Oh Danny Boy, the pipes, the pipes, are calling. But they’ve also been calling to Mickey Dunne for years.
Dunne, who’s from Limerick, Ireland, has been making perhaps the most traditional of Irish instruments, the uilleann pipes, since as far back has he can remember.
“My dad was a player — a famous player — and my brother was a player. My family has been in music for generations,” said Dunne, who had just given a master class on the uilleann pipes to 10 pipers in Houston before heading to Wichita Falls with his band, Ireland’s Call.
The group is in town today to perform at the St. Patrick’s Day Downtown Street Festival. The band will hit the outdoor stage in the 600 block of Eighth Street at 7 p.m., and then they’ll also perform Wednesday for St. Patrick’s Day at the Iron Horse Pub.
While Dunne comes from one of the great musical families in Ireland, he’s also well known for his day job as a uilleann pipe maker — a job that became so rare at one time that the instrument was in danger of becoming extinct.
“This almost died out completely,” said Dunne of uilleann pipe making. “In the 1920s, there were only about four or five pipers in the country ... In fact, there were a few more in America, actually, because more (Irish) people immigrated.”
There was a time in Ireland, he added, that playing the pipes was banned by the British.
“They wanted to wipe out anything Irish,” Dunne said.
There isn’t quite anything more Irish than the uilleann pipes, the country’s national bagpipe. The instrument is played by strapping a small set of bellows around the waist and right arm. The bellows inflate the pipes bag, so there’s no need to blow into the instrument, like with the Scottish Great Highland bagpipes.
Dunne took out his set of pipes during a stop last week at the Turtle Creek Trading Co., and with his bandmates — Joe Maher, Martin Byrnes and Bryan Healy — played a very non-Irish song, the Peruvian “El Condor Pasa.” They also launched into a few traditional Irish tunes, too.
It takes about three months to make a set of pipes, which can cost up to 10,000 Euros, or about $14,000, Dunne said.
The pipes he plays are made from horse bones, though old pipe makers used to use ivory, along with nickle-plated brass, leather and ebony.
“The very old makers used to make them from boxwood.”
He added, “What makes these unique is that you’ve got regulators for harmonies for the chords,” Dunne said.
It seems not anything is simple when it comes to the uilleann pipes. Even the reeds for the pipes have to be specially made.
“You have to make your own reeds, and it’s tricky to get them to play in tune,” he said.
While the pipes were almost wiped out a century or more ago, Dunne said the instrument is enjoying a revival of sorts. Uilleann pipe clubs have formed around the world, and Dunne has taught pipe playing classes everywhere. “I’ve been to Vietnam, would you believe. Vietnam and Pakistan make these.”
When Dunne takes the stage today with Ireland’s Call, he won’t only be playing the pipes, but the pennywhistle, too, yet another traditional Irish instrument.
The guys in Ireland’s Call have their own bands back in Ireland and play together especially for the St. Patrick’s Day Downtown Street Festival, an event organized by Downtown Wichita Falls Development Inc. Danny Ahern, co-owner of the Iron Horse Pub, who’s originally from Tipperary, Ireland, often watches the guys play when he goes back home and persuaded them to play in Wichita Falls. So they formed the band just for their trip here.
Their appearance at the festival today will be their second time to play the festival.
And, of course, they’re here to celebrate St. Patrick’s Day, too. The holiday, honoring the patron saint of Ireland, isn’t celebrated quite the same in the Emerald Isle.
“It’s not great. It’s a dull day, especially with the (Irish) weather,” said Joe Maher, guitarist, with a laugh.
But don’t expect anything dull from Ireland’s Call. The pipes, the pipes will be calling, after all.
Showing posts with label uilleann pipe makers. Show all posts
Showing posts with label uilleann pipe makers. Show all posts
Saturday, March 13, 2010
Wednesday, August 12, 2009
The Construction and Workings of the Uilleann Pipes
The Uilleann Pipes are a form of the bagpipe that is uniquely distinguished to Ireland. They are probably the most complicated of bagpipes that have arisen in Europe. The name "Uilleann" is the Irish Language word for elbow. Sometimes they, and other bellows blown pipes, are called "elbow pipes". I most often call them Uilleann Pipes because it is the term most often associated with them. Although I prefer "Irish Pipes". My Irish language dictionary gives a primary definition for Uilleann as an intersection of divergent lines. Or, simply, an angle. The second definition is "elbow". That makes more sense.
The Uilleann Pipes belong to a family of bagpipes generically referred to as "parlor pipes". Parlor pipes are most often bellows blown and are no louder than, say, a fiddle. Some are even quieter than that.
The Chanter
The heart of the Uilleann Pipes is the chanter. The Uilleann Pipes have a "conical bored" chanter. That is to say the bore tapers from a narrow "throat" on the reed side to a wider end. Eight finger holes of various sizes and spacing are drilled in a straight line along the length of the chanter to produce different musical tones. They are covered by the thumb and three fingers of the left hand and four fingers of the right hand. The Uilleann Pipes are unique among bagpipes in that they can play two octaves (as opposed to the Scottish Highland Pipes that play one octave). They will also play staccato notes. Both characteristics of second octave and staccato notes are possible, primarily due to the chanter being played with the large end closed against a leather pad situated on the player's right thigh. The second octave is also possible because of the nature of the bore and reed.
The Uilleann Pipes chanter has a longer and narrower bore than most other bagpipes. That, and the fact that it is bellows blown, (also called "dry reed" , "cold wind" or "dry wind") allows for a reed that is longer and trimmed somewhat thinner than most bagpipes chanter reeds. This is why the Chanter reed on the Uilleann Pipes can cause the player so many problems. They are much more sensitive to weather extremes than many other woodwind musical instrument reeds. Many pipers prefer to make their own reeds because of this. Making reeds is a worthwhile goal of any piper that I, personally, strongly encourage. Reed making is often unique to a particular chanter and no two chanters are often alike in the reeding characteristics. Even two chanters from the same maker.
The Drones
The second major portion of the Uilleann Pipes is the drones. They provide a harmonic "bed" to compliment the chanter. They are fundamentally cylindrical in bore, although most sets vary in bore width in one way or another. The drones are driven by "single reeds". This is usually a small piece of cylindrical reed cane that is cut partially across and split back to form a tongue. Many wonderful things are being done in modern pipes in regard to composite and synthetic drone reeds. Most often, composite and synthetic drone reeds are more dependable than their cane counterparts and require less air to play.
The modern Uilleann Pipes usually have three drones that are arranged in a common stock, parallel to each other. The shortest drone (tenor) plays a D above middle C (the root tone of the D pitched chanter). The middle drone (baritone) plays a D one octave below that. And, the bass drone plays a D an octave below the baritone drone. The drones have a key in the stock attached to a valve which can start or stop the airflow to the drones. This can be used to nice effect in the music. It also allows the drones to start at playing pressure. There is no ramp-up to the drone note as in pipes with no drone valve key. The low, mellow sound of the Uilleann Pipe's drones is what attracts many people to the instrument.
The Regulators
The third important part of the full set of Uilleann Pipes is those daunting regulators. (I don't know where the term "Regulators" comes from). The regulators are (on a modern full set) three conical bored pipes, set side by side in the same stock as the drones. The regulators are keyed and have a stop on the end. Because the keys are spring loaded shut and because of the end stop, the regulators only sound when a key is depressed. The regulators are fitted with a double reed, very much like the chanter's double reed. Since the regulators don't play a second octave, they generally give less trouble than the chanter. They are also easier to tune, overall, because of "tuning rushes" that extend the length of the bore. If necessary, pieces of material can be attached to the rush wire to tune selected notes on the regulator. I like "tack putty" for that purpose. The keys on the regulators are arranged in rows of three that match in length when the regulators are set into the main stock. With the player in a seated position, the regulators extend across the player's right thigh. In this position the regulators pass under the right hand as it is playing the chanter. The regulator keys are depressed with the heel of the right hand, thus allowing for a simple chordal accompaniment to the chanter and drones. In certain chanter passages, the player may also reach around and play the regulators with the fingertips of the right hand.
The Bag
The bag on the Uilleann Pipes is fairly straightforward. It is simply a reservoir of air made, most typically, of leather. Most bags of leather are made of chrome tanned leather. These sometimes need treatment with oils or other concoctions to be airtight. "Elk tanned" cowhide needs no treatment. Some bags are made of synthetic materials, as well. Synthetic bags can be surprisingly good and easy to construct. They can be a good bag for beginning or hobbyist pipe makers. The outlet tube of the bellows leads into a stock on the bag where there is a valve to check the airflow in one direction into the bag. For my pipes, I use bags made by Michael MacHarg. "The best bags in the world". Michael MacHarg owns and operates "The Wee Piper" at: RFD 2, Rt. 14, Box 286 So.Royalton, VT 05068 Phone : 802-763-8812. (top)
The Bellows
The bellows consist of two wooden paddles (often called "cheeks") that are fitted with a piece of leather around the edge called the "gusset". A valve on the outside cheek brings air in, on the outstroke, and directs it one way out of the bellows, on the instroke. A belt is fitted to the inside cheek to go around the payer's lower rib cage. A smaller belt is attached to the outside cheek to clasp around the player's arm, just above the elbow.
The Uilleann Pipes belong to a family of bagpipes generically referred to as "parlor pipes". Parlor pipes are most often bellows blown and are no louder than, say, a fiddle. Some are even quieter than that.
The Chanter
The heart of the Uilleann Pipes is the chanter. The Uilleann Pipes have a "conical bored" chanter. That is to say the bore tapers from a narrow "throat" on the reed side to a wider end. Eight finger holes of various sizes and spacing are drilled in a straight line along the length of the chanter to produce different musical tones. They are covered by the thumb and three fingers of the left hand and four fingers of the right hand. The Uilleann Pipes are unique among bagpipes in that they can play two octaves (as opposed to the Scottish Highland Pipes that play one octave). They will also play staccato notes. Both characteristics of second octave and staccato notes are possible, primarily due to the chanter being played with the large end closed against a leather pad situated on the player's right thigh. The second octave is also possible because of the nature of the bore and reed.
The Uilleann Pipes chanter has a longer and narrower bore than most other bagpipes. That, and the fact that it is bellows blown, (also called "dry reed" , "cold wind" or "dry wind") allows for a reed that is longer and trimmed somewhat thinner than most bagpipes chanter reeds. This is why the Chanter reed on the Uilleann Pipes can cause the player so many problems. They are much more sensitive to weather extremes than many other woodwind musical instrument reeds. Many pipers prefer to make their own reeds because of this. Making reeds is a worthwhile goal of any piper that I, personally, strongly encourage. Reed making is often unique to a particular chanter and no two chanters are often alike in the reeding characteristics. Even two chanters from the same maker.
The Drones
The second major portion of the Uilleann Pipes is the drones. They provide a harmonic "bed" to compliment the chanter. They are fundamentally cylindrical in bore, although most sets vary in bore width in one way or another. The drones are driven by "single reeds". This is usually a small piece of cylindrical reed cane that is cut partially across and split back to form a tongue. Many wonderful things are being done in modern pipes in regard to composite and synthetic drone reeds. Most often, composite and synthetic drone reeds are more dependable than their cane counterparts and require less air to play.
The modern Uilleann Pipes usually have three drones that are arranged in a common stock, parallel to each other. The shortest drone (tenor) plays a D above middle C (the root tone of the D pitched chanter). The middle drone (baritone) plays a D one octave below that. And, the bass drone plays a D an octave below the baritone drone. The drones have a key in the stock attached to a valve which can start or stop the airflow to the drones. This can be used to nice effect in the music. It also allows the drones to start at playing pressure. There is no ramp-up to the drone note as in pipes with no drone valve key. The low, mellow sound of the Uilleann Pipe's drones is what attracts many people to the instrument.
The Regulators
The third important part of the full set of Uilleann Pipes is those daunting regulators. (I don't know where the term "Regulators" comes from). The regulators are (on a modern full set) three conical bored pipes, set side by side in the same stock as the drones. The regulators are keyed and have a stop on the end. Because the keys are spring loaded shut and because of the end stop, the regulators only sound when a key is depressed. The regulators are fitted with a double reed, very much like the chanter's double reed. Since the regulators don't play a second octave, they generally give less trouble than the chanter. They are also easier to tune, overall, because of "tuning rushes" that extend the length of the bore. If necessary, pieces of material can be attached to the rush wire to tune selected notes on the regulator. I like "tack putty" for that purpose. The keys on the regulators are arranged in rows of three that match in length when the regulators are set into the main stock. With the player in a seated position, the regulators extend across the player's right thigh. In this position the regulators pass under the right hand as it is playing the chanter. The regulator keys are depressed with the heel of the right hand, thus allowing for a simple chordal accompaniment to the chanter and drones. In certain chanter passages, the player may also reach around and play the regulators with the fingertips of the right hand.
The Bag
The bag on the Uilleann Pipes is fairly straightforward. It is simply a reservoir of air made, most typically, of leather. Most bags of leather are made of chrome tanned leather. These sometimes need treatment with oils or other concoctions to be airtight. "Elk tanned" cowhide needs no treatment. Some bags are made of synthetic materials, as well. Synthetic bags can be surprisingly good and easy to construct. They can be a good bag for beginning or hobbyist pipe makers. The outlet tube of the bellows leads into a stock on the bag where there is a valve to check the airflow in one direction into the bag. For my pipes, I use bags made by Michael MacHarg. "The best bags in the world". Michael MacHarg owns and operates "The Wee Piper" at: RFD 2, Rt. 14, Box 286 So.Royalton, VT 05068 Phone : 802-763-8812. (top)
The Bellows
The bellows consist of two wooden paddles (often called "cheeks") that are fitted with a piece of leather around the edge called the "gusset". A valve on the outside cheek brings air in, on the outstroke, and directs it one way out of the bellows, on the instroke. A belt is fitted to the inside cheek to go around the payer's lower rib cage. A smaller belt is attached to the outside cheek to clasp around the player's arm, just above the elbow.
Wednesday, March 18, 2009
Some Tips on getting & keeping your pipes playing
http://www.uilleannreeds.co.uk/reeds.htm
Heat is your enemy!!!!!
Don't leave your pipes in a direct heat source, such as in sunlight in the back of a car, near a radiator or stove, under stage lights etc. - this will affect your reeds badly either temporarily or permanently.
If you live in or are playing in a hot and dry climate and your reeds begin to choke up, leave your pipes in a bathroom overnight (but not in the bath!!) with water in the bath. Keep a large piece of peeled cucumber or potato in your case. Soak the inside of your bellows just before playing or remove the clack valve holder and put a piece of wet rag or sponge in the bellows and replace the clack valve.
If your reed slips don't make that characteristic "clink"sound when you drop them onto a hard surface then the cane is probably underseasoned; microwave the slip for about 4 to 5 seconds and leave to cool, it works.
Split your slips out of the cane tube as soon as you can and leave to settle down for as long as possible. Make reed blanks and leave them for days, weeks or even months before you cut the head down and voice them. Never try to get the best out of a reed on the day that you make it, give the cane time to adjust to its new form. Time and patience pay off.
if your pipes begin to "act up"at a smoky, sweaty session or wherever resist the urge to "fiddle"with your reeds; rather leave your set to sit and rest for a few minutes or so, or even put them away and leave them overnight if you can- its amazing how often they come back to themselves without drastic adjustment.
After a while a chanter reed may become leaky with age, then coat the binding with nail varnish or glue.
Use oboe reed wire (available from woodwind suppliers) to cure any air leaks just below the bridle, the classical woodwind players do it to get a bit longer out of a reed so why not us pipers.
Keep all keys 100% airtight (very important). There is no need to re-pad with leather, sealing wax and heat any more, just use an old computer mouse pad to cut the pads from and glue them on. If a regulator key begins to leak use an elastic band to seat it properly until you can fix it. Leaks are the other great enemy (apart from bodhran players of course ;-)
Don't leave your pipes in a direct heat source, such as in sunlight in the back of a car, near a radiator or stove, under stage lights etc. - this will affect your reeds badly either temporarily or permanently.
If you live in or are playing in a hot and dry climate and your reeds begin to choke up, leave your pipes in a bathroom overnight (but not in the bath!!) with water in the bath. Keep a large piece of peeled cucumber or potato in your case. Soak the inside of your bellows just before playing or remove the clack valve holder and put a piece of wet rag or sponge in the bellows and replace the clack valve.
If your reed slips don't make that characteristic "clink"sound when you drop them onto a hard surface then the cane is probably underseasoned; microwave the slip for about 4 to 5 seconds and leave to cool, it works.
Split your slips out of the cane tube as soon as you can and leave to settle down for as long as possible. Make reed blanks and leave them for days, weeks or even months before you cut the head down and voice them. Never try to get the best out of a reed on the day that you make it, give the cane time to adjust to its new form. Time and patience pay off.
if your pipes begin to "act up"at a smoky, sweaty session or wherever resist the urge to "fiddle"with your reeds; rather leave your set to sit and rest for a few minutes or so, or even put them away and leave them overnight if you can- its amazing how often they come back to themselves without drastic adjustment.
After a while a chanter reed may become leaky with age, then coat the binding with nail varnish or glue.
Use oboe reed wire (available from woodwind suppliers) to cure any air leaks just below the bridle, the classical woodwind players do it to get a bit longer out of a reed so why not us pipers.
Keep all keys 100% airtight (very important). There is no need to re-pad with leather, sealing wax and heat any more, just use an old computer mouse pad to cut the pads from and glue them on. If a regulator key begins to leak use an elastic band to seat it properly until you can fix it. Leaks are the other great enemy (apart from bodhran players of course ;-)
Thursday, February 19, 2009
Aidan Jefferies Pipes
Pipemaker Adrian Jefferies makes Mada Rua Irish Uilleann Pipes and Scottish Small Pipes. Originally from Carrickfergus County Antrim and with over 20 years experience Adrian has returned to County Antrim after being based in Australia for many years.
Mada Rua Uilleann Pipes are based on D & C pitched sets of traditional design made in Ebony. The internal dimensions of the concert pitch D sets follow those of contemporary wide bore concert pitch D, while the narrow bore D and C sets are built in the pattern of the narrow bore pipes of the 18th/19th century. The mounts and fittings are made from brass (with optional nickel plating) and Boxwood mounts. Bags are robust and made from quality chrome tanned leather fastened with rivets. The bag covers (unless otherwise requested) are made from velvet with an ornate trim. Likewise the bellows are made from high quality, heavy gauge leather and suitable hardwood boards with brass or nickel pins. All instruments are constructed to high standard, fitted with reeds, played and adjusted/tuned.
Mada Rua Small Pipes are based on contemporary designs of Scottish Small Pipes and pitched in A or D. These pipes are made in Ebony or Cocobolo with brass (optional nickel plating) and Boxwood mounts. The bellows use a similar but slightly smaller pattern to the Uilleann Pipe bellows described above.
Some Uilleann Pipe Makers
- Welcome to the website of pipemaker Martin Preshaw
- Claddagh Musical Instruments - Makers Of Traditional Irish Uilleann Pipes and Bodhrans
- Uilleann Pipes Reed Making Guide
- A celebration of uilleann piping/ pipemaking in the Rowsome family since 1820
- Ray Sloan - Uilleann PipesHand Hand crafted Irish Uilleann Pipes made from African Blackwood with Imitation Ivory or Boxwood mountings.
- Dooleypipes - Technical advice on Uilleann Pipes and Reeds - Your best guarantee is my reputation, craftsman made!
- Martin Preshaw is a pipemaker with his heart in the history of the instrument and his head in the future
- Over the years Alan Logan of "Logan Pipes", has built up a world-wide reputation for quality and tone.
- Marc van Daal Uilleann Pipes - Our concert pitch sets of uilleann pipes are handcrafted from the finest woods.
- Pipemaker Adrian Jefferies makes Mada Rua Irish Uilleann Pipes and Scottish Small Pipes. Originally from Carrickfergus County Antrim and with over 20 years experience Adrian has returned to County Antrim after being based in Australia for many years.
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