With the severe lack of printed sources regarding the Picts we have to look to other sources, primarily the stones themselves, to gain some idea of what Pictish music was like. There are several harps on Pictish stones and examination of their apparent construction has led to the suggestion that the Picts might have invented, or at least developed what is generally known as the Celtic Harp, the clarsach. Other than harps we have war-horns and in one case a triple pipe shown on Symbol Stones.

The Deskford Carnyx (right) from Grampian which was long thought of as a Caledonian war-horn seems clearly to belong to the general Pictish period. Replicas of the magnificent Carnyx and of the Triple Pipes, have been re-created and played. As John Purser has pointed out, there are many ringing stones in Scotland and it is at least possible the Picts utilised these.

Above all however we can be sure that the Picts sang - the song tradition of Scotland, in both Gaelic and Scots is to this day appreciated across the globe and derives from a far distant past.

(right) A bronze Celtic Bell from Forteviot, Perthshire believed to have been made in the early 9th century. The Forteviot Bell is virtually unique in that it has three distinct ringing tones depending on how and where the bell is struck. There are several Celtic Bells remaining in throughout Scotland. Bell sare belived to have been around for nearly as long as humans have known how to work metal, and are often considered to be magical or sacred objects. Whether used simply as a marker for animals or as a summons for humans the role of the bell has continued through time till the present day.

Although we have no surviving percussion instruments, drumming and other percussion no doubt played a significant part in Pictish music.

The Celtic Harp

Today in Scotland the clarsach, a triangular framed harp is very popular. Similar instruments occur in the traditional music instrumentation of both Ireland and Wales. From evidence of Pictish Symbol stones form the 8th to the 10th centuries it is clear that the Picts possessed an early form of this instrument. The one shown in the 8th century Nigg stone has seven strings, like that on the Aldbar stone, while the ninth century Monifieth No 4. Stone has an eight stringed harp.

John Purser, in his excellent publication Scotland's Music, makes the point that it would be difficult to represent larger numbers of strings effectively in stone carving, and that their existence cannot be ruled out. (left) The Monifieth harper While the clarsach type of harp was held on the knee, or could be played while standing, both the Monifeith harp and that on the later Dupplin stone are too large for this and must have sat on the floor.

There are other stones which show harpers from Lethendy, Aberlemno, Ardchattan and St. Andrews. The triangular form of these harps is a strong construction allowing for the possibility of both more strings and of greater volume and clarity of tone. It is likely that the se harps had sounding boxes of wood or even leather to enhance volume. The strings were most likely of horsehair but the possibility exists that gut and even metal were used.

Purser has made the point that both plectra and bows might have been used but it is likely that the most common technique was to use either the fingernails or finger tips. This is the common practice today and has been for many centuries both in Scotland and Ireland.

The Carnyx

In 1816 near Dexford in Banffshire a remarkable discovery was made. This was a flattened instrument known as a carnyx which is the oldest surviving musical instrument in Scotland. Severely damaged on being found it has been restored and recently copies of this magnificent object have been made and used. Also known as the Caledonian War Horn the carnyx is a long upright bronze horn with a massive boar-shaped head, magnificently decorated and with a wooden tongue mounted on springs (leather hinges). The inlaid eyes were of semi-precious stones and the head is very Pictish in appearance. This tremendous instrument probably dates from at least as early as the Roman invasions and its construction clearly owes a great deal to the development of what we now call Pictish Art amongst the people who were their direct ancestors. Although the horn has a limited range of notes it can make truly frightening sounds.

A reconstruction of the Deskford Carnyx was played at the PAS Conference at Bridge of Earn in 1995 when several members enjoyed having a blow! (left)John Kenny and the Carnyx Replica.It also responds to fast tonguing, a technique that would considerably enhance its capacity for signalling underlining its function as a battle instrument. The fact that it is raised high above head level to be played would further increase its usefulness in this respect.

{above) one of the panels from The Gundestrup Cauldron, the three Carnyx players can be seen at the bottom right.

Almost identical instruments are to be found on the Gundestrup Cauldron form Denmark which has been long accepted as of "Celtic" provenance though similar war horns were known in various parts of Europe at the time the Romans invaded Scotland. Both the artistic capabilities and metal-working techniques shown in this instrument underline the skills and talents of the indigenous peoples of Scotland at the time and confirm the internal development of what we nowadays call Pictish art.

The Triple Pipes

Pipes of various types, mouth or bag blown are known throughout the world. As one of the most ancient types of all musical instruments it is perhaps surprising there are so few representations of pipes on Pictish Symbol Stones.

On both the Hilton of Cadboll and on the Aberlemno stones there are pairs of musicians playing long straight pipes. (left) The Hilton of Cadboll pipers. Both pairs are associated with hunting scenes which may suggest some sort of ceremony associated with the hunt. On the great Sueno's Stone, reckoned to be tenth century or later, there are three such pipers in the middle of a battle scene.

Purser suggests that the object alongside the harp on the Aldbar stone might in fact be a mouth-blown instrument of some kind, as it appears to have a mouthpiece.

On the lintel stone from Lethendy Tower in Perthshire and the Ardchattan stone however, there are what appears to be a particular form of Pictish instrument. This is the triple pipe, with one pipe longer than the other two, probably serving as a drone, at a deeper pitch than the other two pipes. Whether the instrument was of wood or metal we have no way of knowing, until, or unless one is discovered .Another example occurs on the later St. Martin's Cross on Iona. At the PAS Edinburgh Conference in 1995 the musician Hamish Moore played a wooden recreation of this pipe to general acclaim.