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This is a list of published music covering different types of bagpipes .
Bagpipes of Galicia, Banda de Gaitas "Ledicia", ARC 2001
Bagpipes are a woodwind instrument using enclosed reeds fed from a constant reservoir of air in the form of a bag. The Scottish Great Highland bagpipes are the best known examples in the Anglophone world, 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 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.
Pibroch, piobaireachd or ceòl mòr is an art music genre associated primarily with the Scottish Highlands that is characterised by extended compositions with a melodic theme and elaborate formal variations. Strictly meaning "piping" in Scottish Gaelic, piobaireachd has for some four centuries been music of the Great Highland Bagpipe. Music of a similar nature, pre-dating the adoption of the Highland pipes, has historically been played on the wire-strung Gaelic harp and later on the Scottish fiddle, and this form is undergoing a revival.
Canntaireachd is the ancient method of teaching, learning and memorizing Piobaireachd, a type of music primarily played on the Great Highland bagpipe. In the canntairached method of instruction, the teacher sings or hums the tune to the pupil, sometimes using specific syllables which signify the sounds to be produced by the bagpipe.
The Northumbrian Pipers' Society was founded to promote both types of Northumbrian bagpipes – the Northumbrian smallpipes and the half-long pipes, now generally known as the Border pipes. There had been several attempts to encourage the pipes and their music during the 19th century, but no society was formed with this specific aim until the Northumbrian Small Pipes Society in 1893. That society organised a series of competitions, in which Richard Mowat and Henry Clough were both prizewinners. However it was short-lived, dissolving around 1899. Today the society is divided into two branches, the main branch based in Morpeth, and the Cleveland branch based in Sedgefield.
Jori Lance Chisholm is an American professional bagpipe player and teacher who lives in Seattle, Washington. Chisholm is a successful solo competitor winning the United States Gold Medal four times and has placed in the top three in Scotland's Argyllshire Gathering Gold Medal competition. He played with the six-time Grade One World Champion Simon Fraser University Pipe Band and was a featured solo performer for the band on multiple occasions. Chisholm has performed in front of sold-out audiences with The Chieftains and with ex-Grateful Dead rocker Bob Weir and his band Ratdog, and has been featured as a soloist or band member on over 20 recordings. His debut solo album Bagpipe Revolution was nominated for Album of the Year by Pipes|Drums magazine. He writes the "Sound Technique" column for the National Piping Centre’s bi-monthly Piping Today Magazine. The New York Times featured Chisholm's online teaching program, BagpipeLessons.com, and described him as a "top-tier teacher" in a front-page story about the growth of Skype music lessons. A cover story in American Profile Magazine named Chisholm one of the "world's elite pipers."
This article defines a number of terms that are exclusive, or whose meaning is exclusive, to piping and pipers.
Pipe Major Donald MacLeod was a Scottish bagpiper, British Army Pipe major, composer and bagpipe instructor.
Roderick 'Roddy' (R.S.) MacDonald is a pipe major, living in Brisbane, Australia, and a composer of tunes for the bagpipes.
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.
Irish warpipes are an Irish analogue of the Scottish Great Highland Bagpipe. "Warpipes" is originally an English term. The first use of the Gaelic term in Ireland was recorded in a poem by Seán Ó Neachtain, in which the bagpipes are referred to as píb mhór.
William Alfred Cocks (1892-1971) was a master clock maker from Ryton, near Newcastle upon Tyne. He had a lifelong interest in the history and culture of the North-east of England, and particularly in the Northumbrian smallpipes and half-long pipes. He assembled a large collection of historic bagpipes, their music, and related materials, which forms the core of the collection now housed at the Morpeth Chantry Bagpipe Museum. He was elected to the Society of Antiquaries of Newcastle upon Tyne in 1920, remaining a member until his death. In 1928, he was one of the earliest members of the Northumbrian Pipers' Society, being elected one of the technical advisers, with responsibility for smallpipes. He became a Vice-President of the Society in 1938. When an exhibition of historic pipes was held in the Black Gate Museum in 1961, most of the exhibits were from Cocks's collection.
John Grant was an amateur aficionado of the Great Highland bagpipe who, for over fifty years, composed piobaireachd and Ceòl Beag for members of the British Royal Family, important noblemen and women, and contemporary statesmen; wrote and published books on the Great Highland Bagpipe and its music; and taught students under the auspices of the [Royal] Scottish Piper's Society.
Donald MacPherson was a Scottish bagpipe player, and one of the most successful competitive solo pipers of all time.
Angus MacKay was a Scottish bagpipe player and the first Piper to the Sovereign. He wrote collections of pibroch and ceol beag written in staff notation, which became the basis for standardised settings of music which had previously been shared by singing of canntaireachd.