If you take a reed from a lake and make a slit and take a dandelion and squeeze it together and blow in it,
you have a simple reed pipe without knowing that it'd be called a reed pipe.
The dandelion-stem is thus a pre-musical sound tool,
because you make sounds because it is fun or for other purposes.
The walls behind me, which are a bit blackened
belong to two temples of the Gallo-Roman era.
The archaeologists started to search this space
and they discovered two more ancient temples dated to the Gallic era.
For me, the adventure began in 2004
For me the adventure began in 2004
when in a corner of a Gallic sanctuary at Tintignac
we found a little pit measuring 110 by 30cm,
in which there were around 500 fragments of iron and bronze objects
and among these objects were 7 war trumpets, 7 carnyces.
We know they existed but they were known only through a few fragments all over Europe.
When we found this pit with all those objects,
we began find animal mouths in bronze,
and, in fact, at first we didn't have any idea of what they were.
We imagined they were heads of dogs or wolves, that kind of thing.
We noticed that they were boar heads fitted with exaggerated ears,
and I heard mention, in fact a very long time ago when I was a student,
of the famous Gallic war trumpet, which is called a carnyx.
So after we found the tubes, which matched the heads,
we understood that we were dealing with musical instruments.
Celtiberian culture spans approximately six centuries, and it has left us a very rich material culture.
It was a very peculiar society because it united a series of tribes,
that formed a cultural conglomerate in the eastern part of the northern plateau, 
such as the Pelendones, Arevakos, Titos, Belos, Lusones...
They created a culture that had many things in common,
but also absorbed influences of other cultures surrounding them especially the Iberians.
This culture has left us a collection of pottery that informs us
not only about how they made certain things, but also about how they lived,
their habits and society of the time...
We have used for the replicas of the Numantian trumpets this clay material,
a very calciferous material that we can obtain from the quarries.
After digging it out, we have to take it to the workshop, separate it and break it up
and make it into little fragments like this one.
After mixing the clay material with water to produce slip,
eliminating all the impurities,
it is necessary to knead it first with the feet and then the hands.
With these two phases of the process we eliminate the small hard objects,
and we eliminate the heterogeneity of this clay we have created and make it completely homogeneous.
Also, thanks to the kneading we eliminate air bubbles
or other elements that cannot be seen with the human eye or by touching them.
Afterwards, especially during the firing process,
these impurities could result in breakage or defective pieces. 
The potter's wheel is a common tool from the beginning of the second millenium,
in the Near East and the Levantine area, Egypt, Mesopotamia...
but it does not arrive in the Iberian peninsula until the 8th or 7th century BC.
The Celtiberian trumpets are dated 2nd to 1st century BC.
Whe have been able to conduct an experimental reproduction
of a completely authentic combustion structure, a pottery kiln,
practically identical to the ones that can be found in archaeological sites on the Iberian peninsula.
This firing structure has two chambers.
A bottom chamber commonly known by the latin name Praefurnium,
and one at the top known as the firing chamber
where we put the pottery pieces we want to fire.
Both chambers are always separated by a floor, which in this case is a grid floor,
that connects and separates both chambers.
