bagpipe

A musical instrument having a flexible bag inflated either by a tube with valves or by bellows, a double-reed melody pipe, and from one to four drone pipes. Often used in the plural.

Background

The bagpipe is a wind instrument with a number of pipes and a bag. The melody pipe, or chanter, has finger holes that are played to produce the tune. Three other pipes, called drones, have bass and tenor pitches (with one bass and two tenor drones). They are called drones because they produce single notes only that are tuned to the chanter. The piper puffs air by mouth into a blowpipe that fills the bag. The bag is made of animal skin and is held by the player between the side of the chest and arm. The piper's lungs and diaphragm provide air and air pressure to make the reeds vibrate in the chanter and drones to produce one melody and three harmonies with one instrument. When the piper needs to take a breath, squeezing on the bag provides the supplemental air supply to keep the bagpipe playing its continuous sound. The five pipes join the bag at wooden sockets called stocks. In the stock where the mouthpiece is attached to the bag, a leather non-return valve keeps air from escaping back up the pipe. Some bagpipes are heavily ornamented with sterling silver fittings, a velvet or tartan bag cover, and braided silk cords. The colors match those of the Scottish clan (family), military regiment, or other organization to which the piper belongs.

The sound that a bagpipe produces is continuous as the bag is constantly filled by the piper and rhythmically squeezed to feed air to the chanter and drones. To give the effect of detached notes, bagpipe music is written with grace notes that the piper plays rapidly. The range of a set of pipes is limited, so music must be arranged specifically for the bagpipe.

History

Although the familiar bagpipe of the parade band is the Scottish Great Highland bagpipe, bagpipes in many different forms are folk instruments in many cultures around the world. Reputedly, the bagpipe arose in Sumeria or China in about 5,000 B.C., but this has never been substantiated. The oldest references to bagpipes appear in Alexandria, Egypt, in about 100 B.C. The bagpipe may have traveled west through Europe along with spreading populations and the development of individual cultures. Both Roman and Greek writings mention bagpipes in about A.D. 100, and they were known over most of Europe by about the ninth century. The bag-pipe probably evolved from a double pipe made of two canes; both were single-reed pipes but one played the tune and the other was the drone. The bags were made of whole skins of goats or sheep (without the hindquarters). More sophisticated instruments had bags that were made of pieces cut from animal skins and stitched together. These types of simple bagpipes are still found on the Arabian and Greek Peninsulas and in North Africa and Eastern Europe.

Illustrations from Geoffrey Chaucer's Canterbury Tales show that several of the pilgrims were pipers; Shakespeare also mentions the bagpipe in his play The Merchant of Venice. From about the thirteenth through to the sixteenth century, England had many forms of bagpipes with versions for the common folk and more elaborate forms for the royal courts. The popularity of the pipes at court died out around 1560, and the more common forms also lost followers in the south and east.

In Western Europe, the cornemuse of France and the zampogna of Italy are folk bagpipes with character. The comemuse has a chanter and a tenor drone and is blown with an annpumped bellows instead of a bag. It is still played today in folk bands or accompanied by a hurdy-gurdy (a three-stringed instrument). The musette is also a well-known French bagpipe that became popular while Louis XIV was king. The musette had two chanters and four drones, but all the drones were in a single pipe. The Italian zampogna is played with two hands with a chanter for each hand. The two chanters play melody and harmony, and the instrument also has two drones. All four pipes emerge from a single stock. All of these instruments became popular before 1700.

Although many other varieties of bag-and bellows-blown pipes are part of European musical history, the bagpipe found its real home in the British Isles—primarily in Scotland, Ireland, and northern England—achieving cultural popularity after about 1700 (although bagpipes were known long before this time). The French musette may have been the parent of a class of small pipes known as British small pipes, of which the best known is the Northumbrian small pipe that is still played today. The Northumbrian pipe has a cylindrical chanter like a clarinet (rather than a conical one like many other pipes and other wind instruments like the oboe), only seven keys, four single-reed drones that are held in one stock, and a closed bottom end on the chanter. When all the finger holes are covered, the chanter makes no sound, so this fingering is used for staccato (short, rapid) notes and closed phrasing; that is, grace notes are not needed to suggest separate notes. Like the musette, the Northumbrian small pipe dates from about 1700; the chanters for the comemuse, musette, Northumbrian small pipes, and zampogna all use double reeds.

Another product of about 1700 is the Irish uilleann or union pipe, one of the most complicated bagpipes and a bellows-blown instrument. The Irish union pipe has a chanter, three drones, and three companion pipes called regulators. The regulators look like chanters, but they are closed at the bottom and have only four or five keys. The piper plays them like chords with the wrist of the right hand. The chanter itself is articulated by stopping it against the piper's knee. This also pushes the reed to a higher octave, so the Irish pipe has a broader melodic range than other pipes.

The Scottish versions of the bagpipe are the Highland small pipe, the "hydrid union pipe" (also called the Pastoral pipe), the Lowland pipe, the Scottish Border pipe, and the Scottish Great Highland bagpipe. The Highland small pipe was rare early in the twentieth century but is experiencing a rebirth in interest; its small size and soft sound makes it suitable for indoor use. It may be blown by mouth or bellows and has three drones, although they can be tuned differently than drones on other pipes. The hybrid union pipe is also small, has a conical bore, is used in doors, and is able to play two octaves (like the union pipe). The Lowland pipe is bellows-blown, has a cylindrical bore and reeds related to the Northumbrian small pipe, and carries three drones in one stock. It is about half the size of the Scottish Great Highland bagpipe, and, although it went out of fashion in the nineteenth century, it has been revived by makers of antique-type instruments. Finally, the Scottish Border pipe, which is closely related to the Great Highland bagpipe, has a conical bore, is bellows blown, has the drones tied in a common stock, and has toned-down reeds that produce a quieter sound.

The Scottish Great Highland bagpipe is called the piob mh6r in Scottish Gaelic. It was used as a martial instrument to inspire troops to battle since the sixteenth century, but, when warring against the English, the Highland clans were accompanied by solo pipers, not bands. Solo pipers also played laments at funerals and folk music for other occasions. The rise of the pipe band did not occur until the rebellious clans were solidly put down, and Scottish regiments were raised under Queen Victoria. Pipe bands quickly became symbols of their regiments and have remained highly visible representatives of Scottish culture to this day.

The Highland bagpipe is a large instrument. Five stocks for the three drones (two tenor and one bass), the chanter, and the blowpipe are tied into the bag. The blowpipe is long, so the piper can both play and march with his head erect; the other types of smaller Scottish pipes are often clutched against the chest and require the piper to bend over them slightly to blow into the blowpipe and play the chanter. The drones spread apart like a fan from the piper's left shoulder and out and are held apart by decorative silk cords; the bass drone is the one resting on the piper's shoulder. The two tenor drones are about 16 in (40 cm) long and are tuned to one octave below the chanter. The bass drone is 31.5 in (80 cm) long and is tuned to two octaves below the chanter. The drones are cylindrical bores (like oboes).

The chanter has nine holes including one double-vent hole and eight fingered holes. It is a wide conical bore (like a clarinet) that produces a penetrating, loud sound. Whether this sound is loved or hated, it has migrated with British imperialism, settlement and immigration, and Scottish regiments in wars from the American Revolution through World War II to almost every part of the world. In some places, it has become so popular that it has pushed aside native folk instruments. Piping schools, Scottish Highland Games including pipe band contests, and highly trained manufacturers of Great Highland bagpipes can be found in many countries outside the former British Commonwealth.

Raw Materials

Scottish Great Highland bagpipes dating from the 1700s had pipes made of bog oak. With imperialism and the rise of the "three corner trade" among Africa, America, and Britain, tropical hardwoods became available and have become the woods of choice for constructing pipes. African Blackwood and Brazilian rosewood are ideal for pipes. A brown hardwood called cocus wood is mentioned as a wood for pipes; this was true until the 1920s, but cocus wood is not used now. Many of raw materials used in the manufacture of bagpipes are dictated by the humidity of the region where the bagpipe is to be played. Some tropical hardwoods used to make the chanter and drones, particularly ebony, are ideal for the dampness of the climate in the British Isles but don't work well in the drier parts of the United States. Plastics, particularly acetyl homopolymers, are used by some makers for pipes to avoid the complications of climate.

Bags also require consideration for climate. They must be air-tight and water absorbent. Sheepskin is used in Great Britain, but it is not as durable in drier regions. In the United States elk or cow hide is used, and Australian pipe makers use kangaroo hide. Gortex is a modern material that is sometimes substituted for native hide.

Reeds are the constant in pipe production since the earliest known bagpipes. The water-reed was originally used for pipes as well as the reeds. Today, it is used to make both single and double reeds. Plastics such as polyvinyl chloride (PVC), metals, and brass are source materials for reeds for some manufacturers. Ornamentation on bag-pipes may have experienced the greatest changes because of concern for preservation of endangered species. In the 1700s, ivory from elephants, walruses, and narwhals (an Arctic-dwelling whale species) was the most common material for ornamentation because it can be worked and turned into beautiful artwork. Animal horn was also a source. Today, antlers from elk and moose are commonly used as is imitation ivory. Celluloid was an early manmade material to be carved for decoration, but plastics are generally worked now.

The bagpipe maker purchases wood and antler in log form. Plastic is supplied in sheets or rods, and metal for ferrules (bands that are put around the shafts of the pipes to support and strengthen them and caps that protect the pipe ends) is received as metal tubing or castings and may consist of aluminum, brass, nickel, or sterling silver.

Design

The basic design of the Scottish Great High-land bagpipe was established in the 1700s, and its straight, simple lines have been the standard since then. In Victorian times, more combing and beading on the wood came into fashion, and this ornamentation has also become traditional. The pipe maker does have some leeway in the design of the bores of the chanter and drones, but the range of internal dimensions is still limited to maintain the traditional sound. Because each bagpipe is hand-crafted, there are certainly subtle differences among manufacturers. Perhaps the greatest changes in design have been in other families of pipes in which everything old is new again; many pipe makers are reviving antique styles and early forms of bagpipes.

The Manufacturing Process

The wood drones and chanter

• The pipe maker imports African Blackwood for the chanter and drones in the form of logs. These are sliced into planks and then into squares and are stockpiled for air-drying for a period of three to seven years. Some manufacturers have begun reducing drying times because of the related expense, and there are methods for kiln-drying the wood.
• When the moisture content of the wood makes it suitable for working, the pipe maker can use a single-flute drill, twist drill, reamer, or gun drill to bore out the cylindrical drones. The single-flute drill makes the cleanest bore, although the carbide-tipped gun drill is a state-of-the-art tool because it uses a coolant hole to blow air or fluid in the bore to clean out chips.
• The completed bore becomes the center for turning the outside shape of each drone on a lathe. The ferrules (protective metal bands and tips) are press-fit and glued in place, and projecting mounts are threaded on. The drones are finished with applications of wax, oil, lacquer, or varnish. The surface finish depends on the type of wood used, considerations such as humidity, and the pipe maker's style and preferences.
• The chanter is made like the drones with two major exceptions. First, the bore of the chanter is conical, so it is step-drilled with twist drills then reamed with a singleflute tapered reamer that is 13 in (33 cm) long. The narrow end of the reamer is about 0.13 in (0.32 cm) in diameter and the wide end is approximately 0.87 in (2.22 cm) in diameter. Proper boring of the cone inside the chanter is critical to the tone it will produce. The second process exclusive to the chanter is the drilling or milling of finger holes into the turned bore. After the finger holes are complete, the chanter is surface-finished to match the drones.
• The stocks are made along with the wood pipes. They are simply straight holes with tie-in grooves at the bottoms. The stocks have to be long enough to accommodate the reeds for the drones. Each stock is equipped with a ferrule at the top to prevent it from splitting.

The bag

• The bagpipe bags are cut from elk or cow hide; typically, four or five bags can be cut from a single side of a cow hide. The hide is folded, and the bag sides are cut out as a mirror image. The seam is glued with contact adhesive to hold it temporarily until a leather welt can be put in place and the welt and seam are stitched together. The seam and welt are hand stitched with double needles; stitching a single bag takes approximately two hours.

Assembly

• The 14 pieces comprising a Great Highland bagpipe are assembled by tying. The five stocks are tied into the bag using waxed linen, hemp, or nylon. Some makers use corked joints much like those in clarinets, but they are generally not as popular in pipe manufacture. The chanter and drones are connected to the stocks; only the reeds have to be added to complete the pipes.

• 8 The final finish is applied to the wood pipes by smoothing them with 80-to 120-grit sandpaper and working up to 400-grit wet sandpaper. Heated oil or wax is then applied by hand using a fine cloth.

  If the maker chooses to finish the pipes with lacquer or varnish instead of oil or wax, 220-grit sandpaper is used to smooth the wood before the lacquer or varnish is applied with camel-hair brushes. The lacquer or vamish may be sprayed on in a spray-paint booth.

Reeds

• The reeds are hand-made from metal tubing and water reed. The chanter takes a double reed that is begun with a brass of copper tube. The tubes may be cylindrical or conical. Two slices of reed are placed against the tube and wrapped in place. Reeds for the drones use tubular lengths of cane or reed instead of slices. On the cane, nodes mark the places where leaves sprouted when the reed was growing. Above a node on the cane, the pipe maker cross-cuts a slice and then makes two parallel cuts perpendicular to the slice. The small tongue made by the three cuts is raised up with the node as a kind of brace at its base. The tongue is about one-quarter to one-half of the diameter of the reed. As air passes through it, this tongue will vibrate to produce its tone. The opposite end of the cane length is tapered and attached to the drone. If modern materials are used, a plastic tube is used for the drone reed with a separate piece of plastic for the tongue. Insertion of the reeds in the pipes completes the bagpipes.

Byproducts/Waste

Dust from the wood used to manufacture bagpipes is highly toxic, and the pipe maker must wear a respirator, not a dust mask, to keep from inhaling the wood dust. Most of the natural products used in making bag-pipes are biodegradable. Plastic waste results in very small amounts and is disposed in a landfill. Thinners and other organic compounds are used with lacquer or varnish finishes; but these are usually stored in small quantities with little waste. The primary hazard in bagpipe manufacture is to the pipe maker who must protect himself from the dust hazard and must also wear hearing protection because he works closely with noisy machinery.

Qucality Control

Quality control is a constant issue in the production of bagpipes. The pipe maker crafts each bagpipe individually and so is monitoring his own work until the product is complete. Tolerances in boring and turning the pipes are tiny; the sound will suffer if these are not strictly observed. The internal dimension is critical and can only err by plus or minus 0.0005 in (0.013 mm). The exterior diameter can only err by plus or minus 0.1 in (0.25 mm). These tolerances are perhaps the greatest single issue in the quality manufacture of bagpipes. The pipe maker's reputation rests on his ability to create uniformly excellent bagpipes in appearance and more importantly in sound quality.

The Future

Interest in the bagpipe is growing steadily especially in the United States and Canada, which are the two largest markets in the world. The demand for well-made instruments has been steady for a number of years, but the number of bagpipers is growing now. Master pipe-maker Mark Cushing credits the interest in the pipes to two factors. Ethnic interest is prompting people to study pipe-playing because of its connection to their family history. Still more players are attracted by the sound of the pipes and the strong feelings they stir. No matter what the basis for their interest might be, these pipers are encouraged by the many pipe band associations throughout the United States and Canada that provide lessons, encouragement, and a ready audience. Thanks to the swirl of the kilt and the skirl of the bagpipe, pipe makers anticipate a lasting and loving future for their artistry.

Where to Learn More

Books

Baines, Anthony. Bagpipes. University of Oxford, England: Oxford University Press, 1999.

Baines, Anthony. The Oxford Companion to Musical Instruments. New York: Oxford University Press, 1992.

Cannon, Roderick D. The Highland Bagpipe & Its Music. New York: John Donald, 2000.

Collinson, Francis. The Bagpipe: The History of a Musical Instrument. Boston, MA: Routledge & Kegan Paul, 1975.

Dearling, Robert, ed. The Illustrated Encyclopedia of Musical Instruments. New York: Schirmer Books, 1996.

Sadie, Stanley, ed. New Grove Dictionary of Musical Instruments. London: Macmillan Press, 1984.

Other

Cushing Bagpipe Company. http://www.lightlink.com/mcushing(January 2001).

J. Dunbar Bagpipe Maker Ltd. http://www.dunbarbagpipes.com(January 2001).

K. Pettigrew Bagpipes. http://www.bagpipes.co.uk(January 2001).

MacLellan Bagpipes. http://www.highland-pipemaker.com(January 2001).

The Bagpipe Web. http://www.bagpiper.com(January 2001).

The Piping Center, Glasgow, Scotland. http://www.thepipingcentre.co.uk(January 2001).

Uileann Pipes. http://www.uileannpipes.com(January 2001).

[Article by: Gillian S. Holmes]

A wind instrument which, in its simplest form, consists of a perforated tube (the chanter) provided with a reed and inserted into an airtight skin reservoir (the bag). The wind enters the bag through the blowpipe, a second tube with a no-return valve, and is supplied by the lungs of the player, who compresses the bag with his arm to gain the head of air required to cause the reed to vibrate. Additional pipes may be incorporated to provide drones.

The highly developed Scottish Highland pipe has been a martial instrument since at least the 16th century; it has found its way into almost every part of the world, sometimes supplanting local folk instruments. Irish forms include the mouth-blown war-pipe and the bellows-blown union pipe, suited only to indoor playing. The only English type is the bellows-blown Northumbrian pipe. In France, the bellows-blown musette was fashionable in the 17th and 18th centuries. The mouth-blown gaita of Spain and Portugal resembles the Scottish Highland pipe though it usually has only one drone. Old German types pictured by Praetorius include the Bock, Schäferpfeife, Hümmelchen and dudy. The native bagpipe of India consists of a single-reed cane pipe and a blowpipe tied in a goatskin.

For more information on bagpipe, visit Britannica.com.

This article is about the general form of bagpipes. For specific types of bagpipe, see List of bagpipes.

The Bagpiper, by Hendrick ter Brugghen (17th Century, Netherlands).

Bagpipes are a class of musical instrument, aerophones using enclosed reeds fed from a constant reservoir of air in the form of a bag. Though the Scottish Great Highland Bagpipe and Irish uilleann pipes have the greatest international visibility, bagpipes have historically been found throughout Europe, Northern Africa, the Persian Gulf, and the Caucasus.

The term is equally correct in the singular or plural, although in the English language, pipers most commonly talk of "pipes."

Contents 1 Overview 1.1 Air supply 1.2 Bag 1.3 Chanter 1.3.1 Keyed chanter 1.3.2 Double chanter 1.3.3 Intonation 1.4 Drone 2 History 2.1 Possible ancient origins 2.2 Spread and development in Europe 2.3 Recent history 3 Terminology and grammar 4 Modern usage 4.1 Types of bagpipes 4.2 Usage in non-traditional music 5 Publications about the bagpipes 5.1 Periodicals 5.2 Books 6 See also 7 References 8 External links

Overview

A set of bagpipes minimally consists of an air supply, a bag, a chanter, and usually a drone. Most bagpipes also have additional drones (and sometimes chanters) in various combinations, held in place in stocks—connectors with which the various pipes are attached to the bag.

Air supply

The most common method of supplying air to the bag is by blowing into a blowpipe, or blowstick. In some pipes the player must cover the tip of the blowpipe with his tongue while inhaling, but modern blowpipes are usually fitted with a non-return valve which eliminates this need.

An innovation, dating from the 16th or 17th centuries, is the use of a bellows to supply air. In these pipes, sometimes called coldpipes, air is not heated or moistened by the player's breathing, so bellows-driven bagpipes can use more refined and/or delicate reeds. The most famous of these pipes are the Irish uilleann pipes, the Northumbrian smallpipes in Britain, and the Musette de cour in France.

Bag

The bag is an airtight reservoir which can hold air and regulate its flow while the player breathes or pumps with a bellows, enabling the player to maintain continuous sound for some time. Materials used for bags vary widely, but the most common are the skins of local animals such as goats, dogs, sheep, and cows. More recently, bags made of synthetic materials including Gore-Tex have become common.

Bags cut from larger materials are usually saddle-stitched with an extra strip folded over the seam and stitched (for skin bags) or glued (for synthetic bags) to reduce leaks. Holes are cut to accommodate the stocks. In the case of bags made from largely-intact animal skins the stocks are typically tied into the points where limbs and the head joined the body of the living animal, a construction technique common in Central and Eastern Europe.

Chanter

Main article: Chanter

The chanter is the melody pipe, played by one or two hands. A chanter can be bored internally so that the inside walls are parallel for its full length, or it can be bored in the shape of a cone. Additionally, the reed can be a single or a double reed. Double reeds are used with both conical- and parallel-bored chanters while single reeds are generally (although not exclusively) limited to parallel-bored chanters. In general double-reed chanters are found in pipes of Western Europe with single-reed chanters found elsewhere.

The practice chanter

The chanter is usually open-ended; thus, there is no easy way for the player to stop the pipe from sounding. This means that most bagpipes share a legato sound where there are no rests in the music. Primarily because of this inability to stop playing, grace notes (which vary between types of bagpipe) are used to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments (or ornaments) are often highly technical systems specific to each bagpipe, and take much study to master.

A few bagpipes (the musette de cour, the uilleann pipes, the Northumbrian smallpipe, and the left chanter of the Surdulina, a type of Calabrian Zampogna) have closed ends or stop the end on the player's leg, so that when the player covers all the holes (known as closing the chanter) it becomes silent.

Keyed chanter

Although the majority of chanters are unkeyed, some make extensive use of keys to extend the range and/or the number of accidentals the chanter can play. The most common pipe featuring this arrangement is the Northumbrian smallpipe.

Double chanter

A final variant of the chanter is the two-piped chanter (often called a double chanter). The chanter pipes may be designed to be played separately, one with each hand, or the two chanters may be played in unison (as in most Arabic bagpipes). One chanter may provide a drone accompaniment to the other, or the two chanters may play in a harmony of thirds and sixths (as in the southern Italian zampogna). In pipes of the Carpathian basin up to five separate chanters bores may be placed in parallel within a single chanter assembly, providing both melodic and rhythmic possibilities: In the simplest case one pipe is used to play the melody while the second provides a variable drone, while more complex pipes may separate certain individual notes into separate, stopped pipes.

Intonation

Because of the accompanying drone or drones , the lack of modulation in bagpipe melody, and stable timbre of the reed sound, in many bagpipe traditions the tones of the chanter are tuned using just intonation, although bagpipe tuning is highly variable across traditions.^[1]

Drone

Most bagpipes have at least one drone. A drone is most commonly a cylindrical tube with a single reed, although drones with double reeds exist. The drone is generally designed in two or more parts, with a sliding joint ("bridle") so that the pitch of the drone can be manipulated.

Depending on the type of pipes, the drones may lay over the shoulder, across the arm opposite the bag, or may run parallel to the chanter. Some drones have a tuning screw, which effectively alters the length of the drone by opening a hole, allowing the drone to be tuned to two or more distinct pitches. The tuning screw may also shut off the drone altogether. In most type of pipes, where there is one drone it is pitched two octaves below the tonic of the chanter, and further additions often add the octave below and then a drone consonant with the fifth of the chanter.

History

Possible ancient origins

Evidence of pre-medieval bagpipes is uncertain, but several textual and visual clues may possibly indicate ancient forms of bagpipes. A Hittite slab dating from about 1,300 BC at Eyuk depicts a possible representation of a bagpipe. Similarly, a possible textual reference to a bagpipe is found in 425 BC, in the play The Acharnians by the Greek playwright Aristophanes:

A BOEOTIAN: By Heracles! my shoulder is quite black and blue. Ismenias, put the penny-royal down there very gently, and all of you, musicians from Thebes, pipe with your bone flutes into a dog's rump.

—^[2]

Several hundred years later, Suetonius described the Roman Emperor Nero as a player of the tibia utricularis.^[3]. Dio Chrysostom, who also flourished in the first century, wrote about a contemporary sovereign (possibly Nero) who could play a pipe ("aulein") with his mouth as well as with his "armpit". ^[4] From this account, some believe that the tibia utricularis was a bagpipe.

Spread and development in Europe

A detail from the Galician Cantigas de Santa Maria showing bagpipes with one chanter and a parallel drone (13th Century).

In the early part of the second millennium, bagpipes began to appear with frequency in European art and iconography. The Cantigas de Santa Maria, compiled in Castile in the mid-13th Century, depict several types of bagpipes. ^[5] Though evidence of bagpipes in the British Isles prior to the 14th Century is contested, bagpipes are explicitly mentioned in The Canterbury Tales (written around 1380): "A baggepype wel coude he blowe and sowne, /And ther-with-al he broghte us out of towne."^[6]

Actual examples of bagpipes from before the 18th century are extremely rare; however, a substantial number of paintings, carvings, engravings, manuscript illuminations, and so on survive. They make it clear that bagpipes varied hugely throughout Europe, and even within individual regions. Many examples of early folk bagpipes in Continental Europe can be found in the paintings of Brueghel, Teniers, Jordaens and Durer.^[7]

A detail from a painting by Hieronymus Bosch showing two bagpipers (16th Century).

Evidence of the bagpipe in Ireland occurs in 1581, when John Derrick's "The Image of Irelande" clearly depicts a bagpiper falling in battle. Derrick's illustrations are considered to be reasonably faithful depictions of the attire and equipment of the English and Irish population of the 16th Century^[8] In 1760, the first serious study of the Scottish Highland bagpipe and its music was attempted, in Joseph MacDonald's 'Compleat Theory'. Further south, a manuscript from the 1730s by a William Dixon from Northumberland contains music which fits the Border pipes, a nine-note bellows-blown bagpipe whose chanter is similar to that of the modern Great Highland Bagpipe. However the music in Dixon's manuscript varied greatly from modern Highland bagpipe tunes, consisting mostly of extended variation sets of common dance tunes. Some of the tunes in the Dixon manuscript correspond to tunes found in early 19th century published and manuscript sources of Northumbrian smallpipe tunes, notably the rare book of 50 tunes, many with variations, by John Peacock.

As Western classical music developed, both in terms of musical sophistication and instrumental technology, bagpipes in many regions fell out of favour due to their limited range and function. This triggered a long (but slow) decline which continued in most cases into the 20th century.

Extensive and documented collections of traditional bagpipes can be found in the Musical Instrument section of the Metropolitan Museum of Art in New York City, and at the International Bagpipe Museum in Gijón, Spain, and Pitt Rivers Museum in England.

Recent history

During the expansion of the British Empire, spearheaded by British military forces which included Highland regiments, the Scottish Great Highland Bagpipe was diffused and has become well-known worldwide. This surge in popularity was boosted by large numbers of pipers trained for military service in the two World Wars. The surge coincided with a decline in the popularity of many traditional forms of bagpipe throughout Europe, which began to be displaced by instruments from the classical tradition and later by gramophone and radio. Police forces in Scotland, Canada, Australia, Hong Kong, and the USA also adopted the tradition of pipe bands. In the United Kingdom and Commonwealth Nations such as Canada and New Zealand, the bagpipe is commonly used in the military and is often played in formal ceremonies. The Kincardine Scottish Pipe Band located in Ontario, Canada is known as Ontario's oldest street band with unbroken service since 1908. Foreign militaries patterned after the British Army have also taken the Highland bagpipe into use, including Uganda, Pakistan, Sri Lanka, and Oman.

Skye Boat Song An adaptation of the Skye Boat Song for Great Highland bagpipes played by the Clan Stewart Pipe Band. Problems listening to this file? See media help.

In recent years, often driven by revivals of native folk music and dance, many types of bagpipes have resurged in popularity, and in many cases instruments that were on the brink of extinction have become extremely popular. In Brittany, the Great Highland Bagpipe and concept of the pipe band were appropriated to create a Breton interpretation, the bagad. The pipe band idiom has also been adopted and applied to the Spanish gaita as well. Additionally, bagpipes have often been used in various films depicting moments from Scottish and Irish history; the film Braveheart and the theatrical show Riverdance have served to make the uilleann pipes more commonly known.

In the late 20th century, various models of electronic bagpipes were invented. The first custom-built MIDI bagpipes were developed by the Asturian piper known as Hevia (José Ángel Hevia Velasco).^[9] Some models allow the player to select the sound of several different bagpipes as well as switch keys. As yet they are not widely used due to technical limitations, but they have found a useful niche as a practice instrument (particularly with headphones).

Terminology and grammar

Galician gaiteiros

In English-speaking regions, a bagpipe player is known as a "bagpiper" or "piper," and the surname Piper derives from the latter term. Other European surnames, such as Pfeiffer or Pfeifer (German), Gajdar/Гајдар (Serbian), Tulum (Turkish), Gaiteiro (Portuguese-Galician), Gaiteru (Asturian), Gaitero (Spanish), Guda (Laz), Dudák or Gajdar (Czech), Gajdoš (Slovak), Dudás, Sipos, or Gajdos (Hungarian), Zampognaro (Italian), Cimpoieru (Romania), Tsambounieris (τσαμπουνιέρης) or Gaitatzis (γκαϊτατζής) (Greek), Gaidar (Macedonian: Гајдар or Bulgarian: Гайдар; derived from Гайда, Gayda - bagpipe), Gaidar (Russian), Duda, and Dudziak (Polish)^[10] may also signify that an ancestor was a player of the pipes.

Modern usage

Types of bagpipes

Main article: List of bagpipes

Dozens of types of bagpipes today are widely spread across Europe and the Middle East, as well as through much of the former British Empire. The name bagpipe has almost become synonymous with its best-known form, the Great Highland Bagpipe, overshadowing the great number and variety of traditional forms of bagpipe. Despite the decline of these other types of pipes over the last few centuries, in recent years many of these pipes have seen a resurgence or even revival as traditional musicians have sought them out; for example, the Irish piping tradition, which by the mid 20th century had declined to a handful of master players is today alive, well, and flourishing a situation similar to that of the Asturian gaita, the Galician gaita, the Aragonese Gaita de boto, Northumbrian smallpipes, the Breton Biniou, the Balkan Gaida, the Turkish Tulum, the Scottish smallpipes and Pastoral pipes, as well as other varieties.

Traditionally, one of the main purposes of the bagpipe in most traditions was to provide music for dancing. In most countries this has declined with the growth of professional dance bands, recordings, and the decline of traditional dance. In turn, this has led to many types of pipes developing a performance-led tradition, and indeed much modern music based on the dance music tradition played on bagpipes is no longer suitable for use as dance music.

A Laz man playing a Tulum	Irish Uilleann pipes played by Cillian Vallely	Kathryn Tickell playing the Northumbrian smallpipes	A Macedonian man playing the Gaida
A performance on the Galician Gaita	A Breton bagad, or pipe band	A Hungarian Duda	A Serbian bagpiper
Polish bagpipers	Säckpipa Swedish bagpipes	Pastoral pipes with removable footjoint and bellows	A piper playing the Great Highland Bagpipe in traditional dress

Usage in non-traditional music

Main article: List of nontraditional bagpipe usage

Celtic rock band Enter the Haggis featuring Highland bagpipes

Since the 1960s, bagpipes have also made appearances in other forms of music, including rock, jazz, hip-hop, punk, and classical music, for example with Paul McCartney's "Mull of Kintyre", AC/DC's "It's A Long Way To The Top", and Peter Maxwell Davies's composition Orkney Wedding, With Sunrise. The American musician Rufus Harley was the first to use the bagpipes as a primary instrument in jazz.

Publications about the bagpipes

Periodicals

Periodicals covering specific types of bagpipes are addressed in the article for that bagpipe

• Chanter, published by The Bagpipes Society

Books

Main article: List of bagpipe books

• The Book of the Bagpipe, Hugh Cheape
• Bagpipes, Anthony Baines, ISBN 0-902793-10-1, Book Rivers Museum, Univ. of Oxford, 3rd edition, 1995 147 pages with plates
• Woodwind Instruments & Their History, Anthony Baines, ISBN 0-486-26885-3, Nov. 1991, Dover Pub., with Bagpipe plates
• The Bagpipe, The History of a Musical Instrument, Francis Collinson, 1975

See also

• List of bagpipes
• List of bagpipers
• List of pipe makers
• List of pipe bands
• List of published bagpipe music
• List of nontraditional bagpipe usage
• List of bagpipe technology books
• List of composers who employed pipe music
• Glossary of bagpipe terms
• Practice chanter

References

1. ^ Podnos, Theodor. 1974. Bagpipes and tunings. Detroit Monographs in Musicology 3. Detroit: Information Coordinators
2. ^ The Eleven Comedies, Aristophanes
3. ^ (Life of Nero, 54)
4. ^ (Or. 71.9)
5. ^ Elizabeth Aubrey The Music of the Troubadours 1996.
6. ^ Chaucer. The Canterbury Tales. Prologue to "The Miller's Tale", line 565.
7. ^ [1] The Great Highland Bagpipes
8. ^ John Derrick The Image of Irelande London, 1581.
9. ^ CNN - WorldBeat Spotlight - Bagpipes resonate through rugged coastline of... Spain - November 5, 1999
10. ^ PolishRoots - Surnames: Origins & Meanings

External links

Wikimedia Commons has media related to: Bagpipes

• Bagpipe iconography - Paintings and images of the pipes.
• The Universe of Bagpipes - 30 different examples of bagpipes from Sean Folsom's collection
• A demonstration of rare instruments including bagpipes
• The Concise History of the Bagpipe by Frank J. Timoney

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

Dansk (Danish)
n. - sækkepibe

idioms:

• bagpipe player    sækkepibespiller

Nederlands (Dutch)
doedelzak

Français (French)
n. - cornemuse

Deutsch (German)
n. - Dudelsack

Ελληνική (Greek)
n. - γκάιντα, πίπιζα

idioms:

• bagpipe player    παίκτης γκάιντας

Italiano (Italian)
cornamusa

idioms:

• bagpipe player    suonatore di cornamusa

Português (Portuguese)
n. - gaita (f) de foles (Mús.)

Русский (Russian)
волынка

idioms:

• bagpipe player    волынщик

Español (Spanish)
n. - gaita, cornamusa, siringa

Svenska (Swedish)
n. - säckpipa

中文（简体）(Chinese (Simplified))
风笛

idioms:

• bagpipe player    风笛演奏员

中文（繁體）(Chinese (Traditional))
n. - 風笛

idioms:

• bagpipe player    風笛演奏員

한국어 (Korean)
n. - 백파이프

日本語 (Japanese)
n. - バグパイプ

idioms:

• bagpipe player    バグパイプ奏者

العربيه (Arabic)
‏(الاسم) مزمار القربه, زمارة‏

עברית (Hebrew)
n. - ‮חמת חלילים‬

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