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Constructions of the Gambus Hijaz

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http://inthegapbetween.free.fr/pierre/PROCESS_PROJECT/process_malay_gambus_hijaz_skin_v10.pdf CONSTRUCTIONS OF THE GAMBUS HIJAZ Version Date On line Updates V0.0 Oct 20 12 yes Creation dHerouville P. V8.0 March 2016 yes About Pak USNI dHerouville P. V9.0 Aug 2016 yes Split from Kalimantan production dHerouville P. V10 Dec. 2016 yes Updates in Riau dHerouville P. The Gambus name nowadays took an unexplicit acception in the indonesian archipelago, since the word became synonymous of “ middle east-like lute” there. If the word is certainly rooted in the Yemeni name The formalization of the Panting-Banjar genre doesn’t date back later than the mid 1970’s, since this “Qanbus”, according to the homonymous lute of the Sana’an plateau, for sure, every current Indonesian genre possibly merged actually various remnant reliefs of former foklores. Actually it used reportedly to avatars now embody various designs. Three main categories of Gambus coexist Malaysia and Indonesia: accompany Gandut dance and Zapin . A former musical forecomer was the Kasenian Bajapin , whose original line up (1973) was 1 Gambus melayu/ Gambus Hadramawt lute, 1 Babun percussion, 1 gong. Violin is 1. - Gambus Hijaz, a monoxyle, long necked lute. Also known there as Gambus Melayu (malay, incl. Kutai reported to have substituted the former Triangle idiophon. Now the usual line up features alternately 2 Gambus tribesmen in south Kalimantan), Panting (Benjmarsin/Banjarmasin, and, actually everywhere in melayu/ Gambus Hadramawt lutes , 1 locally made Cello, or, alternately, 1 rebana viele, 1 marwas –like Kalimantan) , Gita Nangka (Singapore), Gambus Seludang , Gambus Perahu , Gambus Biawak , drum, and some additional mandolinas, or 1 Panting ( a.k.a. Gambus melayu/ Gambus Hadramawt ), 1 violin, Gambus Palembang The instrument is now rare and hardly survives reportedly in Johor state, Sarawak 1 Kendang framedrum. From 1979, one can observe additional talinting and giring giring musical (near Kuching), Sabah (Semporna, and seldom in Papar, Bongawan), Kalimantan ( panting music in instruments, then sound systems. In 1977, the vocal repertoire is reported to have been infected by Banjar Benjmarsin /Banjarmasin) and various districts of Sumatra districts : Bengkalis, Penyengat, Jambi, & language sung songs. In the early 1980’s it has grown up as an identitary genre and every district in Kalimantan Medan. Considering its extinction in Malacca and Johore, such shape of Gambus was significantly now have an official ensemble at least. The proper variant of the Zapin dance for Panting Banjar in Kalimantan preserved, indeed: is named Zapin Sigam . -- in Borneo (Kalimantan, Brunei, Sarawak and Sabah) The Tingkilan/ Betingkilan genre is the exclusive chamber music among the Kutai people (Kalimantan) -- in Eastern Sumatra (Bangka isl, Kayu Agung, Lampung) Now the usual line up features alternately 2 Gambus melayu/ Gambus Hadramawt lutes with 1 locally made - in West Sumatra (mostly Medan: province of Aceh) Cello, or, alternately, 1 rebana viele, 1 marwas –like drum, and some additional mandolinas. The instrumental -- in the path of Malacca (Penyagat, Riau) music is named Tingkilan , and its vocal variant is named Betingkilan . This chamber music accompanies the Zapin dances for occasions, such as weddings, one performs such Tingkilan and Zapin dance. It seems that Indeed, some few alternate skin-boarded, “ Gambus ” named, avatars are also still observable as far as the genre is actually typical of the Kutai tribesmen of the Kalimantan. Makassar (Sulawezi), Brunei, Moluccas, East Kalimantan, and Nusa Tengarra Barat. But that design is clearly under extinction all overthere, or substituted by alternate, wooden covered designs. 2 - Gambus Hadramawt, an oud -like lute. We describe the relevant process in the document named “process_malay_gambus_Vx.pdf ” .The instrument features the conventional glued ribs, or « arched back » Now on the way to extinction in many places, the Gambus Hijaz lute is still (seldom) accompanying Zapin technics, as HILARIAN use to name it. This is famous in peninsular Malaysia as the « Gambus Johor », as this / Jepen dance (Ar. Zafin , a dance genre from Hadhramawt, still widespread in Sawt-like sessions in the Gulf is appreciated there still when performing local avatars of the Ghazal musical performance. This can be found countries) namely the local Hamdolok dance – Batu Pahat – and the Zapin Banjar - Kalimantan-. still in Johor state, Brunei, Sabah, Java , Sumatra, Madura, Sulu. The instrument is still much appreciated in Considering that Johore’s Ghazal music now substituted Gambus Hijaz lute with oud in continental Brunei, where this was presumately introduced there much later than the Gambus Hijaz . It seems this is Malaysia, the relevant regional musical avatars for Zafin & Gambus Hijaz are nowadays Hamdolok (Batu revived there, and still constructed according egyptian design pattern,mostly for Zapin and Qasida Pahat), Tingkilan (Kutai tribesmen, south Kalimantan) and Panting-Banjar ( south Kalimantan and accompaniement. surroundings of Benjmarsin/Banjarmasin city). The name Banjar echoes obviously “ Banjarmasin ”, which is an harbor-city, situated south of Kalimantan. About roduction in Kalimantan , see also: 3- Bruneian monoxyle Gambus Seludang is a local crossover design family in Brunei and Sabah. This name http://inthegapbetween.free.fr/pierre/PROCESS_PROJECT/process_panting_lute_kalimantan.pdf « Seludang » is reported by HILARIAN as a former vernacular nickname of the Gambus Hijaz , but the bruneian making technics and organology – obvious specific feature is a 100% wooden soundboard - In Kalimantan, strings of the Panting lute used to be made of twisted vegetal fibers (haduk hanau ( ijuk differentiates it apart both existing Gambus Hijaz and Gambus Hadramawt families. We describe the relevant ) nenas, bikat, bast or twisted sinali), but nylon strings are now in use. The quantity of string rose from 3 , up to process in the document named “process_malay_gambus_Vx.pdf 10. Each string of the Panting is reported as a part of 3 choirs, namely: HILARIAN claims the name « Seludang » to root from the shape of a local palm sheath, and this may differentiate it in the local vernacular vocabulary of Sabah, as Gambus Hijaz was basically nicknamed Gambus 1. Pangalik : first string/choir, ringing the penyisip a.k.a melody. Biawak in this far territory, as HILARIAN says. Actually, the confusing « Seludang » name presumately 2. Panggundah or Pangguda second string/choir, a.k.a. constituent indones. paningkah . suggests this endemic monoxyle construction may have originated in latter evolutions of local technics, after the 3. Agur , that is played as a bass string, or buzz. oud to have been reintroduced in Brunei. The local cause of this change may be the outstanding profusion of abunding huge jack trees and teack trees in Brunei, Sarawak and Sabah. AVATARS OF THE GAMBUS IN THE MELAYU WORLD Thin shaped Gambus Biawak lute (Beaufort, Sabah). Thin shaped Panting lute (Teggenrung, eastern Kaliman tan). Outlet are drilled in the fingerboard. Snake skin made resonator. That typical sulawenese design borrowed from the local Kecapi Gambus lute of the folklorical troupe Kobi Tallua (Makasar, SW Sulawesi). Recent rise of this Gambus construction in Papar and Bongawan, let us focus upon the wide range of so -made lutes : 3.1- Saludang Mayang are narrow boxed instruments, much similar as the Gambus Hijaz - i.e. shape and size- , but the soundbard is made of wood indeed. 3.2- Saludang Buntal are wider shaped lutes. Soundox width varies from the Mayang ’s one (about 25 cm) up tu a conventional oud’s one. Both monoxyle constructions and 0.80 down-scaled conventional oud lutes, as the « «arched back » construction technics survives in Brunei and Papar, Sabah. Organology speaking, Gambusu lutes from Sunda and Sulawesi are globally very, very similar. Features alternately 4 or 5 choirs. 3.3- Gambus Kecil are the smallest monoxyle gambus in Brunei, much shorter than Saludang Mayang . As large as a ukulele. These bruneian monoxyle lutes are being revived in the area of Papar, where they are in use for a Zapin music annual festival.. According to Larry Francis HILARIAN, this is very same as the Gambusu design in Sulawesi. This document summarizes endemic construction techniques , mostly for the skin-boarded Gambus Hijaz lute of Malaysia , namely Gambus Melayu, Panting or Gambus Seludang of Malaysia. About wood-boarded Gambus lute making, see alternate file http://inthegapbetween.free.fr/pierre/PROCESS_PROJECT/process_malay_gambus_seludang_wooden.pdf BIBLIOGRAPHY Abdoun, Seifed-Din Shehadeh, « The oud, the king of arabic instruments », ISBN ???? , Arabila production Publ., 100 p., Washington DC(USA) / Irbid (Jordan), 1996. Introduction and playing course. ( i) Ashari, Mohammad, interview, lutemaker. Firdowsi Bazaar, Bandar Qeshm , Hormuzgan, 2007 Hakim, T Lukman, « Ciri Khas Bedeleau Gambus » in Bedeleau.com website , Riau Sumatra, 2012 Hilarian, Larry Francis , « The Gambus lute of the malay World », pH D. , Nanyang Technical University of Singapore, Singapore, 2004. (e) Hilarian, Larry Francis , 2005 « The gambus (lutes) of the malay World : its origins and significance in Zapin Music », Nanyang Technical University of Singapore, Singapore, 2005. A concise Synthesis about the Hypothetic Origins of the Instrument (p) 2007 « The migration of Lute type instruments to the Malay Muslim World » in Congrés des musiques dans le monde l ‘Islam, Assilah, August 8-13, 2007. about importing
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