Woods Used in Bağlama Making

Wood selection is the first consideration in making a bağlama. The wood needs suitable acoustic properties and must be dry. The method described here favours natural seasoning, ideally in the workshop where the instrument will be made, rather than kiln drying. It allows at least five years for this process. That may seem a long time, but properly dried wood is essential to a well-made instrument. The timber must then be cut appropriately, with straight, suitably oriented grain, and the pieces should be compatible in colour and character.

Many woods have been tried in bağlama making. This article reports less satisfactory results with soft, light, fibrous woods such as poplar and linden. It favours denser hardwoods with visible grain, such as mahogany, rosewood, wenge, cocobolo and eucalyptus.

A bağlama has several parts, including the body, soundboard, neck, tuning pegs and bridge. Different woods are chosen for their different functions. There is no single fixed rule, and choices vary with the maker’s experience and approach. Common examples listed here are:

Body: mulberry, mahogany, spruce, wenge, juniper. Soundboard: spruce. Neck: beech, mahogany, figured maple, oak, walnut. Tuning pegs: ebony, rosewood. Bridge: figured maple.

Onur Severgün
Rekor Sanat – Bağlama Teacher