Myal Pyper, Hys Pipes
I play various different forms of bagpipe, two of which have a single chanter (that’s the bit that the fingers play to produce the tune) and the others have two chanters (or double chanters, as they are usually known). Each hand plays an individual pipe allowing the addition of a harmonic second line and thus a fuller sound.
The single chanter sets I use are both made by Sean Jones (see links page). The smaller of the two, called “small pipes” or “Dudey”, uses a tonic in D. The chanter has a straight bore and a relatively large reed producing a softer sound. This system went onto develop into the Northumbrian bagpipe.
The second Jones set (pictured right) is larger in general and has a conical bore chanter with a smaller, harder reed producing a more shrill sound. These are in G and known today as “Border Pipes” though similar instruments had been in existence widely throughout Europe since the 16th century.
There are two systems of getting air into the bag. The first, and definitely the older, is mouth blown, the second uses a set of bellows strapped under the arm not controlling the bag and is sometimes called the “cold wind” system. The advantage of using bellows is the lack of moisture (present when using the mouth), moisture that can play havoc with the reeds that produce the basic sound. Bellows were in use as early as the 1500s and it is the principle method I use as it provide a more stable instrument.
The Double Chanter Bagpipe in England (An Ongoing Story)
Depictions of Double Chanter pipes, carved
in stone and wood, are found in various churches
right across England and date from the mid 14th to
16th centuries. This is not to say they are any more
“English” than the single chanter pipes also known from
the period, indeed the bagpipe is one of the few
instruments that has become a national and/or regional icon,
the discussion of which would fill more pages than this humble
website has.
As with the single chanter pipes there is no exact form (again that seems
to be a later development) but all have two separate pipes played by
separate hands and most, though definitely not all, also have a single drone in
the top of the bag similar in layout to its more famous cousin, the Great Highland
Bagpipe (or Scottish Bagpipes to most!)
Sadly, apart from the carvings, that is all we know at present about these bagpipes, so
when I discovered the “Zampogna” several years ago in France that re-kindled an
interest that has stayed forefront with me ever
since.
The plan was: by getting to grips with Zampogna I would have a
better idea how to create a set of my own pipes with more of an
“English” (dare I say) look and musical character about them. However
this is not to say that Zampogna are far removed from what I need to
fulfil that aim. They have, as an instrument, survived in southern
Italy relatively unchanged (if the artwork is anything to go by) since
at least the 16th century. Perhaps one of the few
differences with what they are and what I need is that both chanters
have the same notes but an octave apart thus making them work towards
producing a simple melody backed by a simple bass line whereas the
depictions we have of DC pipes in England suggest a single octave upto
10 notes split in the middle between the two hands or perhaps fewer
notes overlapping in the middle between the two hands.
A set
of Zampogna were made for me by Marco Cianciaruso, Chiasso, Switzerland
in late ’06 and finally, in December '09, I made the first version of what, I’m sure,
will be a few more in order to discover what these wonderful pipes have
to offer.