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 Iraqi and Egyptian masters, gaining first-hand knowledge from the very sources of the instrument’s traditions. Unlike many Malaysian gambus players who learned within a limited, localized context, I was exposed to a variety of tuning methods and playing techniques from different traditions, each designed to optimize the instrument’s versatility. When I returned to Malaysia in 2002, I had no prior understanding of how the gambus was traditionally played by Malays. This unfamiliarity led me to embark on extensive research into Malaysian gambus practices, allowing me to critically analyze its limitations and introduce much-needed expansions in tuning systems.

 

    The lack of diversity in tuning approaches among Malaysian gambus musicians raises several critical questions. Why was there an apparent stagnation in this fundamental aspect of instrumental technique? Several factors may have contributed to this limitation. Unlike the oud traditions in the Middle East and Turkey, where structured pedagogical systems exist, Malaysian gambus musicians historically relied on oral tradition and self-learning. Without exposure to broader methodologies, they remained confined to the systems they inherited. Before the digital era, information regarding alternative tuning systems was scarce. Malaysian musicians lacked access to scholarly works, method books, and direct mentorship from masters who could introduce them to classical and contemporary tuning practices. While oud players in the Middle East and Turkey had long been experimenting with maqamat-based tuning systems, Turkish tuning styles, and seven-string configurations, Malaysian gambus musicians remained largely unaware of these advancements due to minimal international engagement in the field.

 

    The use of these two tuning systems suggests that gambus players in Malaysia prioritized functionality over exploration. The Johor ghazal tuning method served the needs of the ghazal repertoire, and without an impetus for change, no effort was made to expand beyond this framework. Furthermore, unlike other traditional instruments that have benefited from formalized training programs and academic research, gambus in Malaysia remained largely outside institutional frameworks. This absence of structured education contributed to the stagnation in tuning techniques and performance practices.

 

    While the Johor gambus tuning system may have offered short-term convenience for ghazal music, it ultimately proved to be a restrictive approach that hindered the instrument’s broader potential. The reliance on open-string notes meant that any attempt to perform outside of B-flat or explore maqamat-based modulations became unnecessarily difficult. Furthermore, it created a playing style that was overly dependent on a single musical context, making it challenging for musicians to transition to more complex or varied repertoires.

 

    The introduction of alternative tuning systems in 2002 marked a significant turning point. By advocating for the Fa tuning (classical system), maqamat-based tunings, Turkish tuning styles, and, later in 2005, the incorporation of a seven-string configuration, I initiated a paradigm shift that redefined gambus playing in Malaysia. These developments provided musicians with greater versatility, aligning Malaysian gambus performance practices with international standards and enriching the expressive potential of the instrument.

 

    Moreover, the increased accessibility to online resources, recordings, and direct engagement with international musicians has contributed to a more informed and innovative approach among the new generation of gambus players. Today, musicians are more willing to explore multiple tuning configurations and experiment with various playing techniques, reflecting a broader understanding of the instrument’s capabilities.

 

    This historical context underscores the importance of continuous learning and adaptation within any musical tradition. The stagnation that characterized Malaysian gambus tuning prior to 2002 serves as a reminder of the consequences of insular practice and the necessity of seeking knowledge beyond established conventions. By embracing a broader perspective and integrating structured education into gambus training, the Malaysian gambus community can ensure that the instrument continues to evolve, reflecting both its rich heritage and the dynamic possibilities of contemporary musical expression. -drrz

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