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http://inthegapbetween.free.fr/pierre/process_malay_gambus_hijaz_skin_v1.pdf
CONSTRUCTIONS OF THE GAMBUS HIJAZ
Version Date On line Updates
V0.0 Oct 2012 yes Creation dHerouville P.

Exhibition of Gambus lutes of the natives in NTB museum, Nusa Tenggar Barat, Sunda.
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 “Qanbus”,
according to the homonymous lute of the Sana’an plateau, for sure, every current Indonesian avatars now embody
various designs. Three main categories of Gambus coexist Malaysia and Indonesia:
1. - Gambus Hijaz, a monoxyle, long necked lute. Also known there as Gambus Melayu (malay, incl. Kutai
tribesmen in south Kalimantan), Panting (Benjmarsin/Banjarmasin, and, actually everywhere in Kalimantan)
, Gita Nangka (Singapore), Gambus Seludang , Gambus Perahu , Gambus Biawak , Gambus
Palembang The instrument is now rare and hardly survives reportedly in Johor state, Sarawak (near
Kuching), Sabah (Semporna, and seldom in Papar, Bongawan), Kalimantan (panting music in Benjmarsin
/Banjarmasin) and various districts of Sumatra districts : Bengkalis, Penyengat, Jambi, & Medan.
Considering its extinction in Malacca and Johore, such shape of Gambus was significantly preserved,
indeed:
-- in Borneo (Kalimantan, Brunei, Sarawak and Sabah)
-- in Eastern Sumatra (Bangka isl, Kayu Agung, Lampung)
- in West Sumatra (mostly Medan: province of Aceh)
-- in the path of Malacca (Penyagat, Riau)
Indeed, some few alternate skin-boarded, “Gambus” named, avatars are also still observable as far
as 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.

GAMBUS– MONOXYLE LUTES, BEAUFORT, SABAH (BORNEO)
Thin shaped Gambus Biawak lute (Beaufort, Sabah). Outlet are drilled in the soundboard.
GAMBUS– MONOXYLE LUTES, MAKASSAR (SULAWEZI)
That typical sulawenese design is actually inspired by the shape of tribal lute: the Kecapi.

GAMBUS– MONOXYLE LUTES, TEGGENRUNG, EAST KALIMANTAN
Thin shaped Panting lute (Teggenrung, eastern Kalimantan). Outlet are drilled in the
soundboard. The material of the soundboard might be a fabric.
GAMBUS – MONOXYLE LUTES, MAKASSAR (SULAWEZI)
Gambus lute of the folklorical troupe Kobi Tallua (Makasar, SW Sulawezi). The
closed design of the pegbox is widespread there.

Now on the way to extinction in many places, the Gambus Hijaz lute is still (seldom) accompanying
Zapin / Jepen dance (Ar. Zafin, a dance genre from Hadhramawt, still widespread in Sawt-like sessions in
the Gulf countries) namely the local Hamdolok dance – Batu Pahat – and the Zapin Banjar - Kalimantan-.
Considering that Johore’s Ghazal music now substituted Gambus Hijaz lute with oud in continental
Malaysia, the relevant regional musical avatars for Zafin & Gambus Hijaz are nowadays Hamdolok (Batu
Pahat), Tingkilan (Kutai tribesmen, south Kalimantan) and Panting-Banjar ( south Kalimantan and
surroundings of Benjmarsin/Banjarmasin city). The name Banjar echoes obviously “Banjarmasin”, which is
an harbor-city, situated south of Kalimantan.
In Kalimantan, strings of the Panting lute used to be made of twisted vegetal fibers (haduk hanau (
ijuk ) nenas, bikat, bast or twisted sinali), but nylon strings are now in use. The quantity of string rose from 3 ,
up to 10. Each string of the Panting is reported as a part of 3 choirs, namely:
1. Pangalik: first string/choir, ringing the penyisip a.k.a melody.
2. Panggundah or Pangguda second string/choir, a.k.a. constituent indones. paningkah.
3. Agur, that is played as a bass string, or buzz.
The formalization of the Panting-Banjar genre doesn’t date back later than the mid 1970’s, since this
genre possibly merged actually various remnant reliefs of former foklores. Actually it used reportedly to
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 reported to have substituted the former Triangle idiophon. Now the usual line up features alternately
2 Gambus melayu/ Gambus Hadramawt lutes , 1 locally made Cello, or, alternately, 1 rebana viele, 1
marwas –like drum, and some additional mandolinas, or 1 Panting ( a.k.a. Gambus melayu/ Gambus
Hadramawt ), 1 violin, 1 Kendang framedrum. From 1979, one can observe additional talinting and giring
giring musical instruments, then sound systems. In 1977, the vocal repertoire is reported to have been
infected by Banjar language sung songs. In the early 1980’s it has grown up as an identitary genre and
every district in Kalimantan now have an official ensemble at least. The proper variant of the Zapin dance for
Panting Banjar in Kalimantan is named Zapin Sigam.
The Tingkilan/ Betingkilan genre is the exclusive chamber music among the Kutai people
(Kalimantan) Now the usual line up features alternately 2 Gambus melayu/ Gambus Hadramawt lutes with
1 locally made Cello, or, alternately, 1 rebana viele, 1 marwas –like drum, and some additional mandolinas.
The instrumental 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 the genre is actually typical of the Kutai tribesmen of the Kalimantan.
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 »
technics, as HILARIAN use to name it. This is famous in peninsular Malaysia as the « Gambus Johor », as
this is appreciated there still when performing local avatars of the Ghazal musical performance. This can be
found still in Johor state, Brunei, Sabah, Java , Sumatra, Madura, Sulu. The instrument is still much
appreciated in Brunei, where this was presumately introduced there much later than the Gambus Hijaz. It
seems this is revived there, and still constructed according egyptian design pattern,mostly for Zapin and
Qasida accompaniement.
3- Bruneian monoxyle Gambus Seludang is a local crossover design family in Brunei and Sabah. This
name « 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 -
differentiates it apart both existing Gambus Hijaz and Gambus Hadramawt families. We describe the
relevant process in the document named “process_malay_gambus_Vx.pdf
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 Biawak in this far territory, as HILARIAN says. Actually, the confusing « Seludang » name
presumately suggests this endemic monoxyle construction may have originated in latter evolutions of local
technics, after the 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.

Recent rise of this Gambus construction in Papar and Bongawan, let us focus upon the wide range of somade
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, whose soundox width varies from the Mayang’s one
(about 25 cm) up tu a conventional oud’s one. In this category both monoxyle construction 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 Sulawezi are globally very,
very similar. Some feature 4 choirs, some feature 5.
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_malay_gambus_seludang_wooden_v7.pdf

4.
3.
MALAYSIAN GAMBUS - TYPOLOGY
PRODUCTION BY MAKER « PAK MAT », KAMPUNG RAHMAT, BATU PAHAT, JOHOR
1. Gambus Melayu, Batu Pahat 2. Gambus Hadramawt, Batu Pahat
3. Gambus Hadramawt, Batu Pahat, Johor 4. Gambus a.k.a. Saludang Buntal (Borneo design)
1.
2.

MALAYSIAN GAMBUS - TYPOLOGY
1. 2. 3. 4. 5. 6.
1. Gambus Melayu, Bengkalis , 2. Gambus Melayu, Sumatra
3. Gambus Melayu, Batu Pahat, Johor, 4. Gambus Melayu , Brunei
5. Gambus a.k.a. Saludang Buntal, Brunei & Sabah 6. Gambus Kecil, Brunei
We can observe below, that the bulky design (items 1 & 3) is typical for Riau archipelago, if we
consider the shape nr 4 as latest visible variant in Johore state. (Data by Larry Francis
HILARIAN)

GAMBUS HIJAZ - ORGANOLOGY – VERNACULAR NAMES (JOHOR, MALAYSIA)
Malay name of the components , drawing and data from Larry Francis HILARIAN

GAMBUS - ORGANOLOGY – VERNACULAR NAMES (SIAK, RIAU, SUMATRA)
Endemic names of the components of the Gambus Seludang “Bedeleau” lute,
according to the variant of Siak, Riau province in Sumatra. Drawing and data by maker
Tengku FIRDAUS. Features are the lates known standards by this maker. Neck is sedom
partially hollowed, otherwise not.

DAMBUS - ORGANOLOGY – VERNACULAR NAMES (BANGKA ISL, SUMATRA)
Endemic names of the components of the Dambus lute, according to a so-called
wooden-soundboarded variant of Bangka Island, S-East Sumatra. Drawing and data by
maker KUSUKENI.

GAMBUS CRAFT SHOP (SIAK, RIAU)
Monoxyle Gambus Melayu lutes, smaller sizes by maker Tengku FIRDAUS (Siak , Riau province). Here the design
dating the era 2006-2012.

GAMBUS SELUNDANG (PAPAR, SABAH) – MAKER’S WORKSHOP
Maker Awang Pesa ris letting drying cattle skins. This means that bruneian maker may make as well some
few Gambus Melayu-like so called Gambus Hijaz, or Tari –like frame drums. Maker Awang PESAR, Seri
Serbang, Bongawan, Sabah.
(photo Melissa WONG webblog)
GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – MAKER’S WORKSHOP

GAMBUS HIJAZ (LABUAN, BORNEO) – BODY CARVING
Hajj Ishak MANSUR (Banjo Labuan, Borneo, Indonesia)
(photo unknown web source)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – CARVING BODY & SOUNDBOX
Maker Tengku FIRDAUS while carving out the body of a Gambus Seludang “Bedeleau”
(photo TLukman Hakim)
Maker Tengku FIRDAUS while carving the body of a Gambus Seludang “Bedeleau” out of a jack
tree wood. The fact that this maker never carves longer more than 20 cm inside the neck is a
noticeable fact. (photo TLukman Hakim)

GAMBUS “ MISRI” (TANJUNG MORAWA, MEDAN, SUMATRA )– CARVING SOUNDBOX
Carving Gambus Mirsi soundbox in plain wood by gouge.
(photo weblog Kampung Halaman, 2000’s)
This anonymous maker is carving Gambus Mirsi lutes according the Medanese criteria: bulky
soundbox, closed pegbox and thin, long neck (photo weblog Kampung Halaman, 2000’s)

GAMBUS “ MISRI” (TANJUNG MORAWA, MEDAN, SUMATRA )– CARVING SOUNDBOX
Carving Gambus Mirsi soundbox in plain wood by gouge.
(photo weblog Kampung Halaman, 2000’s)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – CARVING SOUNBOXES
Carving out the body of a Gambus Seludang “Bedeleau” lute. Maker Tengku FIRDAUS in Kabupaten Siak,
Riau province, Sumatra (picture by web source Bedeleau.com)

GAMBUS HIJAZ (BATU PAHAT) – CARVING SOUNDBOXES
Carved body in Batu Pahat, Johore state. Notice the lateral groove carving , so that the
fingerboard to be inserted inside the body. Maker Hasan Bin OTHMAN , Kampung Parit Hailam,
Batu Pahat, Johore state.
GAMBUS HIJAZ (BATU PAHAT) – CARVING SOUNBOXES
Carved body . According to HILARIAN, usual woods for this are nangka (jack tree),
Chempedak, and Cengal , as they notoriously don’t shrink when carved.

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – POLISHING THE SOUNDBOX
Maker Tengku FIRDAUS while polishing a Gambus Seludang “Bedeleau” body. (photo TLukmanHakim)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) –SKIN PEELING
Skin processing is generally the less known processus of the lute maker. Maker FIRDAUS
(Riau) is peeling every goat skin hair. (picture by T Lukman HAKIM)
GAMBUS HIJAZ – COVERING BY SKIN
Maker FIRDAUS (Riau) is drawing on the back of the ready skin. (T Lukman HAKIM)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – STRETCHING THE SKIN
After nailing one side of the skin, the maker is stretching the skin with a clamp (T Lukman HAKIM)
GAMBUS HIJAZ – COVERING BY SKIN
The skin is fixed and tight on the soundbox. Here an unorthodox stringholder from Medan ,
Sumatra (courtesy of Larry Francis HILARIAN)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) -ADJUSTING SOUNDBOARD
The finition of the Gambus Seludang “Bedeleau” lute: the soundboard is made of a goat skin. This design of
Riau includes tiny, wooden side-covers. Made by maker Tengku FIRDAUS, workshop BEDELEAU (Siak Isl,
Riau, Malacca straits). Here the soundboard design dating year 2012. (picture by web source Bedeleau.com)

GAMBUS HIJAZ – ADJUSTING SOUNDBOARD WITH FINGERBOARD
Fingerboard is accommodated so that the thick goat skin cover to be glued properly . Gambus Hijaz
from Penyengat isl, Riau Archipelago, Indonesia. (courtesy of Larry Francis HILARIAN)
GAMBUS HIJAZ (GEYLANG, SINGAPORE) – CARVED SOUNDHOLE IN FINGERBOARD
The rose was carved by the craftsman down to the fingerboard (Geylang Museum, Singapore)

GAMBUS SELUDANG “KLASSIK” (RIAU) – “SUN” SHAPED SOUNDHOLES
Early production (2002-2006) of the skin boarded Gambus Seludang by Tengku
FIRDAUS, features sun-shaped ( indones. Matahari), referring to former traditional
designs. Then it changed to Ylang flower shape. Maker Tengku FIRDAUS, Siak, Riau
province, Sumatra. (photo Bedeleau.com )
GAMBUS SELUDANG “BEDELAU” (RIAU) – “YLANG” FLOWER SHAPED SOUNDHOLE
Ylang flower-shaped soundholes are typical of the late production of the skin boarded
Gambus Seludang “Bedeleau” by Tengku FIRDAUS, between 2006 and til after 2012..
Maker Tengku FIRDAUS, Siak, Riau province, Sumatra. (photo Bedeleau.com )

GAMBUS HIJAZ (BATU PAHAT) – SOUNDBOARD COVER
This huge soundboard is specific of a large size descent of loud Gambus Hijaz in Batu Pahat, Johor state,
where this has been played in Hamdolok religious performance until recently. This item by maker Hasan BIN
OTHMAN is held now by Larry Francis HILARIAN (courtesy of Larry Francis HILARIAN).

GAMBUS MELAYU SELUDANG “ BEDELEAU” (SIAK, RIAU) – FINITION
The finition of the Gambus Seludang “Bedeleau” lute: the soundboard is made of a large board. Made by
maker Tengku FIRDAUS, workshop BEDELEAU (Siak Isl, Riau, Malacca straits). Here the soundboard design
dating year 2012. (picture by web source Bedeleau.com)

GAMBUS MELAYU / HIJAZ – SHAPING THE PEGBOX
Pegbox (indones. Kepala, or head) of a Gambus Melayu from
Bengkalis Isl , Riau Province (LF HILARIAN collection ). The
Indonesian name for pegs is Telinga (indones. Ears)
Pegbox of a small a Gambus Melayu by Hasan Bin Osman,
Batu Pahat, Johore
Modern pegbox of a Gambus Melayu by maker Tengku FIRDAUS,
(Siak, Riau, web source Bedeleau.com, 2012). Pegbox shape is
named Naga Menganga (indones. wide open dragon head) in Riau.
FIRDAUS adopted Tematu peg shape for his latest production,
namely Gambus Seludang Bedeleau (2006-2012…).
Pegbox of a Gambus Melayu from Bengkalis Isl , Riau Province
(courtesy of Larry Francis HILARIAN. ). This traditional shape of
pegs is named Tematu (indones. palm tree fruit)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – CARVING PEGS
This shape of pegs is named Tematu ( indones. palm fruit) - picture by T Lukman HAKIM)
GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – DRILLING PEGS
This shape of pegs is named Tamura ( indones. palm fruit) ( picture T Lukman HAKIM)

GAMBUS HIJAZ – HOLDING THE STRINGS
String Holder of the Gambus Melayu (Seludang) lute, unknown location in Indonesia. The shape of
the bridge is interesting too.

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) –STRING HOLDER
String Holder of the Gambus Seludang “Bedeleau” lute is carved in a flower shape. (picture by Henny DE
BRUIN)

GAMBUS MELAYU / SELUDANG – STRING HOLDERS
Unorthodox stringholder from Bengkalis, Riau province (courtesy of
Larry Francis HILARIAN). In the Riau Archipealgo and Bengkalis,
Gambus Hijaz are stringed with iron strings. According to HILARIAN,
the usual tuning in Malaysia and Indonesia is A3 (x1)–D4 (x2) - G4
(x2) - C5 (x2)
Stringholder , Penyagat Isl. (picture , courtesy of Larry Francis
HILLARIAN)
Stringholder from Medan, Sumatra, (courtesy of Larry Francis
HILARIAN).
Traditional, carved stringholder. Gambus of unclear origin, found in
Singapore.

GAMBUS “ MISRI” (TANJUNG MORAWA, MEDAN, SUMATRA )– CARVING PEGBOX
Carving Gambus Mirsi pegbox with a nail.
(photo weblog Kampung Halaman, 2000’s)

GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – CUTTING THE SKIN COVER
The skin cover is cut - picture by T Lukman HAKIM)
GAMBUS SELUDANG “ BEDELEAU” (SIAK, RIAU) – VARNISHING WOOD PARTS
Wooden parts are heavily varnished ( picture T Lukman HAKIM)

GAMBUS SELUDANG – MONOXYLE LUTES, KABUPATEN SIAK, RIAU ARCH
Such design of the Gambus Seludang lute illustrates the former production by maker Tengku FIRDAUS,
workshop BEDELEAU (Siak Isl, Riau). Here the soundboard design dating back to year 2006 and before.

GAMBUS MELAYU SELUDANG “ BEDELEAU” (SIAK, RIAU) – MONOXYLE LUTES
Recent production of bulky, monoxyle Gambus Seludang “Bedeleau” lutes by maker Tengku
FIRDAUS (Siak, Riau province). Here the soundboard & peg design dating back 2006-2012.
Former production of bulky, monoxyle Gambus Seludang lutes by maker Tengku FIRDAUS, workshop
BEDELEAU (Siak, Riau prrovince). Here peg & soundboard design dating back to year 2006 and before.

GAMBUS MELAYU SELUDANG “ BEDELEAU” (SIAK, RIAU) – MONOXYLE LUTES
Various sizes in current production of monoxyle Gambus lutes by Tengku FIRDAUS (Siak, Riau
province). Here the design dating years 2011-2012.
GAMBUS MELAYU SELUDANG (SIAK, RIAU) – MONOXYLE LUTE
Various sizes in former production of monoxyle Gambus Seludang lutes by maker Tengku FIRDAUS,
workshop BEDELEAU (Siak, Riau province). Here the design dating back to year 2006 and before.

GAMBUS HIJAZ - MONOXYLE LUTES
Gambus Hijaz from Johor and malay islands. Collection in Nanyang Technological University The blak lute
is a Dambus from Bangka Isl (Jambi district) (Picture courtesy of Larry Francis HILARIAN.)
DAMBUS– MONOXYLE LUTES, BANGKA ISL., JAMBI(SUMATRA)
According the photo above, one can guess that this thin shaped Dambus-like lute is
of the same origin as HILLARIAN’s item, i.e. Jambi, Sumatra. Soundbox is wooden.

MAKER MOH’D DIAH ARIFFIN / BATU PAHAT, JOHOR
Maker Mohamad Diah ARIFFIN, or “Pak Mat” from Kampung Rahmat, Batu Pahat, Johore state. His art of decoration
seems refined and much inspired from conventional flower patterns of sunni Islam. (picture by Kratfung Malaysia)

Fazil AHMAD, Malacca strait.
PLAYER FAZIL AHMAD, JOHOR
MAKER HASAN BIN OTHMAN - NEAR BATU PAHAT, JOHOR
Hasan Bin Othman was held as the least vintage maker in activity, until his nephew and Pak Mat took
over the job.

GAMBUS MELAYU SELUDANG (SIAK, RIAU) - ORCHESTRA IN SINGAPORE
Riau’s Gambus players in a Ghazal orchestra in Singapore. Here the soundboard new design 2011-2012 by
maker Tengku FIRDAUS, Siak (Riau archipelago) (Picture bedelau.com)
GAMBUS MELAYU SELUDANG - SIAK, RIAU
The sound box construction is somewhat bulky in Siak. Here the soundboard new design 2011-2012 by maker
Tengku FIRDAUS, Siak (Riau province) (Picture bedelau.com)

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, « 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)
Hilarian, Larry Francis, « 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 Gambus to the muslim world ( p )
Hilarian, Larry Francis, « The folk lute (gambus) and its symbolic expression in malay muslim culture » in Folklore studies #
XXIII , Institute of lituanian literature and folklore, Vilnius, 2006. ( p )
Hilarian, Larry Francis, « Understanding malay music theory through the performance of the malay lute (gambus) » in
Music Journal # 4 , Malaysia, 2008. ( p)
Hilarian, Larry Francis, « The structure and development of the gambus (malay lute) » in the Galpin society Journal # LVIII
, Malaysia?, 2005. ( p)
Nariman, Mansur, « The method of Playing the Lute », Soroush Publ, ISBN 964-376-291-2, Tehran, 2005. Iran. ( g )