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Updated
06/27/2013 |
Bagpipes of the World
Great Britain
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Great Highland Bagpipe:
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Northumbrian smallpipes: a smallpipe with a closed end chanter
played in staccatto.
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Border pipe: also called the "Lowland Bagpipe", commonly
confused with smallpipes, but much louder. Played in the Lowlands of
Scotland. Conically bored, sounding similar in timbre to the
Highland pipes, but partially or fully chromatic.
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Scottish smallpipes: a modern re-interpretation of an extinct
instrument. Possibly a descendant of the Northumbrian pipes, but
without the stopped end (no staccatto).
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Cornish bagpipes: an extinct type of double chanter bagpipe from
Cornwall (southwest England); there are currently attempts being
made to revive it on the basis of literary descriptions and
iconographic representations.
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Welsh pipes (pibe cyrn, pibgod): Of two types, one
a descendant of the pibgorn, the other loosely based on the Breton
Veuze. Both mouthblown with one bass drone.
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Lancashire Great-pipe: another extinct type of English bagpipe
that enthusiasts are attempting to "reconstruct" based on
descriptions and representations but no actual physical evidence.
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Pastoral Pipes: Although the exact origin of this keyed, or
un-keyed chanter and keyed drones (regulators), pipe is uncertain,
it was developed into the modern Uilleann bagpipe.
Ireland
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Uilleann pipes : Bellows-blown bagpipe with keyed, or un-keyed
chanter and keyed drones (regulators), from Ireland. The most common
type of bagpipes in Irish traditional music.
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Great Irish Warpipes: Carried by most Irish regiments of the
British Army (except the Royal Inniskilling Fusiliers) until the
late 1960s, when the Great Highland Bagpipe became standard. The
Warpipe differed from the latter only in having a single tenor
drone.
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Brian Boru bagpipes: Carried by the Royal Inniskilling Fusiliers
and had three drones, one of which was a baritone, pitched between
bass and tenor. Unlike the chanter of the Great Highland Bagpipe,
its chanter is keyed, allowing for a greater tonal range.
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Pastoral pipes: Although the exact origin of this keyed, or
un-keyed chanter and keyed drones (regulators), pipe is uncertain,
it was developed into the modern Uilleann bagpipe.
Eastern Europe
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Volinka (волынка, also
spelled volynka), of Russia
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Gaida (also the large
kaba gaida from the Rhodope Mountains in Bulgaria): Southern
Balkan (i.e. Bulgarian and Macedonian) and Greek and Albanian
bagpipe with one drone and one chanter
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Gajdy or gajde: the
name for various bagpipes of Eastern Europe, found in Poland,
Serbia, Slovakia, and Croatia.
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Dudy (also known by the German
name Bock) : Czech bellows-blown bagpipe with a long, crooked
drone and chanter that curves up at the end.
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Magyar Duda or Hungarian duda (also known as tömlösíp,
börduda and Croatian duda) has a double chanter (two parallel
bores in a single stick of wood, Croatian versions have three or
four) with single reeds and a bass drone. It is typical of a large
group of pipes played in the Carpathian Basin.
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Istarski mih (Piva d'Istria), a double chantered, droneless
bagpipe whose side by side chanters are cut from a single
rectangular piece of wood. They are typically single reed
instruments, using the Istrian scale.
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Cimpoi, the Romanian bagpipe, has a single drone and straight
bore chanter and is less stringent than its Balkan relatives. The
number of finger holes varies from five to eight and there are two
types of cimpoi with a double chanter. The bag is often covered with
embroidered cloth. The bagpipe can be found in most of Romania apart
from the central, northern and eastern parts of Transylvania, but
nowadays it is only played by a few elderly people.
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Torupill, of Estonia.
France
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Musette de cour : French ancestor of the Northumbrian pipes,
used in folk music as well as classical compositions in the 18th
century French court. The shuttle design for the drones was recently
revived and added to a mouth blown Scottish smallpipe.
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Biniou or biniou koz (old style bagpipe): a mouth blown
bagpipe from Brittany, a Celtic region of northwestern France. It is
the most famous bagpipe of France. The great Highland bagpipe is
also used in marching bands called bagadoù and known as
biniou braz (great bagpipe).
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Veuze, found in Vendée, similar
to Galician gaitas.
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Cabrette, played in Auvergne.
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Chabrette or chabretta, found in
Limousin.
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Bodega, found in Languedoc, made
of an entire goat skin.
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Boha, found in Gascogne.
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Musette bressane, found in Bresse.
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Bagpipes of central France:
(French cornemuse du centre or musette du centre) are
of many different types, some mouth blown. It can be found in the
Bourbonnais, Berry, Nivernais, and Morvan regions of France and in
different tonalities.
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"Chabrette poitevine," found in
Poitou but now extremely rare.
Flanders and
the Netherlands
Wallonia
Germany
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Dudelsack: German bagpipe with
two drones and one chanter. Also called Schäferpfeife
(shepherd pipe) or Sackpfeife. The drones are sometimes fit into one
stock and do not lie on the player's shoulder but are tied to the
front of the bag.
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Mittelaltersackpfeife:
Reconstruction of medieval bagpipes after descriptions by Michael
Praetorius and depictions by Albrecht Durer, among others. While the
exterior is reconstructed from these sources, the interior and sound
are often similar to the Scottish Great Highland Bagpipe. Commonly
tuned in A minor and used by musical groups specialising in medieval
tunes. Often to be seen at medieval festivals and markets.
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Huemmelchen:
small bagpipe with the look of a small medieval pipe or a Dudelsack.
The sound is similar to that of the Uilleann pipes, or sometimes the
smallpipes. Seldom louder than 60 or 70 dB
Greece
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Tsampouna (also tsambouna,
tsabouna, etc.) [Greek: τσαμπούνα]: Greek island
bagpipe with a double chanter, no drone and a bag made from an
entire goatskin. Pronounced "saw-bow-nah".
Iberian Peninsula (Portugal
and Spain)
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Portuguese and Spanish gaitas:
Gaita, gaita-de-fole, gaita de boto, sac de
gemecs, gaita de fol and gaita de fuelle is a
generic term for "bagpipe" in Spanish, Portuguese, Galego, Asturian,
Catalan and Aragonese, for distinct bagpipes used in Galicia
(Spain), Asturias (Spain), Cantabria (Spain), Catalonia (Spain),
Aragon (Spain) and also Trás-os-Montes e Alto Douro (Portugal)
Estremadura (Portugal), Minho (Portugal) and Beira Litoral
(Portugal). Just like "Northumbrian smallpipes" or "Great Highland
bagpipes," each country and region attributes its toponym to the
respective gaita name: gaita galega (Galicia, Spain),
gaita transmontana (Trás-os-Montes, Portugal), gaita
asturiana (Asturias, Spain), gaita sanabresa (Sanabria,
Spain), sac de gemecs (Catalunya, Spain) gaita de boto
(Aragon, Spain) etc. Most of them have a conical chanter with a
partial second octave, obtained by overblowing. Folk groups playing
these instruments have become popular in recent years, and pipe
bands for some models.
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Sac de gemecs : used in Catalonia
(Spain). In Mallorca Island, this same bagpipe is called a "Xeremia"
and is played in a duet with a Flabiol (one handed whistle) and
drum.
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Galician gaita is a traditional bagpipe used in Galicia and
Northern and Central Portugal.
Italy
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Zampogna : A generic name for an Italian bagpipe, with different
scale arrangements for two chanters (for different regions of
Italy), and from one to three drones (single drone versions can
sound a fifth, in relation to the chanter keynote).Other drones are
tuned higher or lower than the chanters, and the drones, like the
chanters, can be single or double reeded. The double reeded version
of the Zampogna is generally played with the piffero (called
biffera in the Ciociaria]; a shawm, or folk oboe), which
plays the melody and the zampogna provides chord changes,
"vamping" or rhythmic harmony figures or a bass line and a soprano
harmony as accompaniment. This double reed tradition would include
the Ciociaria (Latium, southern Abruzzo and Molise), that of
southern Basilicata (Pollino) and nearby areas of Calabria, and some
areas of Sicily (Siracusa, Palermo). Single reed versions are played
solo in the Calabrian tradition of the surdullina (Cosenza),
and a version with a plugged chanter called the "surdullina
Albanese," and the Sicilian ciaramedda or ciaramèddha
(Messina and Reggio Calabria). The chanters and drones vary,
according to the tradition, from a few inches long (surdullina)
to two meters in length, such as used in the cathedral of Monreale
(Palermo) and nearly every size in between. The word tzimpounas/tsimponas
still used for bagpipe in Pontic Greek and Turkish (Trebizond region
of northeast Anatolia; its Romanian counterpart is cimpoi,
which also means "symphony" or "many sounds played together."
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Piva, used in northern Italy
(Bergamo, Emilia). A single chantered, single drone instrument, with
double reeds, often played in accompaniment to a shawm, or piffero.
The old Bergamo type is called Baghèt.
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Launeddas of Sardinia. While not strictly a bagpipe in that it
is played in the mouth by circular breathing, it is nonetheless a
cousin and likely ancestor of the Italian zampogna, in that it has
two chanters and a drone, all single reed. They vary, according to
the tradition, from about a foot long to almost a meter in length.
Malta
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Żaqq (with definite article:
iż-żaqq): The most common form of Maltese bagipes, sometimes
erroneously referred to as the zapp due to a spelling error
in a 1939 English-language publication. There was also a smaller
type of bagpipe known as the qrajna (a diminutive of qarn
["horn"]). The Maltese word żaqq literally means "sack" or
"belly" and derives from Arabic ziqq ( زِقّ "skin" [as a
receptacle]). It is sometimes stated that żaqq derives from
Italian zampogna but this is not the case. Very similar to
the bagpipes of North Africa, the Maltese żaqq consists of a
chanter (saqqafa) with two side-by-side pipes (qwiemi)
made of cane and set into a wooden yoke, using two single-reeds (bedbut).
A single bull's horn bell (qarn) is typically attached to the
end of the chanter. There are no drones. The bag was traditionally
made of (preferably) dogskin, but goat- and calfskin were also used;
there are ethnographic reports that skins of large tomcats also
served. The use of the żaqq in daily life came to an end in
the 1970s, but there are ongoing attempts to revive it by various
folk music ensembles such as Etnika.
Poland
General name of bagpipes in Polish are kozioł (buck), gajdy
or koza (goat), sometimes are also wrongly named kobza.
They are used in folk music of Podhale, Żywiec Beskids, Cieszyn Silesia
and mostly in Greater Poland, were are known four basic variants of
bagpipes:
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dudy wielkopolskie
(Greater Polands bagpipes) with two subtypes: Rawicz-Gostyń nd
Kościan-Buk
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kozioł biały weselny
or shortly kozioł biały (white wedding-party buck or simply
white buck)
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kozioł czarny ślubny
or shortly kozioł czarny (black wedding buck or simply black
buck)
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sierszeńki
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In Podhale there is one type of
dudy called koza or gajdzica.
Sweden
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Säckpipa: Also the Swedish word for "bagpipe" in general, this
instrument was on the brink of extinction in the first half of the
20th century. It has a cylindrical bore and a single reed, as well
as a single drone at the same pitch as the bottom note of the
chanter.
Anatolia
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Pontic bagpipe/dankiyo/tulum consist of :1 . Post -
Skin (bag) : Animal Skin, 2 . Fisaktir - blowpipe : Wood or Bone, 3
. Avlos - flute : Wood & Reeds, 4 . Kalame - Reeds: Reeds
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Dankiyo: A word of Greek origin for "bagpipe" used in the
Trabzon Province of Turkey mentioned in the text of Evliya Çelebi
(17. century, Ottoman Era): "The Laz's of Trebizond invented a
bagpipe called the dankiyo...." Etymology: Ancient Greek το
άγγείον to angeíon "skin, bagpipe."
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Tulum: skin bag; Turkish bagpipe featuring two parallel
chanters, (and no drone) usually played by the Laz and Hamsheni
people.
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Gaida: Usually played by Thracians Turks and Pomaks in Turkey.
Iran
North Africa
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Mizwad (Arabic مِزْود ; plural
مَزاود mazāwid): Tunisian bagpipes; often referred to as
mezoued, a French form of the Arabic word. Mizwad
literally means "sack". The mizwad is also known as the
zukrah ( زُكْرة ; pl. زُكر zukar), a word literally
meaning "(wine)skin".
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