The chanter reed is different in form, being made of two approximated edges of cane tied on to a metal tube. It is thus essentially a double reed, like that of the oboe or bassoon, while the drone reed roughly represents the single beating reed of the organ or clarionet. The drone reed is an exact reproduction of the “squeaker” which children in the fields fashion out of joints of tall grass, probably the oldest form of this reed in existence.
The drones are in length proportional to their note, the longest being about three feet high. The chanter is a conical wooden tube, about fourteen inches long, pierced with eight sounding holes, seven in front for the fingers and one at the top behind for the thumb of the right hand. Two additional holes bored across the tube below the lowest of these merely regulate the pitch, and are never stopped; were it not for them, however, the chanter would require to be some inches shorter, and would consequently have a less pleasing appearance.
THE GREAT HIGHLAND BAGPIPE
The two smaller drones produce a note in unison with the lowest A of the chanter, and the larger an octave lower. The indescribable thrill which the bagpipe is capable of imparting is produced by a sudden movement of the fingers on certain notes, which gives an expression peculiar to the pipes, and distinguishes the pibroch from all other music. The drones, as has been said, are tuned by means of “sliders” or movable joints, and this tuning, or preparation for playing, which generally occupies a few minutes of the piper’s time before he begins the tune proper, is heard with impatience by those not accustomed to the instrument. It gave rise to the saying, applied to those who waste time over small matters, “You are longer in tuning your pipes than playing your tune.” It cannot, however, be helped so long as this instrument remains exactly as it is. The piper’s warm breath goes almost directly on to the reeds, and the consequence is that no sooner does he get his pipes in tune than he starts to put them out of tune—by blowing into them. What is needed is some contrivance that will prevent this, by cooling the air before it reaches the chanter. There are several contrivances in use among leading players, each generally the invention of the man who uses it, but none has come into general favour. Highlanders are a conservative race, and they are not willing to make any changes on their much-loved instrument. It would, however, be well if they would take this matter into consideration, and do something to render unnecessary that preparatory tuning which many people find so unpleasant—that is if it is possible to prevent the reeds getting wet while wet breath is blown into the instrument. The bellows of course gets over the difficulty, but we hardly wish to see a bellows attached to the Highland Bagpipe. It would not then be Highland.
The Highland bagpipe is louder and more shrill than any other, probably because it was all along intended for use as an instrument of war, and pipe music is known to have been heard at a distance of six miles, and, under specially favourable circumstances, of ten miles. The Duke of Sutherland has a bagpipe which was played on in the ’45, and could be heard at a distance of eight miles.
Modern pipes are generally made of black ebony or cocoawood, the ferrules or rings being of ivory. Sometimes the pipes are half-mounted in silver, that is the high ferrules in ivory and the low in silver. The drones of the best makers have the inside lined with metal, where there is friction in the tuning slide. The bag is formed of sheepskin, in which are securely fastened five pieces of turned wood called stocks. These receive the ends of the chanter, the mouth-piece, and the drones. The chanter reed is formed of two pieces of Spanish cane, placed side by side. The tops of these are worked down to a fine edge, and the bottoms are tied with fine hemp to a small metal tube. The blowpipe has on its lower end a valve, which prevents the return of the wind to the mouth. The drones provide a background or additional volume of sound, which gives body to the music. The big drone is fitted with two, and the others with one tuning slide each. The drones are interchangeable, so that the big drone can be placed in the right or left stock to suit a right or left-handed player. When the bag is filled with wind the pressure of the player’s arm must be so regulated that there is always just sufficient force of air to bring out the notes clearly without interfering with the steady action of the drones. The bag is held well under the arm, the big drone rests on the shoulders, and the others are suspended from it by ribbons and silk cords. The bag is generally held slightly in front, so that the short drones rest on the shoulder. When on full-dress parade a banner flies from the big drone, with the arms of the regiment or chief as a motto. The drones are generally placed on the left shoulder, but many players place them on the right. The whole instrument is kept in position by the tension of the bag. The instruments used by present-day pipers are the full set, the halfset or reel pipes, and the practising chanter.
The bagpipe had originally but one drone. A second was added about 1500, and a third about 1800. Bagpipes with one drone are still used occasionally, and so late as the winter of 1899 an itinerant player might sometimes be seen, late at night, playing for coppers at Jamaica Street corner, Glasgow, on such an instrument. The two drone pipes were barred at competitions owing to some supposed advantage they gave to the player, and they appeared last in 1821.
The pipes awarded as prizes at competitions under the auspices of the Highland Society of London are almost always of cocoa wood, having armorial bearings and a silver plate inscribed with the name of the successful competitor. The bagpipe is the result of an evolution process, and if this process continues we may yet see it further improved, and the instrument made so that it will commend itself not only to Highlanders themselves, but to lovers of music generally. A great deal of the prejudice against the pipes is, however, caused by the ignorance of their critics, and perhaps if people criticised less and understood more we would not hear so much of the shortcomings of the instrument.