The dombra performance style of western Kazakhstan, exemplified in both solo playing and song accompaniment, is known as tökpe (lit. ‘stream’, ‘constant flow’), with reference to simultaneous strumming of the strings with all fingers in a down-up movement. The dombra in this area, in contrast to the type current in Sary-Arqa, is larger and oval-shaped, with a long, slender neck and twelve to nineteen frets, and has a brighter, more resonant sound. Tökpe küis are distinguished by sonorous heterophonic texture, dynamic articulation and powerful regular pulse. The major figure of the tökpe tradition is Qūrmanghazy Saghyrbaiūly (1823–1896) from Ural, whose widely acclaimed küis through their widespread adoption in institutional practice, including folk orchestras, have become emblematic not only of this local style but of Kazakh dombra music in general.
Asylbek Akhatov, a dombra virtuoso from Atyrau, is a leading member of the Qūrmanghazy Folk Orchestra. Here he performs a folk küi (Track 21) and pieces by Däuletkerei Shyghaiūly (Track 22), the Manghystau küishi Nausha (Track 23) and Qūrmanghazy (Tracks 24–25), recapturing the dramatic and philosophic spirit of the western Kazakhstan dombra tradition.
23. Būl-būl (Nightingale), Nausha
This küi imitating nightingale is said to have had its source in a dombra competition between Nausha and two other dombra players, which took place at a large-scale celebration in the Manghystau region of western Kazakhstan. The three dombyra players represented the three major tribes within the Little Horde (Kishi Jüz) (Merghaliev, Tmat. 1972. Dombyra sazy. Muzykaly-etnografiyalyq jinaq. Almaty: Qazaq SSR-niŋ ‘Ghylym’ baspasy, 293).