253:
one-octave range from G to g, with each note being sounded by uncovering a single hole, as in the modern instrument. This seems to have been a closed-ended chanter, for the lowest note is sounded by uncovering the lowest finger-hole – there was no bell-note, sounding with all holes covered; further, Talbot did not give the bore of the chanter, suggesting that it could not easily be measured. The three drones were in unison with the lowest note, G, of the chanter, the D a fourth below it, and G, an octave below. It has been argued that such instruments were derived from mouth-blown German three-drone bagpipes. These instruments seem to have been well-established in
Northumberland by the early 18th century; many of the tunes in the
465:, published in 1882, aimed to serve as a historical repository of Northeastern folk songs and pipe music, covering an area from Durham City to just north of the Scottish border. The book is divided into two sections: the first section presents the lyrics (accompanied by some music) of local, now-historical songs, while the second part provides the music for many Northumbrian smallpipe tunes, with very few lyrics. The Minstrelsey drew upon a number of antecedent sources, including Joseph Ritson's Bishopric Garland and Northumberland Garland, John Bell's Rhymes of Northern Bards, and Joseph Crawhall II's Tunes for the Northumbrian Small Pipes.
280:
and this (little as it is) admits of all the airs, to which it is really suited, being executed by its means; with the additional improvement that it may be played perfectly in tune, whilst the tones it produces being staccato and of a clear, ringing, pearly and brilliant character, gives the instrument a power which its appearance by no means promises, and which is really surprising when the diminutive size of its chanter or melody-pipe is considered". This is still a valid description of the unkeyed instrument, its repertoire, and proper playing style.
232:; it was very influential in promoting a revival of pipemaking from that time. This is now out of print, however. Another description, by Mike Nelson, is currently available. Nelson's designs also include the "School Pipes", G-sets with plastic components, made to be used in schools in Northumberland. These two accounts differ rather in their objectives, as Cocks and Bryan was based on descriptions of existing sets, notably by
347:
1407:
36:
135:
617:. Each note is only sounded by lifting one finger or operating one key. The aim is to play each note as full length as possible, but still separate from the next – 'The notes should come out like peas'. The chanter is closed, and thus briefly silent, between any two notes, and there is an audible transient 'pop' at the beginning and end of a note.
422:, but about half the tunes have a single octave range and sound well on the single-octave, simple, keyless Northumbrian pipe chanter. These tunes are almost all extended variation sets on dance tunes in various rhythms – reels, jigs, compound triple-time tunes (now known as slip jigs), and triple-time hornpipes.
453:
the engraver, left five manuscript notebooks of pipetunes; these, dated between 1832 and 1843, are from the earliest decades in which keyed chanters were common, and they give a good early picture of the repertoire of a piper at this stage in the modern instrument's development. Roughly contemporary
279:
about the "ancient music of
Northumberland", he wrote that "The Northumbrian pipe is played upon by means of the method called 'close fingering', for which it is calculated. This method of stopping allows only of one finger being lifted at a time. Thus this instrument is limited to a single octave;
386:
There are usually four drones on a set of
Northumbrian pipes, mounted in parallel in a common stock. These are tunable, and three will usually be tuned to the tonic, dominant and octave tonic, the other one being shut off. Like the chanter, these have a narrow cylindrical bore. Unlike the chanter,
315:", and "Shields Fair". Lamshaw died in 1806, but is known to have played the 'improved smallpipes'; although only one of these tunes bears his name, the other probably commemorates the Tynemouth and North Shields Fair, inaugurated in 1804. Lamshaw played there in his capacity as the Duke's piper.
252:
The earliest known description of such an instrument in
Britain is in the Talbot manuscript from about 1695. The descriptions of bagpipes mentioned in this early source are reproduced in One of these instruments was a bellows-blown 'Bagpipe, Scotch', with three drones, whose keyless chanter had a
167:
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
519:
also plays
Northumbrian smallpipes and has composed many tunes on and for the instrument. His compositions for groups of instruments have explored a greater range of harmonies than was traditionally associated with the smallpipes' repertoire, and he has collaborated with musicians such as jazz
377:
sharp of F natural. This nominal G, however, is always notated as G. Nowadays, chanters are available anywhere from D to G, F+ being the commonest for solo or ensemble piping, but G being the most popular for playing ensemble with other instruments. Pipes with a tonic of F# are used for solo
390:
As well as a tuning slide for precise adjustment of tuning, each drone will usually possess one or two 'bead holes' allowing its pitch to be raised by a tone or two, therefore allowing the piper to play in different musical keys, but still generally using the tonic, dominant and octave tonic
397:
Only three drones are usually sounded at once, tuned for instance to G, D and g if the tonic of the tune is G. Sets sometimes have thumb-operated drone switches, allowing players to change key without stopping playing. Occasionally, though rarely, other tunings have been used, for example
645:
There are a substantial number of recordings of the smallpipes currently available, covering the whole range of archive, commercial and non-commercially presented music. Re-issues of historically significant recordings of the pipes from the 20th century include:
387:
though, the reeds have a single blade; they are either cut from a single tube of cane, or else a strip of cane in a metal body. Current pipe-makers have also experimented with plastic blades (Richard Evans) and carbon fibre blades (Mike Nelson) on metal bodies.
138:
These
Northumbrian smallpipes were made by John Dunn, and belonged to Robert Bewick. They have an inscription on the dronestock ferrule stating their provenance. It is likely that this simple chanter is not the original, which was probably
311:. The instrument depicted in Peacock's tunebook had only four keys, for F sharp, E and D below the octave G-g range of the unkeyed instrument, and another for the an above it. Two early pipe tunes written for such an instrument are "
212:
The
Northumbrian smallpipes' chanter having a completely closed end, combined with the unusually tight fingering style (each note is played by lifting only one finger or opening one key) means that traditional Northumbrian piping is
364:
Traditionally, the chanter has been pitched somewhere between F and F sharp, older instruments often being close to modern F sharp. Several modern makers prefer to produce pipes pitched at what
Northumbrian pipers refer to as
624:
was able to get great expressive effects in this way – 'You should be able to hear the bairns crying'. But 'choyting' (the complex open-fingered gracing after the manner of
Highland piping) is generally frowned on, and
205:, most commonly seven, but chanters with a range of over two octaves can be made which require seventeen or more keys, all played with either the right hand thumb or left little finger. There is no
458:; it contains copies of the Peacock tunes, together with Scottish, Irish, and ballroom dance tunes. Both these sources include tunes in E minor, showing the d sharp key was available by this date.
437:(musical watchmen), and probably the first smallpiper to play a keyed chanter. The collection contains a mixture of simple dance tunes, and extended variation sets. The variation sets, such as
186:
wrote: "It is perhaps the most civilized of the bagpipes, making no attempt to go further than the traditional bagpipe music of melody over drone, but refining this music to the last degree."
288:
Although keyless chanters seem to have been common for much of the 18th century, the earliest evidence of the introduction of a keyed chanter is the illustration and fingering chart in
325:
In practice, beginning players find that the seven key chanter, with a range of D to b, is sufficient for playing most of the traditional piping repertoire. Such a chanter, made by
492:'s Piper) for instance, adapted many tunes from the Scottish and Irish pipe and fiddle repertoires to smallpipes, as well as composing tunes in various styles for the instrument.
629:
made a point of avoiding open-fingered ornament altogether, considering open-fingering 'a grievous error'. Several pipers play in highly close-fingered styles, Chris Ormston and
468:
As keyed chanters became more common, adaptations of fiddle music to be playable on smallpipes became more feasible, and common-time hornpipes such as those of the fiddler
394:
Sets with five or even six drones have been made since the 19th century (to allow ease of retuning); however these are not common and generally specifically commissioned.
495:
Although many pipers now play predominantly dance tunes and some slow airs nowadays, extended variation sets have continued to form an important part of the repertoire.
620:
For decoration, it is common to play short grace notes preceding a melody note. Some pipers allow themselves to play these open-fingered rather than staccato, and
1350:
1396:
538:(a protégée of Anderson's in her youth) has composed many virtuoso pieces for the smallpipes and has explored an even wider range of collaborations; besides
499:'s manuscripts contain many of these, some being variants of those in Peacock's collection. Other variation sets were composed by Clough, such as those for
1091:
350:
A 7-keyed chanter by Robert Reid. This is a composite image showing all sides of a classic seven-keyed chanter made by Robert Reid, probably about 1820.
354:
Chanters with more keys permit the playing of tunes with a wider range or with more chromatic notes, and allow access to much of the fiddle repertoire.
841:
This list is not exhaustive – there are a number of pipemakers producing pipes who choose not to advertise or who make instruments on an ad hoc basis.
209:
employed to get this two octave range, so the keys are therefore necessary, together with the length of the chanter, for obtaining the two octaves.
53:
484:, written in the late 19th century, is typical. Borrowing from other traditions and instruments has continued – in the early-to-mid 20th century,
217:
in style. Because the bores are so narrow, (typically about 4.3 millimetres for the chanter), the sound is far quieter than most other bagpipes.
441:
are all for the single octave keyless chanter, but the dance tunes are often adaptations of fiddle tunes – many of these are Scottish, such as "
1252:
1244:
1860:
300:
1459:
1454:
1449:
1444:
1439:
1434:
1429:
1424:
100:
1191:
1171:
1152:
1133:
1065:
969:
119:
72:
1389:
476:
is one. Many dance tunes in idioms similar to fiddle tunes have been composed by pipers specifically for their own instrument –
229:
164:
79:
240:
1214:
57:
357:
The chanter has a double reed, similar in construction to an oboe reed. This leads to a distinctive sound, rich in higher
86:
1358:
455:
1382:
1364:
930:
892:
339:
from the back, the thumbhole (for high g) and two keys operated by the right thumb (for low F sharp and for d sharp),
159:, where they have been an important factor in the local musical culture for more than 250 years. The family of the
68:
1374:
1265:
745:
469:
784:
425:
At the beginning of the 19th century the first collection specifically for Northumbrian smallpipes was published,
46:
1721:
1519:
547:
308:
1801:
1108:"A letter to ... the Duke of Northumberland on the ancient Northumbrian music, its collection and preservation"
850:
411:
254:
855:
789:
1865:
860:
804:
462:
326:
319:
233:
410:
The earliest bagpipe tunes from Northumberland, or indeed from anywhere in the British Isles, are found in
294:
A Favorite Collection of Tunes with Variations Adapted for the Northumberland Small Pipes, Violin, or Flute
1816:
684:
574:
529:
489:
276:
263:
160:
1716:
1524:
1206:
Victorian songhunters: the recovery and editing of English vernacular ballads and folk lyrics, 1820-1883
679:
543:
312:
1406:
1767:
1022:
887:
735:
567:
426:
378:
performance by several pipers now, being brighter in tone than those in F+, without being 'squeaky'.
289:
221:
93:
454:
with this is Lionel Winship's manuscript, dated 1833, which has been made available in facsimile on
1796:
824:
794:
750:
637:
who use open fingering for expression, the close-fingered technique is the basis of their playing.
481:
419:
173:
875:
870:
829:
799:
769:
1731:
1711:
1495:
1410:
1361:
archive – contains manuscript and printed music, as well as recordings and photographs of pipers.
725:
578:
512:
1645:
774:
1855:
1772:
1762:
1741:
1701:
1475:
1248:
1240:
1210:
1187:
1167:
1148:
1129:
1085:
965:
764:
516:
402:
recommended G, c, g, suitable for tunes in C major, or D, A, d, a, for some tunes in D major.
225:
1539:
1500:
1107:
809:
710:
630:
602:
590:
559:
342:
from the right, the other keys operated by the right thumb (for low D, c sharp, and high b).
272:
202:
194:
336:
from the player's left, the keys (for low E and high a) operated by the left little finger,
1777:
814:
634:
598:
535:
521:
434:
259:
1069:
995:
346:
1829:
944:
705:
689:
551:
539:
268:
183:
17:
1849:
1640:
1544:
1534:
730:
700:
594:
555:
450:
446:
370:
198:
1834:
1746:
1691:
1650:
1579:
1554:
1549:
1480:
819:
779:
715:
415:
374:
180:
1204:
613:
The traditional style of playing on the instrument is to play each note slightly
366:
1736:
1529:
1021:
James Talbot's Manuscript. (Christ Church Library Music MS 1187). III. Bagpipes
206:
35:
1686:
1655:
1490:
972:, Pitt Rivers Museum, Univ. of Oxford, 3rd edition, 1995 147 pages with plates
740:
720:
626:
621:
496:
485:
442:
399:
299:
179:
In a survey of the bagpipes in the Pitt Rivers Museum, Oxford University, the
176:
have both established a tradition of appointing official Northumbrian pipers.
134:
1316:
220:
A detailed account of the construction of Northumbrian smallpipes written by
1811:
1681:
1665:
1485:
865:
586:
169:
1369:
1291:
1012:
The James Talbot manuscripts, Music MS 1187, Christ Church Library, Oxford.
1239:, Northumbrian Pipers' Society, 2nd edition, 2 vols., C. Ross and J. Say,
1660:
1619:
1599:
1574:
658:
651:
614:
582:
361:. As the bore is cylindrical, the odd harmonics are greatly predominant.
358:
214:
152:
1344:
1269:
1147:, edited by Chris Ormston and Julia Say, Northumbrian Pipers' Society,
1038:
John Goodacre, A Closed-ended Smallpipe Chanter from the 17th Century,
239:
190:
156:
1166:, William Dixon (1733), edited by Matt Seattle 1995, Dragonfly Music,
597:, playing new compositions based on traditional Northumbrian tunes by
1696:
1635:
931:"The Northumbrian Pipers' Society – the Northumbrian Pipers' Society"
845:
318:
In subsequent years, the design was developed and refined further by
1706:
1589:
1564:
345:
298:
296:, first published by William Wright, of Newcastle, in about 1800.
238:
912:
333:
from the front, the fingerholes (for G, A, B, c, d, e, f sharp),
1378:
1128:
Peacock's Tunes, 2nd ed., Northumbrian Pipers' Society (1999),
1609:
1051:
The Origins of the Northumbrian Smallpipes, Ernst E. Schmidt,
29:
414:'s manuscript from the 1730s. Some of these can be played on
322:
and his son James; in particular, more keys were added.
201:. The cylindrically bored chanter has a number of metal
589:. More recently, Tickell has collaborated with pianist
329:, is shown below – the four views show respectively:
257:
are suitable for such simple sets, and a painting of
1786:
1755:
1674:
1628:
1509:
1468:
1417:
163:have had an official piper for over 250 years. The
60:. Unsourced material may be challenged and removed.
1164:The Master Piper – Nine Notes That Shook the World
562:, as well as having had a modern classical piece,
503:which uses the extended range of a keyed chanter.
472:became a more significant part of the repertoire.
373:where the nominal G sounds approximately twenty
236:, Nelson being a description of his own design.
168:this revival. In more recent times the Mayor of
1266:"News - Sir Peter Maxwell Davies - maxopus.com"
27:Bellows-blown bagpipes from North East England
1390:
8:
1186:, ed. Matt Seattle, Dragonfly Press (1998),
511:Primarily known as a virtuoso player of the
507:Modern orchestral pieces for the smallpipes
418:or an open-ended smallpipe like the modern
1397:
1383:
1375:
996:"Making a Set of Northumbrian Smallpipes"
307:The first of these were probably made by
275:published an open letter in 1857, to the
120:Learn how and when to remove this message
433:. Peacock was the last of the Newcastle
133:
981:William Alfred Cocks and Jim F. Bryan,
904:
654:– includes the 3 Tom Clough recordings.
1209:. Lanham, Md: Scarecrow. p. 370.
1090:: CS1 maint: archived copy as title (
1083:
1106:Doubleday, Thomas (12 January 1857).
1053:Northumbrian Pipers' Society Magazine
1040:Northumbrian Pipers' Society Magazine
985:, Northumbrian Pipers' Society, 1967.
913:"Northumbrian Smallpipes - Blue-Bell"
633:among them; even among those such as
573:In 2008 she composed a suite for the
7:
58:adding citations to reliable sources
528:suite which he performed with the
271:, shows him with such a set. When
25:
1370:Northumbrian Smallpipes Simulator
1352:The Northumbrian Smallpipes Tutor
1029:, Vol. 5. (Mar. 1952), pp. 44–47.
1405:
34:
1237:Billy Pigg, The Border Minstrel
659:Billy Pigg, the Border Minstrel
189:The instrument consists of one
45:needs additional citations for
391:combination of drone harmony.
1:
501:Nae Guid Luck Aboot the Hoose
228:was published in 1967 by the
1345:Northumbrian Pipers' Society
1145:The Clough Family of Newsham
1110:. Smith, Elder & Company
230:Northumbrian Pipers' Society
165:Northumbrian Pipers' Society
1861:English musical instruments
945:"Hire a Northumbrian Piper"
893:Northumbrian Pipers Society
652:The Northumbrian Smallpipes
601:, Peter Maxwell Davies and
1882:
1203:Gregory, E. David (2006).
1027:The Galpin Society Journal
546:, she has worked with the
488:, and Jack Armstrong (The
1825:
1520:Abbots Bromley Horn Dance
1118:– via Google Books.
983:The Northumbrian Bagpipes
851:Richard & Anita Evans
264:Duchess of Northumberland
69:"Northumbrian smallpipes"
568:Sir Peter Maxwell Davies
255:William Dixon manuscript
1727:Northumbrian smallpipes
524:as well as writing the
478:The Barrington Hornpipe
463:Northumbrian Minstrelsy
445:". A pupil of Peacock,
303:Peacock's keyed chanter
145:Northumbrian smallpipes
18:Northumbrian Smallpipes
1365:Morpeth Bagpipe Museum
685:Thomas Hair (musician)
575:BBC Promenade Concerts
566:, composed for her by
548:Penguin Café Orchestra
530:Lindsay String Quartet
490:Duke of Northumberland
351:
304:
277:Duke of Northumberland
244:
172:and the Lord Mayor of
161:Duke of Northumberland
140:
1802:Folk music of Denmark
1717:Lincolnshire bagpipes
1525:English country dance
1469:Subgenres and fusions
1055:, v.21–22, 2000–2001.
1000:Machineconcepts.co.uk
680:William Green (piper)
544:The Boys of the Lough
349:
302:
242:
137:
888:Music of Northumbria
222:William Alfred Cocks
151:) are bellows-blown
54:improve this article
1797:Scottish folk music
1756:Regional traditions
1272:on 26 February 2013
1184:Bewick's Pipe Tunes
949:Magnetic North East
676:James (Jamie) Allen
665:Northumbrian pipers
554:, jazz saxophonist
431:Favorite Collection
420:Scottish smallpipes
197:) and usually four
147:(also known as the
1793:External relations
1712:Lancashire bagpipe
1571:2/2 and 4/4 Dances
1496:Medieval folk rock
1411:English folk music
1321:Kathryntickell.com
1296:Kathryntickell.com
964:, Anthony Baines,
837:Current pipemakers
579:London Sinfonietta
513:English concertina
352:
305:
245:
155:from Northeastern
149:Northumbrian pipes
141:
1843:
1842:
1742:Yorkshire bagpipe
1476:British folk rock
1418:Folk music by era
1317:"Kathryn Tickell"
1292:"Kathryn Tickell"
1253:978-0-902510-31-9
1245:978-0-902510-30-2
1025:; F. S. A. Scot,
765:Alistair Anderson
517:Alistair Anderson
439:Cut and Dry Dolly
248:Early development
130:
129:
122:
104:
16:(Redirected from
1873:
1787:Related articles
1646:Children's songs
1540:Long Sword dance
1501:Progressive folk
1409:
1399:
1392:
1385:
1376:
1332:
1331:
1329:
1327:
1313:
1307:
1306:
1304:
1302:
1288:
1282:
1281:
1279:
1277:
1268:. Archived from
1262:
1256:
1234:
1228:
1227:
1225:
1223:
1200:
1194:
1181:
1175:
1161:
1155:
1142:
1136:
1126:
1120:
1119:
1117:
1115:
1103:
1097:
1095:
1089:
1081:
1079:
1077:
1072:on 19 April 2016
1068:. Archived from
1062:
1056:
1049:
1043:
1036:
1030:
1023:William A. Cocks
1019:
1013:
1010:
1004:
1003:
992:
986:
979:
973:
959:
953:
952:
941:
935:
934:
927:
921:
920:
909:
810:Adrian Schofield
711:Forster Charlton
631:Adrian Schofield
603:Michael Finnissy
591:Joanna MacGregor
550:, percussionist
273:Thomas Doubleday
193:(generally with
125:
118:
114:
111:
105:
103:
62:
38:
30:
21:
1881:
1880:
1876:
1875:
1874:
1872:
1871:
1870:
1846:
1845:
1844:
1839:
1821:
1782:
1751:
1747:Half-long pipes
1670:
1624:
1600:Triple Hornpipe
1505:
1464:
1413:
1403:
1349:John Liestman.
1341:
1336:
1335:
1325:
1323:
1315:
1314:
1310:
1300:
1298:
1290:
1289:
1285:
1275:
1273:
1264:
1263:
1259:
1235:
1231:
1221:
1219:
1217:
1202:
1201:
1197:
1182:
1178:
1162:
1158:
1143:
1139:
1127:
1123:
1113:
1111:
1105:
1104:
1100:
1082:
1075:
1073:
1066:"Archived copy"
1064:
1063:
1059:
1050:
1046:
1037:
1033:
1020:
1016:
1011:
1007:
994:
993:
989:
980:
976:
960:
956:
943:
942:
938:
929:
928:
924:
911:
910:
906:
901:
884:
839:
834:
815:Kathryn Tickell
760:
758:Current players
755:
697:George Atkinson
672:
667:
643:
635:Kathryn Tickell
611:
599:Howard Skempton
536:Kathryn Tickell
526:Shivering Stone
522:Annie Whitehead
509:
408:
384:
313:Lamshaw's Fancy
286:
262:, Piper to the
260:Joseph Turnbull
250:
126:
115:
109:
106:
63:
61:
51:
39:
28:
23:
22:
15:
12:
11:
5:
1879:
1877:
1869:
1868:
1866:Northumberland
1863:
1858:
1848:
1847:
1841:
1840:
1838:
1837:
1832:
1830:Portal:England
1826:
1823:
1822:
1820:
1819:
1814:
1809:
1805:
1804:
1799:
1794:
1790:
1788:
1784:
1783:
1781:
1780:
1775:
1770:
1765:
1759:
1757:
1753:
1752:
1750:
1749:
1744:
1739:
1734:
1729:
1724:
1719:
1714:
1709:
1704:
1699:
1694:
1689:
1684:
1678:
1676:
1672:
1671:
1669:
1668:
1663:
1658:
1653:
1648:
1643:
1638:
1632:
1630:
1626:
1625:
1623:
1622:
1617:
1613:
1612:
1607:
1603:
1602:
1597:
1593:
1592:
1587:
1583:
1582:
1577:
1572:
1568:
1567:
1562:
1558:
1557:
1552:
1547:
1542:
1537:
1532:
1527:
1522:
1517:
1513:
1511:
1507:
1506:
1504:
1503:
1498:
1493:
1488:
1483:
1478:
1472:
1470:
1466:
1465:
1463:
1462:
1457:
1452:
1447:
1442:
1437:
1432:
1427:
1421:
1419:
1415:
1414:
1404:
1402:
1401:
1394:
1387:
1379:
1373:
1372:
1367:
1362:
1356:
1347:
1340:
1339:External links
1337:
1334:
1333:
1308:
1283:
1257:
1229:
1215:
1195:
1176:
1156:
1137:
1121:
1098:
1096:FARNE Archive.
1057:
1044:
1031:
1014:
1005:
987:
974:
954:
936:
922:
903:
902:
900:
897:
896:
895:
890:
883:
880:
879:
878:
873:
868:
863:
858:
853:
848:
838:
835:
833:
832:
827:
822:
817:
812:
807:
805:Alice Robinson
802:
797:
792:
787:
782:
777:
772:
767:
761:
759:
756:
754:
753:
748:
743:
738:
733:
728:
723:
718:
713:
708:
706:Tommy Breckons
703:
698:
695:
694:Jack Armstrong
692:
690:G.G. Armstrong
687:
682:
677:
673:
671:
668:
666:
663:
662:
661:
655:
650:Topic TSCD487
642:
639:
610:
607:
564:Kettletoft Inn
552:Evelyn Glennie
540:The Chieftains
508:
505:
474:The High Level
407:
404:
383:
380:
344:
343:
340:
337:
334:
290:John Peacock's
285:
282:
269:Alnwick Castle
249:
246:
184:Anthony Baines
128:
127:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1878:
1867:
1864:
1862:
1859:
1857:
1854:
1853:
1851:
1836:
1833:
1831:
1828:
1827:
1824:
1818:
1817:Folk festival
1815:
1813:
1810:
1808:Miscellaneous
1807:
1806:
1803:
1800:
1798:
1795:
1792:
1791:
1789:
1785:
1779:
1776:
1774:
1771:
1769:
1766:
1764:
1761:
1760:
1758:
1754:
1748:
1745:
1743:
1740:
1738:
1735:
1733:
1730:
1728:
1725:
1723:
1720:
1718:
1715:
1713:
1710:
1708:
1705:
1703:
1700:
1698:
1695:
1693:
1690:
1688:
1685:
1683:
1680:
1679:
1677:
1673:
1667:
1664:
1662:
1659:
1657:
1654:
1652:
1651:Protest songs
1649:
1647:
1644:
1642:
1639:
1637:
1634:
1633:
1631:
1627:
1621:
1618:
1615:
1614:
1611:
1608:
1605:
1604:
1601:
1598:
1595:
1594:
1591:
1588:
1585:
1584:
1581:
1578:
1576:
1573:
1570:
1569:
1566:
1563:
1560:
1559:
1556:
1553:
1551:
1548:
1546:
1545:Maypole dance
1543:
1541:
1538:
1536:
1535:Garland dance
1533:
1531:
1528:
1526:
1523:
1521:
1518:
1515:
1514:
1512:
1508:
1502:
1499:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1479:
1477:
1474:
1473:
1471:
1467:
1461:
1458:
1456:
1453:
1451:
1448:
1446:
1443:
1441:
1438:
1436:
1433:
1431:
1428:
1426:
1423:
1422:
1420:
1416:
1412:
1408:
1400:
1395:
1393:
1388:
1386:
1381:
1380:
1377:
1371:
1368:
1366:
1363:
1360:
1357:
1354:
1353:
1348:
1346:
1343:
1342:
1338:
1322:
1318:
1312:
1309:
1297:
1293:
1287:
1284:
1271:
1267:
1261:
1258:
1254:
1250:
1246:
1242:
1238:
1233:
1230:
1218:
1212:
1208:
1207:
1199:
1196:
1193:
1192:1-872277-26-8
1189:
1185:
1180:
1177:
1173:
1172:1-872277-23-3
1169:
1165:
1160:
1157:
1154:
1153:0-902510-20-7
1150:
1146:
1141:
1138:
1135:
1134:0-902510-19-3
1131:
1125:
1122:
1109:
1102:
1099:
1093:
1087:
1071:
1067:
1061:
1058:
1054:
1048:
1045:
1042:, v.19, 1998.
1041:
1035:
1032:
1028:
1024:
1018:
1015:
1009:
1006:
1001:
997:
991:
988:
984:
978:
975:
971:
970:0-902793-10-1
967:
963:
958:
955:
950:
946:
940:
937:
932:
926:
923:
918:
917:Nspipes.co.uk
914:
908:
905:
898:
894:
891:
889:
886:
885:
881:
877:
874:
872:
869:
867:
864:
862:
859:
857:
854:
852:
849:
847:
844:
843:
842:
836:
831:
828:
826:
825:Andy Watchorn
823:
821:
818:
816:
813:
811:
808:
806:
803:
801:
798:
796:
795:Chris Ormston
793:
791:
788:
786:
783:
781:
778:
776:
773:
771:
768:
766:
763:
762:
757:
752:
749:
747:
744:
742:
739:
737:
734:
732:
731:Richard Mowat
729:
727:
724:
722:
719:
717:
714:
712:
709:
707:
704:
702:
701:Robert Bewick
699:
696:
693:
691:
688:
686:
683:
681:
678:
675:
674:
669:
664:
660:
656:
653:
649:
648:
647:
640:
638:
636:
632:
628:
623:
618:
616:
609:Playing style
608:
606:
604:
600:
596:
595:Nash Ensemble
592:
588:
584:
580:
576:
571:
569:
565:
561:
557:
556:Andy Sheppard
553:
549:
545:
541:
537:
533:
531:
527:
523:
518:
514:
506:
504:
502:
498:
493:
491:
487:
483:
479:
475:
471:
466:
464:
459:
457:
452:
451:Thomas Bewick
449:, the son of
448:
447:Robert Bewick
444:
440:
436:
432:
428:
423:
421:
417:
413:
412:William Dixon
405:
403:
401:
395:
392:
388:
381:
379:
376:
372:
368:
362:
360:
355:
348:
341:
338:
335:
332:
331:
330:
328:
323:
321:
316:
314:
310:
301:
297:
295:
291:
283:
281:
278:
274:
270:
266:
265:
261:
256:
247:
241:
237:
235:
231:
227:
223:
218:
216:
210:
208:
204:
200:
196:
192:
187:
185:
182:
177:
175:
171:
166:
162:
158:
154:
150:
146:
136:
132:
124:
121:
113:
102:
99:
95:
92:
88:
85:
81:
78:
74:
71: –
70:
66:
65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
19:
1835:Portal:Music
1726:
1692:Crowdy-crawn
1656:Sea shanties
1555:Rapper dance
1550:Morris dance
1481:Folk baroque
1351:
1324:. Retrieved
1320:
1311:
1299:. Retrieved
1295:
1286:
1274:. Retrieved
1270:the original
1260:
1236:
1232:
1220:. Retrieved
1205:
1198:
1183:
1179:
1163:
1159:
1144:
1140:
1124:
1112:. Retrieved
1101:
1074:. Retrieved
1070:the original
1060:
1052:
1047:
1039:
1034:
1026:
1017:
1008:
999:
990:
982:
977:
961:
957:
948:
939:
925:
916:
907:
876:Philip Gruar
871:Paul Tabbush
840:
830:Alex Barrass
820:Becky Taylor
800:Anthony Robb
780:Dick Hensold
770:Pauline Cato
736:John Peacock
716:Henry Clough
670:Past players
644:
619:
612:
572:
563:
534:
525:
510:
500:
494:
477:
473:
467:
460:
438:
430:
427:John Peacock
424:
416:Border pipes
409:
396:
393:
389:
385:
363:
356:
353:
324:
317:
306:
293:
287:
258:
251:
226:Jim F. Bryan
219:
211:
188:
181:organologist
178:
148:
144:
142:
131:
116:
110:January 2021
107:
97:
90:
83:
76:
64:
52:Please help
47:verification
44:
1768:Northumbria
1737:Tin whistle
1675:Instruments
1530:Furry Dance
1510:Dance forms
785:Ian Lawther
751:Thomas Todd
520:trombonist
482:Thomas Todd
327:Robert Reid
320:Robert Reid
234:Robert Reid
207:overblowing
1850:Categories
1812:Folk clubs
1687:Concertina
1666:Work songs
1629:Song forms
1491:Folk metal
1326:12 January
1301:12 January
1276:7 February
1216:1461674174
1114:12 January
899:References
746:Colin Ross
741:Billy Pigg
726:Joe Hutton
721:Tom Clough
657:LERCD4006
641:Recordings
627:Tom Clough
622:Billy Pigg
497:Tom Clough
486:Billy Pigg
470:James Hill
443:Money Musk
406:Repertoire
400:Tom Clough
292:tunebook,
243:Billy Pigg
80:newspapers
1682:Accordion
1661:War songs
1616:9/8 Dance
1606:6/8 Dance
1596:3/2 Dance
1586:3/4 Dance
1561:2/4 Dance
1486:Folk punk
1460:2000–2009
1455:1990–1999
1450:1980–1989
1445:1970–1979
1440:1960–1969
1435:1950–1959
1430:1900–1949
1425:1500–1899
866:Ray Sloan
861:Dave Shaw
775:Ged Foley
587:Folkestra
359:harmonics
309:John Dunn
174:Newcastle
170:Gateshead
1856:Bagpipes
1773:Somerset
1763:Cornwall
1722:Melodeon
1620:Slip jig
1575:Hornpipe
1222:18 March
1086:cite web
962:Bagpipes
882:See also
856:Andy May
846:Kim Bull
790:Andy May
615:staccato
593:and the
583:Muzsikas
577:for the
215:staccato
153:bagpipes
1636:Ballads
1516:General
1076:9 April
284:Chanter
191:chanter
157:England
94:scholar
1778:Sussex
1697:Fiddle
1641:Carols
1251:
1243:
1213:
1190:
1170:
1151:
1132:
968:
382:Drones
199:drones
139:keyed.
96:
89:
82:
75:
67:
1732:Tabor
1707:Flute
1590:Waltz
1565:Polka
1359:FARNE
560:Sting
480:, by
456:FARNE
435:Waits
375:cents
371:pitch
267:, in
101:JSTOR
87:books
1702:Fife
1610:Jigs
1580:Reel
1328:2021
1303:2021
1278:2013
1249:ISBN
1241:ISBN
1224:2024
1211:ISBN
1188:ISBN
1168:ISBN
1149:ISBN
1130:ISBN
1116:2021
1092:link
1078:2016
966:ISBN
585:and
558:and
542:and
461:The
369:, a
224:and
203:keys
195:keys
143:The
73:news
429:'s
56:by
1852::
1319:.
1294:.
1247:,
1088:}}
1084:{{
998:.
947:.
915:.
605:.
581:,
570:.
532:.
515:,
367:F+
1398:e
1391:t
1384:v
1355:.
1330:.
1305:.
1280:.
1255:.
1226:.
1174:.
1094:)
1080:.
1002:.
951:.
933:.
919:.
123:)
117:(
112:)
108:(
98:·
91:·
84:·
77:·
50:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
