The ciaramella is an instrument that few people know about. Visually, it resembles a recorder, while its sound lies halfway between that of an oboe and the punji, the classic Indian instrument used by the famous “snake charmers.”

Indeed, when listening without much attention, one might imagine its origins in the dusty streets of India. However, anyone who has been to Naples during the Christmas season knows very well that this instrument is an indispensable part of local culture. It is usually paired with the “zampognari,” who, as the name suggests, play the zampogna, another instrument deeply intertwined with the region’s and the nation’s history.

Also known as the Pipita, the ciaramella is still used in folk songs of Campania and, of course, throughout the rest of the country. In central Italy, it is also called “Piffera,” likely because its shape and sound resemble those of the piffero, to which the ciaramella is a sort of sibling. The name varies depending on the region but generally derives from the ancient Latin word for “reed.”

Although the instrument was not initially exclusive to the Christmas season, its distinctive sound eventually “relegated” it to pastoral use, making it the quintessential Christmas musical instrument. It continues to captivate audiences thanks to its unique sound and its use in festive or market settings. It is even said that the zampogna, another indispensable instrument for creating a fanfare with the ciaramella, was born from the pairing of two ciaramellas in the Middle Ages, joined by an airbag and drones. Indeed, observing the way the zampogna is played, it seems logical to deduce that one “mouth” was originally a ciaramella with lower tones for accompaniment and the other a variant with higher notes, for solo performances at court.

Despite this, however, the ciaramella is rarely a solo instrument. There is a version called the double ciaramella, which, despite its similarities to the zampogna, remains a complementary instrument. Undoubtedly, the nostalgic Christmas charm evoked by the sounds of such ancient instruments owes much to the artists who “exported” its festive melodies, particularly during Christmas celebrations.

The History of the Ciaramella Intertwines with Italy’s History

The history of the ciaramella is not only ancient but also closely tied to Italian history and foreign influences. The original role of this instrument was akin to a soprano version of the bombard, whose appearance unmistakably resembles the ciaramella. During medieval times, this characteristic was emphasized by assigning the instrument the role of discantus, especially in musical ensembles like the Alta Cappella, whose history varies greatly depending on the region.

Unlike bombards, however, the pipita or ciaramella lacks the hidden key, which eliminates the possibility of producing the deep tones characteristic of bombards. The ciaramella gained its status as a standalone instrument only around 1600, before which it was merely a type of bombard. While much could be said about its diffusion, what we know is that the unique high-pitched sound was appreciated throughout Italy, particularly during Christmas and festive occasions. During these events, however, the ciaramella was often regarded as just a variation of the zampogna, an instrument that dates back even further and is contemporaneous with the bagpipe, whose earliest appearances are linked to Arab and Greek regions. However, visual evidence shows the ciaramella’s presence in various contexts, even in very ancient times. Thus, it is an instrument that has accompanied the zampogna, as its variation or as a standalone instrument, for millennia.

In Neapolitan culture, the ciaramella obviously spreads the melodies of the most classic Christmas songs, effectively becoming an instrument in its own right. Moreover, each region has its variations, altering the number of holes, structure, and type of sound produced. One could say that the ciaramella, in its regional diversity, fully represents the uniqueness of Italian regions, which, even across relatively short distances, have each created their own identity—still alive and vibrant in local folklore.

The Musical Characteristics of the Ciaramella

We have mentioned several times that the ciaramella is an instrument found in various parts of Italy, but its shape and characteristics vary slightly depending on where it is made.

It is essentially a double-reed instrument and belongs to the oboe family. It is no coincidence that it has often been called the “pastoral oboe,” as its sound closely resembles that of this instrument.

Its construction is relatively simple: it consists of two parts, called the bell and the spindle, connected by a threaded tenon, crafted entirely by hand. The mouthpiece uses a double reed that reaches the lips, a feature it shares with many other instruments. The spindle has holes for fingering and tuning, and its sound is enhanced by the bell. Typically, it has seven or eight holes, plus one on the back. The number varies by region. The eight-hole version can produce a higher pitch, about two notes above an octave.

Since the instrument has historically been used in tandem with the zampogna, the ciaramella in A or G adopts the characteristics of the accompanying zampogna (or vice versa) to play in the same key diatonically.
In central Italy, there is an eight-plus-one-hole model with a particularly clear and high-pitched sound that dominates over the zampogna, enabling techniques like staccato and legato. Although its appearance changes significantly, these rules are generally followed across central regions, which differ from southern Italy’s ciaramella.

In southern regions, a seven-plus-one-hole model is preferred, where the highest note is lower than in the central Italian version. Another difference lies in the technique, particularly a trill-like effect achieved through rapid tongue movements. The tone is generally softer, producing a sweet and moderate sound compared to the central Italian model. These qualities allow the zampogna to shine in duets, enabling virtuosic performances. It can even be used solo or paired with tambourines or other rhythmic instruments, where the ciaramella serves as a rhythmic variation, such as in the “fanfares” typical of the Christmas season.

The Calabrian model deserves mention, as it adds a small initial mouthpiece and alters its appearance significantly, even without embellishments.

The Ciaramella Is Still Played Today

The ciaramella remains an important instrument both sonically and historically. While it is relatively simple to play, mastering the techniques found in regional folk songs is highly challenging due to sudden rhythmic changes and the tongue movements required for desired effects. However, with practice, one can achieve remarkable results, learning not only to play an instrument with a unique musicality but also to preserve the cultural tradition of the piffera, or ciaramedda, ensuring the legacy of the instruments that paved the way for the more modern and innovative ones used in contemporary symphony orchestras.