Nous connaissons aujourd'hui l'emploi de l'embout de brunidèr, permettant de prolonger le bourdon des pihets des bohas de Gascogne.
Il semblerait que cette invention ne soit pas si récente ; dans un livre d'heures à l'usage de Maastricht, nous pouvons voir un singe avec une cornemuse sur la quelle nous voyons, attaché avec une ficelle, ce qui pourrait être une rallonge de "brunidèr".
British Library, Stowe MS 17, f. 35v.jpg
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This part is more about the reed ("la canna"), but these documentaries are about the finest players of my field (Parco Pollino and they also explain the dialect terms and the local differences):
Note that the Calabrian bagpipes have this ciarameddu form, and they are used to play the more ancient type of tarantella (which is more difficult and faster to dance, although it sounds slower), but also solo improvisations which can go on for a long time with minimalist patterns.
The shape that the monkeys, shown in the manuscript, play is rather the Bulgarian gayda type (which is also common in Middle European countries within rural areas of countries like Poland, Belarus, and Ukraine).
Who knows?
The problem with such offical versions of history is that every piper in the South is also a builder, Angelo makes no difference there and they call it "karamunxa" in Albanian dialect:
Hence, every instrument is quite unique and individual, but the form with four chanters in one block is very common in whole Calabria, therefore it is called ciarrameddu in Greek dialect (it comes from ciaramella or "shawm" in English and is often used in combination with the simple one, especially with the surdulina). Honestly, we do not know, why and since when they use the different mouthpiece in the North of the region, while the Aspromonte players prefer a rather rough sound... A good question to be answered by experts of ethnohistory.
Very interesting sounds of single reed bagpipes. Very much akin to the zampogna for the first one.
But as far as I know the Surdulina is a 17th century invention by Manfredo Settala:
http://www.bagpipesociety.org.uk/authors/eric-montbel/
Especially the Southern Italian Surdulina (wide-spread in the Parco Pollino region between Calabria and Basilicata, it has a les shrill sound because of a clarinet-like mouthpiece) uses these. As well in Lungro as in Rhodope mountains they also sing accompanied by the bagpipe. Since you need a lot of power to sing against it, it is usually done by an additional singer, but in rare cases also the piper sings...
Song for the Madonna del Pollino (Angelo Le Rose, Karamunxa, Andrea Miraglia, vocals)
Rhodope mountain song "My dear horse"
En cherchant encore, j'ai trouvé un autre singe cornemuseux avec un pièce qui semble ajoutée à la cornemuse mais cette fois, la pièce est accrochée :
London , British Library , Additional 42132
Il s'agit d'un bréviaire du diocèse d'Agen.
En fait ce n'est pas utile. Je n'avais pas vu le post de Dominque et le lien vers la Rosa Trobaresca. :-(
Pourriez-vous en poster l'adresse s'il vous plait? La requête nicolas dedieu cornemuse puivert blog ne m'y a pas conduit. :-)
J'ai créé une page sur Puivert, s'il faut débattre de Puivert :
https://gregorian-chant.ning.com/group/medren-windinstruments/forum/...
Je n'ai jamais remarqué le "cylindre" sur la sculpture de Puivert.
Auriez-vous une photo illustrant votre propos?
Merci Nicolas, je n'ai pas pensé à faire le rapprochement avec Puivert qui a aussi une pièce énigmatique !
nicolas dedieu a dit :
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