It is unclear whether Lincolnshire bagpipes refer to a specific type of pipes native to Lincolnshire, England, or to the popularity of a more general form of pipes in the region. Written records of bagpipes being associated with Lincolnshire date back to 1407, [1] but it is difficult to find certain proof that any regional variation of the bagpipe existed which was peculiar to Lincolnshire. Despite the lack of evidence for a uniquely local instrument, it is clear that the bagpipe was enjoyed by the people of Lincolnshire. [2]
By the modern era, the bagpipe had largely fallen out of use in Lincolnshire and a 1901 commentator noted that it had become defunct by 1850. [3] By 1881, later researchers had identified that the 19th-century farmer, John Hunsley, had played the bagpipes "up to a short time before his death, which took place twenty or thirty years ago (i.e. between 1851 and 1861)." [4] Hunsley lived in Manton, near Kirton-in-Lindsey. In 1984 John Addison, a pipemaker in South Somercotes, began his research to try to establish whether a uniquely local "Lincolnshire bagpipe" existed, [5] and in 1989, he finished making a set of bagpipes based on the limited sources he found. [6] [7]
In 1407 we find possibly the earliest reference to bagpipes in Lincolnshire: "It is right well that Pilgrims have with them both singers and pipers." [1] John Bale added a note in the margin: "Well spoken, my Lord, for the Lincolnshire Bagpipes". [1]
Michael Drayton (1563–1631) writes in Poly-Olbion : "Bean belly, Leicestershire her attribute doth bear. And Bells and Bagpipes next, belong to Lincolnshire." [8]
Sometime prior to 1662, Thomas Fuller had written: "I behold these as most ancient, because a very simple sort of music, being little more than an oaten pipe improved with a bag, wherein the imprisoned wind pleadeth melodiously for the enlargement thereof. It is incredible with what agility it inspireth the heavy heels of the country clowns, overgrown with hair and rudeness, probably the ground-work of the poetical fiction of dancing satyrs. This bagpipe, in the judgement of the rural Midas's, carrieth away the credit from the harp or Appollo himself; and most persons approve the blunt bagpipe above the edge-tool instruments of drums and trumpets in our civil dissensions." [2]
Several commentators note the enthusiasm of Lincolnshire people for the bagpipes. The 1817 A Complete collection of English proverbs, predating the believed extinction of the pipes, notes of the "Lincolnshire bagpipes" that they are so named because, "Whether because the people here do more delight in the bagpipes than others, or whether they are more cunning in playing upon them; indeed the former of these will infer the latter." [9]
The pipes were often noted in period literature as a simile for unpleasant noise, and an 1875 commentator noted that in his time the term "Lincolnshire bagpipes" was a local colloquialism for the croaking of frogs. [10] A 1933 publication also describes them as "a particularly clumsy instrument emitting a doleful and monotonous sound." [11]
A description from 1885 refers to bagpipes, extant in Lincolnshire, as having only one drone, [12] and Addison's interpretation maintains this attribute.
The pipes are famously mentioned by the character Falstaff in William Shakespeare's play Henry IV, Part 1 (c. 1597) in which he likens his melancholy to their sound: "Sblood, I am as melancholy as a gib cat or a lugged bear...Yea, or the drone of a Lincolnshire bagpipe." Robert Armin, an actor in Shakespeare's company, also mentions the bagpipe in his prose work A Nest of Ninnies (1608): "At Christmas time, amongst all the pleasure provided, a noyse of minstrells and a Lincolnshire bagpipe was prepared – the minstrells for the great chamber, the bagpipe for the hall – the minstrells to serve up the knights meate, and the bagpipe for the common dauncing." [13]
According to their own records, on 12 November 1988, the Lincolnshire Heritage Trust (now renamed Heritage Trust of Lincolnshire) commissioned pipemaker John Addison of South Somercotes to undertake research into historic bagpipes in Lincolnshire and to create a set of Lincolnshire pipes based on that research. [6] [7] Addison was a maker of Northumbrian smallpipes, Irish pipes, Musettes de Cour, Border and Lowland pipes and Northumbrian Half Longs. [6] Addison was well aware of the high degree of conjecture that anyone recreating a bagpipe, of the type once seen in Lincolnshire, would have to employ. In 1984, Addison wrote about the carving in Branston Church: "This powerful but primitive motif gives at least some information; it shows a bagpipe with one chanter (melody pipe) which is probably conical, one drone with a bell end, and it is mouth blown". [5] Addison goes on to say "This description also covers pipes which would undoubtedly have been seen in a large part of Eastern Europe, most of Western Europe and some of North Africa and can be still seen in some of these places today". [5] Addison reached the conclusion, from his research on the possible existence of a regional bagpipe for Lincolnshire, that the closest relative of such a pipe was the Spanish gaita gallega, which he believed to be the most straightforward form of the bagpipe existing in Europe. [5] Addison based his new pipes on three carvings: a pew end carving in All Saints' Church, Branston; an oak ceiling boss in the cloister of Lincoln Cathedral and a stone carving taken from Moorby Church before it was demolished in November 1982. [6] All three depictions appear to have a conical chanter and a single bass drone. The pipes made by Addison strongly physically resemble the Spanish gaita.
Folk musician Annie Walker played the resulting pipes during a ceremony at All Saints' Church, Branston, Lincolnshire, in September 2002. [14] In April 2012, the Addison pipes were loaned to musician Al Garrod, founder of the recreated City of Lincoln Waites, the medieval band of the Mayor of Lincoln.
Bagpipes are a woodwind instrument using enclosed reeds fed from a constant reservoir of air in the form of a bag. The Great Highland bagpipes are well known, but people have played bagpipes for centuries throughout large parts of Europe, Northern Africa, Western Asia, around the Persian Gulf and northern parts of South Asia.
The uilleann pipes, sometimes called Irish Bagpipes, are the characteristic national bagpipe of Ireland. Earlier known in English as "union pipes", their current name is a partial translation of the Irish language terms píobaí uilleann, from their method of inflation. There is no historical record of the name or use of the term uilleann pipes before the 20th century. It was an invention of Grattan Flood and the name stuck. People mistook the term 'union' to refer to the 1800 Act of Union; this is incorrect as Breandán Breathnach points out that a poem published in 1796 uses the term 'union'.
The great Highland bagpipe is a type of bagpipe native to Scotland, and the Scottish analogue to the great Irish warpipes. It has acquired widespread recognition through its usage in the British military and in pipe bands throughout the world.
The Scottish smallpipe is a bellows-blown bagpipe re-developed by Colin Ross and many others, adapted from an earlier design of the instrument. There are surviving bellows-blown examples of similar historical instruments as well as the mouth-blown Montgomery smallpipes, dated 1757, which are held in the National Museum of Scotland. Some instruments are being built as direct copies of historical examples, but few modern instruments are directly modelled on older examples; the modern instrument is typically larger and lower-pitched. The innovations leading to the modern instrument, in particular the design of the reeds, were largely taken from the Northumbrian smallpipes.
The border pipes are a type of bagpipe related to the Scottish Great Highland Bagpipe. It is perhaps confusable with the Scottish smallpipe, although it is a quite different and much older instrument. Although most modern Border pipes are closely modelled on similar historic instruments, the modern Scottish smallpipes are a modern reinvention, inspired by historic instruments but largely based on Northumbrian smallpipes in their construction.
The Northumbrian smallpipes are bellows-blown bagpipes from North East England, where they have been an important factor in the local musical culture for more than 250 years. The family of the Duke of Northumberland have had an official piper for over 250 years. The Northumbrian Pipers' Society was founded in 1928, to encourage the playing of the instrument and its music; Although there were so few players at times during the last century that some feared the tradition would die out, there are many players and makers of the instrument nowadays, and the Society has played a large role in this revival. In more recent times the Mayor of Gateshead and the Lord Mayor of Newcastle have both established a tradition of appointing official Northumbrian pipers.
Cornish bagpipes are the forms of bagpipes once common in Cornwall in the 19th century. Bagpipes and pipes are mentioned in Cornish documentary sources from c.1150 to 1830 and bagpipes are present in Cornish iconography from the 15th and 16th centuries.
Welsh bagpipes The names in Welsh refer specifically to a bagpipe. A related instrument is one type of bagpipe chanter, which when played without the bag and drone is called a pibgorn (English:hornpipe). The generic term pibau (pipes) which covers all woodwind instruments is also used. They have been played, documented, represented and described in Wales since the fourteenth century. A piper in Welsh is called a pibydd or a pibgodwr.
The torupill is a traditional bagpipe from Estonia.
The electronic bagpipes is an electronic musical instrument emulating the tone and/or playing style of the bagpipes. Most electronic bagpipe emulators feature a simulated chanter, which is used to play the melody. Some models also produce a harmonizing drone(s). Some variants employ a simulated bag, wherein the player's pressure on the bag activates a switch maintaining a constant tone. As with other electronic musical instruments, they must be plugged into an instrument amplifier and loudspeaker to hear the sound. Some electronic bagpipes are MIDI controllers that can be plugged into a synth module to create synthesized or sampled bagpipe sounds.
The xeremia is a type of bagpipe native to the island of Majorca (Mallorca). It consists of a bag made of skin, known as a sac or sarró which retains the air, a blowpipe (bufador), a melody pipe or chanter (grall), and several, generally three, drones (bordons). The primary drone (roncó) sounds a tonic note, but the other drones are sometimes simply false drones for ornamentation.
When bagpipes arrived in England is unknown, there is some evidence to suggest Anglo-Saxon times, however the oldest confirmed proof of the existence of bagpipes anywhere in the world comes from three separate sources in the 13th century. Two of them English; the Tenison Marginalie Psalter from Westminster and an entry into the accounts books of Edward the I of England recording the purchase of a set of bagpipes. The third from the Cantigas Del Santa Maria published in Spain. From the 14th century onwards, bagpipes start to appear in the historical records of European countries, however half the mentions come from England suggesting Bagpipes were more common in England.
The gaita asturiana is a type of bagpipe native to the autonomous communities of Principality of Asturias and Cantabria on the northern coast of Spain.
Hugh Robertson (1730–1822) was a Scottish wood and ivory turner and a master crafter of woodwind instruments such as pastoral pipes, union pipes, and great Highland bagpipes.
John Dunn was a noted pipemaker, or maker of bagpipes. Born in Newcastle upon Tyne, England, Dunn was a cabinet maker by profession, initially a junior partner with George Brummell. In the trade directories, he also appears in his own right as a turner and a plumb maker and turner. His address was Bell's Court, off Pilgrim Street. He was buried on 6 February 1820 in St. John's, Newcastle. His father may have been one John Dunn of Longhorsley; if so, he was born on 3 September 1764. He should not be confused with one M. Dunn, the maker of several surviving sets of Union pipes.
John Hunsley was a bagpiper from Manton, North Lincolnshire and last known player of the Lincolnshire bagpipes, which he played until shortly before his death at around 1850.
The mashak is a type of bagpipe found in Northern India, Uttarakhand, Sudurpaschim Province of Nepal and parts of Pakistan and Afghanistan. The pipe was associated with weddings and festive occasions. In India it is historically found in Kumaon and Garhwal in Uttarakhand, Rajasthan and Uttar Pradesh. This bagpipe uses single reeds, and can be played either as a drone or as a melody instrument.
The muiñeira is a traditional dance and musical genre of Galicia and some parts of Asturias (Spain). It is distinguished mainly by its expressive and lively tempo, played usually in 6
8, although some variants are performed in other time signatures. There are also variant types of muiñeira which remain in the tempo of 6
8 but which displace the accent in different ways. Muiñeira is associated with traditional choreographic schemes and the associated instrumentation is a form of bagpipe known as a gaita. It is subject to highly varied interpretation in differing local traditions. According to "Galicia-The Spanish Cousins", an article on Roots World, muiñeira is the Galician "equivalent" of a jig, which is consistent with the time signature of 6
8. The word "muiñeira" means literally both millstone and a mill landlady. Galician music is classified as part of Celtic music.