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What is the name of the Scottish wind instrument. How to play bagpipes

What is the name of the Scottish wind instrument. How to play bagpipes

21.02.2019

Duda, Gaelic. Pìob, Pol. Dudy, irl. Píobaí, Scots Bagpipe, Ukrainian Goat, Bulgarian Hyde.

Technical extraction of sound

Irish bagpipe

Irish bagpipe uilleann pipes [ˈɪlən paɪps]) - Illyan pipes, translated from Irish - elbow bagpipes - the Irish version of the bagpipe, which finally took shape by the end of the 18th century. Air is pumped into the bag with bellows rather than a blowpipe. The Irish bagpipe, unlike all other bagpipes, has a range of two full octaves, and in its full version can also play accompaniment in addition to the melody using the knobs.

Spanish bagpipe

Also called "gaita" (La gaita), comes from Galicia, as well as Asturias and the eastern part of the province of León.

Russian bagpipe

The bagpipe was once a very popular folk instrument in Rus'. It was made of raw sheepskin or cowhide, on top there was a tube for pumping air, on the bottom - two bass pipes, creating a monotonous background, and a third small pipe with holes, with which they played the main melody. The bagpipe was ignored by the upper circles of society, since its melody was considered inharmonious, inexpressive and monotonous, it was usually considered a "low", folk instrument. Therefore, during the 19th century, the bagpipe was gradually replaced by more complex wind instruments such as accordion and button accordion.

Ukrainian bagpipe

In Ukraine, the bagpipe has the name "goat" - apparently, for the characteristic sound and the production of goat skin. Moreover, the instrument is also given an external resemblance to an animal: they are covered with a goat skin, a clay goat head is attached, and the pipes are stylized under legs with hooves. The goat was, in particular, an invariable attribute of festivities and carols. There are bagpipes with a goat's head, in almost all Carpathian regions - Slovak, Polish, Czech, Lemko, Bukovina - there is traditionally a goat's head, wooden, with horns.

french bagpipes

In France, there are many types of bagpipes - this is due to the wide variety of musical traditions of the regions of the country. Here are just a few of them:

Central French bagpipe ( musette du center, Cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a two-burdon instrument. Bourdons - large and small, the small one is located from the bottom, near the chanter, tuned to each other in an octave. The cane of the chanter is double, the bourdon ones are single; air is forced through the blower. The scale is chromatic, the range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for blowing air. Traditionally used in duet with the hurdy gurdy.
Cabretta (French: chabrette, Auversk. occitane. : cabreta) - a single-burdon bagpipe of the elbow type, which appeared in XIX century among the Parisian Auvergne and quickly spread in the province of Auvergne itself and in the surrounding regions of the Center of France, practically displacing local, more archaic types of instrument, for example, the Limousin chabrette ( chabreta limousina).
Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
Musette de Cours musette de cour) - "salon" bagpipe, widely used in XVII-XVIII centuries in court baroque music. This type of bagpipe is distinguished by two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipe

Scottish bagpipe

Bagpipe (English) Great Highland Bagpipes) - old Scottish instrument. It is a tank made of sheep or goat skin, turned inside out (goose), to which three bourdon tubes (drones), one tube with eight game holes (chanter) and a special short tube for blowing air are attached (tied). It has a simplified air supply - through an inflating tube - provides freedom to the right hand.

When playing, the piper fills the tank with air and, pressing it with the elbow of his left hand, makes the bourdon and playing pipes sound, which in turn are equipped with special reeds (reeds), moreover, single reeds are used in bourdon pipes, and double reeds made of reeds are used in the playing pipe .

Estonian bagpipe

Estonian bagpipe (Est. torupill) made from the stomach or bladder of a large animal such as a fur seal, has one, two or (rarely) three bourdon pipes, a flute as a voice pipe, and an additional pipe for blowing air.

Service and Consumables

A special composition (bag seasoning, bagpipe seasoning) is placed in the bag, the purpose of which is not only to prevent air leakage from the bag. It serves as a covering that retains air but releases water. A bag made of solid rubber (found on unplayable bagpipes, wall souvenirs that deceive tourists) would completely fill with water in half an hour of play. The water from the bagpipe comes out through the wetting skin of the bag.

Reeds (both bourdon and chanter) can be made of cane or plastic. Plastic reeds are easier to play, but natural reeds sound better. The behavior of natural reeds is very dependent on the humidity of the air, reeds work better in humid air. If the natural cane is dry, in some cases it helps to put it in water (or lick it), pull it out and wait for a while, and you can’t soak it either. (It is often advised in beginner's manuals to try to play bagpipes with dry reeds for an hour or more, until the reeds get moisture from the exhaled air. Perhaps this recipe was once invented as a joke or a punishment for the irregularity of practice.) With the help of certain mechanical manipulations, the reed can be made "lighter" or "heavier", adapt it to more or less pressure. Regardless of the material, each individual reed has its own "character", the player must adapt to it.

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Notes

Bagpipes / K. A. Vertkov // Great Soviet Encyclopedia: [in 30 volumes] / ch. ed. A. M. Prokhorov. - 3rd ed. - M. : Soviet Encyclopedia, 1969-1978.
breizh.ru:
Mordva: Historical and cultural essays / Ed. coll.: V. A. Balashov (editor-in-chief), V. S. Bryzhinsky, I. A. Efremov; Ruk. ed. team academician N. P. Makarkin. - Saransk: Mordov. book. publishing house, 1995. - S. 462-463. - 624 p. - 2000 copies. - ISBN 5-7595-1049-5.
(port.). Associação Gaita de Foles. Retrieved 24 September 2016.
Tereshenko A.. - St. Petersburg. , 1848. - T. 1. - S. 485.
Urve Lippus and Ingrid Ruutel. Estonia // . - Oxford University Press.

Literature

// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
- article from the encyclopedia "Round the World"
Kashkurevich T. A.
Nikiforov P. N., Mari folk musical instruments, Yoshkar-Ola, 1959, p. 48-58
Remishevsky K. I., Kalatsei V. V.
Eshpay Ya. A., National musical instruments of the Mari, Yoshkar-Ola, 1940, p. 23-28
Anthony Baines. bagpipes. - Oxford: Oxford University Press, 1960.
Joshua Dickson. The Highland Bagpipe: Music, History, Traditon. - Ashgate Publishing, Ltd, 2009.
Angus Cameron Robertson. The Bagpipes: History and Traditions. - McBeath & Company, 1930.

Links

(Russian) (Retrieved August 6, 2011)
(Russian) (Retrieved August 6, 2011)
(Russian) (Retrieved August 6, 2011)
(Russian) (Retrieved August 6, 2011)



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An excerpt characterizing the Bagpipes

“Well, my dear,” Prince Vasily said jokingly, “tell me yes, and I will write to her on my own, and we will kill the fat calf. - But Prince Vasily did not have time to finish his joke, when Pierre, with a fury in his face, which resembled his father, without looking into the eyes of his interlocutor, said in a whisper:
- Prince, I did not call you to my place, go, please, go! He jumped up and opened the door for him.
“Go on,” he repeated, not believing himself and rejoicing at the expression of embarrassment and fear that appeared on the face of Prince Vasily.
- What happened to you? You are sick?
– Go! the trembling voice said again. And Prince Vasily had to leave without receiving any explanation.
A week later, Pierre, after saying goodbye to his new Masonic friends and leaving them large sums on alms, went to his estates. His new brothers gave him letters to Kyiv and Odessa, to the Freemasons there, and promised to write to him and guide him in his new work.

The case between Pierre and Dolokhov was hushed up, and, despite the then severity of the sovereign regarding duels, neither both opponents nor their seconds were injured. But the story of the duel, confirmed by Pierre's break with his wife, was made public. Pierre, who was looked upon condescendingly, patronizingly when he was an illegitimate son, who was caressed and glorified when he was the best suitor Russian Empire, after his marriage, when brides and mothers had nothing to expect from him, he lost a lot in the opinion of society, especially since he did not know how and did not want to curry public goodwill. Now he alone was accused of what had happened, they said that he was a stupid jealous man, subject to the same fits of bloodthirsty rage as his father. And when, after Pierre's departure, Helen returned to St. Petersburg, she was not only cordially, but with a touch of reverence, referring to her misfortune, was received by all her acquaintances. When the conversation turned to her husband, Helen adopted a dignified expression, which she, although not understanding its meaning, by her usual tact, adopted for herself. This expression said that she had decided to endure her misfortune without complaint, and that her husband was the cross sent to her by God. Prince Vasily expressed his opinion more frankly. He shrugged his shoulders when the conversation turned to Pierre, and, pointing to his forehead, said:
- Un cerveau fele - je le disais toujours. [Half crazy - I always said that.]
“I said ahead of time,” Anna Pavlovna said about Pierre, “I just said then, and before everyone else (she insisted on her primacy), that this is a crazy young man, spoiled by the depraved ideas of the century. I said this back then when everyone admired him and he had just arrived from abroad, and remember, one evening I had some kind of Marat. What ended? I did not yet want this wedding and predicted everything that would happen.
Anna Pavlovna, as before, gave such evenings in her free days as before, and such as she alone had the gift to arrange, evenings at which she gathered, firstly, la creme de la veritable bonne societe, la fine fleur de l " essence intellectuelle de la societe de Petersbourg, [the cream of real good society, the color of the intellectual essence of St. some new, interesting face to society, and that nowhere, as at these evenings, was the degree of the political thermometer, on which the mood of the court Legitimist Petersburg society stood, expressed so clearly and firmly.
At the end of 1806, when all the sad details about the destruction of the Prussian army by Napoleon near Jena and Auerstet and about the surrender of most of the Prussian fortresses had already been received, when our troops had already entered Prussia, and our second war with Napoleon had begun, Anna Pavlovna gathered evening. La creme de la veritable bonne societe [Cream of a real good society] consisted of a charming and unhappy, abandoned by her husband, Helen, from Morte Mariet "a, charming Prince Hippolyte, who had just arrived from Vienna, two diplomats, an aunt, one young man, who used the name simply d "un homme de beaucoup de merite in the living room, [very worthy person,] one newly granted maid of honor with her mother and some other less prominent persons.
The person with whom, as a novelty, Anna Pavlovna treated her guests that evening, was Boris Drubetskoy, who had just arrived by courier from the Prussian army and was adjutant to a very important person.
The degree of the political thermometer pointed out to the society at that evening was the following: no matter how much all European sovereigns and generals try to pander to Bonaparte in order to make me and us in general these troubles and sorrows, our opinion about Bonaparte cannot change. We will not stop expressing our unfeigned way of thinking on this matter, and we can only say to the Prussian king and others: so much the worse for you. Tu l "as voulu, George Dandin, [You wanted it, Georges Dandin,] that's all we can say. That's what the political thermometer indicated at Anna Pavlovna's evening. When Boris, who was supposed to be brought to the guests, entered the living room, almost the entire society was already assembled, and the conversation, led by Anna Pavlovna, was about our diplomatic relations with Austria and about the hope of an alliance with her.
Boris, dressed in a smart, adjutant's uniform, matured, fresh and ruddy, freely entered the living room and was taken, as he should, to greet his aunt and was again attached to the general circle.
Anna Pavlovna gave him her dry hand to kiss, introduced him to certain faces he did not know, and identified each one to him in a whisper.
– Le Prince Hyppolite Kouraguine – charmant jeune homme. M r Kroug charge d "affaires de Kopenhague - un esprit profond, and simply: M r Shittoff un homme de beaucoup de merite [Prince Ippolit Kuragin, a dear young man. G. Krug, Copenhagen chargé d'affaires, deep mind. G. Shitov , a very worthy person] about the one who bore this name.
Boris during this time of his service, thanks to the cares of Anna Mikhailovna, his own tastes and the properties of his restrained character, managed to put himself in the most advantageous position in the service. He was adjutant to a very important person, had a very important mission to Prussia, and had just returned from there by courier. He fully assimilated to himself that unwritten subordination that he liked in Olmutz, according to which the ensign could stand incomparably higher than the general, and according to which, for success in the service, not efforts in the service, not labor, not courage, not constancy, were needed, but it was necessary only the ability to deal with those who reward service - and he himself was often surprised at his rapid success and how others could not understand this. As a result of this discovery, his whole way of life, all relations with former acquaintances, all his plans for the future, have completely changed. He was not rich, but he used the last of his money to be better dressed than others; he would rather deprive himself of many pleasures than allow himself to ride in a bad carriage or appear in an old uniform on the streets of Petersburg. He approached and sought acquaintance only with people who were taller than him, and therefore could be useful to him. He loved Petersburg and despised Moscow. The memory of the Rostovs' house and his childhood love for Natasha was unpleasant for him, and since his departure for the army he had never been to the Rostovs. In Anna Pavlovna's drawing room, in which he considered being present an important promotion, he now immediately understood his role and left Anna Pavlovna to take advantage of the interest that lay in it, carefully observing each person and evaluating the benefits and opportunities for rapprochement with each of them. . He sat down in the place indicated to him near the beautiful Helen, and listened to the general conversation.
- Vienne trouve les bases du traite propose tellement hors d "atteinte, qu" on ne saurait y parvenir meme par une continuite de succes les plus brillants, et elle met en doute les moyens qui pourraient nous les procurer. C "est la phrase authentique du cabinet de Vienne," said the Danish charge d "affaires. [Vienna finds the foundations of the proposed treaty so impossible that they cannot be achieved even by a series of the most brilliant successes: and she doubts the means that can deliver them to us. This is a genuine phrase of the Vienna Cabinet,” said the Danish chargé d’affaires.]
- C "est le doute qui est flatteur!" - said l "homme a l" esprit profond, with a thin smile. [Doubt is flattering! - said a deep mind,]
- Il faut distinguer entre le cabinet de Vienne et l "Empereur d" Autriche, said Morte Mariet. - L "Empereur d" Autriche n "a jamais pu penser a une chose pareille, ce n" est que le cabinet qui le dit. [It is necessary to distinguish between the Vienna Cabinet and the Austrian Emperor. The Austrian Emperor could never think this, only the cabinet says it.]
- Eh, mon cher vicomte, - Anna Pavlovna intervened, - l "Urope (for some reason she pronounced l" Urope, as a special subtlety of the French language that she could afford when speaking with a Frenchman) l "Urope ne sera jamais notre alliee sincere [Ah, my dear Viscount, Europe will never be our sincere ally.]
Following this, Anna Pavlovna brought the conversation to the courage and firmness of the Prussian king in order to bring Boris into the business.
Boris listened attentively to the one who spoke, waiting for his turn, but at the same time he managed to look several times at his neighbor, the beautiful Helen, who several times met her eyes with a handsome young adjutant with a smile.
Quite naturally, speaking of the situation in Prussia, Anna Pavlovna asked Boris to tell about his journey to Glogau and the position in which he found the Prussian army. Boris, slowly, in pure and correct French, told a lot of interesting details about the troops, about the court, throughout his story carefully avoiding expressing his opinion about the facts that he conveyed. For some time Boris captured everyone's attention, and Anna Pavlovna felt that her refreshment with a novelty was accepted with pleasure by all the guests. Helen showed the most attention to Boris's story. She asked him several times about some details of his trip and seemed to be very interested in the position of the Prussian army. As soon as he had finished, she turned to him with her usual smile:
“Il faut absolument que vous veniez me voir, [It is necessary that you come to see me,” she said to him in such a tone, as if for some reason that he could not know, it was absolutely necessary.
- Mariedi entre les 8 et 9 heures. Vous me ferez grand plaisir. [On Tuesday, between 8 and 9 o'clock. You will give me great pleasure.] - Boris promised to fulfill her desire and wanted to enter into a conversation with her when Anna Pavlovna recalled him under the pretext of an aunt who wanted to hear him.
"You know her husband, don't you?" said Anna Pavlovna, closing her eyes and pointing sadly at Helen. “Ah, this is such an unfortunate and lovely woman! Don't talk about him in front of her, please don't. She's too hard!

When Boris and Anna Pavlovna returned to the common circle, Prince Ippolit took over the conversation.
He moved forward in his chair and said: Le Roi de Prusse! [King of Prussia!] and saying this, he laughed. Everyone turned to him: Le Roi de Prusse? asked Hippolyte, laughed again, and again calmly and seriously sat down in the back of his armchair. Anna Pavlovna waited for him a little, but since Hippolyte resolutely did not seem to want to talk any more, she began to talk about how the godless Bonaparte had stolen the sword of Frederick the Great in Potsdam.
- C "est l" epee de Frederic le Grand, que je ... [This is the sword of Frederick the Great, which I ...] - she began, but Hippolytus interrupted her with the words:
- Le Roi de Prusse ... - and again, as soon as he was addressed, he apologized and fell silent. Anna Pavlovna grimaced. Morte Mariet, a friend of Hippolyte, turned to him resolutely:
Voyons a qui en avez vous avec votre Roi de Prusse? [Well, what about the Prussian king?]
Hippolyte laughed, as if he were ashamed of his own laughter.
- Non, ce n "est rien, je voulais dire seulement ... [No, nothing, I just wanted to say ...] (He intended to repeat the joke that he heard in Vienna, and which he was going to post all evening.) Je voulais dire seulement, que nous avons tort de faire la guerre pour le roi de Prusse [I just wanted to say that we are fighting in vain pour le roi de Prusse.
Boris smiled cautiously, in a way that could be regarded as mockery or approval of the joke, depending on how it was received. Everyone laughed.
“Il est tres mauvais, votre jeu de mot, tres spirituel, mais injuste,” said Anna Pavlovna, shaking her wrinkled finger. - Nous ne faisons pas la guerre pour le Roi de Prusse, mais pour les bons principes. Ah, le mechant, ce prince Hippolytel [Your pun is not good, very clever, but unfair; we do not fight pour le roi de Prusse (i.e., over trifles), but for good beginnings. Oh, how evil he is, this Prince Ippolit!] - she said.
The conversation did not subside all evening, turning mainly around political news. At the end of the evening, he became especially animated when it came to the awards granted by the sovereign.
“After all, last year NN received a snuffbox with a portrait,” said l "homme a l" esprit profond, [a man of deep mind,] - why can't SS receive the same award?
- Je vous demande pardon, une tabatiere avec le portrait de l "Empereur est une recompense, mais point une distinction," said the diplomat, un cadeau plutot. [Sorry, the snuffbox with the portrait of the Emperor is an award, not a distinction; rather a gift.]
– Il y eu plutot des antecedents, je vous citerai Schwarzenberg. [There were examples - Schwarzenberg.]
- C "est impossible, [It's impossible,]" another objected.
- Pari. Le grand cordon, c "est different ... [The ribbon is another matter ...]
When everyone got up to leave, Helen, who had spoken very little all evening, again turned to Boris with a request and an affectionate, significant order that he be with her on Tuesday.
“I really need this,” she said with a smile, looking back at Anna Pavlovna, and Anna Pavlovna, with that sad smile that accompanied her words when she spoke about her high patroness, confirmed Helen’s desire. It seemed that that evening, from some words spoken by Boris about the Prussian army, Helen suddenly discovered the need to see him. She seemed to promise him that when he arrived on Tuesday, she would explain this necessity to him.
Arriving on Tuesday evening at Helen's magnificent salon, Boris did not receive a clear explanation why he needed to come. There were other guests, the countess spoke little to him, and only saying goodbye, when he kissed her hand, she, with a strange lack of a smile, unexpectedly, in a whisper, said to him: Venez demain diner ... le soir. Il faut que vous veniez… Venez. [Come tomorrow for dinner… in the evening. You need to come… Come.]
On this visit to St. Petersburg, Boris became a close friend in the house of Countess Bezukhova.

The war flared up, and its theater was approaching the Russian borders. Everywhere curses were heard to the enemy of the human race, Bonaparte; warriors and recruits gathered in the villages, and contradictory news came from the theater of war, as always false and therefore differently interpreted.
The life of the old Prince Bolkonsky, Prince Andrei and Princess Marya has changed in many ways since 1805.
In 1806, the old prince was appointed one of the eight commanders-in-chief of the militia, then appointed throughout Russia. The old prince, despite his senile weakness, which became especially noticeable at that period of time when he considered his son killed, did not consider himself entitled to refuse the position to which he had been appointed by the sovereign himself, and this newly revealed activity aroused and strengthened him. He constantly traveled around the three provinces entrusted to him; he was dutiful to the point of pedantry in his duties, strict to the point of cruelty with his subordinates, and he himself went to the smallest details of the case. Princess Mary had already stopped taking mathematical lessons from her father, and only in the mornings, accompanied by a nurse, with the little prince Nikolai (as his grandfather called) would enter her father's study when he was at home. The breast prince Nikolai lived with his nurse and nanny Savishna in the half of the late princess, and Princess Marya most she spent her days in the nursery, replacing, as best she could, the mother of her little nephew. M lle Bourienne also, it seemed, passionately loved the boy, and Princess Mary, often depriving herself, conceded to her friend the pleasure of nursing the little angel (as she called her nephew) and playing with him.
At the altar of the Lysogorsk church there was a chapel over the grave of the little princess, and a marble monument brought from Italy was erected in the chapel, depicting an angel spreading its wings and preparing to ascend to heaven. The angel had a little bit of a lift upper lip, as if he was about to smile, and one day, Prince Andrei and Princess Mary, leaving the chapel, confessed to each other that it was strange, the face of this angel reminded them of the face of the deceased. But what was even stranger, and what Prince Andrei did not say to his sister, was that in the expression that the artist accidentally gave to the face of an angel, Prince Andrei read the same words of meek reproach that he had read then on the face of his dead wife: “Ah, why did you do this to me?…”
Shortly after the return of Prince Andrei, the old prince separated his son and gave him Bogucharovo, a large estate located 40 versts from Lysy Gory. Partly because of the difficult memories associated with the Bald Mountains, partly because Prince Andrei did not always feel able to bear the character of his father, and partly because he needed solitude, Prince Andrei took advantage of Bogucharov, built there and spent most of time.
Prince Andrew, after the Austerlitz campaign, firmly decided never to serve in military service again; and when the war broke out, and everyone had to serve, he, in order to get rid of active service, accepted a position under the command of his father in collecting the militia. The old prince and his son seemed to change roles after the campaign of 1805. The old prince, excited by activity, expected all the best from a real campaign; Prince Andrei, on the contrary, not participating in the war and in the secret of his soul regretting that, saw one bad thing.
On February 26, 1807, the old prince left for the district. Prince Andrei, as for the most part during his father's absences, remained in the Bald Mountains. Little Nikolushka was unwell for the 4th day. The coachmen who carried the old prince returned from the city and brought papers and letters to Prince Andrei.
The valet with letters, not finding the young prince in his office, went to Princess Mary's half; but he wasn't there either. The valet was told that the prince went to the nursery.
“Please, Your Excellency, Petrusha has come with papers,” said one of the girls of the nurse’s assistant, turning to Prince Andrei, who was sitting on a small children’s chair and with trembling hands, frowning, was dripping medicine from a glass into a glass filled halfway with water.
- What's happened? - he said angrily, and with a careless trembling of his hand, he poured an extra amount of drops from the glass into a glass. He poured the medicine out of the glass onto the floor and again asked for water. The girl gave it to him.
In the room there was a crib, two chests, two armchairs, a table and a children's table and chair, the one on which Prince Andrei was sitting. The windows were hung, and a single candle burned on the table, lit by a bound music book, so that the light would not fall on the crib.

Bagpipe, arm. Պարկապզուկ , Bret. Biniou, Belarusian Duda, Gaelic. Pìob, Pol. Dudy, irl. Piobai, Scots. Bagpipe, Ukrainian Goat, Bulgarian Hyde.

Bagpipe device

Technical extraction of sound

One of the tubes (melodic tube, chanter) has side holes and serves to play a melody, and the other two (bourdons) are bass ones, which are tuned to a pure fifth. Bourdon emphasizes the skeleton of the octave mode (modal scale), on the basis of which the melody is composed. The pitch of the bourdon pipes can be changed by means of the pistons in them.

History of the bagpipe

The bagpipe is one of the oldest musical instruments known to mankind. Its history spans more than one millennium. The reason for this is its simple and affordable device. A leather waterskin and a wooden pipe are all that is needed for the simplest sound extraction. The history of the instrument is based on extensive historical material, including chronicles, frescoes, bas-reliefs, figurines, ancient manuscripts, up to popular prints depicting bagpipes at various periods of their development.

The remains of the first musical instrument identified as a bagpipe were not found during excavations of the ancient city of Ur in the territory of the kingdom of Sumer, and date back to 3000 BC. e.

One of the first found images of bagpipes dates back to 1300 BC. e. It was discovered on the walls of the ruins of the Eyuk Palace in the Hittite city of Sakchagyozyu in 1908. On the territory of Persia, an image of the first ensemble of musicians was also found - a quartet among which bagpipers are clearly visible. On the territory of the city of Susa, two terracotta figurines depicting pipers, whose age is more than 3000 years old, were found. A thousand-year history is also counted by other musical instruments - prototypes modern bagpipes found in India, Syria, Egypt and a number of other African countries.

The first mentions of bagpipes in written sources are found in ancient Greek sources, starting from 400 BC. e. So Aristophanes mentions the bagpipe in two of his comedies. In "Lysistrata" the bagpipe (bag) is necessary for the Spartan dance, and in "Aharnians", it is present as musical instrument to chant Phoebus and it is noted that they blow the bag through a bone tube.

The bagpipe was popular in Ancient Rome. Her mention can be found both in written sources and in preserved images in the form of frescoes and statuettes. Judging by the mass nature of such sources, the bagpipe was available to all strata of society from the aristocracy to the poor. Wormwood was especially popular during the reign of Emperor Nero. The reason for this is the Roman emperor himself - a lover of music and theater. He himself was not opposed to practicing the bagpipes. Dia Chrysostom in the 1st century mentions Nero playing the tibia utricularius hands, as if with lips and adds that she saves flutists from their curse - red cheeks and bulging eyes. Suetonius in the 2nd century claimed Nero as a talented bagpipe player.

Together with the Roman conquests, the bagpipe spread to Scandinavia, the Baltic states, the countries of Western and of Eastern Europe, Balkans, Volga region, Caucasus, countries of North Africa. It also spreads to England, Scotland and Ireland. It was in Scotland that she received greatest development and popularity, especially in the 16th-19th centuries in the north-west of the country, becoming a truly folk instrument - a symbol of the country. The bagpipe has become an integral element that provides sound accompaniment to all important events in the life of the Scots - from ritual and solemn dates to various household signals. In England, the bagpipe was recognized as a kind of weapon that served to raise morale.

At the same time, in Rome itself, with its decline, the mention of the bagpipe itself gradually disappears until the 9th century. One of the first printed images of the bagpipe was created by Dürer in 1494. The woodcut he created showed a piper neglecting the lute and harp. The woodcut was intended for Brant's edition. ship of fools, and then placed in the book by Johann Geiler "" Navicula, sive Speculum fatuorum 1511.

Since the 14th century, references to the bagpipe in Europe have become widespread, and its images become close to modern ones.

Typology and differences

Some bagpipes are designed in such a way that they are not inflated by the mouth, but by a bellows for pumping air, which is set in motion by the right hand. These bagpipes include the Uilleann Bagpipe, an Irish bagpipe.

Kazakh bagpipe

The Kazakh national instrument is called Zhelbuaz, looks like a leather waterskin, and is made from goat skin. The neck of the zhelbuaz is closed with a special blockage. In order for the instrument to be worn around the neck, a strong leather cord is attached to it. Recently, the instrument has been used in concerts of Kazakh national orchestras and folklore ensembles. Found at archaeological excavations, is stored in the Museum of National Musical Instruments named after Ykylas Dukenov. A stable temperature is maintained. So that the moth does not eat the exhibit, dust is regularly removed from it with special gauze. famous composer Nurgisa Tlendiev used zhelbuaz for the first time in the concerts of the Otrar Sazy orchestra.

Armenian bagpipe

Irish bagpipe

Cillian Vallely plays a "full set" of Irish bagpipes

Russian bagpipe

The bagpipe was once a very popular folk musical instrument in Rus'. It was made of raw sheepskin or cowhide, on top there was a tube for pumping air, on the bottom - two bass pipes, creating a monotonous background, and a third small pipe with holes, with which they played the main melody.

The bagpipe was ignored by the upper circles of society, since its melody was considered inharmonious, inexpressive and monotonous, it was usually considered a "low", folk instrument. Therefore, during the 19th century, the bagpipe was gradually replaced by more complex wind instruments such as accordion and button accordion.

Information about this musical instrument is quite extensive in the iconographic and written monuments of the culture of the Russian people, from the 16th century to the 19th century. The earliest image is in the Radzivilovskaya chronicle (XV century) on the miniature "Game of the Vyatichi Slavs".

In 2015, during excavations at the Pyatnitsky excavation site in Staraya Russa, a part of a bagpipe - a chantr (melodic pipe) was found. The find dates back to the end of the 14th century and is the oldest and the only one on the territory of the Russian principalities.

Ukrainian bagpipe

french bagpipes

In France, there are many types of bagpipes - this is due to the wide variety of musical traditions of the regions of the country. Here are just a few of them:

Jean Rascalou - Auvergne cabrette player

Central French bagpipe ( musette du center, Cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a two-burdon instrument. Bourdons - large and small, the small one is located from the bottom, near the chanter, tuned to each other in an octave. The cane of the chanter is double, the bourdon ones are single; air is forced through the blower. The scale is chromatic, the range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for blowing air. Traditionally used in duet with the hurdy gurdy.
Cabretta (French: chabrette, Auversk. occitane. : cabreta) - a single-bourdon elbow-type bagpipe that appeared in the 19th century among the Parisian Auvergne and quickly spread in the province of Auvergne itself and in the surrounding regions of the Center of France, practically displacing local, more archaic types of instrument, for example, the Limousin chabrette ( chabreta limousina).
Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
Musette de Cours musette de cour) is a "salon" bagpipe, widely used in the 17th-18th centuries in baroque court music. This type of bagpipe is distinguished by two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipe

Scottish bagpipe

Bagpipe playing

The Scottish bagpipe has taken part in all the military campaigns of the British Army over the past 300 years. At the Battle of Waterloo in Belgium, which took place on June 18, 1815, during a counter-attack on the corps of the French Imperial Marshal Davout, a patriotic march was performed for the first time on a Scottish bagpipe 52nd Infantry Brigade, Scottish Fusiliers Scotland the Brave

Estonian bagpipe

Service and Consumables

A special composition (bag seasoning, bagpipe seasoning) is placed in the bag, the purpose of which is not only to prevent air leakage from the bag. It serves as a covering that retains air but releases water. A bag of solid rubber (found on unplayable bagpipes, wall souvenirs that deceive tourists) would completely fill with water in half an hour of play. The water from the bagpipe comes out through the wetting skin of the bag.

Gallery

Scottish highlander played in Canadian military function

Modern baguette(made in 2000 by Walter Biella) in Sol/G

Serbian piper

Polish pipers

A street piper from Sofia, Bulgaria

Estonian piper

Lithuanian piper

Bagpipes- a traditional musical wind reed instrument of many peoples of Europe. In Scotland it is the main national instrument. It is a bag, which is usually made of cowhide, calf or goat skin, taken off entirely, in the form of a wineskin, sewn up tightly and equipped with a tube on top for filling the fur with air, with one, two or three playing reed tubes attached below, which serve to create polyphony.

Bagpipe device

A bagpipe, as a rule, consists of a bag (actually, a bag) and a set of various tubes (pipes) inserted into it.
Bagpipe elements are divided into:
basic (sounding)
Chanter- this is the pipe on which the melody is actually played. A chanter can range from a simple pipe to a complex device with valves and tuning mechanisms, like an Irish bagpipe (Uilleann).
Drones(also called bourdons) are trumpets that play a background bass (usually) sound that accompanies the main melody, which is also called a "bourdon sound". They can be from 1 to 4 pieces. In Ireland, they found a way to make a rather complex instrument out of them. Uilleann pipes (Irish bagpipe) has, in addition to the three main drones, three, in essence, chanters, called regulators. They are inserted into the same drain as the drones, but only make a sound when the special valves they are equipped with are opened.
Blower(blowpipe) - a tube through which a bagpipe is blown. As a rule, it is equipped with a valve that does not allow air to come out of the bag back, and on the other hand, a mouthpiece that is convenient for the player. If the bagpipe is with a dry air supply, then the blower is equipped with a fitting that is inserted directly into the frog (bellows).
The tubes are inserted into the bag using drains. These are wooden cylinders that are hermetically tied into a bag.
Secondary (replaceable)
Bag(bag) - a reservoir for air, in which all drains are tied. The bag is necessary to maintain constant pressure: air is evenly and continuously supplied to the reeds of the chanter and drones. In ancient times, it was made from the skins of domestic animals, moreover, removed with a “stocking”. Later, bags began to be sewn from specially dressed leather: sheep, cow and even elk. For greater tightness, the bags are impregnated with special compounds that prolong the service life of the bag.
Today, several firms in Europe, Canada and Australia make bags for various kinds bagpipes made of high-tech membrane fabrics (GoreTex), technologists did not stop at one type of bag, for greater convenience and “controllability” of the bag, they began to laminate the skin along with GoreTex. To maintain moisture-condensing separators inside the bag, such a bag is also equipped with a powerful zipper that can withstand high air pressure.
Frog(bellows) - furs, similar in design and appearance to blacksmith's. The frog is fastened with one strap to the piper's belt, and the other is fastened to the elbow. It has an inlet valve on the outside. On the inside there is a special socket for inserting a blower fitting. The frog provides a supply of dry air to the bag: due to the precision construction of the reeds of such instruments, humid air is absolutely unacceptable.
Carpet(cover) On top of the bag, it is customary to put on an elegant cover made of noble fabric, which is called a carpet. Drones are decorated with fringe and tassels (depending on tradition).
canes(reeds) - these details of the bagpipes are hidden from the public eye inside the drains. They are the elements that make the sound. Canes are inserted inside drones

History of the bagpipe

The most popular and widespread bagpipe in the world is undoubtedly Scottish: Great Highland Bagpipe. At the mention of the bagpipe, most people think of it. Many still continue to be convinced that the bagpipe was invented at all in Scotland.
However, the bagpipe as a whole is certainly not a specifically Scottish instrument.
Although early history bagpipes is still not entirely clear, it can be argued with a high degree of certainty that it originated in the East. Most likely, its predecessors were instruments such as oboe or horn. In many musical traditions, the bagpipe is still used in ensemble with these instruments. When and to whom it first occurred to attach inflatable fur to them remains a mystery. The first mentions of bagpipes in written sources are found in 400. BC. at Aristophanes.
In general, the very principle of the bagpipe - voice, accompanied by monotonous harmony - is undoubtedly one of the most ancient forms of music performance. One voice, even if it leads a wonderful, beautiful melody, is still one. If there is at least something that complements it, it listens much more vividly. A person has only 2 hands, and with at least some significant range of the instrument, they are both occupied. The bagpipe, on the other hand, makes it possible to connect one or more bourdon elements (permanent basses).
When exactly the bagpipe appeared on the shores of England and Ireland is still the subject of controversy. Someone assumes that the idea was brought by the Romans, someone finds more ancient ways. However, throughout the Middle Ages, the Scottish Bagpipe developed rather isolated and closed, remaining unchanged and traditional instrument clans.
The expansion of the instrument began in the 12th and 13th centuries, when Europe began to experience a period of cultural upheaval associated with the Crusades and the accompanying expansion of cultural horizons and exchange. However, as before, the bagpipe remained a "folk" instrument. This is due to the fact that the instrument was originally designed to sound on outdoors- the sound had to be loud.
The introduction of bagpipes into the premises began in the 17th and early 18th centuries, and at the same time, numerous variants of more chamber modifications of the Great Highland Bagpipe appeared.
Northumbrian smallpipes, Uilleann pipes, Scottish smallpipes and the French musette appeared during this period. Apparently in the same period, the Spanish Gaita (or Gaita gallega), which is the closest relative of the French Veuze, acquired its final form - combining best qualities both Celtic and Eastern European bagpipes.
However, even in this form, the popularity of the bagpipe was short-lived. With the development of Western European music, following the path of complication, honing both musical technique and instruments, the bagpipe gradually fell into disuse, as having too limited a range and functions.
This decline in interest continued from the early 19th century until the 20th century. At the beginning of the 20th century, there was an opinion that the Great Highland Bagpipe was a barbaric instrument, which, it is not clear how, has survived to this day.
However, in Scotland, no one thought to abandon the national instrument and the tradition of performing and making bagpipes was passed down from generation to generation. This served well in those days when, with the growth of the British Empire, the English army began to actively raise Scottish regiments. The bagpipe, of course, was an indispensable attribute of each such division and, in this form, spread throughout the world.

And during the first and second world wars, when the Scottish regiments had already acquired an excellent reputation, a large number of pipers were trained especially for them.

This time also coincided with the rise in popularity of many national traditional forms of bagpipes in Europe.
Today, the bagpipe is the official instrument of military bands and ceremonies for English-speaking countries. In addition, with the growing interest in the folk style and national music and dance, many types of bagpipes have become popular again. They play again at weddings and dance parties Europe, and the traditions of their manufacture are carefully reconstructed. In the UK, Ireland, Spain, the traditional Pipe Bands have been revived - small orchestras of national instruments with bagpipes in the main composition.
However, the development of the bagpipe did not freeze at the level of the 19th century - at the moment several variants of electronic bagpipes have been developed. There are specialized keyboard MIDI bagpipes, some of which allow you to switch the sound of several different types of bagpipes.

A bagpipe is a folk wind musical instrument made of several tubes embedded in a leather bag or bubble through which air is blown.

Bagpipes is a traditional musical wind instrument of many peoples of Europe and Asia.

The bagpipe is an air reservoir, which is usually made of calf or goat skin, taken off entirely, shaped like a waterskin, sewn up tightly and equipped with a tube on top for filling the fur with air, with one, two or three playing reed tubes attached below, which serve to create polyphony.

One of these three pipes with side holes (chanter) is used to play a melody, and the other two (bourdons) are bass pipes, which are tuned together in a clean fifth. Bourdon emphasizes the skeleton of the octave mode (modal scale), on the basis of which the melody is composed. The pitch of the bourdon pipes can be changed using the pistons they contain.

A bagpipe bag is most often made of leather, but bags made of synthetic materials are sometimes found.

Some bagpipes are designed in such a way that they are not inflated by the mouth, but by a bellows for pumping air, which is set in motion by the right hand. These bagpipes include, for example, the Uilleann Bagpipe, an Irish bagpipe.

Scottish bagpipes exist and have their own characteristics, as well as Irish, Italian and Spanish, French, Mordovian, Armenian, Chuvash, Belarusian ... The Lithuanians called the bagpipe "Labanora Duda", "Dudmaishis". In Georgia, the bagpipe was called Stviri or Gudastviri. She didn't have bourdon pipes. There were two melodic pipes. The Estonian bagpipe is called Torupill. Her bag was made of goat skin. The number of tubes is from three to five.

Scottish bagpipe - English. Scotch bag-pipe - "Scottish pipe bag". This instrument was so popular that even angels were depicted playing the bagpipes. It is customary in Italy to play the piffaro ( Italian name this instrument) on the feast of the Nativity in front of the image of the Virgin Mary with the Child. Therefore, in the pictures Italian painters on the theme of "The Adoration of the Shepherds" one can also see the playing of these instruments.

The French bagpipe is called the musette. Her fur was made mainly from fabric.

The image of the bagpipe is present in the scenes of peasant holidays in the paintings of German, Dutch and Flemish artists of the 16th-17th centuries. (Fig. 636, 637). In Renaissance painting on secular subjects, the bagpipe has phallic symbolism. A similar, but somewhat softened, veiled meaning was acquired by the musette in the everyday life of the French court of the 17th-18th centuries. Characters in paintings in the genre of "Gallant festivities" (French "Fêtes galantes") of the era french styles Regencies and Rococo are played on the Musette.

Today, the bagpipe remains, perhaps, only in the national orchestras of Scotland and Ireland. The sound of the bagpipe is so loud and shrill that it is not recommended to play it for more than half an hour a day. :-)

Bagpipes in Rus'

The bagpipe was a very popular folk instrument in Rus'. It was made from mutton or cowhide (hence the name of this musical instrument) raw skin, on top there was a tube for pumping air, on the bottom - two bass pipes, creating a monotonous background, and a third small pipe with holes, with which they played the main melody.

Another version of the origin of the name. In the 9th-11th centuries, the composition Kievan Rus Volyn tribes were included. Due to the fact that the name of the tribe is very similar to the name of the instrument, some researchers conclude that the instrument got its name from the name of this Volyn tribe.

The bagpipes were ignored by the highest circles of the world: its melody was considered inharmonious, inexpressive and monotonous, it was usually considered a low and common folk instrument. Therefore, during the 19th century, the bagpipe was gradually replaced by more complex wind instruments such as accordion and button accordion.

How to play bagpipes

Through the valve tube, the bag is filled with air using a special device - bellows or simply by mouth. Then the valve closes, and the air cannot go back through this tube.

Pressing the bag with his hand, the musician forces the air out of it into bourbons - special tubes with tongues or canes. They oscillate and certain sounds are produced.

A bagpipe usually contains between one and four bourbons. They create the background music.

Bagpipes… Sounds of it unique instrument invariably evoke images of the green slopes of Scotland, plaid skirts and fairytale castles. Most assume that this polyphonic instrument has native Scottish roots. However, historians are arguing about where this unique instrument originated.

Where is the sound from?

It is difficult to determine the time and place of origin of the musical instrument - the progenitor of the modern bagpipe. Historians talk about China, Ancient Greece and Rome. Mentions of the instrument can be found on stone slabs several centuries before the birth of Jesus Christ. The bagpipe is a mysterious instrument that can be found in the history of the countries of Europe and Asia. No one can determine exactly when the instrument became traditional for Scotland.

Presumably, the Romans brought bagpipes with them, who had pipers in their troops. According to available historical data, he loved the sounds of bagpipes and knew how to play the instrument himself. But even before the emperor Nero, the bagpipe was mentioned in the poems of Virgil. At present, it is impossible to determine reliably whether it was brought or the Romans used the tool available in the country. The bagpipe is a musical instrument with multinational roots, each of which has left its mark on its sound. Whatever way she got to Scotland, there she was somewhat modified and became exactly the instrument we are used to seeing her.

Tool making

Traditionally, bagpipes are instruments self made. The use of traditional materials is still very common, the modernization of the production of bagpipes has only led to an improvement in the way the instrument is made, and not to the deterioration or loss of any important quality.

The Scottish bagpipe was made from swamp oak from the early days, but then hardwoods from exotic countries began to be used. The tone of a bagpipe depends on the quality and type of wood used. Interestingly, different parts of the bagpipe can be made from different types of wood. In the production of the tool, the humidity of the climate of the country where it will be used is also taken into account.

For example, bourdons can be made from ebony ebony, which is very suitable for humid and not suitable for dry regions of the United States. Therefore, in most cases, plastic is used for the production of pipes in order to avoid climate influences.

The bag of bagpipes is the most important part of the instrument, which is traditionally made of sheepskin, but in different countries world material varies. Moose in the US and kangaroo in Australia.

A good bagpipe always has not only parts that are responsible for the sound, but also decorations. In the old days, the Scottish bagpipe was decorated with elements of ivory or walrus tusks. But to preserve these species of animals, jewelry is made from horns or artificial materials.

The bagpipe is a multi-part instrument, so it will never be mass-produced. Traditional ways production will always prevail.

Bagpipe music

The bagpipe is a historically very important instrument for Great Britain. The sounds of the bagpipes reflected all the events taking place in the clans of Scotland. Pipers composed music about joys and sorrows, battles and victories.

Making a bagpipe, like playing it, for a long time was considered the prerogative of men, because some models are heavy. Bagpipes can be small or large, but each has a fur bag and five pipes for different purposes. There is through which the piper supplies air to the bag. Three more tubes, called bourdons, create a unique sound. The musician can move them, change the height. All this allows you to enjoy different tones and overflows of bagpipes. The melody is created by a pipe chanter. It is on it that there are holes, clamping which receive the motive of music.

The sound of the bagpipe is loud, sonorous. It was used in the Middle Ages as signals between clans. And now its sound is well combined with electronic and rock music. The bagpipe is a national instrument that sounds harmoniously in the modern world.

Ancient sounds in modern processing

There are many bagpipe bands in the UK, such as the British Military Band. And even the queen herself listens to delightful, unforgettable sounds every morning.

A variety of sounds that the bagpipe is capable of making are used by musicians in modern music. One of the best combinations is drumming and playing the bagpipes. Performances in this combination make their way to shiver. The concerts of the combined orchestras of Scotland, which perform all over the world, win hearts with their musical masterpieces.