Mongolian side-blown flute. The limbe is traditionally played by males in Eastern Mongol groups (see Mongol music), including Central Khalkhas in Mongolia, using the technique of circular breathing (bitüü am'sgal). An older regional name for side- and end-blown flutes is bishgüür. The limbe (classical Mongolian lingbu, Tibetan gling-bu) consists of a tube with a stopped upper end which may have from six to twelve holes cut into its side. In the latter case, these comprise a mouth-hole, a hole covered by a thin membrane to increase carrying power, six finger-holes (nüh) and four sound exit holes (two on the upper side and two in a parallel position below), which may be covered by any suitable material to give the instrument a deeper pitch. It is traditionally made from either reed or metal; contemporary instruments may be made from plastic. Ligatures hold the two halves of reed instruments firmly together.
Eastern Mongols distinguish ‘male’ (er) and ‘female’ (em) limbe: the male is wide-bored, short and blown hard; the female narrower, longer and blown softly. Traditionally the instrument is used while herding, to encourage mother camels to accept their calves and, along with the morin Huur (‘horse-head fiddle’), to accompany urtyn duu (‘long-song’). During the communist period (1921–92) a tuner (höglögch), facilitating a European scale when twisted, was added between the body and the endpiece. In contemporary Mongolia, the limbe is played by males and is used in folk music ensembles.
The limbe is imitated by passing air through the nose, called hamraar limbedeh (‘to play limbe by the nose’), or vocally, called amaar limbedeh (‘to play limbe by the mouth’).
J. van Oost: ‘La musique chez les mongols des Urdus’, Anthropos, x–xi (1915–16), 358–96
E. Emsheimer: ‘Preliminary Remarks on Mongolian Music and Instruments’, The Music of the Mongols, i: Eastern Mongolia, (Stockholm, 1943), 66–100
Chants mongols et bouriates, Vogue LDM 30138 (1973) [notes by R. Hamayon]
D. Nalsalmaa: ‘Oyuny Soyol 4: Ardyn, duu, högjim’ [‘Spiritual culture 4: folksong, music’], BNMAY-yn Ugsaatny Züi [Traditions of the BNMAY], I: Halhyn Ugsaatny Züi: XIX–XX Zuuny Zaag Üe [Khalkha traditions in the late 19th and early 20th centuries] (Ulaanbaatar, 1987), 358–78
C.A. Pegg: Mongolian Music, Dance and Oral Narrative: Performing Diverse Identities (Seattle, forthcoming) [with CD]
CAROLE PEGG