What folk bagpipe gave its name to the dance. Violin: interesting facts, videos, works, history

Duda, Gaelic. Pìob, Polish. Dudy, Irish Píobaí, Scots Bagpipe, Ukrainian. Goat, Bulgarian Gaida.

Technical sound extraction

Irish bagpipes

Irish bagpipes uilleann pipes [ˈɪlən paɪps]) - illyan pipes, translated from Irish - elbow bagpipe - an Irish version of the bagpipe, which finally took shape towards the end of the 18th century. Air is pumped into the bag using bellows rather than a blowpipe. The Irish bagpipe, unlike all other bagpipes, has a range of two full octaves, and in its full version it can also play accompaniment in addition to the melody using knobs.

Spanish bagpipes

Also called "gaita" (La gaita), it comes from Galicia, as well as Asturias and the eastern part of the province of Leon.

Russian bagpipes

The bagpipe was once a very popular folk instrument in Rus'. It was made of raw mutton or cowhide, on top there was a tube for pumping air, below there were two bass pipes that created a monotonous background, and a third small pipe with holes, with the help of which the main melody was played. The bagpipe was ignored by the highest circles of society, since its melody was considered inharmonious, inexpressive and monotonous; it was usually considered a “low”, common instrument. Therefore, during the 19th century, the bagpipes were gradually replaced by more complex wind instruments such as the accordion and button accordion.

Ukrainian bagpipes

In Ukraine, the bagpipe is called “goat” - apparently because of its characteristic sound and being made from goat skin. Moreover, the instrument is also given an external resemblance to an animal: it is covered with goat skin, a clay goat head is attached, and the pipes are stylized as legs with hooves. The goat was, in particular, an invariable attribute of festivities and carols. There are bagpipes with a goat's head, in almost all Carpathian regions - Slovak, Polish, Czech, Lemko, Bukovinian - there is traditionally a goat's head, wooden, with horns.

French bagpipes

There are many types of bagpipes in France - this is due to the wide variety of musical traditions of the country's regions. Here are just a few of them:

• Central French bagpipe ( musette du center, cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a double-bourdon instrument. Bourdons - large and small, the small one is located at the bottom, near the chanter, tuned to each other in an octave. The chanter cane is double, the bourdon cane is single; air is forced through the blower. The scale is chromatic, range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for pumping air. Traditionally used in a duet with a hurdy-gurdy.
• Cabretta (French: chabrette, Overnsk. occitan. : cabreta) - a single-bourdon elbow-type bagpipe, which appeared in the 19th century among the Parisian Auvergne people and quickly spread throughout the province of Auvergne and in the surrounding regions of the center of France, practically displacing local, more archaic types of instruments from use, for example, the Limousin chabrette ( chabreta limousina).
• Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
• Musette de cours (French: musette de cour) - a “parlor” bagpipe, widely used in XVII-XVIII centuries in court baroque music. This type of bagpipe features two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipes

Scottish bagpipes

Bagpipe (English) Great Highland Bagpipe) - ancient Scottish instrument. It is a reservoir made of sheep or goat skin, turned inside out (goose), to which three bourdon tubes (drones), one tube with eight playing holes (chanter) and a special short tube for blowing air are attached (tied). It has a simplified air supply - through an inflator tube - provides freedom to the right hand.

When playing, the piper fills the reservoir with air and, pressing it with the elbow of his left hand, makes the bourdon and playing tubes sound, which in turn are equipped with special reeds (reeds), moreover, single reeds are used in the bourdon tubes, and double reeds made of reeds are used in the playing tube .

Estonian bagpipes

Estonian bagpipes (Estonian: torupill) made from the stomach or bladder of a large animal such as fur seal, has one, two or (rarely) three bourdon tubes, a flute as a voice tube and an additional tube for blowing air.

Maintenance and consumables

A special composition (bag seasoning, bagpipe seasoning) is placed in the bag, the purpose of which is not only to prevent air leakage from the bag. It serves as a covering that retains air but releases water. A bag made of solid rubber (found on unplayable bagpipes and wall souvenirs used to deceive tourists) would be completely filled with water in half an hour of playing. The water from the bagpipe comes out through the wet skin of the bag.

Reeds (both bourdon and chanter) can be made of reed or plastic. Plastic reeds are easier to play, but the sound is better with natural reed reeds. The behavior of natural reeds is very dependent on air humidity; reeds work better in humid air. If a natural reed is dry, in some cases it helps to place it in water (or lick it), pull it out and wait a while, but you should not over-soak it either. (In textbooks for beginners, there is often advice to try to play the bagpipes with dry reeds for an hour or several, until the reeds receive moisture from the exhaled air. Perhaps this recipe was once invented as a joke or punishment for irregular practice.) With the help of certain mechanical manipulations, the reed can be made “lighter” or “heavier”, and adapted to greater or less pressure. Regardless of the material, each individual reed has its own “character”, the musician must adapt to it.

see also

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Notes

1. Bagpipes / K. A. Vertkov // Great Soviet Encyclopedia: [in 30 volumes] / ch. ed. A. M. Prokhorov. - 3rd ed. - M. : Soviet encyclopedia, 1969-1978.
3. breizh.ru:
4. Mordva: Historical and cultural essays / Ed. Col.: V. A. Balashov (ed.), V. S. Bryzhinsky, I. A. Efremov; Hand. auto team Academician N.P. Makarkin. - Saransk: Mordov. book publishing house, 1995. - pp. 462-463. - 624 s. - 2000 copies. - ISBN 5-7595-1049-5.
5. (port.) . Associação Gaita de Foles. Retrieved September 24, 2016.
6. Tereshchenko A.. - St. Petersburg. , 1848. - T. 1. - P. 485.
8. Urve Lippus and Ingrid Rüütel. Estonia // . - Oxford University Press.

Literature

• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• - article from the Krugosvet encyclopedia
• Kashkurevich T. A.
• Nikiforov P.N., Mari folk musical instruments, Yoshkar-Ola, 1959, p. 48-58
• Remishevsky K. I., Kalatsey V. V.
• Eshpay Y. A., National musical instruments of the Mari, Yoshkar-Ola, 1940, p. 23-28
• Anthony Baines. Bagpipes. - Oxford: Oxford University Press, 1960.
• Joshua Dickson. The Highland Bagpipe: Music, History, Traditon. - Ashgate Publishing, Ltd, 2009.
• Angus Cameron Robertson. The Bagpipes: History and Traditions. - McBeath & Company, 1930.

Links

• (Russian) (Retrieved August 6, 2011)
• (Russian) (Retrieved August 6, 2011)
• (Russian) (Retrieved August 6, 2011)
• (Russian) (Retrieved August 6, 2011)

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Excerpt characterizing Bagpipes

“Well, my dear,” said Prince Vasily jokingly, “tell me: “yes,” and I will write to her on my own behalf, and we will kill the fat calf.” - But Prince Vasily did not have time to finish his joke, when Pierre, with a fury in his face that reminded him of his father, without looking into the eyes of his interlocutor, said in a whisper:
- Prince, I didn’t call you to my place, go, please, go! “He jumped up and opened the door for him.
“Go,” he repeated, not believing himself and rejoicing at the expression of embarrassment and fear that appeared on Prince Vasily’s face.
- What happened to you? You are sick?
- Go! – the trembling voice spoke again. And Prince Vasily had to leave without receiving any explanation.
A week later, Pierre, having said goodbye to his new friends, the Freemasons, and leaving them large sums of alms, left for his estates. His new brothers gave him letters to Kyiv and Odessa, to the Freemasons there, and promised to write to him and guide him in his new activities.

The affair between Pierre and Dolokhov was hushed up, and, despite the sovereign’s then strictness regarding duels, neither both opponents nor their seconds were harmed. But the story of the duel, confirmed by Pierre’s breakup with his wife, became public in society. Pierre, who was looked upon condescendingly and patronizingly when he was an illegitimate son, who was caressed and glorified when he was the best groom Russian Empire, after his marriage, when brides and mothers had nothing to expect from him, he lost much in the opinion of society, especially since he did not know how and did not want to curry public favor. Now he alone was blamed for what had happened, they said that he was a stupid jealous person, subject to the same fits of bloodthirsty rage as his father. And when, after Pierre’s departure, Helen returned to St. Petersburg, she was not only cordially, but with a touch of respect for her misfortune, received by all her acquaintances. When the conversation turned to her husband, Helen adopted a dignified expression, which she, although not understanding its meaning, with her characteristic tact, adopted for herself. This expression said that she decided to endure her misfortune without complaining, and that her husband was a cross sent to her from God. Prince Vasily expressed his opinion more openly. He shrugged his shoulders when the conversation turned to Pierre, and, pointing to his forehead, said:
– Un cerveau fele – je le disais toujours. [Half-crazy – I always said that.]
“I said in advance,” Anna Pavlovna said about Pierre, “I said then and now, and before everyone else (she insisted on her primacy), that he is a crazy young man, spoiled by the depraved ideas of the century.” I said this back then, when everyone admired him and he had just arrived from abroad, and remember, one evening I thought he was some kind of Marat. How did it end? I didn’t want this wedding then and predicted everything that would happen.
Anna Pavlovna continued to host such evenings on her free days as before, and those that she alone had the gift of arranging, evenings at which she gathered, firstly, la creme de la veritable bonne societe, la fine fleur de l" essence intellectuelle de la societe de Petersbourg, [the cream of real good society, the color of the intellectual essence of St. Petersburg society,] as Anna Pavlovna herself said. In addition to this refined choice of society, Anna Pavlovna’s evenings were also distinguished by the fact that every time at her evening Anna Pavlovna served her something new to society, interesting face, and that nowhere, as at these evenings, was the degree of the political thermometer at which the mood of the court legitimist St. Petersburg society stood so clearly and firmly expressed.
At the end of 1806, when all the sad details had already been received about Napoleon’s destruction of the Prussian army near Jena and Auerstätt and about the surrender of most of the Prussian fortresses, when our troops had already entered Prussia, and our second war with Napoleon began, Anna Pavlovna gathered at her place evening. La creme de la veritable bonne societe [The cream of real good society] consisted of the charming and unhappy Helene, abandoned by her husband, from MorteMariet, the charming Prince Hippolyte, who had just arrived from Vienna, two diplomats, an aunt, one young man, who in the living room was simply called d'un homme de beaucoup de merite, [a very worthy person], one newly granted maid of honor with his mother and some other less noticeable persons.
The person with whom Anna Pavlovna treated her guests like a novelty that evening was Boris Drubetskoy, who had just arrived as a courier from the Prussian army and was an aide-de-camp to a very important person.
The temperature of the political thermometer indicated to society this evening was the following: no matter how much all European sovereigns and commanders try to pander to Bonaparte, in order to cause me and us in general these troubles and sorrows, our opinion about Bonaparte cannot change. We will not stop expressing our unfeigned thoughts on this matter, and we can only say to the Prussian king and others: so much the worse for you. Tu l "as voulu, George Dandin, [You wanted this, Georges Dandin,] that's all we can say. That's what the political thermometer indicated at Anna Pavlovna's evening. When Boris, who was supposed to be presented to the guests, entered the living room, Almost the entire company was already assembled, and the conversation, led by Anna Pavlovna, was about our diplomatic relations with Austria and the hope of an alliance with it.
Boris, in a smart adjutant uniform, matured, fresh and ruddy, freely entered the living room and was taken, as it should be, to greet his aunt and again joined the general circle.
Anna Pavlovna gave him her withered hand to kiss, introduced him to some faces unfamiliar to him and identified each one to him in a whisper.
– Le Prince Hyppolite Kouraguine – charmant jeune homme. M r Kroug charge d "affaires de Kopenhague - un esprit profond, and simply: M r Shittoff un homme de beaucoup de merite [Prince Ippolit Kuragin, a dear young man. G. Krug, Copenhagen chargé d'affaires, deep mind. G. Shitov , a very worthy person] about the one who bore this name.
During this time of his service, Boris, thanks to the concerns of Anna Mikhailovna, his own tastes and the properties of his restrained character, managed to put himself in the most advantageous position in his service. He was an adjutant to a very important person, had a very important mission to Prussia, and had just returned from there by courier. He had fully assimilated that unwritten subordination that he liked in Olmutz, according to which an ensign could stand without comparison above a general, and according to which, for success in the service, what was needed was not effort in the service, not labor, not courage, not constancy, but it was necessary only the ability to deal with those who reward service - and he himself was often surprised at his rapid successes and how others could not understand this. As a result of this discovery, his entire way of life, all his relationships with former acquaintances, all his plans for the future - completely changed. He was not rich, but he used the last of his money to be better dressed than others; he would rather deprive himself of many pleasures than allow himself to ride in a bad carriage or appear in an old uniform on the streets of St. Petersburg. He became close and sought acquaintance only with people who were higher than him and therefore could be useful to him. He loved St. Petersburg and despised Moscow. The memory of the Rostovs’ house and his childhood love for Natasha was unpleasant for him, and since leaving for the army he had never been to the Rostovs. In Anna Pavlovna's living room, in which he considered his presence to be an important promotion, he now immediately understood his role and allowed Anna Pavlovna to take advantage of the interest that lay in him, carefully observing each face and assessing the benefits and possibilities of rapprochement with each of them . He sat down in the place indicated to him near the beautiful Helen, and listened to the general conversation.
– Vienne trouve les bases du traite propose tellement hors d"atteinte, qu"on ne saurait y parvenir meme par une continuite de succes les plus brillants, et elle met en doute les moyens qui pourraient nous les procurer. “C”est la phrase authenticique du cabinet de Vienne,” said the Danish charge d”affaires. [Vienna finds the foundations of the proposed treaty so impossible that they cannot be achieved even with the most brilliant successes: and it doubts the means that can deliver them to us. This is a genuine phrase from the Vienna cabinet,” said the Danish charge d’affaires.]
“C"est le doute qui est flatteur!" said l"homme a l"esprit profond, with a subtle smile. [Doubt is flattering! - said a deep mind,]
“Il faut distinguer entre le cabinet de Vienne et l"Empereur d"Autriche,” said MorteMariet. - L"Empereur d"Autriche n"a jamais pu penser a une chose pareille, ce n"est que le cabinet qui le dit. [It is necessary to distinguish between the Viennese cabinet and the Austrian emperor. The Austrian Emperor could never think this, only the cabinet speaks.]
“Eh, mon cher vicomte,” Anna Pavlovna intervened, “l"Urope (for some reason she pronounced l"Urope, as a special subtlety of the French language that she could afford when speaking with a Frenchman) l"Urope ne sera jamais notre alliee sincere [Ah, my dear Viscount, Europe will never be our sincere ally.]
Following this, Anna Pavlovna brought the conversation to the courage and firmness of the Prussian king in order to introduce Boris into the matter.
Boris listened attentively to whoever was speaking, waiting for his turn, but at the same time he managed to look back several times at his neighbor, the beautiful Helen, who with a smile met her eyes several times with the handsome young adjutant.
Quite naturally, speaking about the situation in Prussia, Anna Pavlovna asked Boris to tell his journey to Glogau and the situation in which he found the Prussian army. Boris, slowly, in pure and correct French, told a lot of interesting details about the troops, about the court, throughout his story carefully avoiding stating his opinion about the facts that he conveyed. For some time, Boris captured everyone's attention, and Anna Pavlovna felt that her treat with a new product was received with pleasure by all the guests. Helen showed the most attention to Boris's story. She asked him several times about certain details of his trip and seemed quite interested in the situation of the Prussian army. As soon as he finished, she turned to him with her usual smile:
“Il faut absolument que vous veniez me voir, [It is necessary that you come to see me," she told him in such a tone, as if for some reasons that he could not know, this was absolutely necessary.
– Mariedi entre les 8 et 9 heures. Vous me ferez grand plaisir. [Tuesday, between 8 and 9 o'clock. You will do me great pleasure.] - Boris promised to fulfill her wish and wanted to enter into a conversation with her when Anna Pavlovna called him away under the pretext of her aunt, who wanted to hear him.
“You know her husband, don’t you?” - said Anna Pavlovna, closing her eyes and pointing at Helen with a sad gesture. - Oh, this is such an unfortunate and lovely woman! Don't talk about him in front of her, please don't talk about him. It's too hard for her!

When Boris and Anna Pavlovna returned to the general circle, Prince Ippolit took over the conversation.
He moved forward in his chair and said: Le Roi de Prusse! [The Prussian king!] and having said this, he laughed. Everyone turned to him: Le Roi de Prusse? - asked Ippolit, laughed again and again calmly and seriously sat down in the depths of his chair. Anna Pavlovna waited for him a little, but since Hippolyte decidedly did not seem to want to talk anymore, she began a speech about how the godless Bonaparte stole the sword of Frederick the Great in Potsdam.
“C"est l"epee de Frederic le Grand, que je... [This is the sword of Frederick the Great, which I...] - she began, but Hippolytus interrupted her with the words:
“Le Roi de Prusse...” and again, as soon as he was addressed, he apologized and fell silent. Anna Pavlovna winced. MorteMariet, a friend of Hippolyte, turned decisively to him:
– Voyons a qui en avez vous avec votre Roi de Prusse? [So what about the Prussian king?]
Hippolytus laughed, as if he was ashamed of his laughter.
- Non, ce n "est rien, je voulais dire seulement... [No, nothing, I just wanted to say...] (He intended to repeat the joke that he heard in Vienna, and which he had been planning to put all evening.) Je voulais dire seulement, que nous avons tort de faire la guerre pour le roi de Prusse. [I just wanted to say that we are fighting in vain pour le roi de Prusse. (Untranslatable play on words meaning: “over trifles.”)]
Boris smiled cautiously, so that his smile could be classified as mockery or approval of the joke, depending on how it was received. Everyone laughed.
“Il est tres mauvais, votre jeu de mot, tres spirituel, mais injuste,” said Anna Pavlovna, shaking her wrinkled finger. – Nous ne faisons pas la guerre pour le Roi de Prusse, mais pour les bons principes. Ah, le mechant, ce prince Hippolytel [Your play on words is not good, very clever, but unfair; we are not fighting pour le roi de Prusse (i.e. over trifles), but for good beginnings. Oh, how evil he is, this Prince Hippolyte!],” she said.
The conversation continued throughout the evening, focusing mainly on political news. At the end of the evening, he became especially animated when it came to the awards bestowed by the sovereign.
“After all, last year NN received a snuff box with a portrait,” said l “homme a l” esprit profond, [a man of deep intelligence,] “why can’t SS receive the same award?”
“Je vous demande pardon, une tabatiere avec le portrait de l"Empereur est une recompense, mais point une distinction,” said the diplomat, un cadeau plutot. [Sorry, a snuff box with a portrait of the Emperor is a reward, not a distinction; rather a gift.]
– Il y eu plutot des antecedents, je vous citerai Schwarzenberg. [There were examples - Schwarzenberg.]
“C"est impossible, [This is impossible," the other objected.
- Pari. Le grand cordon, c"est different... [The tape is a different matter...]
When everyone got up to leave, Helen, who had said very little all evening, again turned to Boris with a request and a gentle, significant order that he should be with her on Tuesday.
“I really need this,” she said with a smile, looking back at Anna Pavlovna, and Anna Pavlovna, with the sad smile that accompanied her words when speaking about her high patroness, confirmed Helen’s desire. It seemed that that evening, from some words spoken by Boris about the Prussian army, Helen suddenly discovered the need to see him. She seemed to promise him that when he arrived on Tuesday, she would explain this need to him.
Arriving on Tuesday evening at Helen's magnificent salon, Boris did not receive a clear explanation of why he needed to come. There were other guests, the countess spoke little to him, and only saying goodbye, when he kissed her hand, she, with a strange lack of a smile, unexpectedly, in a whisper, said to him: Venez demain diner... le soir. Il faut que vous veniez… Venez. [Come for dinner tomorrow... in the evening. I need you to come... Come.]
On this visit to St. Petersburg, Boris became a close person in the house of Countess Bezukhova.

The war was flaring up, and its theater was approaching the Russian borders. Curses against the enemy of the human race, Bonaparte, were heard everywhere; Warriors and recruits gathered in the villages, and contradictory news came from the theater of war, false as always and therefore interpreted differently.
The life of old Prince Bolkonsky, Prince Andrei and Princess Marya has changed in many ways since 1805.
In 1806, the old prince was appointed one of the eight commanders-in-chief of the militia, then appointed throughout Russia. The old prince, despite his senile weakness, which became especially noticeable during the period of time when he considered his son killed, did not consider himself entitled to refuse the position to which he had been appointed by the sovereign himself, and this newly discovered activity excited and strengthened him. He was constantly traveling around the three provinces entrusted to him; He was pedantic in his duties, strict to the point of cruelty with his subordinates, and he himself went down to the smallest details of the matter. Princess Marya had already stopped taking mathematical lessons from her father, and only in the mornings, accompanied by her nurse, with little Prince Nikolai (as his grandfather called him), entered her father’s study when he was at home. Baby Prince Nikolai lived with his nurse and nanny Savishna on the half of the late princess, and Princess Marya most She spent her days in the nursery, replacing, as best she could, a mother to her little nephew. M lle Bourienne, too, seemed to be passionately in love with the boy, and Princess Marya, often depriving herself, yielded to her friend the pleasure of nursing the little angel (as she called her nephew) and playing with him.
At the altar of the Lysogorsk church there was a chapel over the grave of the little princess, and in the chapel a marble monument brought from Italy was erected, depicting an angel spreading his wings and preparing to ascend to heaven. The angel's upper lip was slightly raised, as if he was about to smile, and one day Prince Andrei and Princess Marya, leaving the chapel, admitted to each other that it was strange, the face of this angel reminded them of the face of a deceased woman. But what was even stranger, and what Prince Andrei did not tell his sister, was that in the expression that the artist accidentally gave to the face of the angel, Prince Andrei read the same words of meek reproach that he then read on the face of his dead wife: “Oh, why did you do this to me?..."
Soon after the return of Prince Andrei, the old prince separated his son and gave him Bogucharovo, a large estate located 40 miles from Bald Mountains. Partly because of the difficult memories associated with the Bald Mountains, partly because Prince Andrei did not always feel able to bear his father’s character, and partly because he needed solitude, Prince Andrei took advantage of Bogucharov, built there and spent most of his time there. time.
Prince Andrei, after the Austerlitz campaign, firmly decided never to serve in military service again; and when the war began, and everyone had to serve, he, in order to get rid of active service, accepted a position under his father in collecting the militia. The old prince and his son seemed to change roles after the 1805 campaign. The old prince, excited by the activity, expected all the best from the real campaign; Prince Andrey, on the contrary, not participating in the war and secretly regretting it in his soul, saw only one bad thing.
On February 26, 1807, the old prince left for the district. Prince Andrei, as for the most part during his father’s absences, remained in Bald Mountains. Little Nikolushka had been unwell for the 4th day. The coachmen who drove the old prince returned from the city and brought papers and letters to Prince Andrei.
The valet with letters, not finding the young prince in his office, went to Princess Marya’s half; but he wasn’t there either. The valet was told that the prince had gone to the nursery.
“Please, your Excellency, Petrusha has come with the papers,” said one of the nanny’s girls, turning to Prince Andrei, who was sitting on a small children’s chair and with trembling hands, frowning, dripping medicine from a glass into a glass half filled with water.
- What's happened? - he said angrily, and carelessly shaking his hand, he poured an extra amount of drops from the glass into the glass. He threw the medicine out of the glass onto the floor and asked for water again. The girl handed it to him.
In the room there was a crib, two chests, two armchairs, a table and a children's table and chair, the one on which Prince Andrei was sitting. The windows were curtained, and one candle was burning on the table, covered with a bound book of music, so that the light would not fall on the crib.

Duda, Gaelic. Pìob, Polish. Dudy, Irish Píobaí, Scots. Bagpipe, Ukrainian Goat, Bulgarian Gaida.

Technical sound extraction

One of the tubes (chanter) has side holes and is used to play the melody, and the other two (bourdons) are bass tubes, which are tuned to a perfect fifth. Bourdon emphasizes the framework of the octave scale (modal scale), on the basis of which the melody is composed. The pitch of the bourdon tubes can be changed by means of the pistons located in them.

Typology and differences

Some bagpipes are designed in such a way that they are inflated not with the mouth, but with bellows to pump air, which is driven right hand. These bagpipes include the Uilleann Bagpipe - an Irish bagpipe.

Kazakh bagpipes

The Kazakh national instrument is called Zhelboise; it looks like a leather wineskin and is made of goat skin. The neck of the Zhelboise is closed with a special seal. In order for the instrument to be worn around the neck, a strong leather cord is tied to it. Recently, the instrument has been used in concerts of Kazakh national orchestras and folk ensembles. Found during archaeological excavations, stored in the Museum of National Musical Instruments named after Ykylas Dukenov. Stable temperature is maintained. To prevent moths from eating the exhibit, dust is regularly wiped off with special gauze. Famous composer Nurgisa Tlendiev used jelboise for the first time in concerts of the Otrar Sazy orchestra.

Armenian bagpipes

Irish bagpipes

It consists of a chanter with a double reed, like an oboe, and one or two bass bourdons with single reeds, like a clarinet. The chanter has an internal conical channel, seven holes for fingers and with reverse side left thumb hole. In addition, it is equipped with three non-closing holes located in its lower part on the socket.

Italian bagpipes

Bagpipes of this region can be divided into 2 types - northern Italian, similar in design to French and Spanish instruments, and southern Italian, known under the general name zampogna(Italian zampogna) and distinguished by two melodic pipes in a common drain with two bourdon pipes. Traditionally zampogna is used as an accompaniment ciaramelle(Italian: ciaramella) - a small oboe-like instrument.

Mari bagpipes

Mari bagpipes ( shuvyr, shuvyr, shuvur, shuvur, shyubber). It consists of fur (an animal's bladder) and 3 tubes - 1 for air injection and 2 playing, melodic, located in a wooden bed and having a common bell made of cow horn. Their range is third and fifth, number of playing holes: 2 and 4 (playing 2-voice melodies is possible). The scale is diatonic. The sound is strong, sharp, buzzing timbre. Known since ancient times. Used as an accompaniment to folk songs and dance melodies. Often used with the Mari drum (tumyr).

Mordovian bagpipes

Russian bagpipes

The bagpipe was once a very popular folk musical instrument in Rus'. It was made of raw mutton or cowhide, on top there was a tube for pumping air, below there were two bass pipes that created a monotonous background, and a third small pipe with holes, with the help of which the main melody was played. The bagpipe was ignored by the highest circles of society, since its melody was considered inharmonious, inexpressive and monotonous; it was usually considered a “low”, common instrument. Therefore, during the 19th century, the bagpipes were gradually replaced by more complex wind instruments such as the accordion and button accordion.

Information about this musical instrument is quite extensive in the iconographic and written cultural monuments of the Russian people, from the 16th century to the 19th century. The earliest image is in the Radzivilov Chronicle (XV century) on the miniature “The Game of the Vyatichi Slavs”.

Ukrainian bagpipes

In Ukraine, the bagpipe is called “goat” - apparently because of its characteristic sound and being made from goat skin. Moreover, the instrument is also given an external resemblance to an animal: it is covered with goat skin, a clay goat head is attached, and the pipes are stylized as legs with hooves. The goat was, in particular, an invariable attribute of festivities and carols. There are bagpipes with a goat's head, in almost all Carpathian regions - Slovak, Polish, Czech, Lemko, Bukovinian - there is traditionally a goat's head, wooden, with horns.

French bagpipes

There are many types of bagpipes in France - this is due to the wide variety of musical traditions of the country's regions. Here are just a few of them:

• Central French bagpipe ( musette du center, cornemuse du Berry), common in the areas of Berry and Bourbonnais. It is a double-bourdon instrument. Bourdons - large and small, the small one is located at the bottom, near the chanter, tuned to each other in an octave. The chanter cane is double, the bourdon cane is single; air is forced through the blower. The scale is chromatic, range is 1.5 octaves, the fingering is semi-closed. There are later versions of this instrument with 3 bourdons and bellows for pumping air. Traditionally used in a duet with a hurdy-gurdy.
• Cabretta (French: chabrette, Overnsk. occitan. : cabreta) - a single-bourdon elbow-type bagpipe, which appeared in the 19th century among the Parisian Auvergne people and quickly spread throughout the province of Auvergne and in the surrounding regions of the center of France, practically displacing local, more archaic types of instruments from use, for example, the Limousin chabrette ( chabreta limousina).
• Bodega (Occitan: bodega) - bagpipes with goatskin fur, a blower and one bourdon, common in the southern Occitan-speaking departments of France.
• Musette de cours (French: musette de cour) - “salon” bagpipe, widely used in the 17th-18th centuries in court baroque music. This type of bagpipe features two playing pipes, a bourdon barrel and a bellows for blowing air.

Chuvash bagpipes

Shapar(shabr, shybyr, bubble). It consists of a bag (bull or cow bladder), a bone or metal tube for pumping air and 2 tin melodic tubes mounted on a wooden bed. They were fitted with a bell made of cow horn and sometimes an additional bell made of birch bark. The left tube has 2-3, the right 3-4 playing holes (it has 3-7 small tuning holes at the bottom). Canes are usually single, although in the Tetyushsky region (Tatarstan) double canes are also used. The scales are very different using both chromatic and diatonic intervals.

Sarnai. Unlike the shapar, the bag is made not from bladder, but from calf or goat skin. It has a blower, 2 bourdons (most often tuned to fifths) and one melody tube with 6 playing holes and finger grooves. All tubes are wooden. Single reeds made from goose feathers or reeds. The scale is usually diatonic, but there are also omissions of steps, increased or decreased octaves, etc. They usually play while sitting, loudly beating the rhythm with their feet.

Scottish bagpipes

Scottish bagpipes have taken part in every British Army campaign over the last 300 years. In the Battle of Waterloo in Belgium, held on June 18, 1815, during a counter-attack on the corps of the French Imperial Marshal Dava, the patriotic march of the 52nd Brandland Infantry Shotland Infantry Shotlands was first performed (English "Scotland the Brave" , Scottish (Gaelic) "Alba an Aigh"), which later became unofficial anthem Scotland.

Estonian bagpipes

Estonian bagpipes (Estonian: torupill) made from the stomach or bladder of a large animal such as a fur seal, has one, two or (rarely) three bourdon tubes, a flute as a voice tube, and an additional tube for blowing air.

Maintenance and consumables

A special composition (bag seasoning, bagpipe seasoning) is placed in the bag, the purpose of which is not only to prevent air leakage from the bag. It serves as a covering that retains air but releases water. A solid rubber bag (found on unplayable bagpipes and wall souvenirs used to deceive tourists) would be completely filled with water in half an hour of playing

Bagpipes- traditional musical wind reed instrument many peoples of Europe. In Scotland it is the main national instrument. It is a bag, which is usually made of cow, calf or goat skin, removed entirely, in the form of a wineskin, sewn tightly and equipped with a tube on top for filling the fur with air, with one, two or three playing reed tubes attached to the bottom, which serve to create polyphony.

Bagpipe device

A bagpipe, as a rule, consists of a bag (actually, a bag) and a set of various tubes (pipes) inserted into it.
Bagpipe elements are divided into:
basic (sounding)
Chanter- this is the tube on which the melody is actually played. A chanter can be either a simple pipe or a complex device with valves and tuning mechanisms, like the Irish bagpipe (Uilleann).
Drones(they are also called bourdons) are pipes that produce a background bass sound (usually) accompanying the main melody, which is also called the “bourdon sound”. There can be from 1 to 4 pieces. In Ireland they found a way to make a rather complex instrument out of them. Uilleann pipes(Irish bagpipes) has, in addition to three main drones, three, essentially, chanters, called regulators. They are inserted into the same drain as the drones, but only make sound when the special valves they are equipped with are opened.
Blower(blowpipe) - a tube through which bagpipes are blown. As a rule, it is equipped with a valve that prevents air from escaping from the bag, and on the other side with a mouthpiece that is convenient for the player. If the bagpipe has a dry air supply, then the blower is equipped with a fitting that is inserted directly into the bellows.
The tubes are inserted into the bag using drains. These are wooden cylinders that are hermetically tied into a bag.
Secondary (replaceable)
Bag(bag) - an air reservoir into which all drains are connected. The bag is necessary to maintain constant pressure: air is supplied evenly and continuously to the canes of the chanter and drones. In ancient times, it was made from the skins of domestic animals, removed with a “stocking”. Later, bags began to be made from specially tanned leather: sheep, cow, and even elk. For greater tightness, the bags are impregnated with special compounds that extend the service life of the bag.
Today, several companies in Europe, Canada and Australia produce bags for various types bagpipes made of high-tech membrane fabrics (GoreTex), technologists did not stop at one type of bag; for greater convenience and “manageability” of the bag, they began to laminate the skin together with GoreTex. To service moisture-condensing seporators inside the bag, such a bag is also equipped with a powerful zipper that can withstand high air pressure.
Frog(bellows) - bellows similar in design and appearance to blacksmith bellows. The frog is fastened to the bagpiper's belt with one belt, and fastened to the elbow with the other. Has an inlet valve on the outside. On the inside there is a special socket for inserting the blower fitting. The frog provides dry air into the bag: due to the precision design of the reeds of such instruments, moist air is absolutely unacceptable.
Carpet(cover) It is customary to put an elegant cover made of noble fabric on top of the bag, which is called a carpet. Drones are decorated with fringes and tassels (depending on tradition).
Canes(reeds) - These bagpipe parts are hidden from public view inside the drains. They are the elements that produce sound. Canes are inserted inside drones

History of bagpipes

The most popular and widespread bagpipe in the world is undoubtedly Scottish: the Great Highland Bagpipe. When most people think of bagpipes, this is what they think of. Many people still believe that bagpipes were invented in Scotland.
However, the bagpipe as a whole is, of course, not a specifically Scottish instrument.
Although the early history of bagpipes is still not entirely clear, it can be said with a high degree of certainty that it originated in the East. Most likely, its predecessors were instruments such as the oboe or horn. In many musical traditions, bagpipes are still used in ensemble with these instruments. When and who first thought of attaching inflatable fur to them remains a mystery. The first mention of bagpipes in written sources dates back to 400. BC. in Aristophanes.
In general, the very principle of the bagpipes - the voice, accompanied by monotonous harmony - is undoubtedly one of the most ancient forms of music performance. One voice, even if it carries a wonderful, beautiful melody, is still one. If there is at least something that complements it, it is listened to much more vividly. A person has only 2 hands, and even with any significant range of the instrument, both of them are occupied. Bagpipes, on the other hand, make it possible to connect one or more bourdon elements (permanent basses).
When exactly bagpipes appeared on the shores of England and Ireland is still a matter of debate. Some suggest that the idea was introduced by the Romans, others find more ancient ways. However, throughout the Middle Ages, Scottish Bagpipes developed quite separately and closed, remaining unchanged and traditional instrument clans
The expansion of the instrument began in the 12th and 13th centuries, when Europe began to experience a period of cultural growth associated with the Crusades and the concomitant expansion of cultural horizons and exchange. However, as before, the bagpipe remained a “folk” instrument. This is due to the fact that the instrument was originally designed to be played outdoors - the sound had to be loud.
Bringing bagpipes indoors began in the 17th and early 18th centuries, and at the same time numerous variants of more intimate modifications of the Great Highland Bagpipe appeared.
During this period, Northumbrian smallpipes, Uilleann pipes, Scottish smallpipes and the French musette appeared. Apparently during the same period, the Spanish Gaita (or Gaita gallega), which is the closest relative of the French Veuze, also acquired its final form - combining the best qualities of both Celtic and Eastern European bagpipes.
However, even in this form, the bagpipe's popularity was short-lived. With the development of Western European music, which followed the path of complication and honing of both musical technique and instruments, the bagpipe gradually fell out of use, as having too limited a range and functions.
This decline in interest continued from the early 19th century into the 20th century. At the beginning of the 20th century, there was an opinion that the Great Highland Bagpipe was a barbaric instrument that somehow survived to this day.
However, in Scotland no one thought of abandoning the national instrument, and the traditions of performing and making bagpipes were passed on from generation to generation. This served well in those days when, with the growth of the British Empire, the English army began to actively form Scottish regiments. Bagpipes, of course, were an indispensable attribute of each such unit and in this form they spread throughout the world.

And during the first and second world wars, when the Scottish regiments had already acquired an excellent reputation, a large number of bagpipers were trained specifically for them.

This time also coincided with the rise in popularity of many national traditional forms of bagpipes in Europe.
Today, the bagpipe is the official instrument of military bands and ceremonies for English-speaking countries. In addition, with the growing interest in folk style and national music and dance, many types of bagpipes became popular again. They are once again being played at weddings and dance parties in Europe, and the traditions of their making are being carefully reconstructed. In Great Britain, Ireland, and Spain, traditional Pipe Bands have been revived - small orchestras of national instruments with bagpipes in the main lineup.
However, the development of bagpipes did not freeze at the level of the 19th century - at this moment Several versions of electronic bagpipes have been developed. There are specialized keyboard MIDI bagpipes, some of which allow you to switch between the sounds of several different types of bagpipes.

What does your imagination draw to you when you hear the sounds of bagpipes? Most often we associate this instrument with big man in a kilt, a big fan of scotch tape, with an incomprehensible headdress. In general, with a classic Scotsman. It may be surprising to some that the bagpipes are not a Scottish instrument at all! There are actually a large number of varieties of this instrument, although undoubtedly the most popular today is the Scottish bagpipe called the Great Highland Bagpipe.

It is believed that the history of bagpipes originates in the East. Obviously, the prototype of this instrument was the wind instruments - the predecessors of the oboe or horn. Many musicians combine the sounds of bagpipes with these instruments in their works. The first mention of bagpipes dates back to 400 BC. in the written works of Aristophanes. However, there is no information about who exactly decided to add bellows to wind instruments. The bagpipe significantly diversified the sound of melodies, since, unlike ordinary similar instruments, it is characterized by bourdon polyphony.

Bagpipes are made from ox, calf or goat skin. It is completely removed from the animal, sewn together in the form of a waterskin, to which a tube is attached to fill the furs with air. One or more tubes are attached below, which create a unique sound.

There is still no clear opinion about exactly when and how bagpipes appeared in England. Some believe that it was introduced by the Romans. Scottish bagpipes are significantly different from English or Irish. It is equipped with an additional blow tube with eight playing holes, as well as a tube through which air is blown. A musician playing a Scottish bagpipe blows into one tube, then presses it with his elbow to move air into another, which produces sounds. It is interesting that the Scots loved the bagpipes so much that they became a family instrument, and each family performed its own unique melodies in its own peculiar manner. By the color of the fabric with which it was trimmed, one could determine its belonging to one or another owner.

In the XII-XIII centuries, at the height of the Crusades, bagpipes became increasingly famous and European countries. In general, the geography of distribution of this tool is quite extensive. The bagpipe was an outdoor instrument, and only since the 17th century could its sound be heard indoors.

But in Rus' the bagpipes did not take root, no matter how folk instrument, nor among the upper strata of society. Her sound was considered boring and inexpressive, which is actually difficult to disagree with. In the 19th century, the bagpipes were replaced by more complex instruments - the accordion and button accordion, which are still loved by the Russian people today.

Almost every country has its own variation of bagpipes. Different peoples modified the instrument in their own way, adding certain elements or making it from other materials. Italy, France, Belarus, Spain, Armenia, Ukraine, Mordovia and Chuvashia have their own version of bagpipes. In the latter, for example, a cow or bull bladder was used for production, and the tubes were made of bones or metal.

But, probably, in no other country has the bagpipe had such significant historical and cultural significance as in Scotland, where it became a symbol of unity and power. During battles, the sounds of the instrument raised the morale of the Scots, which, by the way, subsequently served as the reason for its ban in the British Kingdom, although only for a while.

Historically, the bagpipe has become an exclusively male instrument, since to play it you need to have very strong and developed lungs. In Scotland, bagpipers are highly respected as they represent the national spirit. Even today, not a single holiday in Scotland is complete without bagpipes.

Bagpipes- folk wind reed musical instrument. It consists of a reservoir (a bag made of the skin or bladder of an animal) into which a tube is inserted for pumping air, several bourdon tubes equipped with a single or double reed for producing sound, as well as a melody tube with holes (the range of the bagpipes depends on the number of holes). The number of bourdon tubes can be from one to four.

Bourdon (French Bourdon, lit. - thick bass) - a continuous sound when playing 1-2 bass tubes. An organ point is a sound sustained in the bass, against which other voices move freely. The tonic organ point contributes to the stability of the sound. Bourdon tubes are tuned to fourth, fifth, sixth, and octave in relation to the melodic tube.

The bagpipe is one of the oldest musical instruments. According to researchers, this is an instrument of ancient Asian origin. Bagpipes were played in military bands of Ancient Rome, in instrumental ensembles France (XVIII century), in solemn processions of musicians in Scotland.

It was played and is still played in the villages of Romania, Poland, and the Czech Republic. The bagpipes (“gaida”) became widespread among the southern Slavs in Yugoslavia, Bulgaria, and Albania from the 11th century. It was used mainly to accompany dances.

IN different countries the tool has and various names: “goat” - in Ukraine, “duda” - in Belarus, “bagpipe” - in Russia. The image of bagpipes on the miniature “The Play of the Vyatichi Slavs” in the Radzivilov Chronicle (XV century) gives reason to assume that, along with sniffles and pipes, buffoons Kievan Rus used in their musical creativity and bagpipes.

"It is difficult to decide which musical instruments primarily existed among the Slavs. One can only guess that they primarily used wooden canes and also the horns of domestic animals. Therefore, we can probably assume that the pipe and horn were the very first instruments among the Slavs. Then a pity, a horn and a pipe appeared; finally, bagpipes, whistle, balalaika, spoons and harp."(M. Zabylin. “The Russian people, their customs, rituals, superstitions and poetry”). The book gives the following description of the bagpipes:

« It is a very unique instrument in character, reminiscent of a harmonica or a bellows in the shafts; Here the air acts, enclosed in sheep's fur, to which three pipes and a tube are attached. A tube attached to the top is filled with air from two opposite sides; two tubes of different sizes are defined, through which the air passing gives bass voices, and the third small tube has several holes on the side, which allows the player to play with his fingers. different voices and sounds».

Types of instruments

In addition to the animal skin, a bull's bladder was used as an air reservoir. The way to process it is as follows:

• the walls of the bull's bladder are washed in water;
• so that the bubble acquires a large volume when inflated, it is treated with wood ash sifted through a sieve;
• repeated treatment of the walls of the bladder is carried out with ash on both sides (external and internal) and washed again in water, while the walls of the bull bladder become thinner and become soft and elastic;
• subsequent processing is carried out with crushed chalk, which removes grease and moisture. In this case, the bubble acquires viscosity;
• the dried bladder is inflated with air using a tube inserted into its hole.

Then tubes are installed on the air tank (bubble): one for supplying air to the bag, one for playing (melodic), from one to four for bourdon tubes and placed in a bag sewn from animal skin or fabric.

The material can be used as an oxygen cushion used in medicine. Quite large dimensions (660 x 500 mm) and volume, elastic and durable rubber cushions are suitable for such work.

In bagpipes, as a rule, a pipe-type pipe was used, only with a peep. In Russia, the playing tube also has a bell (cow horn) to amplify the sound.

Making an air tank

Cut one side of the oxygen cushion along its entire length so that a small strip remains for subsequent gluing. The holes for attaching the melodic and bourdon tubes to the pillow are cut out in the following way: draw the circle into segments and cut from the center so that you get eight petals; Apply a thin layer of glue to the segments and leave for 5-10 minutes, and then tightly attach to the base of the sleeve and tie with a strong cord, the ends of which are also glued. The bourdon tube in relation to the air reservoir can be located on the side of the performer’s arm, or on the shoulder, or at the bottom of the air bag. When all the parts are secured to the body of the bagpipe, the air bag itself is glued last, keeping it under load for a certain time. To check the tightness of the gluing, you need to close the hole for the bourdon tube with a cork and extract the sound on the melody tube. If an air leak is detected, re-glue the air outlet points.

Basic parts of a bagpipe.

The final stage of work: place the cushion in a case made of animal skin or fabric, fasten the straps or tapes supporting the instrument on the performer’s shoulder or neck, and install the tubes. Preservation of air in the air reservoir (bag) is helped by a valve (thin kid or rubber) glued halfway to the end side of the air injection tube. The valve closes the return air exit from the bag at the moment when the musician releases the air tube from his mouth. The tubes are secured using threads wound around the tubes.

The principle of producing sound in bagpipes is the vibration of a reed located on the mouthpiece, which in turn is inserted into the melodic and bourdon tubes. When inflating the bag, the musician squeezes it with both hands or one hand, presses it to the side of the body and vibrates the reeds in the tubes located in the body of the instrument. Periodic blowing of air into the bag maintains constant air pressure. It is necessary for the vibration of the reeds. When installing additional bourdon tubes, air consumption increases, so the size of the tool and its volume also increase.

When tuning the instrument, it is necessary to establish an overall balanced sound - bright and loud or quiet, soft, muffled. When sounding, the bourdon (bass) tube should not overlap the sound strength of the melodic one. To increase the sound, resonators are placed on the melodic playing and bourdon tubes. Tuning the tubes is carried out in the same way as when tuning pity tubes by moving the tongue up - the sound is increased, and vice versa, down - the sound is decreased. In the old days, much attention was paid to the external design of the instrument. Bagpipe pipes were made in various configurations and decorated with carvings, inlays, and paintings. The leather bag was trimmed with colorful fabrics and tied with fringe and tassels. Animal figures and heads were cut out of wood and then mounted on the instrument. In Belarus and Ukraine, bagpipes were decorated with a wooden goat's head. Hence, apparently, the dialect name of the bagpipes - “goat”, “kozitsa”.

Tube for supplying air to the instrument.

Bourdon tube. General view of the connection of tubes with a sleeve.

Instrument setup

In a two-part bagpipe, in this case G major, the melodic and bourdon pipes are tuned in unison. The melodic tube has a scale from G of the 1st octave to G of the 2nd, and the bourdon tube sounds below G of the small octave. In a bagpipe with three playing pipes, the melody pipe is from G 1st, the second is from D 1st, the third is from G minor. The structure of a bagpipe having four pipes is: 1st - G of the 1st octave, 2nd - D of the 1st octave, 3rd - G of the small, 4th - G of the major. The most common and most used bagpipe in musical creativity has two additional tubes. It is enough to have one body and several pipes tuned in different keys, and you can change the tuning of the bagpipes. See the dimensions of the tubes above - “Zhaleika”.

Types of bagpipes:

Scottish Highland Bagpipes
Irish
Galician gaita
Bulgarian guide
Czech goat
Russian bagpipes
Lithuanian labanora duda, dudmaishis
French "musette"
Georgian "sviri" (gudasviri)
Estonian "torupill"
Adjarian bagpipe "chiboni"
Moldavian and Romanian bagpipe chimpoi
Shabr (shapar) - Chuvash bagpipe

Mari varieties - shuvyr, shuvyr, shubber