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Davul
Davul
Davul
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Davul
Percussion instrument
Other namesDavul, tapan, tabl
Classification Percussion instrument (membranophone)
Playing range
Rope tensioned
Sound sample
Davul drum

The davul, dhol, tapan, atabal or tabl is a large double-headed drum that is played with mallets. It has many names depending on the country and region. These drums are commonly used in the music of the Middle East and the Balkans. These drums have both a deep bass sound and a thin treble sound due to their construction and playing style, where different heads and sticks are used to produce different sounds on the same drum.

Names

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Some names of davuls include:

Other Greek names for this drum include Davouli, Argano, Toskani, Tsokani, Toubi, Toubaki, Kiossi, Tavouli, Pavouli, Toubano, and Toubaneli. Additionally, other names for the daouli, depending on the area, include toumpano, tymbano, or toumbi, which stem from the Ancient Greek: τύμπανον (týmpanon); this word exists in English in the word tympani for the drum section in the modern classical orchestra and the tympanic membrane for the eardrum.

Traditional uses

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In the southern Balkans, the rhythm of the tapan is complex and utilizes many accents in numerous traditional time signatures. In Macedonia, tapans are most often used to accompany other instruments such as the zurla and gaida, while in Bulgaria they usually accompany gaida and gadulka. They are also played solo in some Albanian, Bulgarian and Macedonian folk dances and songs. For centuries the tapan is irreplaceable at Bulgarian village festivities such as weddings and celebrations of patron saints of homes and villages. In Romania and Moldova the toba is sometimes used to accompany dances. In the regions of Moldavia, Maramures and Bihor there are also some varieties with a small cymbal mounted on top. They are generally struck with a wooden mallet on one skin and with a thinner stick on the rim or cymbal.[citation needed]

In Armenia, Turkey and Azerbaijan, the dhol/davul is most commonly played with the zurna, a wind instrument, although it can be played with other instruments and in ensembles as well. It has also traditionally been used for communication and for Turkish mehter, or janissary music. In Iraq and the Levant, it is predominantly used in Assyrian folk dance and Assyrian folk/pop music, among Assyrian people, which are mostly accompanied by a zurna. In Armenia, the dhol does not have as large of a circumference and is usually played with the hands, although a wooden, spoon-shaped drumstick is also used sometimes. It is frequently heard in Armenian folk music, usually along with other drums such as the dap, the dmblak, and native woodwinds such as the tsiranapogh, the sring, the shvi, the blul [hy], the parkapzuk (Armenian bagpipe), and some stringed instruments like the tavigh [hy], the pandir, the jnar [hy] and some of foreign origin, like the Iranian kamancha and the Arabic oud. Not only is it in folk music but also in modern music as well, even having solos in many prominent songs.[1]

Construction

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Davul in shadow puppet theater. Here, Karagöz is shown with his davul.

The drum shell is made of hard wood, perhaps walnut or chestnut, though many woods may be in use depending on the region where the drum is made. To make the shell, the wood is boiled in water to make it bendable, and then it is bent into a cylindrical shape and fastened together. The heads are usually goat skin, and they are shaped into circles by wooden frames. However, one head may be goat skin to provide a higher tone, while the other head can be sheepskin, calfskin, or even donkey-skin to provide a lower tone. Some say that wolf skin and even dog skin are preferred.[2] Rope threaded back and forth across the shell of the drum, from head to head in a zigzag pattern, holds the heads on the drum and provides tension for tuning the drum. Sometimes metal rings or leather straps join neighboring strands of the rope in order to allow for further tuning. Two rings are sometimes attached to the main rope where a belt-like rope is threaded through to hold the drum.

In the former Yugoslavian republics and Bulgaria, the tapan is made in two dimensions, Bulgarian: golem, at about 50 – 55 cm diameter, and Bulgarian: mal or tapanche, at about 30 – 35 cm diameter.

In Turkey, davuls typically range in size from 60 cm to 90 cm in diameter. Cow hide is used for the bass pitch drum head side, while goat skin is used for the thin, high pitched side.

In Greece, daouli can be 12 to 14 inches for the toumbi up to 3 to 4 feet for daouli. Commonly the drum is about 20 to 30 inches.[2]

Playing style

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Players often use a rope hooked to the drum to hold the drum sideways, so that one head is accessible with the left hand and one with the right. Each hand is usually dedicated to playing one side of the drum exclusively, though this can vary by local style and tradition.

Drummers of this drum typically uses two kinds of sticks. The drummer plays the accented beats with the dominant hand on the side of the drum with the thicker skin, using a special stick known as the Bulgarian: kukuda or ukanj, Turkish: tokmak, or Greek: daouloxylo (daouli stick).[2] This stick is a thick pipe-like stick about 440 mm long, which is often made with walnut. Its thick shape as well as the thickness of the head give the accented beats a low, full sound. Sometimes the drumhead played with the thick stick is also muted with a cloth to enhance the fundamental low note of the drum. Unaccented beats are played by the nondominant hand on the side of the drum having the thin skin, using a thin stick or switch called Bulgarian: pracka, Turkish: çubuk, or Greek: daouloverga (daouli switch).[2] This thin stick is often held cross-grip, and the drummer can quickly hit thin accent strokes by gently twisting the wrist. These thin sticks are often made from soft wood such as willow or cornel.

The Balkan school of tapan playing presumes the playing (not the accompaniment) of a melody, where the non-dominant hand is used to express all that the player wishes to say, while the dominant hand is only used to accentuate certain moments in the melody.

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Davul

View on Grokipedia
from Grokipedia
The davul is a large, double-headed cylindrical , classified as a , that produces resonant bass and sharp treble sounds through vibrating animal-skin heads stretched over a wooden body. It is primarily associated with but is also prominent in Middle Eastern and Balkan traditions, where it serves as a foundational for rhythmic accompaniment in ensembles. Typically measuring 55–60 cm in diameter and 25–50 cm in height, the davul is suspended from the shoulder and played with two distinct beaters: a heavy, knobbed stick ( or çomak) for the bass side and a thin switch (çubuk or zıb zıb) for the treble side. The davul has ancient roots in Middle Eastern double-headed drums, with the modern form developing in the Anatolian region during the Byzantine and Ottoman eras. Its name likely derives from Turkish terms like "toval" or "tabl," reflecting its widespread use across Central Asian and Eurasian cultures, including variations called daouli in Greek Pontic music or tapan in the . Originally used as a signaling tool in warfare, including Ottoman bands known as mehter, it evolved into a core element of civilian festivities. In construction, the davul's body is crafted from a single piece of hardwood, such as beech or walnut, with heads traditionally made from goat, sheep, or calf skin, tensioned by leather thongs or ropes that allow pitch adjustment. Modern versions may use synthetic heads for durability. The player strikes the center of the bass head for deep "dum" tones and the rim of the treble side for high "tak" sounds, enabling complex rhythms essential to regional music. Culturally, the davul holds profound significance in social and ritual contexts across and neighboring regions, often paired with the in ensembles for weddings, processions, and folk dances. Known as the "king of drums" in Turkish and Romani traditions, it influences contemporary music while maintaining traditional roles among itinerant musicians.

History and Origins

Ancient and Ottoman Roots

The davul, a large double-headed cylindrical , traces its origins to ancient Central Asian Turkish societies, where it served as a vital instrument in pre-Islamic rituals, signaling, and communal ceremonies. Archaeological and historical indicates that early forms of the davul, often constructed from stretched over wooden frames, were used by shamans known as kam to invoke spirits and facilitate ecstatic communication with the world during rites and dances. These practices, rooted in the nomadic traditions of migrating from the steppes, positioned the drum as a tool for both spiritual mediation and practical communication across vast distances, such as in warfare or herding. In ancient Turkish culture, the davul symbolized and , frequently appearing alongside the larger kös and flags as emblems of in tribal and state contexts. This multifunctional use underscores the drum's evolution from a shamanistic artifact to a marker of social and political power, with influences possibly extending back to Mesopotamian and Anatolian civilizations as early as the 7th century BCE, though direct Turkish adaptations emerged prominently in Central Asian contexts. During the , the davul became a cornerstone of military music within the mehter ensembles of the corps, formalized under Sultan Murad I in the 14th century. Paired with the shrill oboe, it provided rhythmic drive for marches, battles, and sieges, enhancing troop morale while instilling fear in adversaries through its thunderous volume—a tactic that included strategic placements in tunnels to detect enemy vibrations. The instrument's prominence in these bands, which evolved from earlier Seljuk traditions, reflected the Ottoman synthesis of Central Asian heritage with Islamic ceremonial practices. Beyond the , the davul played a key role in Ottoman civilian and religious life, accompanying weddings, festivals, and observances to evoke communal joy and devotion. Its beats marked diplomatic receptions and state processions, symbolizing imperial might, and were even gifted to provincial governors as tokens of allegiance. This widespread integration solidified the davul's status as an enduring emblem of Ottoman cultural identity, bridging ancient nomadic roots with the empire's expansive artistic legacy.

Spread and Evolution

The davul traces its origins to Central Asian nomadic cultures, where it served as a key instrument for religious, military, and ceremonial functions among early , including during the era of the Hun Empire. From these roots, it spread westward into and the with the migrations of Turkic tribes, becoming integral to Ottoman military music in Mehter ensembles by the ; these bands used the drum for signaling, morale boosting, and against enemies. The Ottoman Empire's territorial expansions further disseminated the davul across a vast geography, from the to the gates of and the , adapting it into diverse regional variants while preserving its role in communication and ritual. In the , the davul—known locally as dauli in , tapan in Macedonia and , lodra in , or toba in —integrated into folk traditions through Romani and Ottoman influences, often paired with the double-reed instrument for processions, weddings, funerals, and dances. This spread occurred primarily between the 16th and 19th centuries, as Ottoman rule facilitated cultural exchanges along trade routes like the , leading to adaptations in construction and playing styles suited to local acoustics and ensembles. Beyond the , echoes of the davul appear in Persian dohol, Armenian dhol, and tabl, highlighting its diffusion via Islamic and Eurasian networks dating back over 5,000 years to ancient Egyptian and Greek rituals. The instrument's evolution shifted it from a battlefield tool—employed for detecting enemy movements in tunnels or gathering troops—to a cornerstone of civilian folk and , particularly in where it accompanies dances and festivals with refined tension adjustments for varied pitches. Ottoman interactions in the introduced the davul to European military and orchestral contexts, inspiring the "Alla Turca" style and evolving into the modern , which entered around the 14th century and became widespread in the via Ottoman campaigns. This transformation underscores the davul's enduring rhythmic influence, blending deep bass tones with treble elements to shape percussion traditions.

Construction

Materials and Components

The davul is a large, double-headed with a cylindrical wooden body, typically constructed from a single piece of hardwoods such as , , cherry, mulberry, or to ensure resonance and durability. The shell is open at both ends, measuring typically 50–65 cm in diameter and 25–45 cm in height, though regional variations can range from 45–90 cm in diameter for larger models used in processions. Modern iterations may incorporate synthetic materials like or drolite for the body to enhance portability and weather resistance, while retaining the traditional cylindrical form. The drumheads consist of two taut membranes stretched over circular wooden hoops, known as kasnak, which are secured to the shell's ends. Traditionally, these heads are made from natural animal skins, with , sheep, calf, or hide preferred for their elasticity and tonal qualities; the bass side often uses thicker skin for deeper , while the treble side employs thinner material for sharper articulation. The skins are typically prepared by soaking them in water to make them pliable, then stretched and dried over the hoops to achieve the desired tension. Contemporary davuls frequently feature synthetic heads, such as plastic films, on one or both sides to prevent damage from humidity and simplify maintenance. Tension is maintained through a system of interlaced leather or synthetic thongs arranged in a zigzag pattern around the body, connecting the two hoops and allowing for pitch adjustments by tightening or loosening the cords. Wooden or metal tension rods may supplement this in some designs, but the traditional thong method preserves the instrument's acoustic responsiveness.

Manufacturing Techniques

The manufacturing of the davul traditionally involves handcrafting its cylindrical shell and attaching dual drumheads, a process that emphasizes acoustic resonance and durability. Artisans begin by selecting seasoned hardwoods such as , cherry, , , or mulberry for the shell, prized for their and ability to amplify . The body is typically carved from a single piece of wood, cut to dimensions typically 25–45 cm in height and 50–65 cm in , then hollowed and sanded smooth to form the open-ended , often using turning or carving techniques to ensure even thickness for optimal vibration. For the drumheads, natural animal skins from , sheep, calf, or are prepared separately for each end to produce distinct tones: a thinner skin for the high-pitched side and a thicker one for the bass. The skins are cut to slightly exceed the shell's , then soaked in for several hours to increase pliability and elasticity. While wet, each skin is stretched over a wooden or metal hoop (known as a kasnak) that fits snugly onto the shell's rim, secured initially with adhesive for stability. Tensioning follows, a critical technique that allows tuning without modern hardware. Zigzag-patterned ropes or leather thongs are laced between the hoops on opposite ends, crisscrossing the shell's exterior; these are twisted or knotted using wooden or metal rods (similar to tuning keys) to pull the skins taut, adjusting pitch and balance between the heads. This rope-lacing method, rooted in Ottoman-era practices, enables field tuning by players and contributes to the drum's portable, resonant . In contemporary variations, metal rings or screws may supplement ropes for precision, while synthetic plastic heads replace animal skins for weather resistance, though traditionalists maintain that natural materials yield superior tone. Final assembly includes testing the drum's response by striking both heads, with adjustments to tension ensuring the characteristic contrast between the sharp tek (treble) and deep düm (bass) sounds. Professional makers, often working in workshops in regions like Istanbul, complete the process in 1-2 days, polishing the shell for aesthetics and applying protective oils to the wood. This labor-intensive craft preserves acoustic traditions while adapting to modern demands for consistency.

Playing Technique

Holding and Posture

The davul is traditionally held suspended from a strap known as the asma kayış, which secures the drum horizontally across the player's body, typically over the left shoulder for right-handed performers, with the lower-pitched bass head facing right and the higher-pitched treble head facing left. This positioning allows simultaneous access to both drumheads—the thicker-skinned bass-tuned side for low tones struck by the right hand and the thinner-skinned treble-tuned side for high tones struck by the left hand—while permitting mobility during performances. Players adopt a standing posture with feet positioned shoulder-width apart and knees softly bent to maintain balance and stability, especially in dynamic contexts such as processions or folk ensembles. The drum's center of gravity is kept low, below the waist, to prevent shifting during movement, while the upper body remains upright with shoulders relaxed and chest open to support efficient arm motion and prevent fatigue. This ergonomic stance is essential for sustaining the instrument's loud, resonant projections in outdoor or ceremonial settings. In regional variants like the Pontic Greek daouli, the strap may form a harness around the chest and over the left shoulder, reinforcing the same forward-facing orientation and adaptable posture for both stationary and ambulatory play. Left-handed players reverse the strap and hand assignments to mirror this configuration, ensuring consistent technique across traditions.

Beating Methods and Styles

The davul is typically played while suspended from the player's shoulder using a sturdy strap or cord, positioned diagonally across the body to allow access to both drumheads with each hand. The right head, often tuned to a lower pitch, is struck with the tokmak—a thick, heavy stick (approximately 50-60 cm long, sometimes with a rounded or curved end) held in the right hand—to produce the resonant bass sound known as "düm," which marks the primary rhythmic stresses. Conversely, the left head, tuned higher, is struck with the çubuk (or çırpı)—a slender, flexible switch-like stick (about 40-50 cm long) held in the left hand—to generate the sharp, treble "tek" sound for secondary accents and syncopations. This dual-striking method creates interlocking rhythms essential to the davul's role in ensembles, with skin tension adjustable via side ropes or wedges to fine-tune tones during performance. Beating techniques emphasize dynamic contrast between the heavy, forceful blows and the lighter, more agile çubuk taps, enabling complex patterns that drive folk dances and processions. Players often employ a master-apprentice tradition for transmission, focusing on wrist flexibility, stick control, and breath synchronization with accompanying winds like the . In ceremonial contexts, such as Ottoman mehter bands, beating follows structured usuls (rhythmic modes) with emphatic düm on downbeats, while folk settings allow improvisational flourishes, such as rapid tek rolls or accented düm-tek alternations, to energize crowds. Regional variations influence stick design and intensity, adapting to local dance meters like 9/8 for zeybek or 2/4 for .

Cultural and Musical Role

Traditional Uses in Folk Traditions

The davul plays a central role in , where it provides rhythmic foundation for communal dances and gatherings. It is particularly prominent in halay dances from Eastern , characterized by line formations and energetic steps, and zeybek dances from the Aegean region, known for their slow, dignified movements expressing heroism. Paired frequently with the , a loud double-reed instrument, the davul creates a powerful, outdoor sound suitable for large audiences in village settings. In social rituals, the davul accompanies life-cycle events and religious observances. During weddings and circumcision celebrations, Roma ensembles featuring davul and zurna perform at outdoor processions, enhancing the festive atmosphere and marking transitions with vigorous rhythms. It also features in gelin alma ceremonies, where the bride is fetched from her family home, symbolizing joy and communal unity, and in send-offs for military recruits, evoking courage through martial beats. In the holy month of Ramadan, davul players patrol neighborhoods at dawn to awaken households for the pre-dawn meal of sahur, often reciting poems or songs to add a poetic layer to the tradition. The instrument holds significance in traditional sports and festivals, underscoring its integration into physical and cultural expressions. At the festival, a -recognized , up to forty bands of davul and inaugurate the event, their resounding beats signaling the start of competitions and honoring the wrestlers' prowess in this ancient Anatolian practice. Historically played by professional itinerant musicians known as davulzen or tablzen, the davul remains a symbol of communal vitality in rural Turkish life.

Influence and Modern Applications

The davul has exerted significant influence on European percussion traditions, particularly through Ottoman military music known as Mehter, which introduced rhythmic complexities and instrumentation to Western ensembles during the 16th century and beyond. This impact is evident in the development of the "Alla Turca" style, where the davul's dual-headed design and striking techniques inspired composers to incorporate exotic Eastern rhythms into symphonic works. Furthermore, the modern bass drum in Western orchestras traces its origins directly to the Turkish davul, adapting its large frame and resonant bass for use in military bands, classical music, and contemporary genres like rock and jazz. In contemporary settings, the davul continues to play a vital role in Turkish folk and , often serving as the primary rhythmic instrument in ensembles for weddings, festivals, and cultural events, where its powerful sound drives dances and communal celebrations. Modern adaptations include the use of synthetic drumheads for greater durability and ease of tuning, allowing the instrument to integrate into professional bands while preserving its traditional wooden shell and variable sizes ranging from 18 to 36 inches in diameter. Beyond traditional contexts, the davul has found applications in fusion and , blending its raw, hypnotic rhythms with electronic and noise elements. Istanbul-based artist Cevdet Erek, for instance, employs a lowered-tuned davul in his 2017 album Davul, creating improvised tracks with mallets and smaller implements to produce deep drones, scrapes, and complex polyrhythms, as showcased in his installations like "A Room of Rhythms" at the Biennial. In European folk revival scenes, German band incorporates the davul into their pagan and medieval-inspired sound, with percussionist Alex Schulz using it alongside frame drums and doumbeks to fuse historical motifs with modern arrangements. These innovations highlight the davul's versatility, extending its cultural significance into global contemporary percussion practices while maintaining its core as a symbol of rhythmic power and communal energy.

References

  1. https://organology.net/instrument/davul/
  2. http://www.turkishmusicportal.org/en/instruments/turkish-folk-music-percussion-instruments
  3. https://pontosworld.com/index.php/music/iistruments/327-the-daouli-drum-2
  4. https://www.soundbrenner.com/blogs/articles/the-ultimate-guide-to-unique-middle-eastern-percussion-instruments
  5. https://muslimheritage.com/ottoman-music-therapy/
  6. https://www.researchgate.net/publication/312165321_Davul_The_Drum_in_Turkish_Culture_and_its_Effect_on_European_Music
  7. https://www.dpublication.com/wp-content/uploads/2023/09/30-iss6-2551.pdf
  8. https://www.jstor.org/stable/829290
  9. https://www.jstor.org/stable/jj.21570566.33
  10. https://salamuzik.com/blogs/news/all-about-turkish-davul
  11. https://folkdancefootnotes.org/music/musical-instruments/dauli-zurna-the-most-important-instruments-in-the-world/
  12. https://www.wfmt.com/2025/07/02/the-evolution-of-the-orchestra-percussion/
  13. https://drumcenternh.com/blogs/news/history-of-drums-a-brief-history-lesson-for-drummers
  14. https://www.sultaninstrument.com/products/davul
  15. https://salimpercussion.com/how-to-make-a-turkish-drum/
  16. https://www.youtube.com/watch?v=qZpi5SvcvrM
  17. https://www.ktb.gov.tr/EN-98686/davul.html
  18. https://csames.illinois.edu/system/files/2020-12/MusicalInstrumentsinTurkey.pdf
  19. https://ich.unesco.org/en/RL/krkpnar-oil-wrestling-festival-00386
  20. https://www.academia.edu/31444372/Davul_The_Drum_in_Turkish_Culture_and_its_Effect_on_European_Music
  21. https://philharmonia.co.uk/resources/instruments/percussion/
  22. https://www.jarrodcagwin.net/endosresment-videos
  23. https://subtextrecordings.net/SUB023-CEVDET-EREK-Davul
  24. https://faune.de/en/alex/
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