The Reconstruction of the Deskford Carnyx –
an Ongoing Multidisciplinary Project
John Kenny
When Dr. John Purser approached me in 1992 with
the idea of becoming involved with the project to
reconstruct the Deskford Carnyx, my reaction was
at first one of amused interest. I was vaguely aware of
the instrument – of course through Goscinny and
Uderzo’s Asterix The Gaul cartoons, but also
because of Purser’s own mention of the instrument
during his BBC radio documentary series Scotland’s
Music. However, in early 1992 John turned up at my
home in Edinburgh with John Creed’s brass mock-
up of the head – and I immediately realised that here
was a very serious and exciting project. A few days
later, in the archaeology department of the National
Museums of Scotland, the beauty and physical pres-
ence of the original artefact, with its empty eye sock-
ets and gaping mouth, seemed to be issuing a mute
demand for re-birth (see Fraser Hunter’s paper in
this volume, fig.2). I was hooked – and I am
immensely grateful to John for launching me into
one of the most compelling and stimulating projects
of my musical life
Since May 1993 I have been the member of our
team most visibly associated with the carnyx,
because I’m the one that plays it – but I was the
last member to join that team, and when Dr. Ellen
Hickmann asked me to write an article about the
carnyx I felt strongly that this should be a collec-
tion of short articles by all the individuals involved
in the reconstruction, and the ongoing projects
inspired by it, each from our own professional
standpoint: John Purser – musicologist, initiator
and co-ordinator of the project; John Creed – sil-
versmith; Fraser Hunter – archaeologist; Murray
Campbell/Thomas MacGillivray – physicists;
John Kenny – musician.
THE CARNYX AS A MUSICAL
INSTRUMENT
John Creed’s first prototype reconstruction was
made of extruded brass tubing (see his paper in
this volume). It looked magnificent, and the over-
all dimensions had already been largely decided
between Fraser Hunter and John Purser. But it
wasn’t a musical instrument, merely a beautiful
piece of metal craft. At this stage, in 1992, it was
necessary to go back to the ancient iconography,
and speculate about metal weight and tube dimen-
sions – and it was decided to make more exhaustive
analyses of the original material. Bronze alloys
were selected to replicate as nearly as possible the
original metal composition, and at my suggestion
the tube was beaten far thinner to increase reso-
nance. It was also decided to use a series of 4 cylin-
ders of successively wider bore, up to the 5th sec-
tion which flared to the neck, constituting a “bell”
behind the head. This created a “stepped cone”
with each joint embellished and strengthened with
a knop.
MOUTHPIECE
The interface with the players embouchure was –
and remains – a major area of speculation. The
solution we adopted was to bend the tube so that
the player’s head and neck are in a comfortable
relationship to the vertical tube, allowing an open
throat and unimpeded breath control. There is no
evidence for a mouthpiece as such – but it is per-
fectly obvious that the player’s lips must have been
protected from a thin sharp surface, as in the case
of all other lip-reed instruments, whether of metal,
shell, bone or wood.
Therefore, I designed five different mouth-
pieces – ranging from a kettle shape, through cone,
to a simple bronze ring with an inner diameter
very slightly wider than the tube end – effectively
no more than a cushion for the lips, with no nar-
rowing or throat. This last has proven to be by far
the most flexible and effective solution – there is
no contrivance to impede the passage of the vibrat-
ing air column from the player’s lips directly into
the full diameter of the bottom tube of the instru-
ment.
352 John Kenny
It should be noted that the Celtologist Axel
May (see his paper in this volume) has made very
strong and convincing arguments for a different
solution: an elliptical opening directly into the
bottom tube section, without bending. We are
hoping to produce a model of this type during
1999. One difficulty to be overcome is the raising
or shaping of the metal to provide a comfortable
aperture for the lips, whilst allowing sufficient
clearance for the player’s nose!
PERFORMANCE TECHNIQUES
What was played on the carnyx, what did it
sound like? Well, of course, there can be no cer-
tainty. I am a modern brass player, a trombonist
– and the carnyx can be played using conven-
tional modern techniques. This, however, pro-
duces an extremely limited and bland sound
palette. Modern western brass techniques have
developed in response to stimulus such as delib-
erate imitation of the human voice in sacred
music, hunting and military signals, and the need
to produce clear, well tuned tones which can
work in melodic and harmonic combinations.
Very little of this can be assumed to have had any
relevance to the sound world of the Ancient
Celt, 2000 years ago, in a non-urbanised society,
with a social organisation based upon religious
and cultural concepts which are quite clearly
very different to those of the classical world, let
alone post-renaissance western Europe.
My response has been to take inspiration from
the carnyx itself: its zoomorphic character sug-
gests that it may have formed part of a “shamanic”
or “totemic” concept (see Excursus of J. Purser’s
paper in this volume). If the appearance of the wild
boar was so important, why not its sound? So, I
have done my best to imitate and incorporate the
cries and grunts of the wild boar into the sound.
This attempt in turn lays open the possibility of
combining the player’s voice with conventional lip
vibration in a multitude of ways. A fluid and flexi-
ble sound world of immense timbral variety can be
achieved in this way – the sound of the instrument
and the player’s voice combining in a kind of
heightened “proto-speech” as well as creating
polyphony.
Given the age-old Celtic predilection for
drones, and the fact that, when conventional tech-
nique is applied to such a wide tube the maximum
duration of a note is quite short, I have felt justi-
fied in employing the technique of circular breath-
ing. This is of added benefit in colouring the tone,
since the required tongue movement and alter-
ation of the oral cavity create further speech
shapes. Several cultures have discovered both the
technique of circular breathing, and also of vowel
coloration of instrumental sound – the best
known being the didgeridoo. However, I have
been at great pains to disclaim any notion that the
carnyx was some kind of bronze age didgeridoo,
and I have not deliberately employed rhythmic
patterns or other elements classic to aboriginal
culture.
It is worth noting that the characteristic sound
world of the didgeridoo derives in part from the
speech patters of aboriginal language and accent,
as well as from observation and imitation of their
natural environment. I believe that the zoomor-
phic nature of the carnyx likewise invites the
incorporation of vowel and consonant colours
drawn from Celtic tongues, and our own northern
natural environment. Indeed, Nigel Osborne’s
piece Forest-River-Ocean makes Extensive use of
precisely this sound palette, deriving material
based upon phonems of the Gaelic language, as
well as nature sounds taken from the find site at
Deskford, on the shores of the Moray Firth.
Articulation: the complete range of conventional
single, double, triple and doodle tonguing tech-
niques are readily available. Flutter tongue, both
frontal glottal is functional across the range. When
flutter tongue is employed without lip vibration,
the column within the tube has substantial body,
and flexibility of tone. In addition, use of the
diaphragm as a percussive pump is very effective.
The tube size and surmounting head allow the
possibility of a wide range of extremely effective
purely breath sounds, including percussive slap
tonguing and pitch-variable sibilants.
The dynamic range of the carnyx is enormous –
certain overtones are projected much more
powerfully than others (for example middle C),
and these can be louder than a modern trombone
(see M. Campbell’s paper in this volume). At the
other extreme, it is possible to play as quietly as an
alto flute.
Pitch Compass: The range I have been able to
achieve on the carnyx is surprisingly wide; it’s har-
monic series is as before:

It is not possible to play extremely loud in
either the extreme high or low registers – and it is
also very tiring to play high and loud for extended
periods. This, however, is a standard feature of
brass playing. Trills and tremolos are possible
between adjacent harmonics from middle C
upwards. The rim cushion to open tube also
allows for considerable pitch bending and lip flexi-
bility – for example, it is quite possible to perform
the following bends:
Multiphonics: In addition to the combination of lip
vibration and player’s voice, it is also possible to
produce multiple sounds with the lips alone, by
“splitting” between adjacent overtones. An unsta-
ble, rolling phenomenon occurs, comprised of up
to 7 audible notes. These are made up of the fun-
damental, and higher partials of the harmonic
series. However, these work best between the 2nd
to 3rd, and 3rd to 4th partials, and are extremely
difficult to obtain in the higher register.
SOUND PROJECTION AND
TIMBRE
The head of the carnyx is a major factor in deter-
mining the tone colour: one would expect the
sound to issue from the mouth, but in fact it
seems to radiate from the entire head. Certainly,
the whole head is “live” and closing the mouth
produces only limited muting. We have hoped
that the tongue would activate at certain fre-
quencies – but so far we have not been able to
achieve this. It is, however, an interesting and
easily controllable rattle, beating against the
bronze “soft” palette.
The carnyx was obviously intended for out-
door use – and its sound carries extremely well
over long distances. This seems not merely to be a
question of volume, but one of projection. The
same is true of the alphorn. A practical demonstra-
tion of this was my playing of the carnyx on top of
Arthur’s Seat, the volcanic hill sitting in the heart
of Edinburgh. The summit is over 900 ft high, but
I was able to make unsuspecting tourists in the car
park of Holyrood Palace – 900 ft below, and over
one mile away – turn their heads by playing two
sustained middle Cs fortissimo, and swooping
around the higher harmonics. In the world of
Music Archaeology, I believe this is referred to as
“an ego trip”.
The Reconstruction of the Deskford Carnyx 353
PLAYING POSTURE
All depictions of the carnyx being played show it
held upright, over the player’s head. There is no
modern counterpart to this playing posture, and it
takes a bit of getting used to. However, once I had
learned to balance the instrument (I went weight
training, and took the advice of an acrobatic chore-
ographer!) I found I could walk on, and even
climb stairs without ceasing to play. I have also
been able to play non stop for upward of 40 min-
utes – so endurance is no impediment to perform-
ance. In the situation of playing with other instru-
mentalists, and reading music, this upright posture
is a distinct disadvantage – the player’s eyes tend to
be fixed at head height, and the carnyx towers
above the other players. To get around this, John
Creed has designed a collapsible stand which
allows the player to sit, and the head of the carnyx
to rest in a fork at variable height. The performer
can now read music, as well as assimilating much
more easy into an ensemble, and the timbre is
unaffected.
DIFFERING CHARACTERISTICS
OF THE FIRST AND SECOND
RECONSTRUCTION
John Creed’s first reconstruction was unveiled at
the Royal Museum of Scotland in May 1993 (see J.
Creed’s paper in this volume), and it is this instru-
ment which was used for all performances and
recordings until January 1998. Throughout 1997 it
was becoming increasingly clear that with the
opening of Scotland’s new National Museum, a
conflict would arise between the function of the
reconstruction as musical instrument and display
artefact. Furthermore, as the music being written
increased in scope and complexity, it was essential
that I have the instrument to practice. Therefore,
funded by the Hope Scott Trust, a second recon-
struction was undertaken, which has since been in
my permanent keeping. This instrument differs in
being much lighter, with thinner tube walls and
head metal. Also, though the tube diameters are
the same, the joints are chamfered as opposed to
butted – making a smoother interior tube profile.
The effect on the tone and “feel” of the instrument
was considerable: I found my secure range
increased by over a 6th, and that I was able to play
354 John Kenny
far more delicately than on the first instrument.
On the other hand, at extremely loud volume the
notes tend to “crack up”, and certain overtones are
less well centred. Overall, however, I would say that
the 2nd instrument is more flexible in response.
SUMMARY OF ARTISTIC
ACHIEVEMENTS TO DATE
Over 60 performances and lecture presentations
have been given to date. From the first, audience
response has been extraordinary enthusiastic. I
have been struck repeatedly by people’s desire to
try to express the impression the sound of the
instrument has made on them – not just the quali-
ty of the sound, but its psychological and emo-
tional effect. Why? It cannot just be the instru-
ment’s unusual appearance, because blind people
have been equally, perhaps even more affected.
Both children and old people have been moved to
tears – and whilst this undoubtedly attests to the
quality of some of the music that has been written,
it also says a great deal for the surprising express-
ive potential of this ancient instrument. It is cus-
tomary to describe the carnyx as an instrument of
war – but this is surely myopic, since the people
that made and played it only spent a small propor-
tion of their time at war. Surely it would have been
used at other times: in rite and ritual. Whilst
played loud the carnyx is brilliant and exciting,
played quiet it is soothing, beautiful, and gentle –
able to blend with the softest human lullaby, or
muted string harmonics. It has been possible to
combine the carnyx with such diverse formations
as string quartet, voice, percussion, electronics,
and even jazz quintet!
CONCLUSION
Whilst being fascinated by the archaeological and
musicological significance of the carnyx, and full of
admiration for the dedication to detail which has
made this a most exhaustively authentic reconstruc-
tion, my own principal role is that of expressive artist.
I am now primarily concerned with the development
of performance techniques, and the use of the carnyx
as an expressive musical instrument. Did people 2000
years do the things I am doing? Well, no, not in the
same way – and not for the same reasons. But it must
be remembered that, though I bring a contemporary
knowledge of lip-reed techniques and a modern brass
player’s skill to bear, I have only been working with
the instrument for seven years – and until February
1998 I never had the carnyx in my possession for
longer than three days at a time, so I didn’t have a
great deal of time to practice. The ancient Celt, on the
contrary, had permanent access to the instrument,
and regarded it in a cultural context about which we
can only vaguely conjecture. Furthermore, the tech-
niques of playing were probably passed down
through generations, along with music of varying
character and function – indeed, our concept of music
as an art form may well be entirely inappropriate to
the original use of the instrument. It is very likely that
the ancients discovered many things that I have not
yet, and may never, stumble upon – and yet the man
standing on the shores of the Moray Firth 2,000 years
ago had the same total physical potential as any mod-
ern counterpart. The most important thing is to keep
exploring, expanding the technical and timbral palette
– and with an open mind. It would be folly to impose
a limited view of “musicality” or “authenticity” upon
the carnyx; better surely to rejoice in the reawakening
of an ancient voice, and its potential for the enrich-
ment of our own musical culture in the 21st century.
APPENDIX
Carnyx & Co.
In 1998 a charitable company, Carnyx & Co., was
set up to gather funding for a variety of research,
performance, reconstruction and education pro-
jects. Working with funding from the Scotch
Whisky giant United Distillers, and now from the
newly established Diageo foundation, it has been
possible to commission, rehearse and perform
music throughout Scotland, and in England, Ger-
many, France and Norway. Diageo have also
pledged funding for the reconstruction of a third
carnyx, and associated continued research. It will
now be possible to teach other musicians to play
the carnyx, and to hear the instrument in multi-
ples. Details of our activities can be found at our
website, on www.carnyx.mcmail.com
Commissioned Music
John Purser
Throat in six movements, for soprano voice,
carnyx and percussion.
Nigel Osborne
Forest~River~Ocean, for carnyx, string quartet
and tape
Etienne Rolin
Brash Brass Blast from the Past, carnyx and jazz
quintet
Mike Dunning
Taxus Baccata, carnyx/trombone and double bass
duo
Bassam Abdul Salam
NOMAD for carnyx/trombone, percussion, bass
voice, and tape
 The Reconstruction of the Deskford Carnyx 355

Edward McGuire CD Recordings

Celtic Epic, solo carnyx with symphony orche-
stra, male voice, choir, Bretton, Scots, Irish & Gal-
lisian bagpipes, and bombards
John Kenny
The Voice of The Carnyx for 5 carnyces (4 pre-
recorded)
John Kenny
Cry of The Wolf for solo carnyx
The Voice of The Carnyx
BML 016; available from Carnyx & Co.
Forest~River~Ocean
BML 024; available from Carnyx & Co.
NOMAD
limited release; available from Carnyx & Co.
The Kilmartin Sessions
limited release; available from: www.kht.org.uk
Ecosse - Voyage Musical
Silex Audivis, AD056; available from: AUDIVIS
 356
John Kenny

Fig. 1 John Kenny with carnyx and trombone.