The

Bagpipe
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The origins of the

bagpipe can be traced
back to the most ancient
civilizations. The
bagpipe probably
originated as a rustic
instrument in many
cultures because a
herdsman had the
necessary materials at
hand: a goat or sheep
skin and a reed pipe.
The instrument is
mentioned in the Bible,
and historians believe
that it originated in
Sumaria. Through
Celtic migration it was
introduced to Persia
and India, and
subsequently to Greece
and Rome. In fact, a
Roman historian of the
first century wrote that
the Emporer Nero knew
how to play the pipe with
his mouth and the bag
thrust under his arm.
During the Middle
Ages, however, the
bagpipe was heard and
appreciated by all levels
of society.

Bagpipes have always been made in many shapes and sizes, and have been played
throughout Europe from before the Norman Conquest until the present day.
Medieval pipes usually had a single drone - see contemporary illustrations of
Chaucer's Canterbury Tales for English single-drone pipes. Around 1400 (give or
take 50 years), most shepherd-style pipes acquired a second drone. A third drone is
added about after 1550. See paintings by Brueghel and the illustrations in
Praetorius' Syntagma Musicum. The Renaissance also saw the advent of small, quiet
chamber pipes such as Praetorius' Hummelchen or the French shuttle-drone
models, some blown with bellows under the arm rather than with the mouth.
The construction of the bagpipe allows a continuous supply of air to be maintained.
By squeezing the bag with his left hand while a breath is taken, the flow of air can be
kept up in both the drone pipes and chanter. Other features of this instrument are
the mouthpipe and the double reed of the chanter and drone. The mouthpipe
contains a round piece of leather hinged onto the bag end which acts as a one way
valve. As the player blows air in, the flap opens; when he stops blowing the air
pressure within the bag forces the flap shut. The chanter has seven finger holes and
a thumb hole, and has a usual range of an octave and one note.
The bagpipe is ideal for solo dances and monophonic music. It has been mentioned
for use in polyphony, but if so, problems would arise. The drone would preclude the
possibility of any change of mode, and the continuous sound would prohibit
observance of rests.

Musica Antiqua's collection includes a replica with

two drones patterned after Brueghel's Peasant
Wedding, and a Hummelchen (little bumblebee)
bagpipe which is modelled after the smallest of the
four included in Praetorius' Syntagma Musicum of
1619. The Brueghel model is smaller than a highland
pipe and loud, but not as piercing as a today's
highland pipes. The Praetorius model is tiny and has
sweet and delicate tone, making it useful both as a
solo instrument and in ensemble with other
Renaissance instruments. The chanter has a range
from c1 to d2 and two drones tuneable to f and c or g
and d. This boxwood replica was made by Wolfgang
Lentelme of Germany.
Musica Antiqua Instruments

Additional Resources:
Aron Garceau's Bagpipe Iconography page
Bill Gority's Bagpiping Page
Andrew Lenz's Bagpipe Journey
The Universe of Bagpipes with photos, sounds,
and links
Bagpiper.com
RootsWorld Bagpipes of the World
Ewan Macpherson's Bagpipe Page
La cornemuse en Europe et en France
Scottish National Piping Centre
the Bagpipe Society
Tone Czar Bagpipes
David Daye's Bagpipe page
M. Praetorius: Syntagma musicum (Wolfenbuttel,
1619/r1958)
M. Mersenne: Harmonie universelle (Paris,
1636/r1963)
G. H. Askew: 'The Bag-pipe in Early Britain',
Proceedings of the Society of Antiquaries of
Newcastle-upon-Tyne, (1940)
E. Winternitz: 'Bagpipes for the Lord',
Metropolitan Musium of Art Bulletin, (1958)
A. Baines: Bagpipes (Oxford, 1960)
H. Hickmann: Agyptien, Musikgeschichte in
Bildern, (Leipzig, 1961)
F. Crane: Extant Medieval Musical Instruments: a

Engraving from
Musica instrumentalis
by Martin Agricola

Provisional Catalogue by Types, (Iowa City, 1972)

T. H. Podnow: Bagpipes and Tunings (Detroit,
1974)
F. Collinson: The Bagpipe (London, 1975)
D. Macmillan: 'The Mysterious Cornamuse', Early
Music, vi (1975)
R. D. Cannon: A Bibliography of Bagpipe Music
(Edinburgh, 1980)