This page is dedicated to Pipe Major James Farrell of Manchester, Connecticut, a member of Saint Patrick's Pipe Band of Glastonbury, Connecticut (formerly of Manchester, CT). He was my bagpipe teacher, a great man, and a wonderful friend. I will be always grateful to him for teaching me this wonderful instrument.
From Wikipedia, the free encyclopedia
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 of many different types come from different regions 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."
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
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.
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. In the second century AD, Suetonius described the Roman Emperor Nero as a player of the tibia utricularis.[1]. 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". [2] 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. [3] 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.[4]
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.[5]
A detail from a painting by Hieronymus Bosch showing two bagpipers (15th Century). Evidence of the bagpipe in Ireland occurs in 1581, when John Derrick's "The Image of Irelande" clearly depicts a bagpiper. 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[6] The Battle sequence from My Ladye Nevells Booke (1591) by William Byrd, which probably alludes to the Irish wars of 1578, contains a piece entitled The bagpipe: & the drone. 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.
Image of Irelande (1581)
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.
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. Foreign militaries patterned after the British Army have also taken the Highland bagpipe into use, including Uganda, Pakistan, Sri Lanka, and Oman. Police forces in Scotland, Canada, Australia, New Zealand, Hong Kong, and the United States also adopted the tradition of pipe bands.
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).
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.
Usage in non-traditional music
Celtic rock band
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.
References 1.^ (Life of Nero, 54)
2.^ (Or. 71.9)
3.^ Elizabeth Aubrey The Music of the Troubadours 1996.
4.^ Chaucer. The Canterbury Tales. Prologue to "The Miller's Tale", line 565.
5.^ [1] The Great Highland Bagpipes
6.^ John Derrick The Image of Irelande London, 1581.
7.^ CNN - WorldBeat Spotlight - Bagpipes resonate through rugged coastline of... Spain - November 5, 1999
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
THE MANY KINDS OF "BAGPIPES" AROUND THE WORLD
Tulum or Guda: double-chantered, droneless bagpipe of Rize and Artvin provinces of Turkey. Usually played by the Laz and Hamsheni people.
Western Europe
France
--The boha of Gascony
--Musette de cour: A French open ended smallpipe, believed by some to be an ancestor of the Northumbrian smallpipes, used for classical compositions in 'folk' style in the 18th Century French court. The shuttle design for the drones was recently revived and added to a mouth blown Scottish smallpipe.
--Biniou (or biniou koz "old style bagpipe"): a mouth blown bagpipe from Brittany, a Celtic region of northwestern France. It is the most famous bagpipe of France. The great Highland bagpipe is also used in marching bands called bagadoù and known as biniou braz ("great bagpipe").
--Veuze, found in Western France around Nantes and into the Breton marshes.
--Cabrette: bellows-blown, played in the Auvergne region of central France.
--Chabrette (or chabretta): found in the Limousin region of central France.
--Bodega (or craba): found in Languedoc region of southern France, made of an entire goat skin.
--Boha: found in the Gascogne and Landes regions of southwestern France.
--Musette bressane: found in the Bresse region of eastern France, notable for having no separate drone, but a drone and chanter bored into a single piece of wood.
--Cornemuse du Centre (or musette du centre): bagpipes of Central France) are of many different types, some mouth blown. They can be found in the Bourbonnais, Berry, Nivernais, and Morvan regions of France and in different tonalities.
--Chabrette poitevine: found in the Poitou region of west-central France, but now extremely rare.
--Caramusa: a small bagpipe with a single parallel drone, native to Corsica
--Musette bechonnet, named from its creator, Joseph Bechonnet (1820-1900 AD) of Effiat.
--Bousine, a small droneless bagpipe played in Normandy. (fr:Bousine)
--Loure, a Norman bagpipe which gives its name to the French Baroque dance loure.
The Netherlands and Belgium
--Doedelzak (or pijpzak): found in Flanders and the Netherlands, this type of bagpipe was made famous in the paintings of Pieter Brueghel the Elder; died out, but revived in the late 20th century.
--Muchosa (or muchosac): found in the Hainaut province of Wallonia, in southern Belgium, and previously known down into the north of France as far as Picardy
Germany
--Dudelsack: German bagpipe with two drones and one chanter. Also called Schäferpfeife (shepherd pipe) or Sackpfeife. The drones are sometimes fit into one stock and do not lie on the player's shoulder but are tied to the front of the bag. (see: de:Schäferpfeife)
--Mittelaltersackpfeife: Reconstruction of medieval bagpipes after descriptions by Michael Praetorius and depictions by Albrecht Dürer, among others. While the exterior is reconstructed from these sources, the interior and sound are often similar to the Scottish Great Highland Bagpipe. Commonly tuned in A minor and used by musical groups specialising in medieval tunes. Often to be seen at medieval festivals and markets. (see: de:Marktsackpfeife)
--Huemmelchen: small bagpipe with the look of a small medieval pipe or a Dudelsack. The sound is similar to that of the Uilleann pipes, or sometimes the smallpipes. Seldom louder than 60 or 70 dB.
--Dudy or kozoł (Lower Sorbian kózoł) are large types of bagpipes (in E flat) played among the (originally) Slavic-speaking Sorbs of Eastern Germany, near the borders with both Poland and the Czech Republic; smaller Sorbian types are called dudki or měchawa (in F). Yet smaller is the měchawka (in A, Am) known in German as Dreibrümmchen. The dudy/kozoł has a bent drone pipe that is hung across the player’s shoulder, and the chanter tends to be curved as well.
Switzerland
--Schweizer Sackpfeife (Swiss bagpipe): In Switzerland, the Sackpfiffe was a common instrument in the folk music from the Middle Ages to the early 18th century, documented by iconography and in written sources. It had one or two drones and one chanter with double reeds.
Austria
--Bock (literally, male goat): a bellows-blown pipe with large bells at the end of the single drone and chanter
Ireland
--Uilleann pipes: Bellows-blown bagpipe with keyed or un-keyed chanter and keyed drones (regulators). The most common type of bagpipes in Irish traditional music.
--Great Irish Warpipes: Carried by most Irish regiments of the British Army (except the Royal Inniskilling Fusiliers) until the late 1960s, when the Great Highland Bagpipe became standard. The Warpipe differed from the latter only in having a single tenor drone.
--Brian Boru bagpipes: Carried by the Royal Inniskilling Fusiliers and had three drones, one of which was a baritone, pitched between bass and tenor. Unlike the chanter of the Great Highland Bagpipe, its chanter is keyed, allowing for a greater tonal range.
--Pastoral pipes: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it developed into the modern uilleann bagpipe.
United Kingdom
--Northumbrian smallpipes: a smallpipe with a closed end chanter played in staccato.
--Border pipes: also called the "Lowland Bagpipe", commonly confused with smallpipes, but louder. Played in the Lowlands of Scotland, and in England near the Anglo-Scottish border. Conically bored, less raucous in timbre than the Highland pipes, but partially or fully chromatic.
--Scottish smallpipes: a modern re-interpretation of an extinct instrument. Derived from the Northumbrian pipes by Colin Ross and others.
--Cornish bagpipes: an extinct type of double chanter bagpipe from Cornwall (southwest England); there are currently attempts being made to revive it on the basis of literary descriptions and iconographic representations.[1]
--Welsh pipes (Welsh: pibe cyrn, pibgod): Of two types, one a descendant of the pibgorn, the other loosely based on the Breton Veuze. Both are mouthblown with one bass drone.
--Pastoral pipes: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it was developed into the modern Uilleann bagpipe.
--English bagpipes: with the exception of the Northumbrian smallpipes, no English bagpipes maintained an unbroken tradition. However, music enthusiasts are attempting to "reconstruct" various English bagpipes based on descriptions and representations, but no actual physical evidence.
--Zetland pipes: a reconstruction of pipes believed to have been brought to the Shetland Islands by the Vikings, though not clearly historically attested.
Northern Europe
Sweden
--Säckpipa: Also the Swedish word for "bagpipe" in general, this instrument was on the brink of extinction in the first half of the 20th century. It has a cylindrical bore and a single reed, as well as a single drone at the same pitch as the bottom note of the chanter.
Latvia
--Dūdas: Latvian bagpipe, with single reed chanter and one drone.
Lithuania
--Dūda: a bagpipe native to Lithuania.
Estonia
--Torupill: an Estonian bagpipe with one single-reeded chanter and 1-3 drones.
Finland
--Säkkipilli: The Finnish bagpipes died out but have been revived since the late 20th century by musicians such as Petri Prauda.
Eastern Europe
--Volynka (Ukrainian: Волинка), (Russian: Волынка): It is a Slavic bagpipe. Its etymology comes from the region in which it was most popular - Volyn in Ukraine.
--Dudy (also known by the German name Bock): Czech bellows-blown bagpipe with a long, crooked drone and chanter that curves up at the end.
--Dudy or kozoł (Lower Sorbian kózoł) are large types of bagpipes (in E flat) played among the (originally) Slavic-speaking Sorbs of Eastern Germany, near the borders with both Poland and the Czech Republic; smaller Sorbian types are called dudki or měchawa (in F). Yet smaller is the měchawka (in A, Am) known in German as Dreibrümmchen. The dudy/kozoł has a bent drone pipe that is hung across the player’s shoulder, and the chanter tends to be curved as well.
--Cimpoi is the name for the Romanian bagpipes. Two main categories of bagpipes were used in Romania: with a double chanter and with a single chanter. Both have a single drone and straight bore chanter and is less strident than its Balkan relatives.
--Magyar duda or Hungarian duda (also known as tömlősíp, bőrduda and Croatian duda) has a double chanter (two parallel bores in a single stick of wood, Croatian versions have three or four) with single reeds and a bass drone. It is typical of a large group of pipes played in the Carpathian Basin.
Poland
--Koza ("goat" or kozioł (buck), or gajdy) is the generic term for Polish bagpies.[2] They are sometimes also wrongly named kobza. They are used in folk music of Podhale, Żywiec Beskids, Cieszyn Silesia and mostly in Greater Poland, where there are known to be four basic variants of bagpipes:
--Dudy wielkopolskie (Greater Polish bagpipes) with two subtypes: Rawicz-Gostyń and Kościan-Buk
Kozioł biały (or kozioł biały weselny)
Kozioł czarny (or kozioł czarny ślubny)
Sierszeńki
The Balkans
--Gaida (also the large kaba gaida from the Rhodope Mountains in Bulgaria): Southern Balkan (i.e. Bulgarian and Macedonian) and Greek and Albanian bagpipe with one drone and one chanter
Istarski mih (Piva d'Istria): a double chantered, droneless Croatian bagpipe whose side by side chanters are cut from a single rectangular piece of wood. They are typically single reed instruments, using the Istrian scale.
Gajdy or gajde: the name for various bagpipes of Eastern Europe, found in Poland, Serbia, Slovakia, and Croatia.
Duda, used in some parts of Croatia
Southern Europe
Iberian Peninsula (Portugal and Spain)
--Gaita is a generic term for "bagpipe" in Spanish, Portuguese, Galego, Asturian, Catalan and Aragonese, for distinct bagpipes used in across northern Spain and Portugal, and down the eastern coast of Spain and the Balearic Islands. Just like "Northumbrian smallpipes" or "Great Highland bagpipes," each country and region attributes its toponym to the respective gaita name. Most of them have a conical chanter with a partial second octave, obtained by overblowing. Folk groups playing these instruments have become popular in recent years, and pipe bands have been formed in some traditions.
--Sac de gemecs: used in Catalonia (eastern Spain).
--Xeremia: played in Majorca, often accompanying the flabiol and drum.
--Galician gaita: traditional bagpipe used in Galicia and Northern and Central Portugal.
--Gaita de boto: native to Aragon, distinctive for its tenor drone running parallel to the chanter.
--Gaita de saco: native to Soria, La Rioja, Alava, and Burgos in north-central Spain. Possibly the same as the lost gaita de fuelle of Old Castile.
--Gaita asturiana: native to Asturias. Very similar to the gaita gallega but of heavier construction with an increased capability for octave jumps and chromatic notes.
--Gaita transmontana (or gaita mirandesa): native to the Tras-os-Montes region of Portugal.
--Gaita sanabresa: played in Puebla de Sanabria, in the Zamora province of western Spain
--Gaita cabreiresa (or gaita lionesa): an extinct but revived pipe native to Leon
--Gaita alistana: played in Aliste
Italy
--Zampogna (also called ciaramella, ciaramedda, or surdullina): A generic name for an Italian bagpipe, with different scale arrangements for two chanters (for different regions of Italy), and from one to three drones (the drones usually sound a fifth, in relation to the chanter keynote).
--Ciaramedda: a double-chantered, single reed bagpipe native to Sicily and Calabria.
--Piva: used in northern Italy (Bergamo, Emilia), and bordering regions of Switzerland such as Ticino. A single chantered, single drone instrument, with double reeds, often played in accompaniment to a shawm, or piffero.
Müsa: played in Pavia, Alessandria, Genova and Piacenza.
--Baghèt: similar to the piva, played in the region of Bergamo (see: lmo:Baghèt)
Malta
--Żaqq (with definite article: iż-żaqq): The most common form of Maltese bagipes. A double-chantered, single-reed, droneless hornpipe.
--Qrajna: a smaller Maltese bagpipe[citation needed]
Greece
--Askomandoura (Greek: ασκομαντούρα): bagpipe used in Cretephoto
--Tsampouna (Greek: τσαμπούνα): Greek Islands bagpipe with a double chanter, no drone and a bag made from an entire goatskin. Pronounced "saw-bow-nah". (Alternately tsambouna, tsabouna, etc.)
Gaida (Greek: γκάιδα): Thrace.
Southwest Asia
Anatolia
--Pontic bagpipe/dankiyo/tulum consist of: 1. Post - Skin (bag): Animal Skin, 2. Fisaktir - blowpipe: Wood or Bone, 3. Avlos - flute: Wood & Reeds, 4 . Kalame - Reeds: ReedsDankiyo: A word of Greek origin for "bagpipe" used in the Trabzon Province of Turkey.
--Tulum or Guda: double-chantered, droneless bagpipe of Rize and Artvin provinces of Turkey. Usually played by the Laz and Hamsheni people.
--Gaida: Usually played by Thracians, Turks, and Pomaks in Turkey.
The Caucasus
--Parkapzuk (Armenian: Պարկապզուկ): A droneless horn-tipped bagpipe played in Armenia
--Gudastviri (Georgian: გუდასტვირი): A double-chantered horn-tipped bagpipe played in Georgia. Also called a chiboni or stviri.
--Tulum (Turkmen: tulum): Native to Azerbaijan.
Iran
--Ney anban (Persian: نی انبان): a droneless double-chantered pipe played in Southern Iran
Arab states of the Persian Gulf
--Habban (Arabic: حبان): a generic term covering several types of bapipes, including traditional Bedouin bagpipes in Kuwait, and a modern version of the Great Highland Bagpipes played in Oman.
--Jirba (قربة): a type of double-chantered droneless bagpipe, primarily played by the ethnic Iranian minority of Bahrain.
North Africa
Libya
--Zokra (Arabic: زكرة): famous in Libya; bagpipe with a double-chanter terminating in two cow horns.
Tunisia
--Mizwad (Arabic: مِزْود; plural مَزاود mazāwid): Tunisian bagpipes with a double-chanter terminating in two cow horns.
Algeria
--Ghaita (غيطه): a type of bagpipe played in Algeria.
References
1.^ Woodhouse, Harry (1994). Cornish Bagpipes: Fact or Fiction?. Trewirgie: Dyllansow Truran. ISBN 1850220700.
2.^ Dudy grają
From Wikipedia, the free encyclopedia
CLICK ON IMAGE TO ENLARGE
Some Bagpipe Images
The Anatomy of Bagpipes
McCallum engraved pipes
British soldier
A gaggle of engraved McCallum Bagpipes
My collage of various type of pipes
Portugese Bagpipes
Portugese Bagpipes
Portugese Bagpipes
Military Bagpipe Tunic
A HISTORY OF GAELIC PIPING BY JOHN GIBSON
A HISTORY OF BAGPIPING BY THEODORE HINTON
A Hungarian Duda
CELTIC ROCK GROUP WITH PIPES
FRANCE
FRANCE, GALICIAN PIPES
LIBYA
PASTORAL PIPES, UNITED KINGDOM
TURKEY
The Bagpiper, by Hendrick ter Brugghen (17th Century, Netherlands).
A detail from a painting by Hieronymus Bosch showing two bagpipers (15th century)
Image of Irelande (1581)
NATIVE AMERICAN STYLE DRONE FLUTE---NO BAG
A detail from the Galician Cantigas de Santa Maria showing bagpipes with one chanter and a parallel drone (13th Century)
Traditional Swedish bagpipes, säckpipa, made by Leif Eriksson
SERBIA
CROATIA
NORTH CENTRAL SPAIN
THE PRACTICE CHANTER OF THE GREAT HIGHLAND PIPE
The boha of FRANCE
SCOTTISH PARLOR PIPES (SMALL, QUIET)
THE IRISH UILLIANN PIPES
IRELAND, UILLIANN PIPES
THE GREAT HIGHLAND PIPES
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