5 traditional Maltese musical instruments that should not be lost
4 June 2015, published by LITTLEROCK.com.mt
"Traditional music is dying. It-Tommy, who used to play the drum (tanbur), passed away; Ġużi Gatt can make traditional Maltese instruments and play them; Ruben Zahra can play them and could make them; but truly it is a lost art. I am quite sure that I am the last young man of my age to know how to make this," says Francesco Sultana as he indicates the Maltese bagpipe known as iż-żaqq, "and I try to excel in the manufacture and how to play."
I met 23 year old Francesco Sultana in his workshop in the limits of Rabat, the garage door leading to an open view of fields and the Maltese countryside. Various homemade traditional Maltese instruments lay on his work bench in the middle of the room, while jars of materials lined the walls of his workshop, the contents of each neatly labelled in three languages, mostly in Maltese, English and Italian, with some even in Latin: serratura, saw dust, segatura; kolla taż-żibeġ, pearl glue, colla forte; or xilakk tal-indja, aleurites lacifera, gommalacca d’india.
Francesco has become known locally for his manufacture of traditional Maltese instruments despite his very young age. He first played the clarinet in the village band club, and later got into percussions and flutes. Desiring more liberty to express himself musically, he preferred to play in his own bands, such as the Nisġa Project and Plato's Dream Machine. Unable to follow his musical passion at University due to a lack of certifications, since much of his musical knowledge was self-taught, he opted for a degree in restoration of inorganics such as stone, ceramics, glass and metal. His love of music coupled with the delicate hand procedures learned from restoration was the ideal foundation for making instruments.
Francesco makes three types of instruments: iż-żummara (reed pipe), il-flejguta (fipple flute) and iż-żaqq (bagpipe); featured below are alsoiż-żafżafa and it-tanbur (drum).
Iż-Żummara (reed pipe)
I met 23 year old Francesco Sultana in his workshop in the limits of Rabat, the garage door leading to an open view of fields and the Maltese countryside. Various homemade traditional Maltese instruments lay on his work bench in the middle of the room, while jars of materials lined the walls of his workshop, the contents of each neatly labelled in three languages, mostly in Maltese, English and Italian, with some even in Latin: serratura, saw dust, segatura; kolla taż-żibeġ, pearl glue, colla forte; or xilakk tal-indja, aleurites lacifera, gommalacca d’india.
Francesco has become known locally for his manufacture of traditional Maltese instruments despite his very young age. He first played the clarinet in the village band club, and later got into percussions and flutes. Desiring more liberty to express himself musically, he preferred to play in his own bands, such as the Nisġa Project and Plato's Dream Machine. Unable to follow his musical passion at University due to a lack of certifications, since much of his musical knowledge was self-taught, he opted for a degree in restoration of inorganics such as stone, ceramics, glass and metal. His love of music coupled with the delicate hand procedures learned from restoration was the ideal foundation for making instruments.
Francesco makes three types of instruments: iż-żummara (reed pipe), il-flejguta (fipple flute) and iż-żaqq (bagpipe); featured below are alsoiż-żafżafa and it-tanbur (drum).
Iż-Żummara (reed pipe)
Iż-Żummara (reed pipe)
"I first tried making the żummara when I was at University out of curiousity to learn how they are made. Żummara is just a reed; it is listed in the first dictionary of the Knights as a trumbettina di paglia that children used to play with – originally it wasn't an instrument and probably was used alone as a whistle. In fact, it has the sound of a whistle until it starts to be played, then it has an Arabic sound, which makes sense due to our heritage. We see many examples of it across the Mediterranean from Turkey and Greece through North Africa: in Calabria it is called zummaretta; in Morocco it is called mizmar and it has a horn, while in Egypt they have a double version."
Iż-Żafżafa (friction drum)
"I first tried making the żummara when I was at University out of curiousity to learn how they are made. Żummara is just a reed; it is listed in the first dictionary of the Knights as a trumbettina di paglia that children used to play with – originally it wasn't an instrument and probably was used alone as a whistle. In fact, it has the sound of a whistle until it starts to be played, then it has an Arabic sound, which makes sense due to our heritage. We see many examples of it across the Mediterranean from Turkey and Greece through North Africa: in Calabria it is called zummaretta; in Morocco it is called mizmar and it has a horn, while in Egypt they have a double version."
Iż-Żafżafa (friction drum)
Iż-Żafżafa (left) and it-Tanbur (drum, centre) - photo credit: jacksonspipeband.com
Although Francesco does not make this kind of instrument, he knows what there is to know about it.
"The żafżafa was originally used as a comical instrument during carnival; now it is often included in a traditional ensemble. The żafżafa - also sometimes called rabbaba - is a friction drum and there are only few examples of such a percussion instrument in the world. It is found in various forms in Africa, Asia, Europe and South America."
Il-Flejguta (fipple flute)
Although Francesco does not make this kind of instrument, he knows what there is to know about it.
"The żafżafa was originally used as a comical instrument during carnival; now it is often included in a traditional ensemble. The żafżafa - also sometimes called rabbaba - is a friction drum and there are only few examples of such a percussion instrument in the world. It is found in various forms in Africa, Asia, Europe and South America."
Il-Flejguta (fipple flute)
Il-Flejguta (fipple flute)
"The flejguta is the Maltese fipple flute. You can just imagine the shepherd out with his flock, and he would just make 6 holes in a piece of cane; it is also possible that somebody thought of making longer the short whistle known as the suffara tal-pluvieri used by hunters. In the past they used reed cane a lot to make curtains and several other things, so they always had some available to make their instruments - a tube ready made from nature. At the joint, the more open it is the more sharp the note, and the more you close it the more flat it is. I add the holes one by one so that they are in tune. Most people would play 7 notes, but 12 notes are possible if you know how to play."
For these instruments, Francesco personally hand picks the materials from some valley. He explained that the reeds he uses are not endemic and not protected by law, except in protected areas; to this effect he sought to get a permit from MEPA, but has not needed to use it as yet. He has learned to visually determine whether the reed cane is of good quality or not, which is remarkable as it must be green when picked and requires drying for about 18 months. But, he admits, "Sometimes I cheat by taking ready dried from the sun."
WATCH: The Double Maltese Cane Flute (Flejguta ta' b' Żewġ)
In the process of learning how make traditional Maltese musical instruments, Francesco has also allowed himself to transgress the tradition and indulge his creativity to produce "new" traditional instruments inspired by other similar ones found in the Mediterranean region. One such inspiration is his flejguta doppja, or double flute, which he is seen playing in the video above.
"Ruben likes to stick to the traditional, authentic sound, but I like to implement changes to the instruments from manufacture and experiment with how I play them, while retaining the Mediterranean style."
It-Tanbur (drum)
"The flejguta is the Maltese fipple flute. You can just imagine the shepherd out with his flock, and he would just make 6 holes in a piece of cane; it is also possible that somebody thought of making longer the short whistle known as the suffara tal-pluvieri used by hunters. In the past they used reed cane a lot to make curtains and several other things, so they always had some available to make their instruments - a tube ready made from nature. At the joint, the more open it is the more sharp the note, and the more you close it the more flat it is. I add the holes one by one so that they are in tune. Most people would play 7 notes, but 12 notes are possible if you know how to play."
For these instruments, Francesco personally hand picks the materials from some valley. He explained that the reeds he uses are not endemic and not protected by law, except in protected areas; to this effect he sought to get a permit from MEPA, but has not needed to use it as yet. He has learned to visually determine whether the reed cane is of good quality or not, which is remarkable as it must be green when picked and requires drying for about 18 months. But, he admits, "Sometimes I cheat by taking ready dried from the sun."
WATCH: The Double Maltese Cane Flute (Flejguta ta' b' Żewġ)
In the process of learning how make traditional Maltese musical instruments, Francesco has also allowed himself to transgress the tradition and indulge his creativity to produce "new" traditional instruments inspired by other similar ones found in the Mediterranean region. One such inspiration is his flejguta doppja, or double flute, which he is seen playing in the video above.
"Ruben likes to stick to the traditional, authentic sound, but I like to implement changes to the instruments from manufacture and experiment with how I play them, while retaining the Mediterranean style."
It-Tanbur (drum)
It-tommy on tanbur - jacksonspipeband.com
It-tanbur (drum) is usually played with iż-żaqq (bagpipe) because it helps drown out the defects. Francesco does not make this kind of instrument but he fondly remembers it-Tommy, who sadly passed away, as one of the best tanbur players of the island.
Iż-Żaqq (bagpipe)
It-tanbur (drum) is usually played with iż-żaqq (bagpipe) because it helps drown out the defects. Francesco does not make this kind of instrument but he fondly remembers it-Tommy, who sadly passed away, as one of the best tanbur players of the island.
Iż-Żaqq (bagpipe)
Iż-Żaqq (Maltese bagpipe)
The żaqq is a Maltese bag pipe made from the whole, uncut skin of a goat kid, fixed with a pipe and a horn. The żaqq includes the legs, the neck and the tail - the proper shape of the animal - and while manufacturing one needs to be careful not to pierce the skin. It is thus very complex to make, and certainly not a job for the faint hearted.
The goat kid needs to be of the right size and a nice colour, and it needs to be male otherwise air would leak at the nipples. All the innards, including the bones, muscles and organs, must be removed from the neck so that the skin is not pierced. Also, one must be very careful not to leave any flesh inside which may decompose. Furthermore, the testicles and penis are tied up and left on the inside, and the anus must be sewn up.
"I was in 4th year at university when I took Maltese Traditional Instruments, and learned also with Ruben, who had a credit. This is a rural instrument, which was made with what they had: animals. I made the żaqq myself in the traditional way but the procedure is really very disgusting and I don't particularly want to do it again. "
After the procedure is done, the skin is then cleaned with water and soap, then soaked in salt and aluminium sulphate to sterilise the remaining flesh and skin. After 4 days, the solution is changed regularly for 2 weeks. All this is very important to keep the whole animal, including the animal's fur, as per Maltese tradition; it is then dried and will flex by time and use until the sound comes out right. The Tunisian version, for example, is half the animal tied and turned inside out, and then oiled. Francesco is not sure of the lifespan of theżaqq since breath is wet, but he says that Ruben has had his for 7 years without problems.
When the skin has been prepared, an attachment is fixed at the neck where the chanter is connected. Inside the chanter are 2 reed pipes (żmamar) and a horn (qarn).
"The horn of a bull is used for the mouth piece; the future is in synthetic material, which works just as well as it is just an amplifier of sound, but I wanted to have something truly authentic made in the traditional way."
The żaqq is a Maltese bag pipe made from the whole, uncut skin of a goat kid, fixed with a pipe and a horn. The żaqq includes the legs, the neck and the tail - the proper shape of the animal - and while manufacturing one needs to be careful not to pierce the skin. It is thus very complex to make, and certainly not a job for the faint hearted.
The goat kid needs to be of the right size and a nice colour, and it needs to be male otherwise air would leak at the nipples. All the innards, including the bones, muscles and organs, must be removed from the neck so that the skin is not pierced. Also, one must be very careful not to leave any flesh inside which may decompose. Furthermore, the testicles and penis are tied up and left on the inside, and the anus must be sewn up.
"I was in 4th year at university when I took Maltese Traditional Instruments, and learned also with Ruben, who had a credit. This is a rural instrument, which was made with what they had: animals. I made the żaqq myself in the traditional way but the procedure is really very disgusting and I don't particularly want to do it again. "
After the procedure is done, the skin is then cleaned with water and soap, then soaked in salt and aluminium sulphate to sterilise the remaining flesh and skin. After 4 days, the solution is changed regularly for 2 weeks. All this is very important to keep the whole animal, including the animal's fur, as per Maltese tradition; it is then dried and will flex by time and use until the sound comes out right. The Tunisian version, for example, is half the animal tied and turned inside out, and then oiled. Francesco is not sure of the lifespan of theżaqq since breath is wet, but he says that Ruben has had his for 7 years without problems.
When the skin has been prepared, an attachment is fixed at the neck where the chanter is connected. Inside the chanter are 2 reed pipes (żmamar) and a horn (qarn).
"The horn of a bull is used for the mouth piece; the future is in synthetic material, which works just as well as it is just an amplifier of sound, but I wanted to have something truly authentic made in the traditional way."
