concise history of the bagpipe
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History of the great highland bagpipe by Frank Timoney.TRANSCRIPT
Great Pipe
The Scale of The GreatHighland Bagpipe and ItsRelation To Its Drones
A legato instrument without the ability to playlouder or softer, the bagpipe scale is differentfrom other instruments because of its need forconsonance with its drones. It is an ensembleinstrument. Because the drones depend onunvarying wind pressure, they in turn governthe pipe scale. The low A of the pipe chanter isan octave above the two tenor drones and twooctaves above the bass drone. So it may besaid that the instrument plays in three octaves. Itcan readily be seen that any attempt to interferewith the scale of the instrument would simplydestroy all its characteristics. It could be saidthat the pipe scale is a tempered scale. But is it?Perhaps tempered because each note isgoverned in pitch, according to some othertemperament acting upon it and we will comeback to this point further on.
The chanter scale consists of eight notes, low A through high A, or one octave.When the chanter is closed, an extra note (low G) is sounded which is actuallyan extension of one note into a lower octave of the same scale. Therefore, themelodic range of the chanter is an octave and one note. Low A (A major) is thelowest fundamental note. This seems to be the basic finger position of mostsimple wind instruments. The scale is actually the set intervals (mathematicalmeasurements or ratios) between notes and the amount of intervals determinesthe pitch of that note. The chanter has one major and four minor tones plus twolimmas. These limmas only occur in the intervals between the notes C and Dand F and high G. Here is where the problem of describing the chanter scalegets tied up with our old friend temperament and semi tones.
Because the intervals between C and D and F and high G are not in equalproportion to the frequencies of the other notes, they do not produce tones orsounds that are in balance with the rest of the chanter's scale. D is sharp andhigh G is flat. Here we find temperaments acting against or upon the rest of thechanter scale. Consequently, the Highland Bagpipe scale is mixolydian. Wemay say that it has a major third and a minor or diminished seventh, which isgapped. But for these, the pipe would have a just scale. This is perhaps whatcauses the pipe to sound Eastern or oriental to some but it is a very Westernscale. Perhaps it may even be said to sound medieval.
The pitch of the Great Highland Bagpipe chanter is B flat against its lowestfundamental or main tonic of low A. Oddly, the extra note, low G, made byclosing the chanter, does not tune or harmonize with the drones. It is the mostdissonant note of the pipe scale, having no harmonics against the whole. Yet itis constantly in use in Scottish piping to form grace note clusters. Nevertheless,
we are still left with the provocative question of where the chanter's scalecomes from. A safe guess might be ancient Greece. We know that Ptolemyexperimented with the scale of instruments in the second century A D and astriking affinity exists today in the chanter scale of the Macedonian Bagpipe andthat of the Great Highland Bagpipe.
The pitch of the two tenor drones is B flat. Their frequency is 240 cycles per second and theysound one octave higher than the bass drone and one octave lower than the pipe chanter. Thedrones enhance the chanter sound. Poor drones or poorly tuned drones will sap the life from anotherwise good chanter. Indeed, they will cause the instrument to seem louder and force it tobecome more difficult to play and maintain overall steadiness. When properly in tune, a tenordrone sounds low A. The pitch and harmonics of a drone are affected by the steps or shoulders inits bore. Harmonics are the multiples or extra sounds of the fundamental note being sounded andthe over all tuning of the Bagpipe depends entirely on the balance or blend obtained between thefundamentals and harmonics of chanter and drones. Orchestral instruments tend to have ratherweak harmonics beyond the tenth or eleventh harmonic. Not so in the Bagpipe. Timbre is ameasurement of the strength of a harmonic. High harmonics make the overall sound bright whilelow harmonics make for an overall dull sound and affect overall amplitude. The internal bores of adrone affect the pitch of the instrument, the wider the bore, the higher the pitch and the greatersonority or timbre of the whole. Narrow bores produce a flatter sound. The use of "tuning straws" inthe chanter and drones was an ancient method used by several European piping cultures tobalance the top and bottom hands of the chanter notes as well as the drones against the chanter.Because of the previously noted temperaments, one cannot tune a Bagpipe drone alone or byitself. The three drones must sound together with the chanter and are then tuned one by one,locking in their harmonics with those of the chanter. Theoretically, sound waves should travelthrough the drone unrestricted and undistorted to produce optimum brilliance of tone. Thepossibility of distortion may occur where the narrow bore of the lower part of the drone (tuningslide) empties into the larger bore of the upper drone and then back into a smaller bore beforecollecting in an even larger cap or bell at the drone top. Until approximately 1955, sound waveswere subjected to distortion at these square cornered air reduction areas in most drones. Todaythey are more rounded and less abrupt. Drone bores today are often polished to reduce airfriction. The trumpet, pear or bottle shaped bells at the drone tops have an important mellowingeffect on the overall drone sound. With softer sounding pipes, a single drone is adequate as in theSpanish Bagpipe.
A phenomenon of the tenor drone is that it has a first harmonic so strong that it appears to theordinary ear to be the actual fundamental note of the drone and causes its pitch to seem an octavehigher than it really is. The outermost ends of the drones, the bells, are closed by a flat cap with a
hole in the centre. This cap has the effect of smoothing the sound by suppressing the highestharmonics. When a drone is tuned to its maximum length, the sound becomes smoother and thepipe becomes easier to play.
Much thought by the nonperformingcommunity has been given to the age of thebass drone and whether or not it predates thetenor drone. A chicken or egg mentality! Thebass drone is the key of harmony and balance.It brings out the harmonics in the chanter andprovides the framework upon which the soundof the Bagpipe is constructed. It is the mostimportant component of the Bagpipe, actuallydetermining its sound. It is the most difficultdrone to reed because there are more joints,different gage bores and bore shoulders tocause sound wave distortion. Because of itslength, it has a tendency to warp with ageespecially in the bottom joint and this will makereeding more difficult. The bass drone is two octaves below the pipe chanter and one octavebelow the tenor drones. It has a very strong second harmonic, giving it the phenomenon ofsounding a fifth harmonic, which it does not have! Of course, it has that extra chamber to add to itsresonance. Its keynote of low A is 114 to 120 cycles per second and it can only be used with aconical bored chanter. It is always constructed the same way, as a series of joints and slides fortuning in most European Bagpipes, especially the Italian and Spanish varieties where therelationship of bass to chanter is essentially the same. Its pitch, like the two tenor drones, is B flatand it can be documented to the thirteenth century in Europe. When and how the bass dronecame into being is not known but it has a definite musical purpose. A safe guess could be Romesimply because most things of an ingenious nature come from Rome or ancient Italy and it is acurious fact that the drone bores of the Highland pipe are very similar to those of the Italian pipe.The bass drone adds strength, colour, and an overall richer and full sound. Because of the droneslength and narrow bore, it produces a strong set of overtones or ghost tones. Ghost tones areheard when played against the chanter on low G, B D F and high G.
We can now begin to understand that drones also governthe scale intervals and are a temperament in themselvesupon the scale. If the note intervals of the chanter werechanged, there would be a dissonance between thedrones and a dissonance between drones and chanter.A rather important purpose of drones is to smooth overthe hard edges of the chanter sound. Most ancient writerscomment on the loudness of the Bagpipe. A loudsounding chanter needs drone power to balance it and ispossibly the reason why tenor drones were added. Withsofter sounding pipes, a single drone is quite adequate.Most pipers today play in bands and many have neverheard the harmonics of their instruments. Indeed manyseem not even aware or caring of their presence,blissfully "playing" an un tuned pipe.
Wood is a major factor in the production of tone andharmonics. Of course, every piece of wood respondsdifferently. Density affects the resonance of the wood andis of major importance. A fine hard texture and closenessof the grain will give the best tone.
Moisture must also come into the equation because, over time, it will cause shrinkage to the boresand bore diameter affects amplitude and brightness of sound. When purchasing a previouslyowned set of pipes, one must be alert for warpage and elliptical bores. Otherwise, dimensionalstability will be lost.
The stocks of the instrument are allimportant in producing steady tone. Itis here that harmonics are alsoproduced. The stock will definitelyaffect the behaviour of the reed aswell. The volume of air in the stock andin its mouth actually controls thefrequency of sound produced in thedrone. This is why in the ancient worldwax was used in the stock to adjust thebehaviour of the drone. Antique pipeshave very long stocks and it is felt thatthey enabled the pipes to stay in tunefor longer periods, perhapscondensing water more efficiently thantoday's shorter stock. The stocks ofthese older sets of pipes also hadgreater internal diameter and it is feltby some that this controlled thevelocity of air going up to the drones.
The bag also produces its share ofharmonics and many pipers feel the
Icelandic sheepskin, because of its small pores, give the most harmonics and actually add tooverall amplitude. We can now see how each component of the bagpipe inter reacts with thewhole and has its share in the overall production of tone and volume.
Reeds of course are a study in themselves. The constant openingand closing of the reed tongue results in both even and oddharmonics. Anyone assuming that jamming a reed, cane orsynthetic, into a drone without adjusting it to its drone, is justasking for cacophony and would perhaps be better directed to thedisciplines of the tin whistle, but then one would not be able towear the kilt, which seems to be a main motivation for murderingthe Bagpipe in many pipe bands.
It is obvious that the bagpipe must have a constant air supply inorder to maintain tone and balance. The slightest over or underblowing will force the instrument out of tune. If one had to turn apage of music, for instance, the pressure and consequently theharmony of the instrument would be lost. This is why all of thepiper's music must be memorized.
ReferencesObservations by:A J Ellis 1885General C S Thomason 1906D J Blaikley 1920G F Ross 1927Dr G E Allen 1937/1940Pipe Major Willie Gray 1939
Seumas MacNeill 19481950F G Scott 1954Archie MacNeill 1959John Wilson, Canada 1958Piping Times:Alex R Carruthers "Characteristics of the Sound Levels of the Highland Bagpipe" John M A Lenihan and Seumas MacNeill "The Scale of the Highland Bagpipe"Seumas MacNeill "The Pitch of the Pipe"
Proceedings of The Piobaireachd Society:Alexander C Mackenzie"Some Recent Measurements on the Scale of the Great Highland Bagpipe"
"Piobaireachd and its Interpretation" Dr. Frank Richardson and Seumas MacNeill"The Highland Bagpipe and its Music" Roderick D Cannon"The Traditional and National Music of Scotland" Francis Collinson"Bagpipes" Anthony Baines\Oxford University
Great Pipe ● Scotland ● Rome/Ancient World ● Piobaireachd ● Ireland ● War Pipe ● Uilleann Pipe ● Saffron ● References© 20072008, Frank Timoney
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