Scottish musical instruments: what do we know besides the bagpipes? Types of bagpipes: Scottish Highland Bagpipes, Irish Uilleann Pipes, Gaita and others.

- a musical instrument consisting of two or three playing pipes and one for filling the fur with air, and also having an air reservoir, which is made from animal skin, mainly from calf or goat skin. A tube with side holes is used to play a melody, and the other two are used to reproduce polyphonic sound.

The history of the appearance of the bagpipe

The history of the bagpipe goes back to the mists of time, its prototype was known in ancient India. This musical instrument has many varieties that are found in most countries of the world.

There is evidence that during the time of paganism in Rus', the Slavs widely used this instrument, it was especially popular among the military. The warriors of Rus' used this tool to enter a combat trance. From the Middle Ages to this day, the bagpipe occupies a worthy place among the popular instruments of England, Ireland, and Scotland.

Where the bagpipe was invented and by whom specifically, modern history is unknown. To this day, scientific debates on this topic are ongoing.

In Ireland, the first information about bagpipes dates back to the 10th century. They have genuine confirmation, as stones with drawings were found on which people held an instrument that looked like a bagpipe. There are also later references.

According to one version, an instrument similar to a bagpipe was found 3 thousand years BC, at the site of the excavations of the ancient city of Ur.
In the literary works of the ancient Greeks, for example, in the poems of Aristophanes dated 400 BC, there are also references to the bagpipe.
In Rome, based on the literary sources of the reign of Nero, there is evidence of the existence and use of the bagpipe. On it, in those days, "all" ordinary people played, even the beggars could afford it. This instrument enjoyed wide popularity, and it can be said with full confidence that playing the bagpipes was a folk hobby. In support of this, there is a lot of evidence in the form of statuettes and various literary works of that time, which are stored in World Museums, for example, in Berlin.

Over time, references to the bagpipe gradually disappear from literature and sculpture, moving closer to the northern territories. That is, there is not only a movement of the instrument itself territorially, but also by class. In Rome itself, the bagpipe will be forgotten for several centuries, but then it will be revived again in the 9th century, which will be reflected in the literary works of that time.

There are several suggestions that the homeland of the bagpipe is Asia, from which it spread throughout the world. But this remains only an assumption, because there is no direct or indirect evidence for this.

Also, playing the bagpipes was a priority among the peoples of India and Africa, and in mass form among the lower castes, which is still relevant to this day.

In 14th-century Europe, many works of painting and sculpture depict images that reflect the actual use of the bagpipe and its various variants. And during wars, for example in England, the bagpipe was generally recognized as a type of weapon, as it served to raise the morale of the soldiers.

But there is still no clarity about how and where the bagpipe came from, as well as who created it. The information presented in the literature sources differs in many respects. But at the same time, they give us general ideas, based on which, we can only speculate with a degree of skepticism about the origins of this tool and its inventors. After all, the bulk of literary sources contradict each other, since some sources say that the homeland of the bagpipe is Asia, while others say Europe. It becomes clear that it is possible to recreate historical information only by conducting deep scientific research in this direction.

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. In Italy, it is customary to play the piffaro (the Italian name for this instrument) on Christmas Day before the image of the Virgin Mary and Child. Therefore, in the paintings of Italian painters on the theme of "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 of the French Regency and Rococo styles play 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 Volhynian tribes were part of Kievan Rus. 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.

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 it can also play accompaniment with the help of regulators in addition to the melody.

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-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 (English) Great Highland Bagpipes) is an 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.

see also

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Notes

1. Bagpipes / K. A. Vertkov // Great Soviet Encyclopedia: [in 30 volumes] / ch. ed. A. M. Prokhorov. - 3rd ed. - M. : Soviet encyclopedia, 1969-1978.
3. breizh.ru:
4. 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.
5. (port.). Associação Gaita de Foles. Retrieved 24 September 2016.
6. Tereshenko A.. - St. Petersburg. , 1848. - T. 1. - S. 485.
8. 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, having said goodbye to his new friends the Masons and left them large sums in alms, left for 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 bridegroom of the Russian Empire, after his marriage, when brides and mothers had nothing to expect from him, he greatly lost in the opinion of society, all the more that he did not know how and did not want to curry favor with the public. 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, a charming Prince Hippolyte, who had just arrived from Vienna, two diplomats, an aunt, one young man who used in living room with the name simply d "un homme de beaucoup de merite, [a very worthy person,] one newly granted lady-in-waiting 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 stole 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 infant Prince Nikolai lived with his nurse and nanny Savishna in the half of the late princess, and Princess Mary spent most of the day 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 slightly raised upper lip, as if he was about to smile, and once Prince Andrei and Princess Marya, leaving the chapel, admitted 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 the 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, covered with a bound music book, so that the light would not fall on the crib.

Bagpipes- folk wind reed musical instrument. It consists of a reservoir (a bag made of skin or animal bladder) into which an air injection tube is inserted, several bourdon tubes equipped with a single or double reed to extract sound, and a melodic tube with holes (the range of the bagpipe depends on the number of holes). The number of bourdon pipes can be from one to four.

Bourdon (French Bourdon, lit. - thick bass) - a continuous sound when playing 1-2 bass pipes An organ point is a sound sustained in the bass, against which other voices move freely. The tonic organ point contributes to sound stability. Bourdon tubes are tuned in fourth, fifth, sixth, octave in relation to the melodic tube.

The bagpipe is one of the oldest musical instruments. According to researchers, this is an instrument of ancient Asian origin. The bagpipe sounded in the military bands of Ancient Rome, in the instrumental ensembles of France (XVIII century), in the solemn processions of musicians in Scotland.

It was played and is still played in the villages of Romania, Poland, and the Czech Republic. Since the 11th century, the bagpipe (“gaida”) has become widespread among the southern Slavs in Yugoslavia, Bulgaria, and Albania. It was used mainly to accompany dances.

In different countries, the instrument has different names: "goat" - in Ukraine, "duda" - in Belarus, "bagpipe" - in Russia. The image of a bagpipe on the miniature "Playing of the Slavs of the Vyatichi" in the Radzivilov Chronicle (XV century) suggests that, along with snots and pipes, the buffoons of Kievan Rus also used bagpipes in their musical work.

"It is difficult to decide which musical instruments primarily existed among the Slavs. One can only guess that, first of all, they used wooden canes and also the horns of domestic animals. Therefore, we can probably assume that the fife and the horn were the very first instruments among the Slavs. Then came the pity, the horn and the flute; finally, bagpipes, whistle, balalaika, spoons and psaltery."(M. Zabylin. "The Russian people, their customs, rituals, superstitions and poetry"). The book gives the following description of the bagpipe:

« It represents a very peculiar instrument in character, resembling an harmonica or fur in shafts; here the air is encased in ramskin, to which three pipes and a tube are attached. The tube attached to the top is filled with air from two opposite sides, two different sizes of tubes are defined, through which the air, passing through, gives bass voices, and the third small tube has several holes on the side, which allows the player to produce different voices and sounds with his fingers».

Tool varieties

In addition to the skin of an animal, a bull bladder was used as a reservoir for air. The way to process it is as follows:

• the walls of the bovine bladder are washed in water;
• so that the bubble acquires a large volume when inflated, it is treated with wood ash sifted through a sieve;
• multiple treatment of the bladder walls is carried out with ash from both sides (external and internal) and washed again in water, while the walls of the bullish bladder become thinner and become soft and elastic;
• subsequent processing is carried out with crushed chalk, which removes fat and moisture. In this case, the bubble acquires viscosity;
• the dried bubble is inflated with air using a tube inserted into its opening.

Then, tubes are installed on the air tank (bubble): one for supplying air into the bag, one for playing (melodic), from one to four for bourdon and placed in a bag sewn from animal skin or fabric.

An oxygen cushion used in medicine can be used as a material. Quite large dimensions (660 x 500 mm) and volume, elastic and durable rubber pads are suitable for such work.

In bagpipes, as a rule, they used a playing pipe like a flute, only with a squeaker. In Russia, the playing pipe also has a bell (cow horn) to amplify the sound.

Air tank manufacturing

Cut one side of the oxygen cushion along its entire length so that a small strip remains for subsequent gluing. Holes for fastening the melodic and bourdon pipes on the pillow are cut out in the following way: draw a circle into segments and cut from the center so that eight petals are obtained; apply a thin layer of glue on the segments and hold for 5-10 minutes, and then tightly attach to the base of the sleeve and tie it with a strong cord, the ends of which are also glued. The bourdon tube in relation to the air reservoir can be located on the side of the performer's arm, or on the shoulder, or at the bottom of the air bag. When fixing all the parts on the body of the bagpipe, the air bag itself is glued last, withstanding a certain time under load. To check the tightness of the gluing, you need to close the hole for the bourdon tube with a cork and make a sound on the melodic tube. If an air leak is detected, re-glue the air outlets.

The main details of the bagpipe.

Final stage of work: place the pillow in a case made of animal skin or fabric, fasten the straps or ribbons that support the instrument on the performer's shoulder or neck, and install the tubes. A valve (thin kid or rubber) half-glued to the end side of the air injection tube helps to keep the air in the air reservoir (bag). The valve closes the return air outlet from the bag at the moment when the musician releases the air blowing tube from his mouth. The tubes are fastened with threads wound around the tubes.

The principle of extracting sound in a bagpipe is to vibrate the reed located on the mouthpiece, which in turn is inserted into the melodic and bourdon pipes. Inflating the bag, the musician squeezes it with both hands or one hand, presses it to the side of the body and vibrates the tongues in the tubes located in the body of the instrument. Periodic blowing of air into the bag maintains a constant air pressure. It is necessary for the oscillation of the reeds. When installing additional bourdon tubes, the air consumption increases, so the size of the instrument and its volume also increase.

When tuning the instrument, it is necessary to establish an overall balanced sound - bright and loud or quiet, soft, muffled. The bourdon (bass) tube when sounding should not overlap the sound power of the melodic one. To increase the sound, resonators are put on melodic playing and bourdon pipes. The tuning of the tubes is carried out in the same way as when setting up the pits by moving the tongue up - the sound is increased, and vice versa, down - the sound is lowered. In the old days, much attention was paid to the external design of the instrument. Bagpipe pipes were made in various configurations and decorated with carvings, inlays, and paintings. The leather bag was sheathed with colorful fabrics and tied with fringe with tassels. Figures and heads of animals were cut out of wood, then fixed on the instrument. In Belarus and Ukraine, the bagpipe was decorated with a wooden goat's head. Hence, apparently, the dialect name of the bagpipe is “goat”, “goat”.

Tube for supplying air to the instrument.

Bourdon tube. General view of the connection of tubes with a sleeve.

Tool setup

In a two-part bagpipe, in this case in G major, the melodic and bourdon pipes are tuned in unison. The melodic pipe has a scale from the salt of the 1st octave to the salt of the 2nd, and the bourdon pipe sounds below the salt of the small octave. In a bagpipe with three playing pipes - a melodic pipe from sol 1st, the second - re 1st, the third - small sol. The system of a bagpipe, which has four pipes, is the 1st - salt of the 1st octave, the 2nd - re of the 1st octave, the 3rd - small salt, 4th - large salt. The most common and most used bagpipe in musical creativity has two additional tubes. It is enough to have one body and several pipes tuned in different keys, and you can change the system of the bagpipe. See the dimensions of the tubes above - "Zhaleyka".

Bagpipe types:

Scottish highland bagpipe
Irish
Galician gaita
Bulgarian guide
Czech goat
Russian bagpipe
Lithuanian labanora duda, dudmaishis
French "musette"
Georgian "stviri" (gudastviri)
Estonian "torupill"
Adjarian bagpipe "chiboni"
Moldovan and Romanian bagpipe chimpoi
Shabr (shapar) - Chuvash bagpipes

Mari varieties - shuvyr, shuvyr, shubber

The bagpipe is a wind musical instrument.

In Russia, from the name of this tool, the expression is used -

History of name and origin

In Russia, the bagpipe got its name from the area of ​​Volyn - the historical region of the tributaries of the Pripyat and the Western Bug (today it is one of the regions of Ukraine).

Bagpipes in other languages ​​- Bagpipe (English), cornemuse (French), dudy (Czech-Polish)

The first mentions of bagpipes in written sources are found in 400. BC. at Aristophanes. The bagpipe is one of the most ancient musical instruments of mankind. It is believed that the world owes its origin to the Middle East. With the help of bagpipes, the ancient Chaldeans, Assyrians, Egyptians and Greeks delighted their ears. There is written evidence that, with its loud and lingering sounds, the bagpipe gave additional courage to the already full of courage and strength to the Roman soldiers. It is assumed that it was from Ancient Rome that the bagpipe during the struggle of the Romans with the barbarians migrated to Britain and further to Scotland, where it acquired the status of a folk instrument and became the national symbol of this country. The basis of the sounding principle of the bagpipe is the monotonous harmony that accompanies the voice. This form of music performance in the literal sense of the word comes from the depths of centuries. However, one voice, even performing a beautiful melody, is usually not enough. In order for a piece of music to be perceived more vividly, the voice needs something complementary.

Not every musical instrument can give a musician such an opportunity. As for the bagpipe, it just has such an opportunity, allowing you to connect one or more permanent basses, called bourdons, to your voice. Well-deserved, albeit less recognition than in Scotland, the bagpipe also enjoys in other countries. True, and it is called there differently. “Musette” is the name of the analogue of the bagpipe in France, “labanora duda” in Lithuania, “gudastviri” in Georgia, “illianpipe” in Ireland, “zampogna” in Italy, “gaida” in Bulgaria. The bagpipe began to conquer Europe in the era of the rise of pan-European culture, associated primarily with the crusades and their attendants, in addition to the grief and destruction they brought, the expansion of cultural horizons and the exchange of cultural achievements of various peoples. But the bagpipe did not become an instrument “for aristocrats” of the royal courts of Europe, remaining for centuries a folk instrument designed for loud sounding in open spaces, calling for a fierce battle and reckless dance.

The bagpipe has forever become part of the official instruments of military bands in English-speaking countries and is constantly played during various ceremonies held in the UK. A serious impulse for the return of the bagpipe to musical use became a huge interest and a fashion for the style of "folk", national music and dances. Now it can be heard again at folk festivals, concerts, weddings and parties in Europe, and in countries such as the UK, Ireland and Spain, there are more and more Pipe Bands - small orchestras of national folk instruments, where the piper with his instrument increasingly plays a central role. . However, the development of the bagpipe did not freeze at the level of the 19th century - several variants of electronic bagpipes have been developed at the moment. There are specialized keyboard MIDI bagpipes, some of which allow you to switch the sound of several different types of bagpipes.

Bagpipes of the peoples of the world

Bagpipes are known in many countries. In France it is called "musette", in Lithuania - "labanora duda", in Georgia - "gudastviri", in Ireland - "uilleann pipe", in Italy - "zampogna", in Bulgaria - "gaida". There was also a bagpipe on the territory of our country, where it was called "duda". Different nations have bagpipes differ in such parameters as material, size, number of playing pipes. The tonality, sound and timbre of these inherently related instruments also differ from each other.

In medieval Europe, the simple wind bagpipe was popular with shepherds, soldiers, and princes. Fur began to serve as a substitute for human lungs in the 17th century. in Ireland. In medieval Europe, the simple wind bagpipe was popular with shepherds, soldiers, and princes. Today there are about 30 different types of bagpipes in Europe. Among different nations, bagpipes differ in material, size, number of playing pipes and, depending on this, in tone, sound and timbre.

There was also a bagpipe in Rus', where it also had one more name - “duda”. Buffoons played the pipe, information about which is contained in the Tale of Bygone Years. However, until the 13th century, Russian chroniclers more often referred to the buffoon as “igrez”, “fool”, “buzzer”, “sniffler” or simply “piper”.