these lutes are found in the same region and they do share a similar history. The playing technique for the Persian tanbur is said to meant to resemble a "trickle down the stream". Since the last 50 years the tanbur has mainly been employed during ritual and liturgical ceremonies also called "Djam" gatherings. Quite recently the Persian tanbur is now being used as a solo instrument in the 20th and 21st centuries many new pieces of repertoire are being composed, compiled and played. The frets are tied on to the neck of the tanbur and they are adjustable. The top strings are of copper and or brass in which are thicker then the bottom string the bottom string serves as a sympathetic string sometimes played.

In Afghanistan: The tanbur is played in Northern Afghanistan from Kabul to Herat and Maza-E-Shariff amongst the Uzbeks and Tajiks in small ensembles or solo.

In Kurdistan: The tanbur is called "tembur" it is played by members of the sufi order Ali E Haqq. The length of the tembur ranges from 80cm in height.

In Turkey: The tanbur has a wide circular body almost perfectly spherical in shape and a long neck. In Turkey the tanbur is associated with Sufi music and also in Makamlar (Turkish Classical Music) The Turkish tanbur has deep resonant timbre when played. Variants of the Turkish tanbur are found including the yali-tanbur who is played with a bow.

Tanbur Tunings

		G-D-C
		D-A-D