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Triple pipes
Triple pipes are reedpipes used in Europe, played in a set of three (two chanters with fingerholes and one drone). Once played in the medieval era in Ireland, Scotland, England, France and Spain (as evidenced in artwork), they survive mainly today in the traditions of Sardinia as the launeddas.
The instruments fit into a wide family of single-reed reedpipes, which includes the ancient Greek aulos and ancient Egyptian memet, and today includes the Egyptian arghul, Sardinian launeddas, Balkan diplica, Greek/Turkish zummara, Iranian dozaleh, Iraqi mijwiz, Basque/Spanish alboka/albogue, and Berber zamar.
No original instruments from the Gaelic tradition are known to exist today. Musicians have begun to revive the instrument, borrowing from the launeddas playing traditions in Sardinia, which did not go extinct.
Triple pipes, Cumbrian pipes or the cuisle were woodwind musical instruments of medieval Celts, featured in medieval artwork of the Irish, and Scottish and English peoples during the 8th to 12th centuries. They were possibly "precursors" to Irish and English bagpipes and functioned as an organ for the Irish Celtic Church.
Images of the instrument survive in Scotland and Ireland in sculptured stone, including the Cross of Scriptures at Clonmacnoise, Ireland (circa 900 A.D.), a Picto-Scottish relief carving at Lethendy, Perthshire, Scotland (10th century A.D.), Muiredach's High Cross at Monasterboice, Ireland (9th-10th century A.D.), one at Ardchattan Priory, Argyll, Scotland (9th century), one on the Saint Martin's Cross at Iona Abbey (8th century A.D.), an example at St John's, Hawkchurch, Devon, England (circa 1200), and an example in Westminster Abbey, London (13th century).
Besides the sculptures, the instrument was also portrayed in a miniature painting in the Hunterian Psalter, York, England (circa 12th century A.D.), the Cantigas de Santa Maria Codex of the Musicians (circa 1280), and the English Bestiary at the Oxford, Bodleian Library (12th century).
The pipes were reedpipes, each pipe tipped with a single reed held in place with beeswax. The instrument included a single pipe with fingerholes held in the player's right hand and a pair of pipes (joined together) held in the player's left hand. The right-hand pair consisted of a shorter pipe with fingerholes and a longer drone pipe. Researchers have indicated that the drone may have had a cup on the end made of animal horn. The combination is likely similar to the launeddas of Sardinia, and researcher Barnaby Brown has begun a revival of the instrument based on his experience with the launeddas.
Modern interest in the instrument is tied to interest in reviving Celtic or Scottish musical traditions. Barnaby Brown has speculated that pibroch music may have descended from triple-pipe playing, where today the music is tied to the Celtic harp-playing traditions. He suggested that early references to "pipes" in medieval texts may refer to the triple-pipe tradition, rather than the later bagpipe tradition.
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Triple pipes
Triple pipes are reedpipes used in Europe, played in a set of three (two chanters with fingerholes and one drone). Once played in the medieval era in Ireland, Scotland, England, France and Spain (as evidenced in artwork), they survive mainly today in the traditions of Sardinia as the launeddas.
The instruments fit into a wide family of single-reed reedpipes, which includes the ancient Greek aulos and ancient Egyptian memet, and today includes the Egyptian arghul, Sardinian launeddas, Balkan diplica, Greek/Turkish zummara, Iranian dozaleh, Iraqi mijwiz, Basque/Spanish alboka/albogue, and Berber zamar.
No original instruments from the Gaelic tradition are known to exist today. Musicians have begun to revive the instrument, borrowing from the launeddas playing traditions in Sardinia, which did not go extinct.
Triple pipes, Cumbrian pipes or the cuisle were woodwind musical instruments of medieval Celts, featured in medieval artwork of the Irish, and Scottish and English peoples during the 8th to 12th centuries. They were possibly "precursors" to Irish and English bagpipes and functioned as an organ for the Irish Celtic Church.
Images of the instrument survive in Scotland and Ireland in sculptured stone, including the Cross of Scriptures at Clonmacnoise, Ireland (circa 900 A.D.), a Picto-Scottish relief carving at Lethendy, Perthshire, Scotland (10th century A.D.), Muiredach's High Cross at Monasterboice, Ireland (9th-10th century A.D.), one at Ardchattan Priory, Argyll, Scotland (9th century), one on the Saint Martin's Cross at Iona Abbey (8th century A.D.), an example at St John's, Hawkchurch, Devon, England (circa 1200), and an example in Westminster Abbey, London (13th century).
Besides the sculptures, the instrument was also portrayed in a miniature painting in the Hunterian Psalter, York, England (circa 12th century A.D.), the Cantigas de Santa Maria Codex of the Musicians (circa 1280), and the English Bestiary at the Oxford, Bodleian Library (12th century).
The pipes were reedpipes, each pipe tipped with a single reed held in place with beeswax. The instrument included a single pipe with fingerholes held in the player's right hand and a pair of pipes (joined together) held in the player's left hand. The right-hand pair consisted of a shorter pipe with fingerholes and a longer drone pipe. Researchers have indicated that the drone may have had a cup on the end made of animal horn. The combination is likely similar to the launeddas of Sardinia, and researcher Barnaby Brown has begun a revival of the instrument based on his experience with the launeddas.
Modern interest in the instrument is tied to interest in reviving Celtic or Scottish musical traditions. Barnaby Brown has speculated that pibroch music may have descended from triple-pipe playing, where today the music is tied to the Celtic harp-playing traditions. He suggested that early references to "pipes" in medieval texts may refer to the triple-pipe tradition, rather than the later bagpipe tradition.