The Evolution of Gambus Tuning in Malaysia: A Critical Perspective

by Dr. Raja Zulkarnain Before my entry into the gambus scene in 2002, most Malaysian gambus players followed two primary tuning systems—the standard Arabic " Do " system and a localized adaptation used by ghazal gambus players in Johor, where all strings were detuned by a half step. According to Zaidan Attan, a gambus player from Batu Pahat, Johor, and an informal student of mine, this practice was passed down orally from senior gambus players in Johor. The adjustment was made to facilitate the playing of ghazal songs, which relied heavily on open-string notes. Since ghazal compositions often centered around B-flat , lowering the tuning allowed open strings to naturally align with the key, minimizing the need for fingered notes and enabling smoother transitions. However, beyond these two adaptations, gambus players in Malaysia had little awareness of alternative tuning systems developed elsewhere. My journey with the oud began in 1999 when I studied directly under...