Online Encyclopedia

double-reed; (3) the " drones," jointed pipes with cylindrical bore, generally terminating in a bell, but having no lateral holes and being capable; therefore, of producing but one fixed See also:

note. The See also:

main characteristic of the bag-pipe is the See also:

DRONE

drone ground See also:

bass which sounds without intermission. Each drone is fitted with a beating-reed resembling the primitive " squeaker " known to all See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country lads; it is prepared by making a cut partly across a piece of See also:

CANE

cane or reed, near the open end, and splitting back from this towards a See also:

JOINT (through Fr. from Lat. junctum, jungere, to join)

joint or See also:

knot, thus raising a See also:

TONGUE (O. Eng. lunge)

tongue or flap. The beating-reed is then fixed in a socket of the drone, which fits into the stock.

The sound is produced by the stream of air forced from the bag into the drone-pipe by the pressure of the performer's arm, causing the tongue of reed to vibrate over the See also:

APERTURE (from Lat. aperire, to open)

aperture, thus setting the whole See also:

COLUMN (Lat. columna)

column of air in vibration. The drone-pipe, like all cylindrical tubes with reed mouth-pieces, has the acoustic properties of the closed pipe and produces the note of a pipe twice its length. The drones are tuned by means of sliding-See also:

JOINTS

joints. ' See E. G. Graff, Deutsche Interlinearversionen der Psalmen (from a 12th-cent. Windberg MS, at See also:

MUNICH (Ger. Munchen)

Munich), p. 384, Ps. lxxx. 2. " nemet den Sulmen See also:

UNCLE

uncle gebet den Suegdbalch." The blow-pipe and the chaunter occupy positions at opposite extremities of the bag, which rests under the arm of the performer while the drones point over his See also:

SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder. These are the main features in the construction of the bag-pipe, whose numerous varieties fall into two classes according to the method of inflating the bag: (I) by means of the blow-pipe described above; (2) by means of a small See also:

bellows connected by a valved feed-pipe with the bag and worked by the other arm or See also:

ELBOW

elbow to which it is attached by a ribbon or strap. Class I. comprises: (a) the Highland bag-pipe; (b) the old Irish bag-pipe; (c) the cornemuse; (d) the bignou or See also:

BINIOU, or BIGNOU

biniou (See also:

Breton bag-pipe); (e) the Calabrian bag-pipe; (f) the ascaulus of the Greeks and See also:

Romans; (g) the tibia utricularis; (h) the chorus.

To Class II. belong: (a) the musette; (b) the Northumbrian or border bag-pipe; (c) the See also:

LOWLAND

Lowland bag-pipe; (d) the See also:

union pipes of See also:

Ireland; (e) the surdelina of See also:

Naples. I. The Highland Bag-pipe.—The construction of the Highland pipes is practically that given above. The chaunter consists of a conical wooden tube terminating in a bell and measuring from 14 to 16 in. including the reed. There are seven holes in front and one at the back for the thumb of the See also:

LEFT

left See also:

hand, which fingers the upper holes while the right thumb merely supports the instrument. The holes are stopped by the under See also:

PART

part of the joints of the fingers. There is in addition a double hole near the bell, which is never covered, and merely serves to regulate the See also:

pitch. As the double reed is not manipulated by the lips of the performer, only nine notes are obtained from the chaunter, as shown: Os- « s *2 The notes do not form any known diatonic See also:

scale, for in addition to the C and F being too See also:

sharp, the notes are not strictly in tune with each other. Donald See also:

MacDonald, in his See also:

TREATISE

treatise on the bag-pipe 3 states that " the See also:

PIPER, CARL, COUNT (1647-1716)

piper is to pay no See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to the flats and sharps marked on the clef, as they are not used in pipe See also:

MUSIC

music; yet the pipe imitates several different keys which are real, but ideal on the bag-pipe, as the music cannot be transposed for it into any other See also:

key than that in which it is first played or marked." Mr Glen, the great dealer in bag-pipes, gave it as his See also:

OPINION (Lat. opinio, from opinari, to think)

opinion " that if the chaunter were to be made perfect in any one scale, it would not go well with the drones. Also, there would not be nearly so much music produced (if you take into See also:

CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration that it has only nine invariable notes) as at See also:

PRESENT

present it adapts itself to the keys of A maj., D maj., B See also:

min., G maj., E min. and A min. Of course we do not mean that it has all the intervals necessary to form scales in all those keys, but that we find it playing tunes that are in one or other of them."' Mr See also:

Ellis considers that the natural scale of the chaunter of the bag-pipe corresponds most nearly with the Arab scale of Zalzal, a celebrated lutist who died c. A.D.

Soo. The three drones are usually tuned to A, the two smallest one See also:

OCTAVE (from Lat. octavus, eighth, octo, eight)

octave below the A of the chaunter, and the largest two octaves below. The three See also:

PRINCIPAL

principal methods of tuning the drones are shown as follows: A. J. ELLIS. See also:

DAVID GLENS See also:

ANGUS, EARLS OF

ANGUS See also:

MACKAY.6 Chaunter. Chaunter. Chaunter. Drones. Drones. i The excessive use of ornamental notes on the Highland bag-pipe has arisen from a technical peculiarity of the instrument, which makes a repetition of the same note difficult without the See also:

INTERPOLATION (from Lat. interpolare, to alter, or insert something fresh, connected with pollee, a polish)

interpolation of what is known among pipers as " cuts " or " warblers," i.e. See also:

grace notes fingered with great rapidity (see below for an example). These warblers, which consist not only of single notes but of See also:

groups of 1 These harmonics may be obtained by See also:

GOOD, JOHN MASON (1764-1827)

good performers by what is known as " pinching " or only partially covering the B and C holes and increasing the wind pressure. 2 The notes marked with asterisks are approximately a See also:

QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of a See also:

TONE, THEOBALD WOLFE (1763-1798)

tone sharp.

3 " See also:

COMPLETE

Complete See also:

TUTOR (Lat. tutor, guardian, tueri, to watch over, protect)

Tutor for attaining a thorough knowledge of the pipe music," prefixed to A Collection of the See also:

Ancient See also:

MARTIAL (MARCUS VALERIUS MARTIALIS)

Martial Music of See also:

CALEDONIA

Caledonia called Piobaireachd, as performed on the Great Highland Bag-pipe, See also:

EDINBURGH

Edinburgh, c. 1805. * See also:

Paper on " The Musical Scales of Various Nations," by Alex. J. Ellis, F.R.S., Jrnl. See also:

Soc. Arts, 1885, vol. xxxiii. p. 499. 6 Tutor for the Highland Bag-pipe, by David Glen (Edinburgh, [899). 9 Tutor for the Highland Bag-pipe, by Angus Mackay (Edinburgh, 1839).from three to seven notes, not consecutive but in leaps, assist in relieving the See also:

CONSTANT, BENJAMIN (1845-1902)

constant discord with the drone bass. Skilful pipers have been known to introduce warblers of as many as eleven notes between two beats in a See also:

bar. The use of musical notation for the Highland pipe tunes is a See also:

RECENT

recent innovation; the pipers used verbal equivalents for the notes; for instance, the piobaireachd Coghiegh nha Shie, " See also:

War of See also:

peace," 7 which opens as shown here, was taken down by Capt.

See also:

NIEL, ADOLPHE (1802-1869)

Niel See also:

MacLeod r ,P from the piper See also:

John M'Cru:nmen of See also:

SKYE

Skye as verbally taught to apprentices as follows: " Hodroho, hodroho, haninin, hiechin, Hodroha, hodroho, hodroho, hachin, Hiodroho, hodroho, haninin, hiechin," &c. The conclusion of the tune is thus expressed: Hiundratatateriri, hiendatatateriri, hiundratatateriri, hiundratatateriri." 3 Written down this seems a See also:

mere unintelligible jumble, but could we hear it, as sounded by the pipers, with due regard for the rhythmical value of notes, it would be a very different See also:

MATTER

matter. Alexander See also:

Campbell 9 relates that a melody had to be taken down or translated " from the syllabic See also:

JARGON

jargon of illiterate pipers into musical characters, which, when correctly done, he found to his astonishment to coincide exactly with musical notation." A Highland bag-pipe of the 15th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century, dated MCCCCIX., in the See also:

possession of Messrs J. & R. Glen of Edinburgh, was exhibited at the Royal Military See also:

EXHIBITION

Exhibition in See also:

LONDON

London in 189010 (see fig. I ()). There were two drones, inserted in a single stock in the form of a wide-spread See also:

FORK (Lat. furca)

fork, and tuned to A in unison with the lowest note of the chaunter, which had seven See also:

FINGER

finger-holes in front and a thumb-hole at the back. I (From Capt. C. R. See also:

Day's Descriptive See also:

CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue of Musical See also:

INSTRUMENTS

Instruments exhibited at the Royal Military Exhibition, by permission of See also:

Eyre & See also:

Spottiswoode.) The old Irish Bag-pipe.—Very little is known about this instrument. It is mentioned in the ancient Brehon See also:

LAWS

Laws, said to date from the 5th century (they are cited in compilations of the loth century), in describing the See also:

order of See also:

PRECEDENCE (from Lat. praecedere, to go before, precede)

precedence of the king's See also:

BODY

body-guard and See also:

HOUSEHOLD, ROYAL

household in the Crith Gabhlach: " Poets, harpers, pipers, See also:

horn-blowers and jugglers have their See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the See also:

south-See also:

east part of the house." " The word used for (bag-) pipers is Cuislennaigh, a word associated with reed instruments (uiscrigh=reeds; O'Reilly's Irish-See also:

ENGLISH

English See also:

DICTIONARY

Dictionary, See also:

DUBLIN

Dublin, 1864).

The old Irish bag-pipe, of which we possess an See also:

ILLUSTRATION

illustration dated 1581,12 had a See also:

long conical chaunter with a bell and apparently seven holes in front and a thumb-hole behind; there were two drones of different lengths—one very long—both set in the same stock. It is exceedingly difficult to procure any accurate See also:

INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information concerning the development of the bag-pipe in Ireland until it assumed the present form, known as the union-pipes, which belong to Class II. 7 A Collection of Ancient Piobaireachd or Highland Pipe Music by Angus Mackay (Edinburgh, 1839), p. 128. 3 A Collection of Piobaireachd or Pipe Tunes as verbally taught by the M'Crummen Pipers on the Isle of Skye to their apprentices, as taken from John M'Crummen (or Crimmon) by Niel MacLeod of Gesto, Skye. (Edinburgh, 1880). 9 Albyn's See also:

ANTHOLOGY

Anthology, vol. i. p. 90. Descriptive Catalogue of the Musical Instruments exhibited at the Royal Military Exhibition, London, z8go, Eyre & Spottiswoode, 1891, pl. ix. A, and description p. 57. " Ancient Laws of Ireland, Brehon See also:

Law Tracts, published by the Commissioners for See also:

PUBLISHING

publishing the Ancient Laws and Institutions of Ireland (Dublin, 1879), vol. iv. pp.

338 and 339. 12 John See also:

DERRICK

Derrick, See also:

IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

Image of Ireland and Discoverie of Woodkarne (London, 1581), pl. ii. -. Drones. g10 - _ 204 The cornemuse and chalemie were the bag-pipes in use in See also:

France, See also:

Italy and the See also:

NETHERLANDS

Netherlands before the See also:

ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of the musette, to which they See also:

bear the same relation as the old Irish bag-pipe does to the union-pipes. or the cornemusa or piva to the sampogna or surdelina in Italy. Two kinds of cornemuses were known in France during the 16th and 17th centuries, differing in one important structural detail, which affected the timbre of the instruments. Pere Marin See also:

MERSENNE, MARIN

Mersenne i has given a detailed description of these varieties and of the musette, with very clear illustrations of the instruments and all their parts. The cornemuse or chalemie used by shepherds, and as a See also:

SOLO, OR SOLO WHIST

solo instrument (see fig. 1 (i) ), was similar to the High- See also:

LAND

land bag-pipe; it consisted of a leather bag, inflated by means of a valved blow-pipe; a large drone (See also:

GROS, ANTOINE JEAN, BARON (1771–1835)

gros See also:

BOURDON, FRANCOIS LOUIS (d. 1797)

bourdon) 21 ft. long included the beating-reed, which measured 21 in., and was fixed In the stock; the small drone (See also:

PETIT, SIR DINSHAW MANECKJI, BART

petit bourdon), i It. in length including a reed 2 in. long, also had a See also:

BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat- See also:

ing-reed and was fixed in the same stock as the chaunter. The two drones were tuned to C. The chaunter had a conical bore and a double reed like an See also:

OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe, but hidden within the stock; it could be taken out and played separately, when the See also:

COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass given by the eight holes (seven in front and a thumb-hole) C to C' could be increased by a third to E, by overblowing the D and E an octave by pressure of the breath and lips on the reed, `-1 now taken directly into the mouth. The second See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of cornemuse was played only in See also:

CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert with a See also:

FAMILY

family of instruments known as Hautbois de See also:

POITOU

Poitou, a hautbois having the reed enclosed in an air-chamber, just as is the See also:

case with the reeds of the bag-pipe.

This cornemuse had but one drone which could, like the others, be lengthened for tuning by See also:

DRAWING

drawing out the joint; the reed was not a beating-reed but a double reed like that of the chaunter; this constitutes the main difference between the two cornemuses. The chaunter had eight holes, the lowest of which was covered by a key enclosed in a perforated See also:

box. The Sackpfeife or Dudelsack of See also:

Germany was an instrument of some importance made in no less than five sizes, all described and illustrated by See also:

Michael See also:

PRAETORIUS, MICHAEL (1571_1621)

Praetorius.2 They consist of the Grosser Bock or doublebassbag-pipe, of ormidable-looking instrument with a single cylindrical drone of a great length, terminating, as did the chaunter also, in a curved See also:

ram's horn (to which the name was due). The chaunter had seven finger-holes and a vent-hole in front, and a thumb-hole at the back. The drone was tuned to G, an octave below the chaunter. Compass of Compass of chaunter. chaunter. mentions a different kind of sackpfeife he saw in See also:

MAGDEBURG

Magdeburg (see op. cit. Theatrum, pl. Compass of v., No. 4), which was somewhat larger chaunter. than the schaferpfeife and pitched a —~ — third See also:

LOWER

lower. There were two chaun- Drones. — ters mounted in one stock, each having three holes in front and one for the thumb at the back.

The right-hand chaunter sounded the five notes D, E, F, G, A, and the left-hand chaunter, G, A, B, C, D. The performer was thus able to See also:

PLAY

play simple two-part :melodies on the Magdeburg bag-pipe. Praetorius mentions in addition the See also:

French bag-pipe (musette), similar in pitch to the hummelchen, but inflated by means of the bellows. 1 L'Harmonie universelle, vol. ii. bk. v. pp. 282-287 and 305 (See also:

Paris, 1636-1637). 2 Syntagma Musicum, part ii., De Organographia (See also:

WOLFENBUTTEL

Wolfenbuttel, 1618) ; republished in See also:

BAND

Band xiii. of the Publicatzonen der Gesellschaft See also:

FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Musikforschung (See also:

Berlin, 1884), See also:

CHAP

chap. xix. and pl. v., xi.; xiii. The Calabrian bag-pipe has a bag of goatskin with the See also:

HAIR (a word common to Teutonic languages)

hair left on, and is inflated by means of a blow-pipe. There are two drones and two chaunters, all fixed in one stock. Each chaunter has three or four finger-holes and the tight-hand pipe has the See also:

FOURTH

fourth covered by a key enclosed in a perforated box; both drones and chaunter have double reeds. The ancient Greek bag-pipe (see See also:

ASKAULES (Gr. ewKauXrls [?] from avxor, bag, ai'Xos, pipe)

ASKAULES), and the See also:

ROMAN

Roman tibia utricularis, belonged to this class of instrument, inflated by the mouth, but it is not certain that they had drones (see below, See also:

HISTORY

History). II. The second class of instruments, inflated by means of a small bellows worked by the arm, has as prototype the musette (see fig. i (3)), which is said to have been evolved during the 15th century;3 from the end of the 15th century there were always musette players' at the French See also:

court, and we find the instrument fully See also:

DEVELOPED

developed at the beginning of the 17th century when Mersenne 6 gives a full description of all its parts.

The See also:

CHIEF (from Fr. chef, head, Lat. caput)

chief characteristic of the musette was a certain rustic See also:

WATTEAU, ANTOINE (1684-1721)

Watteau-like grace. The See also:

FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of the performer was no longer distorted by inflating the bag; for the long cumber-some drones was substituted a short See also:

BARREL (a word of uncertain origin common to Romance languages; the Celtic forms, as in the Gaelic baraill, are derived from the English)

barrel droner, containing the necessary lengths of tubing for four or five drones, reduced to the smallest and most compact form. The bores were pierced longitudinally through the thickness of the See also:

wood in parallel channels, communicating with each other in twos or threes and providing the requisite length for each drone. The reeds were double " hautbois " reeds all set in a wooden stock or box within the bag; by means of regulators or slides, called layettes, moving up and down in See also:

LONGITUDINAL

longitudinal grooves See also:

ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the circumference of the barrel, the length of the drone pipes could be so regulated that a simple See also:

HARMONIC

harmonic bass, consisting mainly of the See also:

COMMON

common chord, could be obtained. The chaunter, of narrow cylindrical bore, was also furnished with a double reed and had eleven holes, four of which had keys, giving a compass of twelve =to notes from F to C. This number of holes was not invariable. After Mersenrie's See also:

time, See also:

JEAN

Jean Hotteterre (d. 1678), a court musician, belonging to the band known as the Musique de la Grande Ecurie,6 in which he played the dessus de hautbois, introduced certain improvements in the drones of the musette? His son See also:

Martin Hotteterre (d. 1712) added a second chaunter to the musette, shorter than the first, to which it was attached instead of being inserted into the stock. The Hotteterre chaunter, known as le petit chalumeau, had six keys, whereas the See also:

GRAND

grand chalumeau had seven, besides eight finger-holes and a vent-hole in the bell. All these keys were actuated by the little finger of the left hand and the thumb of the right hand, which were not required to stop holes on the large chaunter.

The grand and petit chalumeaux are figured in detail with keys and holes in a rare and See also:

ANONYMOUS

anonymous See also:

WORK

work by Borjon (or Bourgeon8), who gives much interesting information concerning one of the most popular instruments of his day. The bellows, he states, borrowed from the organ, were added to the musette about See also:

FORTY

forty or fifty years before he wrote his treatise. The compass of the improved musette of Hotteterre was as shown: $$ 0 x 2 3 4 5 6 7 8 I the seven keys of the grand chalumeau. —itn the six keys of the petit chalumeau. The four or five drones were °- usually tuned thus: The chaunters and drones were - - e s - — -1 pierced with a very narrow cylin- drical bore, and double reeds were used throughout, causing them to speak as closed pipes, which accounts for the deep pitch of these relatively short pipes (see See also:

AULOS (Gr. abXos; Lat. tibia; Egyptian hieroglyphic, Ma-it ; medieval equivalents, shalm, chalumeau, schalmei, hautbois)

AuLos). Martin Hotteterre was hardly the first to introduce the second chaunter for the bag-pipe, since s See E. Thoinan, See also:

Les Hotteterre et les Chedeville, celebres facteurs de fltltes, hautbois, bassons et musettes (Paris, 1894), p. 23. It is probable, however, that M. Thoinan, who makes this statement, has not considered the possibility of the word musette applying in this case to the small rustic hautbois or dessus de bombarde, also written muse, See also:

MUSET, COLIN (/l. 1200)

muset, musele, which occurs in many See also:

BALLADS

ballads of the 13th, 14th and 15th centuries. See Fr. See also:

GODEFROY (GoTHOFREDUS)

Godefroy, Dictionnaire de l'ancienne langue frangaise du IX' au XVe siecle (Paris, 1888).

Musettes de Poitou; probably the cornemuses used in concert with the Hautbois de Poitou. 6 Op. cit. vol. ii. bk. v. pp. 287-292. 6 See Ernest Thoinan, op. cit. pp. 15 et seq. (cf. Jules Ecorcheville, " Quelques documents sur la musique de la Grande ):See also:

CURIE, PIERRE (1859-1906)

curie du Roi in Intern. See also:

Mus. Ges., Sammelband ii. 4, p. 625 and table 2, Grands Hautbois "). 7 Me'thode pour la musette, &c., by Hotteterre le Romain (Paris, 1737), 4to, chap. xvi.

8 Traite de la musette aver une nouvelle methode, &c. (See also:

Lyons, 1672), pp. 25-27 and See also:

PLATE

plate. A copy of this work is in the See also:

BRITISH

British Museum. Petit bourdon. Gros bourdon. Drone. Sackpfeife or Dudelsack. Bock. The Bock, of similar construction, was pitched a fourth higher in C. The Schaferpfeife had two drones in Bb and F. Praetorius expplains that the upper notes of the chaunter of this sackpfeife had a faulty intonation which could not be corrected owing to the See also:

ABSENCE (Lat. absentia)

absence of the thumb-hole, usual in all other varieties of the instrument.

Compass of Compass of chaunter chaunter. . to I =-a-to on Drones.. Drones. Schaferpfeife. The Hummelchen had two drones tuned to F and C. The Dudey or See also:

TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble sackpfeife was the smallest of the family, and had three drones tuned to El?, Bb and Eb, and a chaunter with a compass ranging from F or Eb to C or D. Compass of chaunter. to ° — to _ or I Drones. Praetorius also Drone. Hummelchen. the eight holes of the grand chalumeau. Praetorius in 1618 figures and describes the Magdeburg sack pfeife with two chaunters, but without keys and with a conical bore.

The surdelina or sampogna is described and illustrated by Merselrne' as the musette de Naples; its construction was very complicated. Mersenne states that the instrument was invented by Jean See also:

BAPTISTE

Baptiste See also:

RIVA

Riva (who was living in Paris in 1620), Dom Julio and Vincenze; but Mersenne seems to have made alterations himself in the See also:

ORIGINAL

original instrument, which are not very clearly explained. There were two chaunters with narrow cylindrical bore and having both finger-holes and keys; and two drones each h wing ten keys. The four pipes were fixed in the same stock, and double reeds were used throughout; the bag was inflated by means of bellows. Passenti of See also:

Venice published a collection of melodies for the zampogna in 1628, under the See also:

TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of See also:

CANON

Canon Zampogna. The See also:

MODERN

modern Lowland bag-pipe differs from the Highland bag-pipe mainly in that it is blown by bellows instead of by the mouth. The Northumbrian or Border bag-pipe, also blown by means of bellows, is chiefly distinguished by having a chaunter stopped at the lower end so that when all the holes are closed, the pipe is silent. There are seven finger-holes, one for the thumb, and a varying number of keys. The four drones are fixed in one stock and are tuned by means of stoppers, so that, as in the musette, any one of them may be silenced. A See also:

FINE

fine Northumbrian bag-pipe, from the collection of the Rev. F. W.

Galpin is illustrated (fig. 1. (5)). The union pipes of the See also:

PITH (O.E. pitca, cognate with Du. pit, kernel of a nut)

Pith century, or modern Irish bag-pipe, blown by bellows (see fig. 1. (2)), had one chaunter with seven finger-holes, one thumb-hole and eight keys, which together gave the See also:

CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic scale in two octaves. The drones were tuned to A in different octaves, and three regulators or drones with keys, played by the elbow, produced a kind of See also:

HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony; the regulators correspond to the sliders on the drone-barrel of the musette. ,History of the Bag-pipe.—T here is See also:

REASON (Lat. ratio, through French raison)

reason to believe that the origin of the bag-pipe must be sought in remote antiquity. No instrument in any degree similar to it is represented on any of the monuments of Egypt or See also:

ASSYRIA

Assyria known at the present day; we are, nevertheless, able to trace it in ancient See also:

PERSIA

Persia and by inference in Egypt, in See also:

CHALDAEA

Chaldaea and in ancient See also:

GREECE

Greece. The most characteristic feature of the bag-pipe is not the obvious bag or air-reservoir from which the instrument derives its name in most See also:

LANGUAGES

languages, but the fixed harmony of the buzzing drones. The principle of the drone, i.e. the beating-reed sunk some three inches down the pipe, was known to the ancient Egyptians. In a pipe discovered in a See also:

MUMMY (from the Persian mumiai, pitch or asphalt)

mummy-case and now in the museum at See also:

TURIN

Turin, was found a See also:

STRAW

straw beating-reed in position.

The See also:

ARGHOUL, ARGHOOL, or ARGHUL (in the Egyptian hieroglyphs,As or As-IT)

arghoul (q v.), a modern Egyptian instrument, possesses the characteristic feature of drone and chaunter without the bag. The same instrument occurs once in the hieroglyphs, being sounded as-it, and once on a mural See also:

PAINTING

painting preserved in the Musee See also:

GUIMET, JEAN BAPTISTE

Guimet and reproduced by See also:

Victor Loret.3 During Jacques de See also:

Morgan's excavations in Persia some terra-See also:

cotta figures of musicians, dating from the 8th century B.c., were discovered in a tell (See also:

MOUND

mound) at Susa,4 two of which appear to be playing bag-pipes; the chaunter, curved' in the shape of a See also:

hook-from the stock, is clearly visible, the bag under the arm is indicated, and the lips are pursed as if in the act of blowing, but the insufHation tube is absent; a round hole in one of the figures suggests its presence formerly. Among the names of musical instruments in See also:

Daniel iii. 5 and 15, the See also:

SIXTH

sixth, generally but wrongly rendered " See also:

DULCIMER (Fr. tympanon; Ger. Hackbrett, Cymbal; Ital. cembalo, timpanon or salterio tedesco)

dulcimer," is thought by many scholars to signify a kind of bag-pipe (see commentaries on Daniel and the theological encyc.). This belief is based on the supposition that the Aramaic sumponya is a See also:

LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan-word from the Greek, being a mispronunciation of avj 4 wvia. The See also:

ARGUMENT

argument is, however, exceedingly weak. In the first place, the date of the See also:

BOOK

book of Daniel is matter of controversy, bingeing. partly on precisely such questions as the true significance and derivation of sumponyd. Second, it is possible that the word sumponyd is a See also:

LATE

late interpolation. Third, its exact form is uncertain; in See also:

VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse ro, sipponya is used of the same instrument, suggesting a derivation from the Gr. al we (tube or pipe). Fourth, even if avµ¢wti.a is the source of the word, there is very little See also:

EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence that it was used for any particular 1 Op. cit. bk. v. p. 293. 2 Illustrated and described by Capt.

C. 'R. Day, Descriptive Catalogue, pl. ix. fig. C, p. 62. 3 L'Egypte au temps See also:

des Pharaons—la See also:

vie, la See also:

SCIENCE (Lat. scientia, from scire; to learn, know)

science et Part; aver Photogravures, &c. (Paris, 1889) 12mo, p. 139. ' 4 See Mitigation en Perse, by J. de Morgan (Paris, 'goo), vol. i. pl. viii., Nos. lo and 14. instrument. The original natural sense of avµ /,wvia is" See also:

con-See also:

CORD (derived through the Fr. corde, from the Lat. chorda, Gr. xop(5rt, the string of a musical instrument)

cord of sound," "a concordant See also:

INTERVAL

interval," and the evidence of its use for a particular instrument is of the 2nd century B.C., and, even so, very slight. Only one passage (Polyb. See also:

XXVI

xxvi.

10. 5) really bears on the question, and there the See also:

TRANSLATION

translation of the word depends on a context the See also:

READING

reading of which is uncertain (see See also:

SYMPHONIA (Gr. o-vµcfrmvla)

SYMPHONIA). It is, however, curious that the bag-pipe was known in Italy and See also:

Spain during the See also:

MIDDLE

middle ages, the two countries through which Eastern culture was introduced into See also:

EUROPE

Europe, by the name of zampogna or sampogna, which strongly recall the Chaldaean sumponya; and further that in the same countries the word sinfonia should be co-existent with zampogna and have the original meaning attached to the classical avµ¢wv(a, " a See also:

concord of sound." A single passage only in See also:

DION

Dion See also:

CHRYSOSTOM

Chrysostom (see ASIAULES) is enough to prove. that the instrument was known in Greece in A.D. 100.6 The Greeks had "undoubtedly received some kind of bag-pipe from Egypt (in the form of the as-it), or from Chaldaea, but it remained a rustic instrument used only by shepherds and peasants. This conclusion is supported by allusions in See also:

Aristophanes and in See also:

PLATO

Plato's' Crito, which undoubtedly refer to the drone: " This, dear Crito, is the See also:

VOICE (Fr. voix, from Lat. vox)

voice which I seem to hear murmuring in my ears like the sound of the See also:

FLUTE

flute (autos) in the ears of the mystic; that voice, I say, is humming in my ears." 6 Aristophanes, in his play The Acharnians, indulges in a See also:

FLIGHT

flight of See also:

SATIRE (Lat. satira, satura; see below)

satire at the expense of the musical Boeotians, by making a band of Theban pipers play a Boeotian See also:

MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant and his slave into See also:

TOWN

town. The musicians are dubbed " bumblebee pipers " ((3o 43a6Xwt, I. 866) by the exasperated inhabitants. The verb used here for "blowing" is /vvav, the very word applied to blowing or inflating the bellows (cbv"va), and not the usual verb a'XeIv, to play the aulos. Another instrument, mentioned by Aristophanes in Lysistrata (11. 1242 and 1245), which was probably a kind of bag-pipe, is also derived from Suva, i.e. physallis, the "See also:

concrete," 7 and physateria,s the "collective" 7 form of the instrument. We leave the See also:

REALM

realm of inference for that of certainty when we reach the reign of See also:

NERO (37-68)

Nero, who had a See also:

PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for the Hydraulus (see ORGAN: History) and the tibia utrieularis.3 That the bag-pipe was introduced by the Romans into the British Isles is a 'conclusion supported by the See also:

DISCOVERY

discovery in the See also:

FOUNDATIONS

foundations of the praetorian See also:

CAMP (from Lat. campus, field)

camp at Richborough of a small See also:

BRONZE

bronze figure of a Roman soldier playing the tibia utricularis. The Rev.

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