the great highland bagpipe

The Great Highland BagpipeGeoff Jones14 Jan 2012

What is it called?To most people, a 'bagpipe' is the Great Highland Bagpipe of Scotland. This kind of bagpipe is also known as the Scottish War Pipe or the piob mhor which is Scots Gaelic for 'big pipe'. Contrary to the name 'War Pipe', they were originally an instrument of pleasure, not war.

What kind/classification of musical instrument is it?The bagpipe is a folk instrument of the aerophone family found in many countries throughout the world. There are many different types of bagpipes, mostly found in Europe.

Historical background informationThe first part of this article is about the history of bagpipes in general; the second half is specific to the Great Highland Bagpipe.

When and where did the instrument originate?There is little solid evidence of the early history of the bagpipe, however a general history can be pieced together from available references being that of myth, legend and fact.

The chanter (melody pipe) of the bagpipe was the first part to be invented. This was originally a separate instrument in its own right and was made from reeds or a plant stalk or straw and contain only a few finger holes, if any at all. The modern tin whistle has the same origin.

Until recently, the earliest reed pipe was known from a tomb in Egypt. A new discovery in Germany in 2008 can prove that an early flute-like instrument was played over 35,000 years ago.

From early history there has been records of four types of simple pipe. The first just being a single pipe, another is the divergent pipe, being two pipes played at the same time, one in each hand. The third type is the double pipe, consisting of two parallel pipes (identical or otherwise), usually joined together (with wax, string or other method). The fourth is a triple pipe, usually consisting a double pipe and a third, separate pipe. All of these simple pipe instruments were blown directly from the players mouth.

The advantages of having two or more pipes are that a louder sound is achieved and harmonies or droning may be produced. The concept of droning was also adopted for the bagpipe. In Brittany, the biniou (bagpipe) is still accompanied by another musician playing a drone, harmonies or counter-melody on a separate instrument called a bombarde which is a shawm-like instrument.

The Great Highland Bagpipe Geoff Jones

When and how did the instrument become popular / spread throughout the world?The bagpipe is a folk instrument. Folk songs and dance tunes were traditionally played on the bagpipe, especially in Europe where this practice was a main form of entertainment in those cultures.

Through the 12th to 14th centuries BC, the bagpipe was introduced to many countries by travellers, however the first conclusive evidence of a bagpipe is captured in a stone relief dated c.1300 BC. This carving appears to depict the bag as a whole animal skin. Terracotta figures found in Alexandria (Egypt) from around the last century BC also depict bagpipes. These early bagpipes generally did not have drones.

AD 43 saw the beginning of the Roman occupation of Britain, which culminated in an invasion in AD 68. The Romans occupied Britain for about 300 years. It is believed that the Romans introduced the bagpipes to Britain during this occupation. Relics of Roman Britain such as stone carvings and mosaics depicting bagpipes and pipers support this concept. The bagpipes were not used by the Roman military, but were played for leisure.

Caledonia, as northern Scotland was known to the Romans, was separated from southern Scotland and England by the Antonine Wall. The Caledonians (early Pictish Celts of Roman times later becoming the Highlanders of Scotland) may have even developed the bagpipe from a simple reed pipe themselves. There is no evidence to support this, however it is not unlikely. They may have also possibly copied the bagpipes of the Romans or the earlier (pre-Roman invasion) Egyptian bagpipes or horn-pipes.

Between the 1st and 10th centuries AD there is little mention of bagpipes in literature or portrayal in art. Public records in Scotland begun around 1350 AD and it is from this time we begin to get a more accurate history of the bagpipe. From historical literature, is appears that one drone (often a bass drone) was widely used by the 13th century.

What is/was the social tradition, occasion and/or usage of it?

Town PipersThe late 15th century saw the establishment of town or burgh pipers in Scotland and England, mainly in Aberdeen, Edinburgh, Dundee and the Border region. This tradition survived until the 1800s. Like many other professions during these times, the role of town piper was often hereditary.

The job of a town piper was to play through the streets at daybreak to wake the village and in the evening. Other duties included Riding of the Bounds patrolling the town borders for intruders and raiders. Sometimes a drummer or another piper would accompany the town piper on these duties.

The town pipers mostly played Lowland or Border pipes or variations of them. Lowland piping enjoyed an equally popular status concurrently to the MacCrimmon era (see Piping Colleges) - a fact often overlooked by writers and historians of the Great Highland Bagpipe.

The Lowland music was not highly ornamented with gracenotes or other embellishments, but, apart from the developing piobaireachd (approx. pronunciation 'peeb-a-roch' using a soft 'ch' as in 'loch' and slightly rolling the 'r'), neither was the music of the Great Highland Bagpipe. Many Highland and Lowland tunes of the 15th century still survive today.

During the 16th century, bagpipes became very popular in Scotland and England, particularly in rural regions. They were played at weddings, festivals, May Day, and for dancing. The 16th century also saw the general introduction of a second drone and the use of bellows as a method of inflating the bag.

Bagpipes were played in churches as a form of worship until the Reformation (mid 1500s). After this time, it was an offence to play the bagpipes in churches - but some disobeyed this rule.

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Bagpipes in the MilitaryBefore the mid-1600s, only a few regiments had pipers, however they didnt perform any official role. The main music of the military was generally performed by drum and fife, or just drummers.

On the 16th of April 1745 at the Battle of Culloden, the Hanoverian army of England (led by Prince William, Duke of Cumberland) decimated the Jacobites1 of Scotland. Culloden saw the pipes introduced as a military instrument. Following Culloden, the Hanoverian forces set about destroying the clan system and everything Highland, driving the Highlanders from their land, destroying records and imprisoning Jacobite supporters. In some areas of Skye and other regions, pipes, harps and fiddles were piled in a heap and burned; whilst in other areas they flourished. Many clan chieftains became poor and could not afford to keep pipers or send them to the piping colleges for training. A number of piping colleges closed. However, records of the 1760s show that the MacCrimmons (Skye), MacArthurs, Rankins (Mull), MacIntyres and MacKays (Gairloch) all had flourishing piping colleges for at least twenty years after Culloden and there was little or no persecution of pipers or piping, especially in the west of Scotland.

Resulting from Culloden, the Disarming Act was introduced in 1746 and was enforced in the Highlands for 36 years. The Disarming Act stated that Highland regiments must not march with pipes. The Act also forbade the wearing of highland dress, including kilts, plaids and other garb. However, contrary to popular belief, the bagpipes were not specifically banned as an instrument of war.

It is interesting to note that the Highland Bagpipe usually still had only two drones at this time. A third drone (a second tenor drone) was introduced sometime between the 1600s and 1800s, probably during the mid-/late-17th century, but was not universally adopted by all pipers.

At the time the Disarming Act was retracted, it was William Pitt the Elder (Prime Minister of Great Britain 1766 1768) who assisted in resurrecting the Highland regiments, this time not only including pipers, but pipe and drum bands.

The manufacturing of bagpipes was not standardised until military use from the mid-1800s. It was also during this time that drummers begun accompanying pipers, which lead to the introduction of the pipes as a military band instrument. By the Crimean War (1854 1856), the pipe and drum bands took the place of the fife and drum band in Highland Regiments (of the British Army).

One main role of the military pipe and drum bands was to play for marching. This lead to the development of the quickstep style of tune well suited to accompany marches. One of the first published quicksteps (mid-1770s) is Hey, Johnny Cope, which was played by the 71st Highlanders during the Napoleonic Wars (1799 1815).

It was during the time not long after Culloden (from the 1770s) that Gaelic speaking Scots (and Irish) begun emigrating to the New World - the Americas (Canada, Boston, Nova Scotia (New Scotland), Cape Breton) and the antipodes (Australia & New Zealand). This was the time of the 'Highland Clearances'. Emigration was generally fairly constant until the mid-1800s.

The Gaelic speaking Highlanders took their culture (language, music, dance, etc.) to the New World. In Cape Breton, like in Scotland, there were few if any recordings of the Gaelic (old or new) culture. Celtic culture (music, stories, etc.) was passed down through generations by rote. It was not until the 20th century revival in Scotland did both the Gaelic language and music return and become popular again. Unlike in Scotland, fewer restrictions in the New World allowed freedom of the Scottish (and Irish) culture to continue, including their traditions of music and dance. Until the mid-1900s, these traditions had not changed much, e.g. music tempo, phrasing and styles. Cape Breton especially, has a very distinct style of music developed from the old Gaelic styles and step-dance evolving from the old Highland reels. The modern, more standard playing techniques developed in Scotland have now also filtered to Nova Scotia and elsewhere in the world, sometimes to the detriment of old styles of playing.

1 supporters of Charles Edward Stuart 'Bonnie Prince Charlie', mainly consisting of Highland Scots

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Which people play it in which established traditions?

The Piping CollegesOne of the most important, if not the most important piping families of the Highland Bagpipe were the MacCrimmons, who entered the piping world in the 16th century. The MacCrimmons were the hereditary pipers to the Chieftains of Clan MacLeod of Dunvegan (Skye) from the early 1600s to the late 1800s.

Hereditary pipers were professional pipers to clan chiefs and often served long apprenticeships (6-12 years).

Through their 200-year legacy, the MacCrimmons changed the art of piping. They are attributed to developing piobaireachd, which is a type of classical music unique to the Highland Bagpipe (see Types of Tunes). This style of music is very different to the dance tunes and airs.

The MacCrimmons ran a renowned college of piping, first at Galtrigall (near Dunvegan, Skye), then at Boreraig, about one mile south-east of Galtrigall. Pipers from all parts of Scotland went to the MacCrimmon college to learn the art of piping. The college was not like the colleges of today. The MacCrimmon household was little more than a highland croft. Pupils became members of the household and had their own chores to undertake between lessons.

The different types of this instrument in diverse cultures around the world?

There are over 200 different bagpipes found through the world. They are mostly found in Europe and range from the small Musette of France to the Great Highland Bagpipe of Scotland. There are also examples of bagpipes from Africa (Table 1).

Most types of bagpipe have variations in design, each having its own form, sound, musical scale and style of playing. This includes the fingering of each note and the inclusion or omission of ornamentation such as gracenotes.

The pipes of many countries have survived an unbroken tradition. However, the past hundred or so years has seen the end of the piping tradition in some regions, including Holland, Belgium, Germany and Scandinavia. Examples of pipes from these countries survive now only in museums.

In Britain, bagpipes powered by bellows are often called cauld-wind pipes. The term 'cauld wind' is Lowland Scots for cold wind, that being not the warm breath of the player if the pipes are mouth-blown.

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Table 1: Some bagpipes of the world

Region Bagpipes Region Bagpipes

Eastern Europe Western Europe

Bulgaria gaida / koza Finland skkipilli

Croatia misnjie / mijenice . mih, diple

France biniou (koz/kohz)

gaida cabrette

Greek Is. (Crete) tsambouna chevrette

Greece (Macedonia) gaida cornemuse

Romania cimpoi / cimpani musette

Serbia gaida Germany shferpfeife

Turkey tulum sackpfeife

Central Europe hmmelchen

Bohemia (Czech Rep.) duda (sing. / dudy (pl.) dudey

Hungary / Poland duda bock / dudelsack

Slovakia gaida Italy zampogna / cornamusa

Slovenia dude zampogna calabrese

Northern Europe Malta zampogna

Estonia / Sweden sckpipa Poland kobza

Africa Portugal gaita (de foles)

Tunisia zkra Spain gaida (gaija)

Britain Britain

England chorus Ireland Brian Boru pipes

Cornish double pipe Irish pastoral pipe

Flemish pipe (Great) Irish war pipe

Half-longs (aka Border pipes) Uilleann / union pipe

Lancashire bagpipe Scotland Great Highland Bagpipe (piob mhor / Scottish war pipe)

Leicestershire bagpipe half-size / three-quarter pipe / chamber pipe / house pipe

Northumbrian small pipe border pipes (Half-longs / Highland reel pipe)

Old English bagpipe pastoral pipes

Oxford pipe Scottish small pipe (Lowland)

Other countries Other countries

India sruti upanga Russia cheremiss

maskak shyabur

volynka

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How is it played?

Figure 1: How to play the bagpipe

The Great Highland Bagpipe is restricted in how and what can be played more than most other instruments. However, it is within these confines that bagpipe music has developed and now flourishes. In fact, these restrictions leave the piper to concentrate on other aspects of the music, such as the melody and ornamentation - a major feature of bagpipe music.

The first of these limitations is that only nine notes can be played. The other main limitations are the pitch of the drones does not change, the sound is continuous, and the volume cannot be varied.

The scale of the Highland bagpipe is in the mixolydian mode having an augmented 4th and diminished 7th compared to the equal tempered scale of piano. The bagpipe scale was developed so that the notes of the chanter are in harmony with the fundamental frequencies produced from the drones. The frequency of each note in the scale must be a simple ratio to each other note in the scale.

The music of the Highland bagpipe is limited to nine notes (Figure 2), however the actual pitch of the pipes is approximately one semitone higher, e.g. the note called low A on the pipes is roughly equal to B flat.

Figure 2: The Highland Bagpipe scale

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For solo pipers, the overall pitch of the pipes is of little concern, as long as the pipes are in tune within themselves. The overall pitch of the pipes in pipe bands is also not too much of a concern, but all of the pipes have to be the same pitch and in tune with each other. This is made easier due to the use of chanters of the same manufacturer, which are often precision machined to be exact duplicates.

The reason people often dislike (or are yet to like!) the pipes are because of its loud volume, constant unbroken sound or unusual scale - not to mention poor playing by some pipers.

The Practice ChanterWhen first learning to play the bagpipe, the beginner does not start to learn on the pipes themselves, but on the practice chanter. Once a few tunes can be played, the learner can then progress to the bagpipe, however the practice chanter continues to be used as a learning tool for the piper. The practice chanter is basically a smaller and quieter version of the pipe chanter with mouthpiece that is blown directly from the mouth there is no bag or drones.

OrnamentationOther instruments that use variations in volume do so to give effect to the tune, for example beat notes are often played louder. Volume cannot be varied on the pipes, however the impression of strong, medium or weak beats can still be produced on bagpipes by the use of gracenotes. Gracenotes are short notes, usually played with one finger, that separate or enhance two notes. There are two types of gracenote either higher or lower than the melody note (Figure 3). The lower gracenotes are often called strikes or taps.

Gracenotes or combinations of gracenotes are used to give the impression of strong, medium or weak beats. The higher pitched gracenotes (e.g. high G) give a brighter sound therefore a stronger accent, medium pitched gracenotes (e.g. D & E) give a weaker emphasis and lower pitched gracenotes (B & low A) or no gracenote gives a weak accent. Gracenotes (sometimes called cut notes) are also used to separate two notes of the same pitch; remember, the bagpipe sounds continuously.

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Figure 3: Examples of various gracenotes and taps


In Highland Bagpipe music, the melody notes are written with the stems going down; gracenotes are written as demi-semi-quavers with the stems going up. Although gracenotes are written as 1/32 notes, this is for convenience and spacing in the written score rather than how they are played. Gracenotes are actually played as 1/64 notes or quicker.

In addition, the time/duration of gracenotes are not counted in the overall timing of the music, only the timing of the melody notes is counted. In fact, a two-gracenote ornament (e.g. doubling, double strike, grip, throw) takes no time, but a three or more gracenote ornament does take appreciable time, although not necessarily indicated by the notation (Figure 4).

What does it sound like?The following audio samples played by Geoff Jones are provided:

Performed on the practice chanter

Track 01 Scale of the Highland BagpipeTrack 02 Scale of the Highland Bagpipe with high G gracenoteTrack 03 Examples of G, D & E gracenotesTrack 04 Examples of higher gracenotes and lower 'taps'

Performed on the Great Highland Bagpipe

Track 05 Glengarry's LamentTrack 06 My HomeTrack 07 The Kesh JigTrack 08 Wee Totum FoggTrack 19 John Roy StewartTrack 10 Orange and Blue & The High Road to LintonTrack 11 Scotland the BraveTrack 12 Battle of the Somme

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Figure 4: Approximate timing of the taorluath movement


What is it made of?

Figure 5: Parts of the Highland Bagpipe (Lenz, 2004)

The wooden bitsTraditionally, the wooden bits of the pipes were made from locally sourced timber of the region. Some of the common materials used in Eastern Europe were plum, maple, cherry and pine. The most common materials are African Blackwood (Dalbergia melanoxylon), Cocobolo (Dalbergia retusa), Rosewood (Dalbergia nigra & D. latifolia), Box(wood) (Buxus sp.), Ebony (aka Cocus wood) (Brya ebenus), and more recently plastics such as Polypenco. Polypenco has been used since the mid-1970s.

The tone of plastic chanters is not as good as wooden chanters. Top solo pipers generally use wooden chanters, however plastic chanters are good for bands as they produce a consistently steady tone and pitch, desirable in a band.

The bagTraditionally tanned sheepskin or tanned cow hide bags are used. It is now common practice to use bags made from synthetic materials such as Gore-Tex or Naugahyde2. Each material has its own advantages and disadvantages often suited to a particular climate or player.

2 an artificial leather made from a vinyl-coated fabric

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Bag covers were traditionally made from woollen tartan material, but now are often made of velvet. The cords holding the drones together are usually made from either wool or silk.

ReedsReeds used in the drones are single reeds, having one vibrating 'tongue'. The chanter reed is a double reed similar to an oboe reed.

Spanish Cane (Arundo donax) was traditionally used to make the reeds for the drones and for the chanter. This is the same type of cane used to make reeds for other instrument such as the clarinet and oboe. Modern drone reeds are often made from plastics, carbon fibre, or other synthetic materials.

What are the types of tunes their structure and mood?There a five main types of music for the Highland Bagpipe, generalised as follows:

Traditional, or true bagpipe tunes:1) piobaireachd (aka ceol mor Scots Gaelic for 'big music')2) slow marches, slow airs and jigs (ceol meadhonach 'middle music')3) competition style marches (2/4 & 6/8 time), strathspeys and reels (ceol aotrom 'light music')4) tunes for dancing reels, jigs, hornpipes, strathspeys (ceol beag 'little music')

Usually 3 & 4 are categorised together as either ceol beag' or light music

Tunes often adapted from traditional Scottish airs and songs:5) marching airs (2/4, 3/4, 4/4 & 6/8 time) and dance tunes

1. PiobaireachdIn Scotland, a style of bagpipe music evolving in the 16th century, now dubbed classical bagpipe music, is called piobaireachd, which is a Scottish Gaelic term literally meaning piping or pipe music. The Anglicised form of the word is pibroch (approx. pron. 'pib-rock'). The playing of piobaireachd is an art form requiring much skill to perfect and an appreciation to enjoy.

Piobaireachd playing is subject to interpretation by the player. In the early days, like other pipe music, piobaireachd was taught by rote. However, unlike the light music, piobaireachd was learned by means of vocables called canntaireachd, the pipers sol-fa system. It was only during more recent times (19th century onwards) that piobaireachd was written in staff notation, however the subtleties of piobaireachd music cannot be adequately expressed in written notation.

Piobaireachd music is quite structured and is made up of lines and various phrases complimenting each other like poetry, unlike the light music which is made up of regular beats or rhythms. The notation represents this to a certain extent, however, unlike other classical music, piobaireachd composers never gave any indication of the tempo (e.g. andante, accelerando) and the only indication of the feeling of the tune is in the name (e.g. Salute, Lament, etc.). Piobaireachd tunes are generally composed to be commemorative or descriptive and are mainly titled as Gatherings, Marches, Battles, Laments and Salutes. This is the only indication of the feeling of the tune.

Piobaireachd was the only type of tune played at early competitions, as it was deemed to be the only form of pipe music considered worthy of inclusion, but light music competitions were introduced in the early/mid-1800s. The early competitions included a pre-competition rehearsal at which the competitors played a set piobaireachd. Pipers then played a piobaireachd of their own choice at the main competition. Although there are as many or more light music competitions now, piobaireachd continues to be the most important style of Highland Bagpipe music.

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Piobaireachd tunes are generally long (10-30+ minutes) and are arranged as a basic theme melody (played slowly) followed by multiple variations (generally 3 12+) becoming more complicated and technically challenging throughout the piece.

Tune example: Glengarry's Lament

This Lament was composed on the death of Alastair Ranaldson Macdonell XV of Glengarry who may truly be called the last specimen of the Highland Chiefs of history. He on all occasions wore the Highland dress and adhered to the style of living of his ancestors; and when away from his Highland home was invariably accompanied by a body of his retainers in full Highland costume. His attempts to maintain in his own peculiar manner the ancient customs of Highland chiefship cost him so much that he was forced to burden the estate to an extent which necessitated its transference by his successor to other and strange hands. Glengarry was killed on 14th January 1828 attempting to get ashore from the wrecked steamer 'Stirling Castle' at Corran near Fort William. The Lament is said to have been played by Archibald Munro Glengarry's piper at the funeral of his chief. A large concourse of clansmen about 1600 it is said assembled to pay their last duty to their chief. The chief mourner was young Glengarry the only surviving son of his father. - David Glen MS

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2. Ceol MeadhonachThese tunes consist slow marches, slow airs and jigs.

Slow Air variously, tunes written for the pipes, or otherwise borrowed from songs. e.g. Amazing Grace.

Slow Marches usually tunes adapted from other styles, such as: waltz, air, hymn, polka, marches. Defined by Army orders as having sixty-five paces to the minute (Cannon, 1990) though sometimes played a little slower. Often in 2/4 or 6/8 time. e.g. My Home.

Jig - is a quick-time dance tune written in 6/8 time. Many jigs played on the Scottish pipes have been borrowed from Irish jigs or vice versa. e.g. Kesh Jig / The Rock and the Wee Pickle Tow / Barbara's Jig / Biddy from Sligo.

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3. Light Music Ceol AotromConsisting competition style marches (2/4 & 6/8 time), strathspeys and reels. Competition style marches were developed during the early- to mid-1850s. The competition style march is played slower than other marches and is highly ornamented. The strathspeys and reels, being tunes for dancing, were originally borrowed from fiddle tunes and other dance music, but like the competition style marches, have evolved to utilise the ornamentation of the bagpipe.

Competition style tunes are generally more elaborate with more ornamentation, making them more technically challenging.

2/4 March competition-style a more complex and technically challenging version of the Quickstep. e.g. Lord Alexander Kennedy / Donald MacLean's Farewell to Oban.

Strathspey competition-style Tune example: John Roy Stewart.

Reel competition-style e.g. The Little Cascade / Mrs. MacPherson of Inveran.

Jig e.g. The Jig of Slurs / Kenny Gillies of Portnalong.

Quickstep (2/4) a quick-march tune. Sometimes previously called Scotch Measure or hornpipe in old manuscripts. e.g. 79ths Farewell to Gibraltar (comp. P/M John MacDonald, c. 1848) / Earl of Mansfield.

Quickstep (6/8) another quick-march type of tune, lending itself to the swing of the kilt, especially in Highland regiments who march briskly. Originally often a jig played a little slower, but nowadays having its own character (i.e. less jig-like) and played more pointed (dot-cut) than a jig. e.g. Braemar Gathering / Farewell to the Creeks.

Hornpipe a hornpipe is similar to a Scotch Measure but played with a more pointed dot-cut rhythm and often with the trebling/tripling of melody notes, reminiscent of the English or Irish hornpipes. The trebling of notes is produced using gracenotes either by a triplet of melody notes or by an embellishment such as the hornpipe strike. Another type of hornpipe also exists, that being without a dot-cut rhythm, which is sort of a cross between the dot-cut hornpipe and a reel. Some early bagpipe hornpipe tunes (of the late-17th century) were in 3/2 (or 3/4 or 6/4) time in Lancashire and generally 9/4 or 9/8 time in the rest of England and lowland Scotland. e.g. Train Journey North (2/4 hornpipe) / Wee Totum Fogg (3/4 hornpipe).

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4. Ceol Beag Little MusicTunes for dancing reels, jigs, hornpipes, strathspeys.

Strathspey a dance tune endemic to Scotland and was originally a different style of playing reels, called a Strathspey Reel. This type of tune displays the so-called Scotch snap movement a dot-cut (or cut/dot) rhythm/couplet, called a tachum or hachum in piping terminology. In Highland Dance, the strathspey often contains reel movements performed in a more pointed style. In country dancing, the strathspey is done slow with a springy step. e.g. Because he was a Bonnie Lad / Orange and Blue (Brochan Lom).

Reel a reel is a quick-time dance tune. Originally, a reel was a figure-of-eight dance for two or three people. Today a reel is any dance done to a reel type of tune. Reels are written in 2/2 (or C|) time. e.g. High Road to Linton / Kilt is My Delight / Mrs. MacLeod of Raasay.

Jig is a quick-time dance tune written in 6/8 time. In England and Ireland, the jig is a solo step-dance, but in Scotland it is more often a group or set dance. Sometimes 6/8 marches are played as jigs and vice versa. Many jigs played on the Scottish pipes have been borrowed from Irish jigs or are written in Irish style, however there is also a distinctly Scottish style of jig (& jig playing). e.g. Stool of Repentance.

9/8 Jig called slip jigs in Ireland and sometimes hornpipes in old English music, are a quick-time dance tune. e.g. Drops of Brandy / Donald Willie and his Dog / Brose and Butter.

Polka another type of dance tune found in other European cultures. e.g. Liberton Pipe Band / Old Smoky.

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5. Adapted Songs & AirsUsually marching airs (2/4, 3/4, 4/4 & 6/8 time) and dance tunes. Airs (or songs) were often adapted from old Gaelic songs and also from Scottish songs and ballads. Some tunes are borrowed from fiddle and clarsach (harp) music.

Air/Song e.g. Scots Wha Hae / Land of the Leal.

4/4 Marches (Airs) e.g. Bonnie Lass of Fyvie / Scotland the Brave / The Badge of Scotland.

Retreat March (3/4) evolving from the Army regiments beating retreat to call the troops back to camp at the end of the day. Sometimes adapted from songs or airs. e.g. Lochanside / Kilworth Hills.

Retreat March (9/8) a further development from the 3/4 Retreat March. e.g. Battle of the Somme.

2/4 March similar to a Quickstep but much simpler in form, and easier to play and march to. Often adapted for the bagpipes from songs and airs. e.g. The Brown Haired Maiden / Barren Rocks of Aden.

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Some famous exponents of the Highland BagpipeSome of the early Highland piping families include the MacCrimmons, Bruces, Grants, MacArthurs, MacGregors, MacIntyres, MacKays, MacLeods and MacPhersons.

Famous early pipers include:

Pipe Major (P/M) R. U. Brown MBE John Ban MacKenzie

P/M John D. Burgess George S. MacLennan

Donald Cameron Captain John A. MacLellan

Archibald Campbell (Kilberry) P/M Donald MacLeod MBE

James A. Centre Seamus MacNeill

John MacColl Calum Piobaire (Malcolm MacPherson)

John MacDougall Gillies P/M R. B. Nicol

P/M Angus MacDonald MBE P/M Robert Reid

Donald MacDonald P/M Uilleam (William) Ross

P/M John MacDonald (Inverness) P/M Willie Ross MBE

Joseph MacDonald William Gunn

Angus MacKay (Raasay)

Some contemporary pipers are:

Chris Armstrong Iain MacDonald

Stuart Cassells Colin MacLellan

Gordon Duncan Robert Mathieson

Alasdair Gillies Hamish Moore

Duncan Johnstone Fred Morrison

William 'Bill' Livingstone Mark Saul

Willie McCallum Gavin Stoddart

Angus MacColl Gordon Walker

Allan MacDonald Robert Wallace

Dr. Angus MacDonald

References:Cannon, R. D. (1990) The Highland Bagpipe and its Music. Edinburgh, John Donald Publishers Ltd.

Lenz, A. (2004) Andrew Lenzs Bagpipe Journey. http://www.bagpipejourney.com.

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What is it called?What kind/classification of musical instrument is it?Historical background informationWhen and where did the instrument originate?When and how did the instrument become popular / spread throughout the world?What is/was the social tradition, occasion and/or usage of it?Town Pipers

Bagpipes in the Military

Which people play it in which established traditions?The Piping Colleges

The different types of this instrument in diverse cultures around the world?How is it played?The Practice ChanterOrnamentation

What does it sound like?What is it made of?The wooden bitsThe bagReeds

What are the types of tunes their structure and mood?1. Piobaireachd2. Ceol Meadhonach3. Light Music Ceol Aotrom4. Ceol Beag Little Music5. Adapted Songs & Airs

Some famous exponents of the Highland BagpipeReferences:

the great highland bagpipe

Documents

separate pipe

biniou bagpipe

double pipe

kind of bagpipe

big pipe

divergent pipe

single pipe

triple pipe