The World of Bagpipes : British Isles

Small Pipes : Northumbrian & Scottish

One of the best descriptions from this period is by James Talbot who fully described complete with dimensions, three types that he saw on his travels throughout the British Isles (1695-1700) and classified them as "Scotch". Two of these are of the normal three drone single chanter type, but the third has a chanter with a double bore. Materials are local and exotic hardwoods with ivory mounts and nickel silver ferrules.

DOUBLE SMALL PIPE

This instrument is constructed to the measurements given by James Talbot in his manuscript and comprises of a chanter with two bores in the same piece of wood, the left hand bore having a full set of tone holes compass f¹ to g¹¹, the right hand only those for the lower hand i.e. f¹ to c¹¹. The single drone sounds an octave below the three finger note and really does re-inforce the distinctive sound of this instrument which is bellows blown. The actual pitch of the six finger note of the original is c¹. A similar chanter is described by Marin Mersenne in his treatise of 1636 "Harmonie Universal" where the only difference is a key for high a¹¹ on the left hand bore extending the compass by one note. The drones are the normal three or four system shuttle type and the pipes are bellows blown. The instrument can also be supplied with both bores having a full set of tone holes to give both a different and a greater volume of sound. Keywork can be fitted to extend the compass two notes down (these being of the normally open type to preserve the fingering pattern) and two notes up, these being arranged on the front and rear of the chanter so that they open the necessary holes in both bores. A number of keys for semitone progression can also be accommodated. The drones can be three plain open ended types sounding the highland intervals of Bass and two Tenors (G, g, g) or Northumbrian style of an octave below the keynote, in unison with the keynote and a fourth/fifth in between (g, c¹/d¹, g¹) or of the more versatile and complex pattern used with the Northumbrian Small Pipes. (see below).

MUSETTE DU COUR

An example of this type of bagpipe which is described in full in the French Section and is said to have been played by Bonnie Prince Charlie. The actual instrument that he is reputed to have owned is on display in the West Highland Museum in Fort William in Scotland and is slightly different in form from that normally seen.

For full photographic coverage of this instrument go to "Gallery" 

NORTHUMBRIAN SMALL PIPES

The Small Pipe that was in use in the region of Northumbria was similar to that already described but underwent several changes during the nineteenth century that has led it to be one of the most sophisticated of the Bagpipes. The first of these modifications was the closing of the bottom end of the chanter thus loosing the leading note and restricting the compass to g¹ to g¹¹ but allowed playing in staccato. Soon after this keywork was added to extend the compass and provide semitone progression through the scale in the key signatures that the drones would harmonise with. The keywork is arranged so that only the fingers not employed for covering the open holes on the chanter are used - the top hand little finger and lower hand thumb, thus keeping to the closed system of fingering. Seven keys are the most common giving three notes down (f¹,e¹,d¹), two notes up (a¹¹,b¹¹) and two keys for the semitones (c¹¹,d¹¹). The drones were increased to four in number to increase the possibilities still further and were fitted with extra tuning facilities in the form of rotating beads to open holes further up as well as sliding stoppers incorporated into the drone caps to enable the drones to be switched on or off as necessary. Further keywork was added to the chanter to give a chromatic scale from d¹ to b¹¹ (14 keys) and b to b¹¹ (17 keys). A 21 key chanter is also possible with a reflexed bore to bring the lowest keys within reach - compass g to b¹¹. The actual pitch of the chanters varies with the older sets traditionally being in f¹ (six finger) to the more standardised modern ones of concert g¹,f, d or c, which makes them easier to play with other instruments. As the longer drones normally supplied are pitched one octave below the chanter keynotes I have introduced as optional extras a couple of bass drones sounding two octaves lower. These have a triple bore section in the lower joint to keep the lengths as short as possible.

SCOTTISH SMALL PIPE

The usual arrangement is of a plain open ended chanter with a compass f¹ to g¹¹ and three drones tuned to unison with the six finger note, an octave below and a fifth between (g, d¹, g¹) and played in the normal highland manner. They can be mouth or bellows blown the former sometimes being termed as the Highland Small Pipe, the latter the Lowland Small Pipe. Keywork can be added to extend the compass and provide semitone progression with those below the normal keynote being of the open type to preserve the normal fingering system.

See also Double Small Pipe above.

SHUTTLE PIPES

The shuttle pipe appeared during the latter half of the sixteenth century, possibly in France, with it's reflexed drone bores possibly influenced by the Rackett. The name is derived from the form of drone system used which instead of being separate items are all bored in a single piece of wood and connected in series to achieve the necessary lengths and in the simple system here would generally be three. The method of tuning is by using slides (layettes - from the old French word "laie" for drawer) set in dovetail grooves in the side of the drone cylinder or "shuttle" which open and close slots into the bore, the more the slot is opened the sharper the note produced and leads to a very neat and compact set of drones. The chanter is of the open ended type with a compass from f¹ to g¹¹ however a shuttle drone can also be used with the other forms of small Pipe chanter to provide a more compact set of pipes.

Materials:

Box, Laburnum, Fruit & Exotic hardwoods (this latter the only choice for keyed chanters) with mounts of bone, horn and Ivory with nickel silver ferrules and keywork

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