Píobaire, An, Volume 1, Issue 13, Page 6

Píobaire, An, Volume 1, Issue 13, Page 6
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periodical Publisher
Na Píobairí Uilleann
periodical Editor
Chairman, NPU
periodical Title
Píobaire, An
volume Number
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(99)MUSEUM & LIBRARY ACQUISITIONS Ronnie Wathen (Spain). Greek bagpipe. 6=== ========== == The bag is made from the rare protected(2 years exile) grey mountain goat, the krikri. This one wasnt shot, it has no -punctures. Hair inwards, saltcured. fl Iast i1 was done through the chanterneck.The blow pipe is valveless, so it must be stopped with the tongue The two doublechanters are of the same kind as the Maltese one in M Piobaire, but the horn has becornepart of the wood and the fingering is parallel. Sometimes parts of one cane are playingseparate to the other The wood of the sheat is a soft riverwood cafled sphaka Myonecaring to try these pipes will get a good idea of what bagpipes sounded like three thousandyears ago The way to play it is to take a strong rhythm and operate it within endlesssubtle variations (but here in Crete they tend to. imitate the lyre). The double-chanterwill be of special interest to Uilleann pipers as the Uilleanri pipes are the only moderninstrument ever to employ this device. In ancient times, double chanters and doubleflutes were extremely popular. R WHungarian Folk Song and Folk Instruments, Janos Manga, Budapest 1969 In reply to aletter from Ronnie Wathen, Dr. Mcwiga wrote In Hungary now there are two actingpipers, of 50 and of 80 years old men, practically the last ones. Young people donttake it up, he says It is hoped to arrange an exchange of music with this gentlemanBoth pipes and book will be on display at Termonfechin.((((0))))REPORT FROMRecent months have shown to at in my travels throughoutBritain, a big increase in interest in the UilIemn Pipes, and in many, a desire to learnthem I am answering enquiries regularly now by phone and post I have now 2 peopleactively engaged in practice: one, a girl in London, Sheila Martin (daughter of thefamous violin maker and repairer, Tony Martin) playing on a set of Matt Kiernans, aridthe other, Mr. Wylie, a Scots piper in Edinburgh, on a McFadden set. You may wellnote the geographical spread of the people at present practising (think of the practicalsnags, etc. here, in tutoring, explaining, etc.).Others beside me in Glasgow are now looking for practice sets. Can the demand bemet now, Mat I tkr&o1t will surely be desperately pressed to cope Do I heqrJ reportsof anything coming from the workshop of Na Piobairi in Pamell Square ? ?Can we look forward to more new entrants to Na Piobair from pastures new. Perhapswe may get some of the answers by the next issue of M Piobaire.Pat McNuliy (Glasgow).//////////* *** * * *** * ** ** **** * **LECTURE ON BAGPIPES The statement that the Highland Pipe chanter was now**************.*********** beingdsignedto conform to piano tuning indicatedsuch a radical modification in that instrument that confirmation on the point wasrequested As the response to our enquiry is of particular interest, it is here givenin fullTheodor Podnos regrets the erroneetis statement made in his lecture of June19, 1972 concerning the tunings of modem Highland chanters. Just prior to leavingfor Ireland, a few new chanters observed in the U. S. A. had equally-temperedcharacteristics. Recently, Mr. Podrios reexamined these chanters and found thattheir constructions were of an experimental nature. They are not representative ofthose hundreds of Scotch Highland pipes tuned with neutral tones The statement that players ears were affected to the extent that they began to regardthe scales on their own instruments asbeing Du.t o f f ine *as an 4ekAoFation b) therepDrter. and not by the lecturer.The outcome of the experiments being made by Pat McNulty on the tonality of the Irishchanter is awaited with intent. There seems to be little ckxibt that modem pipe makersworked on the assumption that the scale on the chanter to be correct must be identicalwith that on the piano.
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Píobaire, An, Volume 1, Issue 13

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