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Canntaireachd (Scottish Gaelic for 'chanting'; pronounced [ˈkʰãũn̪ˠt̪ɛɾʲəxk]) is the ancient method of teaching, learning and memorizing Piobaireachd (also spelt Pibroch), a type of music primarily played on the Great Highland bagpipe. In the canntairached method of instruction, the teacher sings or hums the tune to the pupil ...
The chanter is usually open-ended, so there is no easy way for the player to stop the pipe from sounding. Thus most bagpipes share a constant legato sound with no rests in the music. Primarily because of this inability to stop playing, technical movements are made to break up notes and to create the illusion of articulation and accents.
A reed with one blade, which sounds continuously through passage of air. Usually the shape of a cylinder with a tongue or flap and a bridle. Skirl of a bagpipe: to emit the high shrill tone of the chanter; also to give forth music; to play (music) on the bagpipe. Sliding Rolling a finger off a hole to create a sliding pitch change. Soner
Despite the fact that most great Highland bagpipe music is highly rhythmically regimented and structured, proper phrasing of all types of great Highland bagpipe music relies heavily on the ability of the player to stretch specific notes within a phrase or measure. In particular, the main beats and off-beats of each phrase are structured.
New musicians, a new audience, new terms of listening, a new repertoire along with the old one, and, most important, new or ever-timely messages, form the framework within which an old instrument remains alive and even gains popularity. This new tradition goes side by side with the old one that is still carried on, and is inspired by it.
The kaba gaida ('large gaida' [1]) or rodopska gaida (Rhodope gaida), is the bagpipe of the central Rhodope mountains, it is a distinctive symbol of Bulgarian folk music. It is made from wood, horn, animal skin and cotton, and is similar to the gaida, but lower pitched and usually with a larger bag. The chanter has a specific curve at the end ...
The chanter pipes may be designed to be played separately, one with each hand, or the two chanters may be played in unison (as in most Arabic bagpipes). One chanter may provide a drone accompaniment to the other, or the two chanters may play in a harmony of thirds and sixths (as in the northern Italian Müsa and central-southern Italian zampogna).
A bagpipe practice chanter is a double-reed woodwind instrument, principally used as an adjunct to the Great Highland bagpipe. As its name implies, the practice chanter serves as a practice instrument: firstly for learning to finger the different melody notes of bagpipe music, and (after a player masters the bagpipes) to practice new music.