When we speak about a Turkish oud and an Arabic oud, we are not simply talking about two instruments with different sizes or different tunings. The difference is the result of many elements working together: the proportions of the instrument, string length, tuning, soundboard, bracing, action, materials and, most importantly, the way these elements are designed as a whole.
It is therefore difficult—and usually misleading—to say that an Arabic oud must have one particular sound and a Turkish oud another.
The modern Turkish oud generally has a shorter string length, commonly around 58.5 cm, and is normally tuned higher than an Arabic oud.
Arabic ouds are less standardized. Their string lengths and tunings vary according to the musical tradition and the country in which they are used.
This difference in string length and tuning has an important effect on the behavior of the instrument. A Turkish oud is generally designed to respond quickly to the higher tuning. The player can obtain a very immediate attack and a clear articulation of the notes.
Arabic ouds, particularly those designed for the traditional Arabic repertoire, are commonly built around lower tunings and are often designed to produce greater depth, body and a more pronounced percussive character.
But tuning alone does not create the sound.
For me, this is one of the most important points.
The soundboard is not simply a piece of wood selected because it is “good wood.” Its thickness, stiffness, graduation, bracing and the relationship between these elements determine how the soundboard will respond to the strings.
The bracing is particularly important.
It is sometimes assumed that there is one correct bracing system for a Turkish oud and another for an Arabic oud. I do not consider oud making to be so simple.
The strings do not apply the same forces to every part of the soundboard. Therefore, there is no reason to assume that the soundboard must necessarily be treated as a perfectly symmetrical structure.
The objective is not to follow a drawing. The objective is to control the vibration of the soundboard.
This is why two ouds made from apparently similar materials can produce very different sounds.
As a general tendency, a Turkish oud is often associated with:
quicker response
clearer articulation
greater brilliance in the upper register
strong separation between notes
a sound suitable for the requirements of Turkish makam music and its traditional playing techniques
An Arabic oud is often associated with:
greater depth in the lower register
a fuller and more powerful body of sound
a more pronounced percussive attack
a different balance between fundamental tones and overtones
a sound that works particularly well with the requirements of Arabic musical traditions
These are tendencies, not laws.
There are Arabic ouds that are bright, Turkish ouds that are deep, and instruments that do not fit comfortably into either description.
The maker’s design is therefore more important than the label alone.
Of course.
A Turkish oud can be tuned to Arabic tuning and can be used very successfully for Arabic music. But changing the tuning does not automatically turn a Turkish oud into an Arabic oud.
The construction of the instrument remains the construction of the instrument.
The same is true in the opposite direction. An Arabic oud does not become a Turkish oud simply because it is tuned higher.
The instrument must be designed for the tension, response and musical requirements that it is expected to meet.
There is no answer to this question.
The correct question is:
A musician who primarily plays Turkish makam music may prefer the quick response, articulation and tonal character of a Turkish oud.
A musician working primarily within Arabic traditions may prefer the depth, body and percussive character of an Arabic oud.
But an experienced player should not choose an oud simply because somebody tells him that “Arabic is warm” or “Turkish is bright.”
Listen to the instrument.
Play it.
Study its response.
Then decide whether its sound belongs to your music.
That is more important than the name written on the label.
Explore our current selection of professional handmade Turkish, Arabic, and Iraqi ouds made by Faruk Türünz.