347:. Pipemakers started to optimise the instrument for performance on the knee rather than off it, so that players could take advantage of the better dynamics this offered. It is possible that the performer community diverged for a while into union pipers playing without the foot joint, and old-style pastoral pipers who retained it and could play in both styles. In any case, both "long" and "shortâ pastoral/union chanters were documented in both Scotland and Ireland until around World War One. The evolution of the union and uilleann (a term originating in 1904 by Irish nationalists) pipes was also driven by competition between makes; throughout the late 18th and early 19th century, pipemakers in
281:
momentarily while increasing the bag pressure, causing the reed to double-tone. However, in the pastoral pipe, the same effect can be achieved by increasing the bag pressure while playing a suitable gracenote. For example, to go from first octave A to second octave A the player can use an E gracenote. Surviving
Pastoral pipe manuscripts have many tunes that leap vigorously between registers. The ability to stop the chanter does help, though; it also gives the instrument much better dynamics, as the chanter can be raised and lowered from the knee to modulate the volume. This may have motivated the evolution into the union pipe by removing the foot joint from the pastoral pipes.
272:
bottom of the bore. The pastoral pipes are like the
Highland pipes in that the sound is continuous; notes are articulated by finger techniques such as gracenotes. The union pipes, which evolved from the pastoral pipes, enable the player to interrupt the flow of air by stopping the end of the chanter on his knee; this doesn't work for the pastoral instrument because of the side tone holes. Many later pastoral sets, though, have a dismountable foot joint; when this is removed they can be played as union pipes. The surviving instruments indicate that the pastoral pipes had two or three drones and generally one regulator.
294:
register is available by increasing the bag pressure. With a suitable reed, a few third-octave notes can also be played. Later sets included fully chromatic chanters using as many as seven keys. The chanter uses a complex double-bladed reed, similar to that of the oboe or bassoon. This must be crafted so that it can play two full octaves accurately, without the fine tuning allowed by the use of a player's lips; only bag pressure and fingering can be used to maintain the correct pitch of each note.
27:
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rural life. In the 19th century oboes were being marketed in London as âpastoralâ to fit the music styles of the times. The pastoral bagpipe may have been the invention of an expert instrument maker who was aiming at the
Romantic market. The pastoral pipes, and later union pipes, were certainly a favourite of the upper classes in Scotland, Ireland and the North-East of England and were fashionable for a time in formal social settings, where the term "union pipes" may originate.
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were made in a variety of pitches with a quiet tone and an E flat pitch being very common among surviving instruments. Later examples include a slide on the foot joint to change the lower leading note from flat to sharp as required and on a further set an on/off mechanism is fitted to control the drones with the two regulators fitted neatly to the top of the common stock and the addition of key in "e" to increase the compass of the chanter in the second octave.
170:. Therefore, it is difficult to say which country the pastoral pipe and its later adapted union pipe specifically come from, although the earliest known piping tunebook â "Geoghegan's Compleat Tutor" â refers to a maker in London in 1746. As the pastoral pipe was modified it developed into the union pipe in the period 1770â1830; makers in all three countries contributed ideas and design improvements. Both pipes were played by gentlemen pipers of the period in
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The pastoral pipe had a narrow throat bore of 3.5â4 mm and an exit bore seldom larger than 11 mm. Its bore was very similar to later flat set Union pipe chanter bores made in the early 18th century. The reeds had a head width of 9.5â10.5 mm and staple bores of 3.6 mm. The chanters
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The conventional view was that the pastoral pipes were difficult to shift between the lower and upper registers. Recent reconstructions and refurbishments have shown that this is not the case. In modern
Uilleann pipes, the player will move from the lower to the upper register by stopping the chanter
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The
Pastoral pipes gradually evolved into the union pipes as baroque musical tastes favoured a more expressive type of instrument. The foot joint may have fallen out of use as early as the 1746â1770s as oboists of the period, who usually played pastoral pipes, would frequently remove or invert the
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The
Pastoral chanter is used to play the melody and is similar to later flat set union pipe chanters in tone. It has eight finger holes giving middle C, D, E, FâŻ, G, A, B, C or CâŻ, D' using open fingering in the first register. Most of the accidentals can be obtained by cross-fingering and a second
267:
The first reference to the instrument in
Ireland is provided by John O'Keefe in 1760 as an instrument of polite society and the emerging pastoral and prototype union pipe influenced the folk tradition of the 18th and 19th century in Scotland and Ireland. This can be thought of as a shared tradition
190:
airs" played on the instrument composed in a "gentle, very sweet, easy manner in the immolation of those airs which
Shepardâs are supposed to play". This style would suit the sweet tone of the pastoral pipes union/uilleann pipes of the late 18th century, when literature, art and music romanticized
137:
of today. Similar in design and construction, it had a foot joint in order to play a low leading note and plays a two octave chromatic scale. There is a tutor for the "Pastoral or New
Bagpipe" by J. Geoghegan, published in London in 1745. It had been considered that Geoghegan had overstated the
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The pastoral pipes can be played either standing or in a seated position using a set of bellows, and the chanter is similar to the later union pipes, but it had an added foot joint that extended its range one tone lower. This added foot joint had holes in its sides in addition to the hole at the
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The term ânew bagpipeâ refers to the expanded compass and improvements to the instrument. Although the term "pastoral" is not historically found outside
Geoghegan's London context, it is evocative of a style of music played at the time. Originally the label âpastoralâ may refer to the âancient
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cycle. The pastoral pipes were regarded in a classical or neo-baroque setting, played by gentlemen pipers and spread across the upper circles of polite society as the instrument of choice. An established bellows pipes with an extended range is noted to be played across
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foot joint in order to remove the low C# foot joint to play the chanter upon the knee. The fall from grace of the open chanter was slow to take effect as pastoral pipes with removable foot joints were still being made till the 1850s and played until after the
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competed and copied each other's ideas and innovations. It is now thought that the existence of regulators, already a common feature of the pastoral pipes, a characteristic keyed stopped ended system, was the inspiration for the keyed
380:
Historical examples of various designs have turned up over a wide geographical area, and several pipemakers have offered reconstructions. They are not widely played, though research and interest in them is currently increasing.
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Lovers of Ossian felt a kind of enthusiastic rapture when they beheld the guests seated, and the bards arranged in the flower-decked hall of Fingal; when they heard the sweet harmony of the harps (
307:. In time the instrument would be tuned for performance on the knee rather than off it, and the foot joint remnant today is the tenon cut around the foot of the modern uilleann chanter.
212:(1697â1764) who clearly shows a bellows blown bagpipe similar to the one later depicted in the Geoghegan tutor. The Geoghegan repertoire draws on contemporary compositions namely the
146:
This bagpipe was commonly played in the Lowlands of Scotland, Northern England and Ireland from the mid-18th until the early 20th century. It was a precursor of what are now known as
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which served a neo-baroque orchestral and concert fashion but also drew strongly on the ânative traditionsâ of both Scotland and Ireland and the music styles of the times.
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in 1728, as a counter-measure against the influx of Pastoral Italian music. The opera featured an âen masseâ dance led by a pastoral pipe and the scene was engraved by
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capabilities of the instrument, but a study on surviving instruments has shown that it did indeed have the range and chromatic possibilities which he claimed.
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A Complete History of The Scots Bagpipe by Joseph MacDonald illustrated and written in 1760, first published in 1804, re-print 1971, Indiana University
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Union pipes early-19th century ebony, ivory and silver mounts with two regulators with a keyed D-Chanter; by the pipe maker Robert Reid of
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H. Cheape. The Union Pipe of Scotland and Ireland: A Shared Tradition. Lecture at the Royal Society of Antiquaries of Ireland (2007).
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133:) was a bellows-blown bagpipe, widely recognised as the forerunner and ancestor of the 19th-century union pipes, which became the
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W. Garvin. âThe Complete Tutor for the Pastoral or New Bagpipeâ, An piobaire v2 no 14pp 5-6; no 15pp 5-6;no 16pp 2-3 (1982-3)
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The first reference to a pastoral pipe comes from popular and fashionable pastoral dramas of the time with music such as the
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259:(1784-1853) one of the last travelling minstrel pipers of the south of Scotland and the North East of England. Playing a
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241:) and the Union pipes and the song of the bards they heard also the warlike sound of the shield of the hall of Fingal.
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Brian. E. McCandless. âThe Pastoral Bagpipeâ Iris na bPiobairi (The pipers review) 17 (Spring 1998), 2: p. 19-28.
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G. Woolf âChanter Design and Construction Methods of the early Makersâ, Sean Reid Society Journal v2 no 4 (2002)
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J Geoghegan 'The Complete for the Pastoral or New Bagpipe', John Simpson, London (1746); at www.piob.infoc
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761:"National Museums of Scotland - Bagpipe chanter with detachable foot joint for the Union bagpipe"
656:"National Museums of Scotland - Bagpipe chanter with detachable foot joint for the Union bagpipe"
602:"National Museums of Scotland - Bagpipe chanter with detachable foot joint for the Pastoral pipe"
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P Roberts 'Unravelling the History of the Uilleann Pipes', Common Stock. vol no2 pp11-16 (1984)
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no later than 1760 in the âComplete Theory of the Great Highland bagpipeâ by Joseph MacDonald.
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Some of the oldest surviving instruments date from the 1770â1790s, notably James Kenna of
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organist John Ravenwood (1745), composer John Grey (1745), the musical collection of
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B Haynes, âThe Eloquent Oboe â A History of the Hautboy 1640-1760â, OUP (2001)
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Main, Ian Brooks; Sven Edge; Xabier Garcia; Jamie Wheeler; Andy.
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Main, Ian Brooks; Sven Edge; Xabier Garcia; Jamie Wheeler; Andy.
634:"National Museums of Scotland - Engraving of The Beggar's Opera"
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A video sample of RĂŠmi Decker playing a set of Pastoral Pipes.
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Chris Bailey, one of the few modern makers of Pastoral pipes
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Pastoral Pipes the forerunner of the Uilleann pipes
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858:Uilleann pipe development history and design (pdf)
224:in 1733, as well as operatic arrangements for the
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789:National Museum of Scotland H Archive (1995.792)
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780:AD Fraser, âThe Bagpipeâ, Wm J Hay (1907) p 144
505:"Unravelling The History Of The Uilleann Pipes"
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672:: CS1 maint: multiple names: authors list (
618:: CS1 maint: multiple names: authors list (
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451:"The Pastoral Repertoire Rediscovered"
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178:and the Anglo-Irish Protestants in
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1120:Duple / Quadruple-time
198:in 1725 by the writer and poet
127:hybrid union pipes, organ pipe
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368:, probably first produced by
1348:Scottish musical instruments
1338:English musical instruments
733:"The Sutherland Manuscript"
701:September 28, 2007, at the
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202:, and the English Ballad
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1306:Donegal fiddle tradition
298:Removal of the footjoint
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366:Northumbrian smallpipes
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576:"RSAI - Lectures 2008"
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1343:Music of Northumbria
1312:Cape Breton fiddling
1110:Highland Schottische
928:Gaelic psalm singing
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904:Scottish folk music
479:"Ross's Music Page"
321:Newcastle-upon-Tyne
263:early-19th century.
168:Newcastle upon Tyne
125:(also known as the
112:Scottish smallpipes
88:Related instruments
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1304:(particularly the
1297:English folk music
809:"NSP Encyclopedia"
558:2007-05-27 at the
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222:Orpheus Caledonius
205:The Beggarâs Opera
102:Northumbrian pipes
16:Musical instrument
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763:. Nms.scran.ac.uk
636:. Nms.scran.ac.uk
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50:
49:
48:
46:
42:
39:
36:
32:
28:
23:
1080:Common forms
1010:Border pipes
938:Puirt Ă beul
918:Bothy ballad
813:. Retrieved
803:
794:
785:
776:
765:. Retrieved
755:
743:. Retrieved
740:Cl.cam.ac.uk
739:
691:
682:
659:
649:
638:. Retrieved
628:
605:
595:
584:. Retrieved
580:the original
549:
538:. Retrieved
534:the original
524:
512:. Retrieved
508:
498:
486:. Retrieved
483:Cl.cam.ac.uk
482:
473:
461:. Retrieved
458:Cl.cam.ac.uk
457:
432:
411:
379:
326:
301:
292:
283:
279:
270:
266:
260:
257:Billy Purvis
236:
221:
203:
200:Allan Ramsay
195:
193:
184:
145:
130:
126:
122:
120:
97:Border pipes
37:
1281:Scotch snap
1158:Triple-time
1070:Tin whistle
1040:Low whistle
988:Instruments
952:Folk dances
341:Robert Reid
38:Union pipes
34:Other names
1327:Categories
1265:Pentatonic
1260:Mixolydian
1148:Strathspey
1128:Barn dance
1097:Duple-time
1065:Tenor drum
923:Cornkister
815:2017-06-17
767:2017-06-17
745:12 January
640:2017-06-17
586:2011-01-20
540:2007-02-07
530:"Uksearch"
488:12 January
463:12 January
385:References
339:and later
261:union pipe
131:union pipe
1060:Side drum
1005:Bass drum
995:Accordion
911:Folk song
696:O'Farrell
370:John Dunn
361:Newcastle
357:Edinburgh
337:Edinburgh
329:Mullingar
156:Edinburgh
82:2 octaves
52:Aerophone
1333:Bagpipes
1207:Slip jig
1189:Two-step
1138:Hornpipe
1045:Melodeon
969:Highland
853:uksearch
699:Archived
668:cite web
614:cite web
556:Archived
349:Aberdeen
239:clarsach
231:Scotland
188:pastoral
172:Scotland
160:Aberdeen
62:Woodwind
1245:Aeolian
1223:Marches
974:Country
959:Cèilidh
933:Lilting
514:24 June
289:Chanter
245:—
180:Ireland
176:England
142:History
67:Bagpipe
1255:Ionian
1250:Dorian
1216:Others
1025:Fiddle
353:Dublin
276:Tuning
226:Ossian
214:London
166:, and
164:Dublin
152:London
1237:Modes
1166:Waltz
1105:Polka
1085:metre
1050:Piano
1030:Flute
1015:Cello
979:Sword
736:(PDF)
454:(PDF)
1143:Reel
1083:(by
964:Dirk
747:2021
674:link
620:link
516:2024
490:2021
465:2021
359:and
129:and
121:The
57:Wind
1184:Jig
343:of
335:of
220:'s
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
