The pibgorn is a Welsh species of idioglot reed aerophone. The name translates literally as "pipe-horn". It is also historically known as cornicyll and pib-corn. [1] It utilises a single reed (Welsh: "cal", or "calaf"), cut from elder (Sambucus nigra) or reed (Arundo phragmites), like that found in the drone of a bagpipe, which is an early form of the modern clarinet reed. The single chambered body of the elder pipe has a naturally occurring parallel bore, into which are drilled six small finger-holes and a thumb-hole giving a diatonic compass of an octave. The body of the instrument is traditionally carved from a single piece of wood or bone (See photograph right). Playable, extant historical examples in the Museum of Welsh Life have bodies cut and shaped of elder. Another, unplayable instrument at the Museum, possibly of a later date, is made from the leg bone of an unspecified ungulate [2] (See photograph right). Contemporary instruments are turned and bored from a variety of fruitwoods, or exotic hardwoods; or turned from, or moulded in plastics. The reed is protected by a reed-cap or stock of cow-horn. The bell is shaped from a section of cow-horn which serves to amplify the sound. The pibgorn may be attached to a bag, with the additional possibility of a drone, which is then called pibau cwd; or played directly with the mouth via the reed-cap. [3]
A double-pipe (having two parallel chanters both ending in cow-horn, with a common stock) of unknown provenance, dated 1701 [4] held by the Museum of Welsh Life has caused some controversy as to its possible Welsh or Mediterranean origin. [5]
The pipes in Wales, of which the pibgorn is a class, are mentioned in the laws of Hywel Dda (died 949–50). The earliest transcription of these dates from 1250 [6] and specify that "the King should recognise the status of a Pencerdd (the second in importance of the three court musicians, namely; Bardd Teulu, Pencerdd and Cerddor) in his service by giving him an appropriate instrument – either Harp, Crwth or Pipes." [6] In modern Welsh orthography these three instruments are called telyn, crwth and pibau. Peniarth 20 (Brut y Tywysogion) c 1330, states that there are three types of wind instrument: "Organ, a Phibeu a Cherd y got", "organ, and pipes and bag music". [7]
However, the instrument itself is older than these references, and is part of a pattern of distribution of similar idioglot reedpipes, hornpipes and bag-hornpipes throughout Asia, Europe and North Africa that includes the "Old British pibcorn or hornpipe" alboka, arghul, boha and others. [8]
William Morris writes in a letter to his brother, the folklorist Richard Morris, in 1759: "(Translated) How pleasing it was to see the young farmworkers with their pibau cyrn (horn pipes) under their arms....gathering the cows and piping 'Mwynen Mai' and 'Meillionnen’." [9]
According to Daines Barrington, who presented the pibgorn specimen shown at the Museum of Welsh Life to Fellows of the Society of Antiquaries of London, an Anglesey landowner called Mr Wynn of Penhesgedd, offered an annual prize for pibgorn playing towards the end of the eighteenth century. One such competition at Castellior Farm attracted 200 players. There is a further description by Siôn Wiliam Prichard (1749–1829) of Christmas celebrations on the Castellior farm where the pibgorn and other instruments were played. Barrington described the tone of the instrument as played to him: "by one of the lads [who had obtained the prize]... considering the materials of which the pibgorn is composed is really very tolerable" [10] [11]
David Griffith (Clwydfardd) (Died 1894) recalls his father telling him that "playing the Pibgorn was a common thing in those days in the South and that farmers' servant men were in the habit of carrying them with them when driving cattle to the fairs." [12]
The Reverend Meredith Morris (Died 1922) of The Gwaun Valley in Pembrokeshire writes in his autobiography in 1910: "Mabsantau, neithioirau, gwylnosau, &c, were their red-letter days, and the rude merrimaking of the village green the pivot of all that was worth living for in a mundane existence. I do not remember much about the Gwylmabsant and the Gwylnos – I came a quarter of a century too late for those wonderful orgies – but I remember the neithior with its all-day and all-night rollicking fun. We did not have the crwth, but we had the fiddle, and occasionally the harp, or a home-made degenerate sort of pibgorn. I myself am a tolerable player on the simplified bibgorn." [13]
After a hiatus of fifty years, the pibgorn, alongside instruments such as the crwth, bagpipes, and the triple harp, has witnessed a resurgence in popularity as part of a general revival of interest in Welsh folk music.
Some modern instruments play a tempered scale to accommodate fixed pitch instruments such as guitar or keyboard, and are commonly pitched in D. Historical instruments play in a variety of just scales and pitch. Jonathan Shorland and D. Roy Saer, the then-keeper of instruments, measured and played the instruments. They concluded that the instrument made of bone was no longer playable due to splitting. Of the two elder pipes, The shorter instrument gave a six-finger key note near to F and played a scale close to the Locrian mode. The longer instrument gave a six-finger key note near to Bflat and an unnamed mode (Major scale with a flat sixth). Shorland noted that the finger hole for the sixth note was shaped differently and was significantly smaller than the rest, and that the flat note was intentional. [14] [15]
Contemporary pibgorn makers in Wales include Jonathan Shorland, John Tose, John Glennydd, Keith Lewis, Gafin Morgan, and Gerard KilBride. In Scotland, Julian Goodacre (double-hornpipe). In the United States; Alan Keith, Sean Folsom, and Chad Fross.
Contemporary repertoire makes use of folksong and Hymn tunes adapted to the instrument, manuscript and printed collections of dance music that may be adapted to fit the instrument's compass of an octave, as well as the general oral tradition.
Bands like Fernhill, Calan, Mordekkers, Taran, Saith Rhyfeddod, Rigantona, Carreg Lafar, Crasdant, Calennig, and Aberjaber have incorporated the instrument in their line-up in mixed consort. In the United States, bands Oceans Apart and Moch Pryderi have done the same.
Contemporary players of the instrument in Wales include Jonathan Shorland, Ceri Rhys Matthews, Stephen Rees, Andy McLaughlin, Hefin Wyn Jones, Patrick Rimes, Huw Roberts, Jem Hammond, Hafwen Lewis, Gafin Morgan, Antwn Owen Hicks, Rhodri Smith, Peni Ediker, Eva Ryan, Idris Morris Jones, Gerard KilBride, Mick Tems and Peter Stacey. Players in the United States include John Good, Bill Reese, Sean Folsom and Chad Fross. Corwen Broch is a player who lives in Scotland.
Use of pibgorn, bagpipe and bag-hornpipes with electronic and digital dance music has been seen in recent years, initially with Ceri Rhys Matthews collaborating with johnny r of r-bennig on a dance mix called "Y bibgorn aur" in 1992; later in the nineties with hip-hop outfit Y Tystion on their album "Shrug off ya complex, Y taffi triog"; Lews Tewns' recording for "PUP Project"; and "Wepun EX Project". The Mordekkers have used Drum and Bass mixes with pipe music in a live context for a number of years playing at British festivals. More recently Celtech and Taran have also combined pibgorn and pipes with Drum and Bass, Dub, and House styles.
Ceri Rhys Matthews has recorded an album of music devoted solely to traditional music on unaccompanied pibgorn and drone called "Pibddawns"
The crwth, also called a crowd or rote or crotta, is a bowed lyre, a type of stringed instrument, associated particularly with Welsh music, now archaic but once widely played in Europe. Four historical examples have survived and are to be found in St Fagans National Museum of History (Cardiff); National Library of Wales (Aberystwyth); Warrington Museum & Art Gallery; and the Museum of Fine Arts, Boston (US).
The chanter is the part of the bagpipe upon which the player creates the melody. It consists of a number of finger-holes, and in its simpler forms looks similar to a recorder. On more elaborate bagpipes, such as the Northumbrian bagpipes or the Uilleann pipes, it also may have a number of keys, to increase the instrument's range and/or the number of keys it can play in. Like the rest of the bagpipe, they are often decorated with a variety of substances, including metal (silver/nickel/gold/brass), bone, ivory, or plastic mountings.
The border pipes are a type of bagpipe related to the Scottish Great Highland Bagpipe. It is perhaps confusable with the Scottish smallpipe, although it is a quite different and much older instrument. Although most modern Border pipes are closely modelled on similar historic instruments, the modern Scottish smallpipes are a modern reinvention, inspired by historic instruments but largely based on Northumbrian smallpipes in their construction.
The zhaleika, also known as bryolka (брёлка), is a Slavic wind instrument, most used in Belarusian, Russian and sometimes Ukrainian ethnic music. Also known as a "folk clarinet" or hornpipe. The zhaleika was eventually incorporated into the balalaika band, the Hungarian tarogato, and may have contributed to the development of the chalumeau, a predecessor of the clarinet.
The Basque alboka is a single-reed woodwind instrument consisting of a single reed, two small diameter melody pipes with finger holes and a bell traditionally made from animal horn. Additionally, a reed cap of animal horn is placed around the reed to contain the breath and allow circular breathing for constant play. In the Basque language, an alboka player is called albokari. The alboka is usually used to accompany a tambourine singer.
The term double clarinet refers to any of several woodwind instruments consisting of two parallel pipes made of cane, bird bone, or metal, played simultaneously, with a single reed for each. Commonly, there are five or six tone holes in each pipe, or holes in only one pipe while the other acts as a drone, and the reeds are either cut from the body of the instrument or created by inserting smaller, slit tubes into the ends of the pipes. The player typically uses circular breathing.
A pipe is a tubular wind instrument in general, or various specific wind instruments. The word is an onomatopoeia, and comes from the tone which can resemble that of a bird chirping.
A single-reed instrument is a woodwind instrument that uses only one reed to produce sound. The very earliest single-reed instruments were documented in ancient Egypt, as well as the Middle East, Greece, and the Roman Empire. The earliest types of single-reed instruments used idioglottal reeds, where the vibrating reed is a tongue cut and shaped on the tube of cane. Much later, single-reed instruments started using heteroglottal reeds, where a reed is cut and separated from the tube of cane and attached to a mouthpiece of some sort. By contrast, in a double reed instrument, there is no mouthpiece; the two parts of the reed vibrate against one another. Reeds are traditionally made of cane and produce sound when air is blown across or through them. The type of instruments that use a single reed are clarinets and saxophone. The timbre of a single and double reed instrument is related to the harmonic series caused by the shape of the corpus. E.g. the clarinet is only including the odd harmonics due to air column modes canceling out the even harmonics. This may be compared to the timbre of a square wave.
Welsh bagpipes are a related instrument to one type of bagpipe, a chanter, which when played without the bag and drone is called a pibgorn. The generic term pibau which covers all woodwind instruments is also used in Welsh. They have been played, documented, represented and described in Wales since the fourteenth century. A piper in Welsh is called a pibydd or a pibgodwr.
Carreg Lafar is a contemporary traditional Welsh folk band. Formed in Cardiff by Rhian Evan-Jones, Antwn Owen-Hicks, James Rourke, Linda Owen Jones, and Simon O'Shea, Carreg Lafar means "a speaking stone", or "echo stone".
The hornpipe can refer to a specific instrument or a class of woodwind instruments consisting of a single reed, a large diameter melody pipe with finger holes and a bell traditionally made from animal horn. Additionally, a reed cap of animal horn may be placed around the reed to contain the breath and allow circular breathing for constant play, although in many cases the reed is placed directly in the mouth. It was also known as the pibcorn, pibgorn, or piccorn. One rare Scottish example, called the stock-and-horn, is referred to by Robert Burns among others. Other hornpipes include the Spanish gaita gastoreña, the Basque alboka and the Eastern European zhaleika. When joined with a bag, Baines refers to the instruments as "bag-hornpipes".
The mizwad is a type of bagpipes played in Tunisia and Algeria, The instrument consists of a skin bag made from ewe's leather, with a joined double-chanter, terminating in two cow horns, similar to a hornpipe (instrument).This instrument is played with a single-reed.
The gudastviri is a droneless, double-chantered, horn-belled bagpipe played in Georgia. The term comes from the words guda (bag) and stviri (whistling). In some regions, the instrument is called the chiboni, stviri, or tulumi.
Clera is the society for traditional musical instruments of Wales. It was founded by a group of musicians including Stephen Rees, Robin Huw Bowen, Andy McLauchlin, Wyn Thomas, Huw Roberts, Llio Rhydderch, Elonwy Wright and Frances Môn Jones. Geraint Roberts is the current chair.
Reed aerophones is one of the categories of musical instruments found in the Hornbostel-Sachs system of musical instrument classification. In order to produce sound with these Aerophones the player's breath is directed against a lamella or pair of lamellae which periodically interrupt the airflow and cause the air to be set in motion.
The stock-and-horn was a traditional instrument of the Scottish peasantry, very similar to the Welsh pibgorn, consisting of a single-reed reed pipe amplified by a bell made of horn. The original instrument of the Middle Ages had a double chanter with single reeds but was replaced by the single chanter type. The single chanter instrument is described in great detail by Robert Burns in a 1794 letter to a contemporary; Burns describes how he had much difficulty coming by the instrument, and notes that it has six or seven fingerholes on the top, one on the back, and is played with a single reed unfixed to the instrument but held by the lips.
Fflach is a Welsh record label and recording studio. It was founded in 1980 in Cardigan, Ceredigion, Wales by brothers Richard and Wyn Jones, Gareth Lewis and Robin Davies, members of Welsh new wave music group Ail Symudiad. Their first release was in early 1981, with their single/EP, Twristiad yn y Dre. The label gave an opportunity to record more new wave music in Wales for bands such as Y Ficar, Eryr Wen, Malcolm Neon, Angylion Stanley, Y Diawled, Rocyn and Maffia Mr. Huws.
Welsh folk music refers to music that is traditionally sung or played in Wales, by Welsh people or originating from Wales.
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