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The tone of the uilleann pipes is unlike that of many other forms of bagpipes. They have a different harmonic structure, sounding sweeter and quieter than many other bagpipes, such as the Great Irish warpipes, Great Highland bagpipes or the Italian zampognas. The uilleann pipes are often played indoors, and are almost always played sitting down.
In modern Uilleann pipes, the player will move from the lower to the upper register by stopping the chanter momentarily while increasing the bag pressure, causing the reed to double-tone. However, in the pastoral pipe, the same effect can be achieved by increasing the bag pressure while playing a suitable gracenote.
Pastoral pipes: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it developed into the modern uilleann bagpipe. Zetland pipes: a reconstruction of pipes believed to have been brought to the Shetland Islands by the Vikings, though not clearly historically attested.
Lifting the uilleann pipe quickly off the knee for E, F ♯ or G in the high octave. Popping strap A piece of leather, held on the uilleann piper's leg, used to achieve a good seal with the base of the chanter. Projecting mounts the wide mounts, usually found on the lower drone pieces, that have a decorative and protective purpose.
Felix Doran (died 1972) was an Irish Traveller who was known for traditional music from the early 1920s to the 1970s as uilleann pipe player. [1] Felix and his brother Johnny Doran are descendants of nineteenth-century Wexford piper John Cash.
Many of the later electronic pipes would be modeled on the Bazpipe. [citation needed] Another pioneer was George H. Boyd, whose system, although not as easily portable as the Bazpipe, produced an authentic "bagpipe" sound. Boyd also developed the first electronic uilleann (Irish) bagpipe, but only made one prototype. [citation needed]
Robert Reid was also active in making Union Pipes; the precursor to modern Uilleann pipes. Union pipes early-19th century keyed D-Chanter; by the pipe maker Robert Reid. Henry Clough (I) was known to play a Reid set of Union pipes including regulators; surviving parts of this set are now in private hands. [6]
This nasal tone may have originated as an attempt to reproduce the sound of the uilleann pipes, or to aid in the implementation of melodic ornaments. Seosamh Ó hÉanaí (Joe Heaney) said the nasal effect, which he gave the onomatopoeic term neá , provided a quiet drone in his head to keep him on pitch and represented "the sound of a thousand ...