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Uilleann pipes drones. A half set is the next stage up from a practice set. As with other forms of bagpipes, uilleann pipes use "drones", which are most commonly three pipes accompanying the melody of the chanter with a constant background
Pastoral pipes: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it was developed into the modern Uilleann bagpipe. Yorkshire bagpipes, known in Shakespeare's time, but now extinct; Lincolnshire bagpipes, a one-drone pipe extinct by 1850, with one reproduction made in the modern era
The vibrating element of a bagpipe reed. Reeds can be single or double; generally speaking, chanter reeds are double and drone reeds single. The blade is also known sometimes as a tongue. Blowpipe The pipe through which the bag is inflated. Bombarde A shawm-like instrument traditionally played in duet with the bagpipe in Brittany. Bottom D
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.
Several attempts were made to improve the pipes; the most successful was the London pipe maker Starck's "Brian Boru" bagpipe, with a keyed chanter that could play a full range of traditional music and a baritone drone, often held with the tenor and bass in a common stock. Such pipes are produced by few makers today and are played by only a ...
Thomas "Tommy" Joseph Reck (8 November 1921 – 1991) was an Irish uilleann piper, known for his discography of traditional Irish music.Born in the Liberties area of Dublin, Reck learned to play the uilleann pipes from the age of eleven from teacher "Old John" Potts (1871–1950) who lived just around the corner from his then home in Walkinstown.
Johnny Doran Master Pipers - Volume 1, Na Píobairí Uilleann, 1988 [7] Patsy Touhey The Piping of Patsy Touhey, Na Píobairí Uilleann, 2005 [8] Robbie Hannan, The Tempest. Na Píobairí Uilleann, 2008. Vol. 3 of the series Ace and Deuce of Piping. [9] Paddy Keenan, Mick Coyne, Nollaig Mac Carthaigh: Piper’s Choice Volume 3, 2010 [10]
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.