KM bagpipes

Some of this information may be obvious but to some it may be new and it has all been learnt through experience

Important

Please don’t alter the chanter to suit a tuner or piano tuning. A chanter that has all its notes tuned to a piano or to an equal temperament tuner will sound out of tune when played with drones. Note,scalloping the chanter to make it more comfortable, could affect the tuning adversely. If you have problems with the tuning of the chanteryou can send it back to me (although contact me first if you are outside the E.U so I don’t get custom duty) or email me; however it is most likely a reed problem. Different reeds may give different results. If Back D’ or any other note such as F# or B goes out of tune it is most likely a reed problem. Be aware the C’s, F#, and B will and must all be a little flatter than a piano or equal temperament tuner.

On some chanter designs, it may be preferable to shade the top front hole ( c# hole) by not fully lifting finger off the chanter when playing a C natural in the low octave if a flat just tuning C nat is required.

If Back D’ (the thumb note) croaks or sinks, you may be squeezing too hard or the reed has a problem

Take care inserting the chanter into the chanter top as the tip of the reed can easily be cracked or chipped at this time or the bridle can be knocked out of place. It would be better for a beginner with only one reed not to remove the reed top unless necessary.

Never blow cane reeds by mouth as it will very quickly destroy the reed.

Bellows and blowpipe

  • Most beginners seem to pump the bellows too much. If you squeeze and pump hard enough something eventually has to blow. It is better to learn to sound the chanter using the pressure on the bag arm and to use the bellows just to top up the bag with air. Avoid jerky bellows movements.
  • The mark or dot on the wooden blow pipe indicates the upper vertical position that the blow pipe part should be orientated to.
  • Bagpipes require regular maintenance by hemping loose joints. Only use hempor cotton thread, don’t use Teflon tape or other synthetic materials or they could become stuck.

Tuning

  • Everything revolves around low A, once that is at the pitch you want then the bottom and Back D’s can be tuned to a small degree.
  • Tune the tenor drone so that it is in tune with low A on the chanter then check bottom D to see how it sounds with the tenor drone (insert or remove a small plastic obstruction to tune bottom D if needed) then check back D and apply or remove tape or wax from the hole if needed. Avoid getting any wax in the bore.
  • I would then check the tenor drone against low A on the chanter once again now and then tune the bass drone to the tenor drone, next I switch off the tenor and tune the baritone drone to the bass. Finally with three drones going check stability of all three and then play along with the chanter
  • When tuning Back D' to suit different reeds don't drip wax into a finger hole as it will mess up the bore, melt then when cool apply carefully to the upper inside edge of hole or simply use tape. A sticky wax mixture of cobblers black wax and beeswax is suitable for black coloured chanters. Tape can be used instead. If back D’ is flat don’t open the hole, it is most likely a reed problem, if not you can send the chanter to me to look at.
  • Bottom D tuning may vary with different reeds and so should be tuned to suit each reed. I sometimes use any thin plastic sheet cut into a strip folded and placed in the bottom of the chanter.Remember tune the drones to be in tune with low A on the chanter not to D. The chanter may require tuning materialin the very bottom of the bore, this is normal. The other option is to partly cover the bottom of the bore with tape. This may give better tuning on the E notes. These adjustments to the Bottom D help you to sound the hard D, I tend to try and get the hard D in tune with low A.

Reeds

  • Back D or Thumbhole note is the most affected by reed differences. If it is too sharp a temporary fix would be to put tape on the hole or a little wax (see note above). The further towards the tip of the reed the bridle is the sharper back D’ will be although if you don’t have experience adjusting reeds you may make things much worse by moving the bridle.
  • Scraping the reed usually flattens the chanter pitch and Back D, but be very, very careful as this can lead to croaking back D’s if overdone. Avoid sanding or scraping the middle of the reed at the lips and below.
  • If Back D is too flat, raise the first finger of the top hand when playing back D (temporary measure) or trim a little off the lips of the reed or check if the lips are set right; not too open and not too closed. The bridle could be moved up too. When trimming the reed tips I have seen scissors used to remove less than a cut from the tip, more of a shave than a cut. This may be all that is needed, not quite a cut but just the smallest shortening or shaving of the length that is possible.
  • If second octave too sharp, close reed if possible by moving bridle or gently squeezing the bridle or try another reed.
  • If Back D is sinking try chopping a tiny bit ( less than a mm) from the lips of the reed ( further sanding may then need to be done) or move bridle up towards tip, or consider if you are squeezing too hard.
  • If a drone reed keeps cutting out perhaps the chanter reed is too strong or you can spring the tongue of the drone reed a few times gently to help keep it open. Inserting a utility knife blade under the tongue and lightly bending upwards works well. Over doing this will cause the reed to take too much air. Adding weight to the drone tongue may also help. Another reason for a drone reed to cut out is leaks at joints especially on the reed seat, standing joint (the one in the mainstock) and first two returns on the bass drone.
  • If a chanter reed is too hard, see how open the lips are. If they are gaping wide the bridle may very slowly and gently be used to close the lips. The closure may increase as time goes on. It is easy to crack a reed if too much pressure is applied to closure of the bridle. Scraping or sanding the reed will weaken a hard reed but this can also ruin or improve the reed. Avoid scraping or sanding the centre line of the reed. A bridle may open or close a reed if it is moved a little up or down on the reed. Avoid constant moving of the bridle.
  • Please don’t blow your chanter or other reeds by mouth, the cane will quickly get ruined and I don’t think it will do the chanter bore any good.

Playing

  • Playing A and B in the second octave may be easier to obtain by venting a hole or two in the bottom hand. If obtaining the second octave is a serious problem consider if the lips of your reed are too thin or too open.
  • It helps to reach the 2nd octave A by first lifting the top index finger in the bottom hand, then finger A in the upper hand and then close index finger on bottom hand. The Lower hand index finger (on the G hole) acting like playing a grace note on the 2nd octave A. You are not looking for a grace note, only easing the ability to get the second octave.
  • Many beginners find it difficult to hit the second octave, it may be worth momentarily closing all holes to build up pressure before going for the 2nd octave or taking a run at it from notes below
  • If the second octave A or G is slightly flat with a particular reed try playing it with the first finger of the bottom hand off the chanter, a rush would help also as would a different reed staple
  • Experiment with venting to play other colours of notes. Example; lift the second from bottom finger of bottom hand when playing an A x xxo xxox. Which fingers depends on the chanter, pitch, reed and preferences. Try also x xxo xoox on and off the leg.
  • On flat pitch B chanters with a D# key at the bottom of the chanter, this can, depending on the reed; be used to obtain a middle D note.
  • Also on B chanters try different fingering for low F# to get the best tuning - x xxx xoxx - x xxx x ooo - x xxx xoox - x xxx xoxx
  • Playing the hard D note with just enough pressure to hold it and not squeezing as hard as possible will keep it better in tune with soft bottom D
  • The chanter should not be altered to satisfy a tuner. Pipes are just intonation or perfect unison tuning and not equal temperament tuned. Chanter notes should blend with the drones. Tuners are useful for setting pitch of A and checking octave matching for reed staple making only. The c natural, B and F# are noticeably flat of equal temperament tuning. You may be tempted to open the c hole but this hole affects c natural and c #.
  • If you have difficulty playing the second octave B-flat note try venting a finger on the lower hand whilst playing B-flat
  • I suggest easing the pressure on low E and increasing on second octave E, the opposite for the B notes
  • On some chanter and reed combinations the second octave B may sound better played with the 3rd finger of the top hand down x x0x xxxx to obtain this it is necessary to play momentarily the B as normal x xoo xxxx before closing the hole with 3rd finger. This can be done so quickly it will not be noticed and is useful in a slow air. Some chanters can play 2nd octave B using the High C natural key also. This is reed dependent too.
  • If the bass drone parts are turning and coming loose then extra binding is needed under the brass thimble U-bend joints, cotton thread should work ok. Don’t glue the wood into the thimbles; just add hemp, cotton or silk thread.
  • If you have a bass drone with the screw type metal bands holding the parts tight, do not over tighten this screw as it could damage the wood. If the drone is turning in the brass thimble of the U-bend then add hemp to the joint. The screw type metal band is there only to hold the bass drone parts together not to stop wood turning in a thimble that is the job of hemp.
  • Your drones should play steady when the pressure is increased to reach the second octave, if they do not check the putty or weight has not fallen off the tongue of the drone reed. Any adjustments to the reed will affect steadiness once they have been set up and balanced. Don’t settle for drones that are wavering in pitch, you should learn to adjust them and get your set playing steady. My composite drone reeds can have the tongue replaced by the user with some practice.
  • If the bass drone stops, either the reed needs adjusting (light springing or weighting) or there could be a leak. Check the reed seat that the reed is snug.
  • Be aware when taking your pipes to a different location to play as the difference in humidity can cause hemp joints to shrink enough for the mainstock to become an expensive flying part across the stage floor. Carry some hemp in your case and maintain your pipes.
  • Take care inserting and removing drones from the mainstock so that any blutack, poster putty or other type of weight on the tongue is not knocked off. Turn the reed so that the tongue and weight will face the centre of the hollow mainstock, not the wall. Slide the drone and reed along the socket-hole in the mainstock so that the weight is kept away from the socket wall.

Bags and Bellows

  • Bags and bellows should not need seasoning

Regulators

  • Please beware that enlarging or reducing the size of a hole doesn’t always do what you expect. Wax in some holes higher up can flatten the note whereas lower down it may sharpen the note.
  • Please don’t use the keys to turn the reg, you may well snap them off at the wooden blocks. Please use the wood to turn.

Tuition

I sell a tutor book called An Introduction to Uilleann Piping. Packed with tips on playing and technique it is a good resource for any aspiring player especially one without tuition from a good Uilleann piper.

Available at KMBagpipes.com

Thank you for your patience in reading this far.