The drones and the chanter can act together to reinforce or produce more sounds called Overtones and Harmonics…..also known as partials(mathematically related to primary tone).
Note that different instruments in tune with one another can also produce overtones/harmonics which add greatly to the SPICE OF THE SOUP
With bagpipes we have harmonies and overtones of 4 instruments worth. It is the interplay of their of these harmonies that are responsible for the different sounds of pipes and the reeds they use
Instruments harmonics are not generally under the control of musicians but rather established by the instrument maker and the reeds they use
It is the harmonic interplay off harmonies and overtones dancing together that reveal the MAGIC of the pipes. This can ONLY HAPPEN when the pipes are accurately tuned……they must be spot on not just close. Sound might not be bad but the overtones will not be working together and will sound DULL
The very core of bagpipe music is the harmony created by the melody playing against the DRONES
The particular musical KEY refers to the particular parts of the scale that it produces comfortably and that part of the scale that dominates.
The GHB is in the key of A even though it does not sound like this to a musician. Questions about the key of Bagpipes are simply an attempt to understand the instrument and not an attempt to discredit it
Bagpipe is a very deceptive instrument in its superficial simplicity
Truly mastering tuning is an ART not just a mechanical technique or skill. Learning how to do this may avoid you being run out of town.
Background. In late 1800’s there was no universal standard defining the pitch of any particular note or tone and there became a pressing need to have a common absolute starting point. In 2 A’s for example are not tuned to the same HZ frequency, they make a noise not music
Was agreed to standardize the pitch of the note A to 440 HZ and this and subsequent frequencies in the rest of the scale are referred to a CONCERT PITCH. This is taken for granted and accepted by almost all Western musicians except pipers of course. Pipers started off using this standard but it began to creep progressively higher and higher to a point where A is at around 470 to 485 HZ. Because the bagpipe is essentially a solo instrument played with drums and other pipes so being in tune with
itself and others while being out of tune by conventional standards is of little consequence.
Note that even if a GHB note of A matches the A of another instrument the pipe will not be in tune with it because other notes in the scale with not be matched.
When GHB note of A is hovering at around 470HZ it is often described incorrectly as being in the key of Bb because concert pitch of Bb is 466 HZ. This can only be used to bring tuning into a ball park figure.
2 Things about bagpipes not in modern music communication or practice are :
- Not in the Key of A(440 HZ) but in Key of A higher than 440 in more likely somewhere from 470 -485 HZ
- Not equally tempered but in the true harmonic intervals
The Western Chromatic scale has a serious flaw due to a quirk of fate and the laws of mathematics. In a nutshell if perfect or true mathematical or harmonic intervals were used on a piano and the notes were exactly doubled in HZ frequency to create the next higher octave, certain note combinations would clash and sound aweful. As a consequence certain notes must be tuned off or tempered from true harmonic intervals. The problem is solved by spreading the discordant sounds around equally to accommodate modern musical gymnastic. A more appropriate term to use would therefore be equally compromised tuning. There are many schemes for such tempering.
Since the Bagpipes only sound 1 melody note at a time over a limited range of notes in one key, there is no real need to employ such compromises and for this reason retain true harmonic intervals not equal tempering. Continental bagpipes and small pipes often tuned to 440 HZ but not GHB
The way notes of the GHB are labeled deviates widely from standard musical practice. Sounding a low and high A on a piano sound very different when done on the GHB even ignoring the higher pitch and lack of equal tempering. There are a whole set of different intervals that conventional musician would expect. The C and F played on the GHB are actually C# and F# and this can drive non piping musician nuts. If G’s where sharp this would be in the A Major scale Mixolydian mode
Originally GHB only had 1 tenor drone and a second was added to increase volume
Low A on chanter is 1 octave higher than the A on the 2 tenor drones and 2 octaves higher than the A on the bass drone
Beating tones are heard when 2 or more notes in the same or different octave are sounded simultaneously and their frequencies are not the same or exact double for each other.
Note the slower the beating the closer the frequencies are matched…..the faster the further ……difference of 4 HZ produces 4 beats a second and a difference of 1 HZ , 1 beat a second…..a 0.5 HZ difference 1 beat every 2 seconds.
NB Since the notes on the chanter, tenor and bass drones are an octave apart they must be tuned to each other without any beats being heard .
Tenor tuning is 2 x sensitivity of bass tuning eg movement of drone tubes
Mechanically the bagpipe is really 4 instruments and they differ both musically and mechanically from other instruments.
Operating the bagpipe at a constant pressure is a mechanical skill that is essential for its accurate tuning.
The major aim is that back and forth supplying of air through blowing and squeezing should be seamless and most importantly automatic
To train the ear for tuning use 2 tenor or tenor/bass drone with stock corked. Move drone up and down to create and remove beating
MOVE IN DIRECTION THAT MAKES THE BEATING SLOWER and get the feel of the area where beating disappears. …..the center of this is the sweet spot area. Note beating is the same on both # and b ends of the drone you are tuning. Better to start off flat and then sharpen by twisting the drone down or inward since one generally has more control than twisting it up
NB The chanter must be in balance or tune with itself playing the correct true scale
All notes on the chanter not just some must harmonize with all the drones.
Pakistani pipes described as pathetic squawking of miserable bundles of kindling