873:, as the name implies, is a complete set of uilleann pipes. This would be a half set with the addition of three regulators. These are three closed pipes, similar to the chanter, held in the stock. Like the drones, they are usually given the terms tenor, baritone, and bass, from smallest to largest. A regulator uses keys (five on the tenor and four on both baritone and bass) to accompany the melody of the chanter; these keys are arranged in rows to give limited two-note "chords" or, alternatively, single notes for emphasis on phrases or specific notes. The notes of the regulators, from highest to lowest (given a nominal pitch of D) are as follows: tenor: C, B, A, G, F
841:
silenced. In the late 19th century it became more common to build the stock from a solid piece of wood, with five holes bored through it end-to-end. This was less susceptible to damage than the earlier design. The piper is also able to switch on and off various drones individually (applying slightly more pressure to the bag and tapping the end of a drone), which is generally used to aid in tuning (a technique used in almost all bagpipes that have drones) or all of them at the same time using this key. This makes the instrument more versatile and usable not only as a half set, but also to allow playing the chanter by itself. The drones use a single-bladed
889:
691:, i.e. modern "concert pitch". Such pipes are a relatively recent invention pioneered by the Taylor brothers. They typically have wider bores and larger tone holes than the earlier "flat" pitch sets, and as a consequence are a good deal louder, though by no means as loud as the Highland pipes of Scotland. They were developed by the Taylors to meet the requirements of playing in larger venues in the United States; today they are the most common type of uilleann pipes encountered, though many players still prefer the mellower sound of the earlier style narrow-bore pipes, which exist in pitches ranging from D through C
611:
resolved. The
Uilleann pipes or union pipes might have originated from the Pastoral pipes (Border pipes, Northumbrian pipes, Scottish smallpipes) and gained popularity in Ireland within the Protestant Anglo-Irish community and its gentlemen pipers, who could afford such expensive hand-made instruments. The Irish uilleann pipes are far more elaborate in their design, and their development is likely to have occurred among the well-to-do. Certainly many of the early players in Ireland were Protestant, possibly the best known being the mid-18th-century piper Jackson from Co Limerick and the 18th-century
1038:. Unlike most reed instruments, the uilleann pipe reed 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 patterns can be used to maintain the correct pitch of each note. It is for this reason that making uilleann-pipe chanter reeds is a demanding task. Uilleann pipe reeds are also often called "the piper's despair" for the immense difficulty of maintaining, tuning and especially making the double reed of the regulators and, most importantly, the chanter.
938:) the chanter is lifted off the knee, exposing the exit of the chanter's bore, where the note is produced. The chanter is set on the right knee thus closing off the bottom hole. Many players use a strip of leather placed over the knee, called a "popping strap", which provides for an airtight seal. More rarely, a simple gravity- or spring-operated flap valve attached to the bottom of the chanter achieves the same end. Generally, for all other notes (except for special effects, or to vary the volume and tone) the chanter stays on the knee.
942:
then fingered notes will sound in the second octave. A great range of different timbres can be achieved by varying the fingering of notes and also raising the chanter off the knee, which gives the uilleann pipes a degree of dynamic range not found in other forms of bagpipes. Pipers who use staccato fingering often are termed "closed-style" pipers. Those who use legato fingering more predominately are referred to as "open-style" pipers. Open piping has historical associations with musicians (often
587:. All three instruments were far quieter and sweeter in tone than their mouth-blown predecessors. Essentially their design required the joining of a bellows under the right arm, which pumped air via a tube to a leather bag under the left arm, which in turn supplied air at a constant pressure to the chanter and the drones (and regulators in the case of the Irish Uilleann pipes). Geoghegan's tutor of the 1740s calls this early form of the uilleann pipes the "Pastoral or New bagpipe". The
763:
797:
862:
47:
442:
piper's wrist action (or hand, if they take one hand off the chanter). Each regulator key sounds a different note when opened. The regulator keys are aligned so that several may be pressed simultaneously. These enable the piper to play simple chords, giving rhythmic and harmonic accompaniment as needed. There are also many
900:) is being played on the chanter exclusively with the left hand, the right hand will be free to create more complex chords, using all three regulators at once if so desired. Many airs end a section on a G or A in the first octave, at which point a piper will often play one of these hand chords for dramatic effect.
271:
1012:
fingerhole, which could be slightly off-pitch). Most uilleann chanters are very responsive to "half-holing" or "sliding", which is the practice of obtaining a note by leaving a fingerhole only half-covered. This is why many chanters sold in
Ireland are sold without keys. With this technique and some
840:
The drones can be switched off. This is made possible by a key connected to the stock. The original design of the stock was a hollow cylinder, with two metal tubes running through it to both hold the regulators and independently supply air to them. Thus the regulators could be played with the drones
632:
also played the uilleann pipes. Another piping friend of Canon
Goodman, Alderman Phair of Cork (founder of the pipers club in Cork in the 1890s) had Goodman's pipes recovered from Creagh cemetery. They were later donated to Cork piper Michael O'Riabhaigh, who had re-established the (by then extinct)
503:
However, the first attested written form is "Union pipes", at the end of the 18th century, perhaps to denote the union of the chanter, drones, and regulators. Another theory is that it was played throughout a prototypical full union of
England, Wales, Ireland and Scotland. This is definitely untrue,
416:
strapped around the waist and the right arm (in the case of a right-handed player; in the case of a left-handed player the location and orientation of all components are reversed). The bellows not only relieve the player from the effort needed to blow into a bag to maintain pressure, they also allow
941:
One characteristic of the chanter is that it can produce staccato notes, because the piper seals it off at the bottom; with all of the finger holes closed, the chanter is silenced. This is also necessary for obtaining the second octave; the chanter must be closed and the bag pressure increased, and
441:
effect can be created, because the sound stops completely when no air can escape at all. The three drones are simple open pipes; they constantly play three notes spread an octave apart. The three regulators are closed pipes. Untouched, they do not sound, but they have keys that can be opened by the
957:
can be achieved by tapping a finger below the open note hole on the chanter. The bottom note also has two different "modes", namely the "soft D" and the "hard D". The hard bottom D sounds louder and more strident than the soft D and is accomplished by applying slightly more pressure to the bag and
783:
To play the uilleann pipes effectively, students must learn to pump the bellows steadily while controlling the pressure on the bag and playing the chanter simultaneously. So beginners often play on practice sets until they become comfortable with those basic mechanics. Despite their name, however,
610:
The earliest surviving sets of uilleann pipes date from the second half of the 18th century, but it must be said that datings are not definitive. Only recently has scientific attention begun to be paid to the instrument, and problems relating to various stages of its development have yet to be
417:
relatively dry air to power the reeds, reducing the adverse effects of moisture on tuning and longevity. Some pipers can converse or sing while playing. The bag which the bellows fill is clamped under the other elbow, which squeezes the bag to control the flow of air to the
619:
until the mid-late 19th century. The
Uilleann pipes were often used by the Protestant clergy, who employed them as an alternative to the church organ. As late as the 19th century the instrument was still commonly associated with the Anglo-Irish, e.g. the Anglican clergyman
661:, tunings which were largely incompatible with playing with other instruments. The chanter length determines the overall tuning; accompanying pieces of the instrument, such as drones and regulators, are tuned to the same key as the chanter. Chanters of around 362 mm (
726:, etc.) does not usually permit this. It is noteworthy that Irish music was predominantly solo music until the late 19th century, when these fixed-pitch instruments began to play more of a role. Like some older pipe organs, uilleann pipes are not normally tuned to even
508:, which took effect in 1801. Alternatively, the uilleann 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 also originate.
239:
607:, and later examples had one (or rarely, two) regulator(s). The Pastoral and later flat set Union pipes developed with ideas on the instrument being traded back-and-forth between Ireland, Scotland and England, around the 18th and early 19th centuries.
784:
practice sets are used not only by beginning players but also by some advanced players when they wish to play just the chanter with other musicians, either live or in recording sessions. In these instances, the practice sets can be tuned to
703:. Pipemakers before the Taylors had, however, built concert pitch pipes using the narrower bores and smaller fingerholes of the flat pipes. Some of these instruments seem to have been designed with lower pitch standards in mind, such as A
436:
to produce the higher octave). The chanter is often played resting on the piper's thigh, closing off the bottom hole, so that air can only escape through the open tone holes. If one tone hole is closed before the next one is opened, a
833:. These drones are connected to the pipe bag by a "stock". This is an intricately made wooden cylinder tied into the bag (as any other stock) by a thick yarn or hemp thread. The drones connect to the stock, as do the regulators (see
885:, D; bass: C, B, A, G. The tenor and baritone regulators fit into the front face of the stock, on top of the drones; the bass regulator is attached to the side of the stock (furthest from the piper), and is of complex construction.
276:
272:
274:
529:
published in 1600 (Act IV, sc. I, l. 55) where the expression "woollen pipes" appears. This theory originated in correspondence between two earlier antiquarians, and was adopted as gospel by the Gaelic League. The use of
317:
275:
746:
A full set of uilleann pipes includes a chanter, drones, and regulators. A half-set lacks the regulators, and a practice set lacks both regulators and drones. All three are used in professional performance.
946:) who played on the street or outdoors, since the open fingering is somewhat louder, especially with the chanter played off the knee (which can, however, lead to faulty pitch with the second octave notes).
828:
drone, as the lowest sounding pipe, two octaves below the bottom note of the chanter. The
Pastoral pipes had four drones: these three plus one more that would play a harmony note at the fourth or fifth
259:
837:
below). The stock and drones are laid across the right thigh. This is distinct from other forms of bagpipes, in which the drones are usually carried over the shoulder or over the right arm.
453:
The tone of the uilleann pipes is unlike that of many other forms of bagpipes. They have a different harmonic structure, sounding sweeter and quieter than many other bagpipes, such as the
1792:
558:
The first bagpipes to be well attested for
Ireland were similar, if not identical, to the Scottish Highland bagpipes that are now played in Scotland. These are known as the "
812:", which are most commonly three pipes accompanying the melody of the chanter with a constant background tonic note. The pipes are generally equipped with three drones: the
2558:
273:
575:
While the mouth-blown warpipe was alive and well upon the battlefields of France and other parts of Europe, it had almost disappeared in
Ireland. The union or
2040:
896:
Another method of using the regulators is to play what are referred to as "hand chords": when the melody (usually in a slower piece of music such as an
958:
flicking a higher note finger as it is sounded. Pipemakers tune the chanter so the hard D is the in-tune note, the soft D usually being slightly flat.
649:) in the late 19th century. Canon Goodman played a Taylor set. Up to then, most pipes were what would be termed as "flat sets" in other keys, such as C
207:
1013:
practice, many pipers can accurately play the semitones which would otherwise require a chromatic key to be installed. The exception to this is the C
1404:"Troy Donockley - uilleann pipes, tin whistle, low whistle, guitars, bouzouki, bodhrĂĄn, vocals :||: NIGHTWISH OFFICIAL WEBSITE"
1216:
774:, with no drones or regulators. The chanter is available in keys ranging from the "concert pitch" D chanter in half-note steps downward to a B
707: = 415 Hz. The Taylors also built many instruments with higher pitch standards in mind, such as the Old Philharmonic pitch of A
1505:
1428:
1387:
1250:
550:
into 'woollen' before the 16th century (when the instrument did not exist as such) and then its adaptation as 'union' two centuries later.
1802:
1780:
2548:
1544:
1286:
362:
323:
79:
2553:
1023:
in the second octave), which cannot be cross-fingered or half-holed, and requires the key. This is the most commonly fitted key.
718:
will tune down their instrument to play with a piper's flat set, but the inflexibility of other instruments used in Irish music (
397:(literally, "pipes of the elbow"), from their method of inflation. There is no historical record of the name or use of the term
888:
2033:
714:
The D pipes are most commonly used in ensembles, while the flat-pitched pipes are more often used for solo playing â often
624:(1828â1896) from Kerry, who had his tailor-made uilleann pipes buried with him at Creagh (Church of Ireland) cemetery near
1797:
1151:
641:
The instrument is most usually (nowadays) tuned in the key of D, a tradition begun by the Taylor brothers (originally of
2491:
738:
is almost universal with the fixed pitch instruments used in Irish music, which can clash with the tuning of the pipes.
1989:
1869:
1862:
1833:
1368:
G. Woolf 'Chanter Design and
Construction Methods of the Early Makers', Sean Reid Society Journal; vol. 2 no 4 (2002).
409:; however, this is incorrect as BreandĂĄn Breathnach points out that a poem published in 1796 uses the term 'union'.
2517:
1679:
646:
2543:
2180:
2109:
2026:
1498:
1161:
892:
Richard "Dicky" Deegan, piper, busking with his full set in
Salamanca Place, Hobart, Tasmania, Australia in 1995
1958:
1828:
1264:, 1997, by Jan Ling, p. 146 University of Rochester Press (states the uilleann pipe name was invented by Flood)
1047:
563:
1943:
755:
Because of the instrument's complexity, beginning uilleann pipers often start out with partial sets known as
2068:
715:
580:
1133:
625:
539:
525:
458:
579:
pipe emerged during the early 18th century around the same time as the development of the bellows-driven
2496:
1418:
106:
816:
drone, as the highest sounding pipe, which is pitched the same as the lowest note of the chanter; the
780:
chanter, the latter being regularly referred to as a "flat set" (as are any sets below the key of D).
2465:
1963:
1550:
1491:
559:
454:
2475:
2104:
897:
621:
520:
512:
402:
219:
166:
54:
1220:
2470:
2292:
2140:
1948:
1785:
1423:
1096:
406:
156:
142:
808:
is the next stage up from a practice set. As with other forms of bagpipes, uilleann pipes use "
2538:
2398:
2165:
2083:
1882:
1760:
1739:
1540:
1383:
1282:
1246:
1156:
1146:
785:
762:
735:
616:
505:
187:
2512:
2449:
2277:
2078:
2049:
1994:
1933:
1818:
1755:
1590:
1091:
830:
336:
291:
2444:
1999:
1928:
1571:
1535:
943:
731:
465:. The uilleann pipes are often played indoors, and are almost always played sitting down.
418:
1112:
1073:
591:
were bellows blown and played in either a seated or standing position. The conical bored
1305:
2145:
1973:
1876:
1106:
1053:
727:
588:
388:
375:
171:
161:
796:
615:
blind pipemaker William Kennedy. The famous Rowsome family from Co. Wexford were also
2532:
2408:
2272:
1908:
1186:
1127:
1102:
809:
604:
543:
130:
2429:
2287:
1918:
1634:
1085:
1079:
1063:
849:
used in the chanter and the regulators. These drone reeds were generally made from
842:
825:
584:
151:
511:
The term "uilleann pipes" is first attested at the beginning of the 20th century.
1478:
17:
2439:
2434:
2412:
2297:
2190:
2185:
2175:
2170:
2160:
2073:
1968:
1953:
1923:
1913:
1903:
1898:
1566:
1514:
1121:
1027:
846:
433:
916:. It has eight finger holes (example given of a D pitched chanter): bottom D, E
432:, including sharps and flats (because, unlike most bagpipe chanters, it can be
2267:
2150:
2135:
2063:
2004:
1855:
1838:
1674:
1576:
850:
734:, so that the chanter and regulators can blend sweetly with the three drones.
629:
447:
428:
is played with the fingers like a flute. The chanter has a range of two full
2130:
2088:
1938:
1057:
770:
A practice set consists of only the basic elements of pipe bag, bellows and
719:
711: = 453 Hz that was commonplace in late 19th-century America.
612:
114:
86:
861:
46:
1474:
The Irish piping organization Na PĂobairĂ Uilleann ("the uilleann pipers")
1331:
2374:
2282:
1709:
1639:
962:
853:
twigs in the past, while cane began to be used in the late 19th century.
817:
680:
642:
600:
599:, unlike the uilleann pipes, which can also be played "closed", that is,
479:
462:
438:
1219:. Lecture at the Royal Society of Antiquaries of Ireland. Archived from
961:
Many chanters are fitted with keys to allow accurate playing of all the
2321:
2114:
1116:
1035:
954:
950:
909:
771:
592:
429:
425:
413:
384:
97:
31:
1403:
424:
The air goes from the bag to the chanter, drones, and regulators. The
2155:
913:
821:
596:
538:, with its connotations of the Act of Union. It was however shown by
412:
The bag of the uilleann pipes is inflated by means of a small set of
229:
405:
and the name stuck. People mistook the term 'union' to refer to the
2326:
2228:
887:
860:
813:
795:
761:
723:
688:
383:
and sometimes called Irish pipes, are the characteristic national
269:
1823:
1031:
628:. His friend, and Trinity College colleague, John Hingston from
519:" came from the Irish word for "elbow". He cited to this effect
2022:
1487:
1419:"Paddy Moloney, Irish Piper Who Led the Chieftains, Dies at 83"
387:
of Ireland. Their current name is a partial translation of the
2350:
2018:
1669:
1483:
515:, an Irish music scholar, proposed the theory that the name "
1217:"The Union Pipe of Scotland and Ireland: A Shared Tradition"
30:"Uilleann" redirects here. For the letter of the ogham, see
934:, high D (also called "back D"). To achieve the bottom D (D
912:
is the part of the uilleann pipes that is used to play the
351:
303:
993:(D in the third octave), and often another small key for E
348:
342:
297:
1473:
1457:(The pipers review); 17 (Spring 1998), 2: p. 19â28.
1243:
Bagpipes: A National Collection of a National Instrument
989:. Older chanters usually had another key for producing D
965:
of the scale. Four keys will give all the semitones: F
675: in) in length produce a bottom note on or near D
1479:'Tools of the Trade' â An interview with Liam O'Flynn
1382:(1. publ ed.). Cork, Ireland: Cork Univ. Press.
363:
354:
324:
306:
125:
Mid 18th century to early 19th century across Ireland
1359:(The pipers review); 17 (Spring 1998), 2: pp. 19â28.
345:
300:
2505:
2484:
2458:
2422:
2204:
2123:
2097:
2056:
1982:
1891:
1847:
1811:
1773:
1748:
1718:
1688:
1648:
1598:
1589:
1559:
1528:
1521:
339:
294:
258:
250:
245:
235:
225:
215:
199:
179:
141:
129:
121:
105:
78:
60:
53:
504:because this name for the instrument predates the
401:before the 20th century. It was an invention of
534:was perhaps also a rebellion against the term
2034:
1499:
1332:"FoclĂłir GaeilgeâBĂ©arla (Ă DĂłnaill): uillinn"
845:(the actual part creating sound), unlike the
70:
64:
8:
1793:An ComhdhĂĄil na MĂșinteoirĂ le RincĂ Gaelacha
1453:Brian E. McCandless. "The Pastoral Bagpipe"
1355:Brian E. McCandless. "The Pastoral Bagpipe"
1272:
1270:
39:
1152:List of All Ireland Uilleann pipe champions
567:
500:), which means "pipes(s) of the elbow(s)â.
495:
489:
483:
473:
392:
2041:
2027:
2019:
1595:
1525:
1506:
1492:
1484:
1461:O'Farrell's Treatise on the Irish Bagpipes
542:that it would be difficult to explain the
2559:Intangible Cultural Heritage of Humanity
1380:The companion to Irish traditional music
1300:
1298:
1210:
1208:
1178:
488:. The Irish term for uilleann pipes is
196:
38:
1417:Sandomir, Richard (12 October 2021).
1193:. UNESCO Intangible Cultural Heritage
374:
7:
1431:from the original on 13 October 2021
482:form of the Irish word for "elbowâ,
603:. The early Pastoral pipes had two
208:UNESCO Intangible Cultural Heritage
633:pipers club in Cork in the 1960s.
25:
566:, this instrument was called the
1279:Folk Music and Dances of Ireland
1262:A History of European Folk Music
335:
290:
111:Mixed: 422.122.2 & 422.221.1
45:
1245:. National Museum of Scotland.
107:HornbostelâSachs classification
2415:which exist in various meters.
1781:An CoimisiĂșn Le RincĂ Gaelacha
1:
1798:World Irish Dance Association
1378:Vallely, Fintan, ed. (1999).
1277:Breathnach, BreandĂĄn (1996).
1067:
834:
595:was played "open", that is,
446:based on multiple or single
1990:Public Dance Halls Act 1935
1870:Dancing on Dangerous Ground
1834:Oireachtas Rince na Cruinne
1803:Comhaltas CeoltĂłirĂ Ăireann
513:William Henry Grattan Flood
27:National bagpipe of Ireland
2575:
647:Philadelphia, Pennsylvania
29:
2549:Irish musical instruments
2492:Fleadh Cheoil na hĂireann
2110:Traditional Irish singing
1162:Glossary of bagpipe terms
1030:, similar to that of the
585:Scottish Lowland bagpipes
204:
184:
148:
136:
71:
65:
44:
645:, Ireland, and later of
421:(which make the notes).
240:Europe and North America
2554:Irish words and phrases
2518:RTĂ Radio 1 Folk Awards
2069:Irish traditional music
1281:. Ossian Publications.
949:A type of simultaneous
944:Irish travelling people
766:Starter or practice set
583:and the bellows-driven
581:Northumbrian smallpipes
459:Great Highland bagpipes
280:A half-set being played
188:List of uilleann pipers
2351:Single and double jigs
1463:(The Union Pipes) 1801
893:
866:
801:
767:
687: = 440
626:Baltimore, County Cork
568:
526:The Merchant of Venice
496:
490:
484:
474:
393:
281:
2497:Oireachtas na Gaeilge
1670:Single and double jig
1310:www.hobgoblin-usa.com
1241:Cheape, Hugh (2008).
891:
864:
800:Uilleann pipes drones
799:
765:
742:Instrument variations
279:
2466:Cape Breton fiddling
1892:Professional dancers
1680:Haste to the Wedding
1545:in the United States
1306:"Uilleann Pipes FAQ"
1215:Hugh Cheape (2007).
1006:(as opposed to the E
824:below that; and the
697:, C, and B down to B
560:Great Irish Warpipes
455:Great Irish warpipes
2476:Scottish folk music
1223:on 27 December 2007
1026:The chanter uses a
997:, and another for D
879:; baritone: A, G, F
622:Canon James Goodman
540:BreandĂĄn Breathnach
521:William Shakespeare
376:[ËÉȘlÌ ÊČÉnÌȘË ]
254:2017 (12th session)
246:Inscription history
167:Scottish smallpipes
143:Related instruments
55:Woodwind instrument
41:
2471:English folk music
1949:Graham Killoughery
1944:BreandĂĄn de GallaĂ
1786:Conradh na Gaeilge
1424:The New York Times
1097:Michael McGoldrick
894:
867:
820:drone pitched one
802:
768:
282:
157:Northumbrian pipes
2526:
2525:
2375:Hop and slip jigs
2166:Hammered dulcimer
2016:
2015:
1883:The Keltic Dreams
1863:Lord of the Dance
1769:
1768:
1761:Clare Lancers Set
1585:
1584:
1455:Iris na bPiobairi
1389:978-1-85918-148-5
1357:Iris na bPiobairi
1312:. Hobgoblin Music
1251:978-1-905267-16-3
1187:"Uilleann piping"
1157:List of bagpipers
1147:Types of bagpipes
1115:(1945 â 2018) of
1105:(1938 â 2021) of
786:equal temperament
736:Equal temperament
617:Church of Ireland
407:1800 Act of Union
379:), also known as
333:
277:
268:
267:
195:
194:
113:(Set of reedpipe
18:Uilleann bagpipes
16:(Redirected from
2566:
2544:Irish folk music
2513:Gradam Ceoil TG4
2450:Pentatonic scale
2394:
2393:
2392:
2391:
2370:
2369:
2368:
2367:
2346:
2345:
2344:
2343:
2317:
2316:
2315:
2314:
2263:
2262:
2261:
2260:
2248:
2247:
2246:
2245:
2224:
2223:
2222:
2221:
2105:Sean-nĂłs singing
2079:Music of Ireland
2043:
2036:
2029:
2020:
1934:Bernadette Flynn
1848:Shows and groups
1819:Crossroads dance
1756:South Galway Set
1732:
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1360:
1353:
1347:
1346:
1344:
1342:
1336:www.teanglann.ie
1328:
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1198:
1183:
1092:Declan Masterson
1069:
1022:
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1011:
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1001:
988:
987:
982:
981:
976:
975:
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969:
933:
932:
927:
926:
921:
920:
884:
883:
878:
877:
779:
778:
730:, but rather to
702:
701:
696:
695:
674:
673:
669:
666:
660:
659:
654:
653:
572:("great pipe").
571:
562:". In Irish and
499:
493:
487:
477:
396:
378:
373:
366:
361:
360:
357:
356:
353:
350:
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344:
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331:
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309:
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278:
197:
74:
73:
68:
67:
49:
42:
21:
2574:
2573:
2569:
2568:
2567:
2565:
2564:
2563:
2529:
2528:
2527:
2522:
2501:
2480:
2454:
2445:Mixolydian mode
2418:
2405:Non-dance tunes
2390:
2385:
2384:
2383:
2382:
2381:
2366:
2361:
2360:
2359:
2358:
2357:
2342:
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2313:
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2251:
2250:
2244:
2239:
2238:
2237:
2236:
2235:
2220:
2215:
2214:
2213:
2212:
2211:
2200:
2119:
2093:
2052:
2047:
2017:
2012:
1978:
1959:Kevin McCormack
1929:Michael Flatley
1887:
1843:
1807:
1765:
1744:
1728:
1723:
1722:
1721:
1720:
1719:
1714:
1698:
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1581:
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1470:
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1397:
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1256:
1240:
1236:
1226:
1224:
1214:
1213:
1206:
1196:
1194:
1185:
1184:
1180:
1170:
1143:
1056:(born 1964) of
1044:
1042:Notable players
1019:
1018:
1016:
1008:
1007:
1005:
999:
998:
996:
992:
985:
984:
979:
978:
973:
972:
967:
966:
937:
930:
929:
928:, G, A, B, C, C
924:
923:
918:
917:
906:
881:
880:
875:
874:
859:
794:
776:
775:
753:
744:
732:just intonation
710:
706:
699:
698:
693:
692:
686:
678:
671:
667:
664:
662:
657:
656:
651:
650:
639:
564:Scottish Gaelic
556:
471:
461:or the Italian
394:pĂobaĂ uilleann
371:
364:
338:
334:
325:
316:
315:
314:
293:
289:
270:
211:
200:Uilleann piping
112:
35:
28:
23:
22:
15:
12:
11:
5:
2572:
2570:
2562:
2561:
2556:
2551:
2546:
2541:
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2524:
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2515:
2509:
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2503:
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2494:
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2396:
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2354:
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2348:
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2255:
2240:
2232:
2231:
2226:
2216:
2208:
2206:
2202:
2201:
2199:
2198:
2196:Uilleann pipes
2193:
2188:
2183:
2178:
2173:
2168:
2163:
2158:
2153:
2148:
2143:
2138:
2133:
2127:
2125:
2121:
2120:
2118:
2117:
2112:
2107:
2101:
2099:
2095:
2094:
2092:
2091:
2086:
2084:Sean-nĂłs dance
2081:
2076:
2071:
2066:
2060:
2058:
2054:
2053:
2048:
2046:
2045:
2038:
2031:
2023:
2014:
2013:
2011:
2010:
2002:
1997:
1992:
1986:
1984:
1980:
1979:
1977:
1976:
1974:Gillian Norris
1971:
1966:
1964:RĂłisĂn Mullins
1961:
1956:
1951:
1946:
1941:
1936:
1931:
1926:
1921:
1916:
1911:
1906:
1901:
1895:
1893:
1889:
1888:
1886:
1885:
1880:
1877:Feet of Flames
1873:
1866:
1859:
1851:
1849:
1845:
1844:
1842:
1841:
1836:
1831:
1826:
1821:
1815:
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1582:
1580:
1579:
1574:
1569:
1563:
1561:
1557:
1556:
1554:
1553:
1551:Festival dance
1548:
1541:Sean-nĂłs dance
1538:
1532:
1530:
1523:
1519:
1518:
1513:
1511:
1510:
1503:
1496:
1488:
1482:
1481:
1476:
1469:
1468:External links
1466:
1465:
1464:
1458:
1443:
1442:
1409:
1395:
1388:
1370:
1361:
1348:
1323:
1294:
1288:978-1900428651
1287:
1266:
1254:
1234:
1204:
1191:ich.unesco.org
1177:
1176:
1169:
1166:
1165:
1164:
1159:
1154:
1149:
1142:
1139:
1138:
1137:
1134:William Talbot
1131:
1125:
1119:
1110:
1107:The Chieftains
1100:
1094:
1089:
1083:
1077:
1071:
1061:
1054:Troy Donockley
1051:
1043:
1040:
1014:
1003:
994:
990:
935:
905:
902:
858:
855:
793:
790:
752:
749:
743:
740:
708:
704:
684:
676:
638:
635:
589:Pastoral pipes
555:
552:
470:
467:
399:uilleann pipes
389:Irish language
286:uilleann pipes
266:
265:
264:Representative
262:
256:
255:
252:
248:
247:
243:
242:
237:
233:
232:
227:
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217:
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193:
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182:
181:
177:
176:
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172:Galician gaita
169:
164:
162:Pastoral pipes
159:
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146:
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139:
138:
134:
133:
127:
126:
123:
119:
118:
109:
103:
102:
101:
100:
95:
92:
89:
82:
80:Classification
76:
75:
62:
58:
57:
51:
50:
40:Uilleann pipes
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2571:
2560:
2557:
2555:
2552:
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2433:
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2428:
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2421:
2414:
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2403:
2400:
2397:
2389:
2380:
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2376:
2373:
2365:
2356:
2355:
2352:
2349:
2341:
2332:
2331:
2328:
2325:
2323:
2320:
2312:
2303:
2302:
2299:
2296:
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2234:
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2219:
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2209:
2207:
2203:
2197:
2194:
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2177:
2174:
2172:
2169:
2167:
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2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2142:
2139:
2137:
2134:
2132:
2129:
2128:
2126:
2122:
2116:
2113:
2111:
2108:
2106:
2103:
2102:
2100:
2096:
2090:
2087:
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2080:
2077:
2075:
2072:
2070:
2067:
2065:
2062:
2061:
2059:
2055:
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2044:
2039:
2037:
2032:
2030:
2025:
2024:
2021:
2009:
2007:
2003:
2001:
1998:
1996:
1993:
1991:
1988:
1987:
1985:
1983:Miscellaneous
1981:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1945:
1942:
1940:
1937:
1935:
1932:
1930:
1927:
1925:
1922:
1920:
1917:
1915:
1912:
1910:
1909:Tiana Coudray
1907:
1905:
1902:
1900:
1897:
1896:
1894:
1890:
1884:
1881:
1879:
1878:
1874:
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1827:
1825:
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1799:
1796:
1794:
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1784:
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1782:
1779:
1778:
1776:
1774:Organisations
1772:
1762:
1759:
1757:
1754:
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1558:
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1371:
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1255:
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1209:
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1192:
1188:
1182:
1179:
1175:
1174:
1167:
1163:
1160:
1158:
1155:
1153:
1150:
1148:
1145:
1144:
1140:
1136:(1792 - 1874)
1135:
1132:
1129:
1128:Davy Spillane
1126:
1124:(1903 â 1970)
1123:
1120:
1118:
1114:
1111:
1108:
1104:
1103:Paddy Moloney
1101:
1098:
1095:
1093:
1090:
1087:
1084:
1081:
1078:
1076:(1919 â 1982)
1075:
1072:
1065:
1062:
1059:
1055:
1052:
1050:(1918 â 1973)
1049:
1048:Willie Clancy
1046:
1045:
1041:
1039:
1037:
1033:
1029:
1024:
964:
959:
956:
952:
947:
945:
939:
915:
911:
903:
901:
899:
890:
886:
872:
863:
856:
854:
852:
848:
844:
838:
836:
832:
827:
823:
819:
815:
811:
807:
798:
791:
789:
787:
781:
773:
764:
760:
758:
757:practice sets
750:
748:
741:
739:
737:
733:
729:
725:
721:
717:
712:
690:
682:
648:
644:
636:
634:
631:
627:
623:
618:
614:
608:
606:
602:
598:
594:
590:
586:
582:
578:
573:
570:
565:
561:
553:
551:
549:
545:
544:anglicization
541:
537:
533:
528:
527:
522:
518:
514:
509:
507:
501:
498:
497:pĂob uilleann
492:
486:
481:
476:
468:
466:
464:
460:
456:
451:
449:
445:
440:
435:
431:
427:
422:
420:
415:
410:
408:
404:
403:Grattan Flood
400:
395:
390:
386:
382:
377:
369:
368:
359:
330:
329:
318:
311:
287:
263:
261:
257:
253:
249:
244:
241:
238:
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231:
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224:
221:
218:
214:
210:
209:
203:
198:
189:
186:
185:
183:
178:
173:
170:
168:
165:
163:
160:
158:
155:
153:
150:
149:
147:
144:
140:
135:
132:
131:Playing range
128:
124:
120:
116:
110:
108:
104:
99:
96:
93:
90:
88:
85:
84:
83:
81:
77:
63:
59:
56:
52:
48:
43:
37:
33:
19:
2506:Music Awards
2485:Competitions
2430:Aeolian mode
2387:
2363:
2339:
2310:
2256:
2241:
2217:
2195:
2005:
1919:Joanne Doyle
1875:
1868:
1861:
1854:
1725:
1695:
1655:
1620:
1605:
1460:
1454:
1448:Bibliography
1447:
1446:
1433:. Retrieved
1422:
1412:
1398:
1379:
1373:
1364:
1356:
1351:
1339:. Retrieved
1335:
1326:
1314:. Retrieved
1309:
1278:
1261:
1257:
1242:
1237:
1225:. Retrieved
1221:the original
1195:. Retrieved
1190:
1181:
1172:
1171:
1113:Liam O'Flynn
1086:Paddy Keenan
1080:Finbar Furey
1074:SĂ©amus Ennis
1070:1908 â 1950)
1064:Johnny Doran
1025:
960:
948:
940:
907:
895:
870:
868:
839:
805:
803:
782:
769:
756:
754:
751:Practice set
745:
713:
655:, C, B and B
640:
609:
576:
574:
557:
547:
546:of the word
535:
531:
524:
516:
510:
506:Act of Union
502:
491:pĂb uilleann
472:
452:
443:
423:
411:
398:
380:
285:
283:
206:
152:Border pipes
36:
2440:Ionian mode
2435:Dorian mode
2298:Schottische
2191:Tin whistle
2186:Tenor banjo
2124:Instruments
2074:Irish dance
2050:Irish music
2008:(2011 film)
1969:Daire Nolan
1954:Tony Lundon
1924:Colin Dunne
1914:Dean Crouch
1904:Jean Butler
1899:Cara Butler
1577:Rinnce Fada
1567:Ceili dance
1515:Irish dance
1130:(born 1959)
1122:Leo Rowsome
1099:(born 1971)
1088:(born 1950)
1082:(born 1946)
1028:double reed
847:double reed
788:if needed.
728:temperament
448:grace notes
381:Union pipes
251:Inscription
72:Irish Pipes
66:Union Pipes
61:Other names
2533:Categories
2293:Strathspey
2268:Barn dance
2205:Tune types
2151:Concertina
2000:Hard shoes
1995:Soft shoes
1856:Riverdance
1829:Oireachtas
1749:Mixed time
1675:Treble jig
1536:Step dance
1529:Individual
1435:13 October
1316:3 November
1227:20 January
1168:References
851:elderberry
720:accordions
630:Skibbereen
2459:Relations
2131:Accordion
2098:Folk song
2089:Set dance
1939:Dan Furey
1572:Set dance
1341:8 January
1058:Nightwish
963:semitones
683:) where A
679:(D above
613:Tandragee
569:pĂob mhĂłr
469:Etymology
463:zampognas
444:ornaments
434:overblown
226:Reference
180:Musicians
137:2 octaves
122:Developed
115:aerophone
87:Aerophone
2539:Bagpipes
2283:Hornpipe
2278:Highland
2181:Melodeon
2146:Bouzouki
1710:Slip jig
1640:Hornpipe
1429:Archived
1141:See also
1020:♮
1009:♭
1000:♯
986:♮
980:♭
974:♯
968:♮
931:♯
925:♯
919:♭
882:♯
876:♯
871:full set
865:Full set
857:Full set
835:full set
831:interval
818:baritone
806:half set
792:Half set
777:♭
716:fiddlers
700:♭
694:♯
681:middle C
658:♭
652:♯
643:Drogheda
601:staccato
577:uilleann
548:uilleann
532:uilleann
523:'s play
517:uilleann
480:genitive
475:Uilleann
439:staccato
94:Woodwind
2409:Marches
2322:Mazurka
2136:BodhrĂĄn
2115:Lilting
2064:CĂšilidh
2057:General
1197:26 July
1117:Planxty
1036:bassoon
955:tremolo
951:vibrato
910:chanter
904:Chanter
772:chanter
670:⁄
593:chanter
554:History
485:uillinn
430:octaves
426:chanter
414:bellows
385:bagpipe
220:Ireland
216:Country
98:Bagpipe
32:Forfeda
2423:Scales
2395:dances
2371:dances
2347:dances
2318:dances
2264:dances
2225:dances
2176:Lambeg
2156:Fiddle
1812:Events
1733:dances
1703:dances
1663:dances
1628:dances
1522:Styles
1386:
1285:
1249:
922:, E, F
914:melody
822:octave
810:drones
724:flutes
637:Tuning
605:drones
597:legato
494:(alt.
391:terms
372:Irish:
236:Region
2399:Slide
2327:Waltz
2273:Fling
2229:Polka
2161:Flute
2141:Bones
1839:CĂ©ilĂ
1740:Slide
1591:Music
1560:Group
1173:Notes
814:tenor
536:union
478:is a
419:reeds
313:
230:01264
2413:airs
2411:and
2288:Reel
2249:and
2171:Harp
1824:Feis
1635:Reel
1613:and
1437:2021
1384:ISBN
1343:2024
1318:2020
1283:ISBN
1247:ISBN
1229:2011
1199:2024
1032:oboe
953:and
908:The
843:reed
826:bass
367:-yÉn
284:The
260:List
91:Wind
2006:Jig
1034:or
983:, C
977:, B
971:, G
898:air
328:-Én
2535::
1427:.
1421:.
1334:.
1308:.
1297:^
1269:^
1207:^
1189:.
1068:c.
1017:(C
869:A
804:A
759:.
722:,
689:Hz
663:14
457:,
450:.
370:,
365:IL
332:or
326:IL
69:,
2388:8
2364:8
2340:8
2311:4
2257:4
2242:2
2218:4
2042:e
2035:t
2028:v
1726:8
1696:8
1656:8
1621:4
1606:2
1547:)
1543:(
1507:e
1500:t
1493:v
1439:.
1406:.
1392:.
1345:.
1320:.
1291:.
1231:.
1201:.
1109:.
1066:(
1060:.
1015:6
1004:5
995:6
991:6
936:4
709:4
705:4
685:4
677:4
672:4
668:1
665:+
358:/
355:n
352:É
349:j
346:l
343:ÉȘ
340:Ë
337:/
310:/
307:n
304:É
301:l
298:ÉȘ
295:Ë
292:/
288:(
117:)
34:.
20:)
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