"chanter (; Asturian: ""punteru"") with the left arm controlling the pressure inside the bag. The chanter has a double reed similar to a shawm or oboe, and a conical bore with seven finger-holes on the front. The bass drone (""ronco"" or ""roncón"") is situated on the player's left shoulder and is pitched two octaves below the key note of the chanter; it has a single reed. Some bagpipes have up to two more drones, including the ""ronquillo"" or ""ronquilla"", which sticks out from the bag and plays an octave above the ""ronco"", or the smaller ""chillón"". This two extra drones"
"earn the title of ""riksspelman"". The bag is notably smaller than that of many other bagpipes. This, however, is no major problem as the pipes require relatively little air. The chanter has a single cane reed and a cylindrical bore, with a range of one octave. It is essentially diatonic (with a melodic ascending A minor—A major with a flat third—scale starting on E) since cross-fingering has little effect. The fact that the chanter, with its cylindrical bore and single reed, is extremely unaffected by crossfingering, and that the drone is tuned to the same note and octave as the"
"double reed of reed or plastic. The chanter can be in a wide variety of keys, depending on its length: The cornemuse du centre is a chromatic instrument, on most modern instruments all semitones of the scale can be played. The instrument is (generally) not tuned to an equal temperament, to allow playing in harmony with the drones. Also, due to the presence of the drones which cannot be tuned to another pitch, only a subset of the keys which would be technically feasible are usually played, i.e. the drone is either the key's tonic or the dominant. Further, typically"
"19th century. The chanter and drone terminate in amplifying bells of horn or brass, angled upwards. The top end of the chanter is often shaped in the form of a goat-head. In Egerland-style instruments, the drone hangs downward from the bag, whereas in the Bohemian variant, the drone extends backwards over the player's shoulder. The instrument is now mainly played in the Czech Republic, particularly South Bohemia in Strakonice and in Western Bohemia around the town of Domažlice in the region known as Chodsko. As the instrument's revival continues, it is also gaining ground in Austria and Bavaria. In Chodsko,"
"than an alto, and many use only the bass and tenor. Other makers have developed drones compatible with both A and D chanters, so that one instrument can be used with either chanter. These sets include both A and D drones. One example is the ""ADAD"" style, with bass, baritone, tenor, and alto, as seen here:. And by using longer tuning pins, and northumbrian smallpipes-influenced tuning beads, some smallpipe drones can easily be retuned to a pitch one or two tones higher. A Baritone drone in C can be retuned to D, or E for example. This allows for increased"
"and unique instruments. These include the ""tumbal"" (B-flat), ""grileira"" (D) and ""redonda"" (C). The player inflates the bag using his mouth through a tube fitted with a non-return valve. Air is driven into the chanter () with the left arm controlling the pressure inside the bag. The chanter has a double reed similar to a shawm or oboe, and a conical bore with seven finger-holes on the front. The bass drone (""ronco"" or ""roncón"") is situated on the player's left shoulder and is pitched two octaves below the key note of the chanter; it has a single reed. Some bagpipes"
"dominant and octave tonic, the other one being shut off. Like the chanter, these have a narrow cylindrical bore. Unlike the chanter, though, the reeds have a single blade; they are either cut from a single tube of cane, or else a strip of cane in a metal body. As well as a tuning slide for precise adjustment of tuning, each drone will usually possess one or two 'bead holes' allowing its pitch to be raised by a tone or two, therefore allowing the piper to play in different musical keys, but still generally using the tonic, dominant and octave"
"The chanters were made in a variety of pitches with a quiet tone and an E flat pitch being very common among surviving instruments. Later examples include a slide on the foot joint to change the lower leading note from flat to sharp as required and on a further set an on/off mechanism is fitted to control the drones with the two regulators fitted neatly to the top of the common stock and the addition of key in ""e"" to increase the compass of the chanter in the second octave. The Pastoral chanter is used to play the melody and"
"resembling a child's dress often with a colourful pattern. There is a folk belief that the origin of the custom is that a piper in antiquity dressed his ""gaita"" in the clothing of his deceased daughter as a memorial. The drones have reinforcing rings of pewter or horn, and some players also, whether out of fashion or superstition, wrap various portions of the pipes with snakeskin. The double-reeded chanter allows open or semi-closed fingering. It is generally pitched in the key of C major, which also allows playing in the relative key of A minor. The chanter's range is from"
"same time using this key. This makes the instrument more versatile and usable not only as a half set, but also to allow playing the chanter by itself. The drones use a single-bladed reed (the actual part creating sound), unlike the double reed used in the chanter and the regulators. These drone reeds were generally made from elderberry twigs in the past, while cane began to be used in the late 19th century. A full set, as the name implies, is a complete set of uilleann pipes. This would be a half set with the addition of three regulators. These"
"Performances of Carnatic music Carnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of at least; a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone. The ""tambura"" is the traditional drone instrument used in concerts, however, tamburas are increasingly being replaced by ""śruti"" boxes, and now more commonly, the ""electronic ""tambura"""". The drone itself is an integral part of performances and furnishes stability - the equivalent of harmony in Western music. Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely instrumental in"
"end on the player's leg, so that when the player ""closes"" (covers all the holes) the chanter becomes silent. A practice chanter is a chanter without bag or drones, allowing a player to practice the instrument quietly and with no variables other than playing the chanter. The term ""chanter"" is derived from the Latin ""cantare"", or ""to sing"", much like the modern French word ""chanteur"". The note from the chanter is produced by a reed installed at its top. The reed may be a single (a reed with one vibrating tongue) or double reed (of two pieces that vibrate against"
"chanter (""sõrmiline"", ""putk"", ""esimik"", etc.) was made of juniper, pine, ash or, more seldom, of a tube of cane. It had 5–6 holes. The chanter was single-reeded, generally with a parallel rather than conical bore. The bottom end of the chanter sometimes had 1 – 2 holes in the side bored obliquely into the pipe, so that some straws or twigs could be put in to control the pitch. The chanter was placed in an oval wooden stock (""kibu"", ""kloba"", ""torupakk"", ""käsilise pakk""). The stock-end of the chanter contained a reed (""piuk"", ""keel"", ""roog"", ""raag"", ""vile""). The drones (""passitoru"", ""pass"","
"each other). Double reeds are used with both conical- and parallel-bored chanters while single reeds are generally (although not exclusively) limited to parallel-bored chanters. In general, double-reed chanters are found in pipes of Western Europe while single-reed chanters appear in most other regions. Most bagpipes have at least one drone: a pipe which is generally not fingered but rather produces a constant harmonizing note throughout play (usually the tonic note of the chanter). Exceptions are generally those pipes which have a double-chanter instead. A drone is most commonly a cylindrically-bored tube with a single reed, although drones with double reeds"
"Musette de cour The musette de cour or baroque musette is a musical instrument of the bagpipe family. Visually, the musette is characterised by the short, cylindrical shuttle-drone and the two chalumeaux. Both the chanters and the drones have a cylindrical bore and use a double reed, giving a quiet tone similar to the oboe. The instrument is blown by a bellows. The qualification ""de cour"" does not appear in the name for the instrument in original musical scores; title-pages usually refer to it simply as a ""musette"", allowing occasional confusion with the piccolo oboe, also known as the (oboe)"
"the chanter is in Mixolydian mode, which has a flattened seventh scale degree. It has a range from one whole tone lower than the tonic to one octave above it. The drones are tuned to this tonic note, called A (specifically A). The nine notes of the chanter scale are ""low G, low A, B, C (sounds as a C), D, E, F (sounds as a F), high G, and high A"". However, the A pitch of most pipers and pipe bands currently is somewhere around 470-480 Hz, which is actually sharper than standard pitch B at 466.16 Hz. So"
"covered; further, Talbot did not give the bore of the chanter, suggesting that it could not easily be measured. The three drones were in unison with the lowest note, G, of the chanter, the D a fourth below it, and G, an octave below. It has been argued that such instruments were derived from mouth-blown German three-drone bagpipes. These instruments seem to have been well-established in Northumberland by the early 18th century; many of the tunes in the William Dixon manuscript are suitable for such simple sets, and a painting of ""Joseph Turnbull, Piper to the Duchess of Northumberland"", in"
"note. The pipes are generally equipped with three drones: the tenor drone, as the highest sounding pipe, which is pitched the same as the lowest note of the chanter; the baritone drone pitched one octave below that; and the bass drone, as the lowest sounding pipe, two octaves below the bottom note of the chanter. The Pastoral pipes had four drones: these three plus one more that would play a harmony note at the fourth or fifth interval. These drones are connected to the pipe bag by a ""stock"". This is an intricately made wooden cylinder tied into the bag"
"see image below right), and the double-reed type in the form of a shawm. The double-reed type is characteristically louder, and can over-blow a few notes in the upper register. The single-reed type plays only an octave. The bagpipes may be drone-less or furnished with drones (""byrdwn"") via the bag (""cwdyn""). The single-reed chanter is drilled with six small finger-holes and a thumb-hole giving a diatonic compass of an octave. Modern examples are generally pitched in D Major or D Mixolydian, and F Major; but historical instruments give a variety of pitch as well as musical modes. The double reed"
"drone it is pitched two octaves below the tonic of the chanter. Additional drones often add the octave below and then a drone consonant with the fifth of the chanter. The evidence for pre-Roman era bagpipes is still uncertain but several textual and visual clues have been suggested. The ""Oxford History of Music"" says that a sculpture of bagpipes has been found on a Hittite slab at Euyuk in the Middle East, dated to 1000 BC. Several authors identify the ancient Greek ""askaulos"" (ἀσκός ""askos"" – wine-skin, αὐλός ""aulos"" – reed pipe) with the bagpipe. In the 2nd century AD,"
"musical-dramatic recitals refer to Harikatha. But, irrespective of what type of recital it is, what is featured are compositions which form the core of this genre of music. The ""tambura"" is the traditional drone instrument used in concerts. However, tamburas are increasingly being replaced by ""śruti"" boxes, and now more commonly, the electronic ""tambura"". The drone itself is an integral part of performances and furnishes stability – the equivalent of harmony in Western music. In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instruments, such as the Saraswati veena and/or venu flute,"
"exist. The drone is generally designed in two or more parts with a sliding joint so that the pitch of the drone can be adjusted. Depending on the type of pipes, the drones may lie over the shoulder, across the arm opposite the bag, or may run parallel to the chanter. Some drones have a tuning screw, which effectively alters the length of the drone by opening a hole, allowing the drone to be tuned to two or more distinct pitches. The tuning screw may also shut off the drone altogether. In most types of pipes, where there is one"
"are fixed into a single round stock that the bag is attached to. Each chanter is tuned differently, according to the tradition it represents, and there are dozens. Typically, the double-reeded versions (Marche, Abruzzo, Latium, Campania, southern Basilicata and parts of Sicily and southern Calabria) will have a soprano chanter on the right and a bass chanter on the left (called, respectively, ""ritta"" and ""manga"" — meaning 'right' and 'left' — in the Ciociaro tradition) with an alto drone (""bordone"" being the generic name); but as many as three drones, the other tuned above and below the basic chord can"
"chanter with a double reed and a two-octave range, three single-reed drones, and, in the complete version known as a full set, a trio of (""regulators"") all with double reeds and keys worked by the piper's forearm, capable of providing harmonic support for the melody. (Virtually all uilleann pipers begin playing with a half set, lacking the regulators and consisting of only bellows, bag, chanter, and drones. Some choose never to play the full set, and many make little use of the regulators.) The bag is filled with air by a bellows held between the piper's elbow and side, rather"
"chanters come in a variety of pitches, and some of the instruments may be cross-fingered to give different modes. Some have a semi-tone leading note at the bottom of the instrument, others give a whole tone leading note. Repertoire on both is contiguous with minor adaptations necessitated by the limitations of each particular instrument. Contemporary pipe makers in Wales base their chanters on measurements of extant historical examples of the pibgorn. Some of these instruments, dating from the eighteenth century, are on display at the Museum of Welsh Life. The single-reed type pipe with a drone attached via the bag"
"to live Cretan music). Much Cretan music includes the use of instruments (and usually singing, too). Lyra, violin, and laouto (Cretan lute) predominate, but other common instruments include the mandolin, oud, thiampoli (souravli), askomandoura, classical guitar (especially in Eastern Crete), boulgari, and daouli (davul). There is also an instrument known as the viololyra, a hybrid of the violin and lyra, which has enjoyed varying degrees of popularity at various times. Cretan music has been largely heterophonic in texture or accompanied by drones and fifth chords on Cretan lute, classical guitar, mandolin, boulgari, and so forth. Drones are also played simultaneously"
"nature, while musical-dramatic recitals refer to Harikatha. But irrespective of what type of recital it is, what is featured are compositions which form the core of this genre of music. The ""tambura"" is the traditional drone instrument used in concerts. However, tamburas are increasingly being replaced by ""śruti"" boxes, and now more commonly, the electronic ""tambura"". The drone itself is an integral part of performances and furnishes stability – the equivalent of harmony in Western music. In a vocal recital, a concert team may have one or more vocalists as the principal performer(s). Instruments, such as the Saraswati veena and/or"
"the modern day some makers add a tenor drone (""ronquín"") tuned one octave below the chanter, the same as the ""ronqueta"" of the ""gaita gallega"". Currently, the ""gaita asturiana"" is constructed in a wider array of keys and types, anywhere from A to as high as E. Also, refinement of the chanter construction has made it possible to play as high as the tonic in the third octave. Further, the ability to hit chromatic notes has increased, turning the chanter from a completely diatonic instrument to a nearly fully chromatic one. The addition of auxiliary holes has also increased. As"
"purposefully. Modern concert musicians make frequent use of drones, often with just or other non-equal tempered tunings. Drones are a regular feature in the music of composers indebted to the chant tradition, such as Arvo Pärt, Sofia Gubaidulina, and John Tavener. The single-tones that provided the impetus for minimalism through the music of La Monte Young and many of his students qualify as drones. David First, the band Coil, the early experimental compilations of John Cale (""Sun Blindness Music"", Dream Interpretation, and ""Stainless Gamelan""), Pauline Oliveros and Stuart Dempster, Alvin Lucier (""Music On A Long Thin Wire""), Ellen Fullman, Lawrence"
"Electronic tanpura An electronic tanpura is an electronic instrument that replicates the sound of an Indian string instrument known as the tanpura (tambura), used to provide a constant drone to accompany another's vocal or instrumental melody. So far, it has been used only for individual practice, not in concerts. In Indian music, the drone is a basic function of the music. The development of a raga, any composition or song within raga presupposes and requires the continuous sounding of the key-note, its octave and another tone, usually the fifth or fourth. Traditionally drone is often provided by one or more"
"Langeleik The langeleik, also called langleik, is a Norwegian stringed folklore musical instrument, a droned zither. The langeleik has only one melody string and up to 8 drone strings. Under the melody string there are seven frets per octave, forming a diatonic major scale. The drone strings are tuned to a triad. The langeleik is tuned to about an A, though on score the C major key is used, as if the instrument were tuned in C. This is for simplification of both writing and reading, by circumventing the use of accidentals. Since the instrument cannot play a chromatic scale"
"mazurka, gangar, springar and halling. See Gammeldans (old dance) and Bygdedans (village dance) for more information. Langeleik The langeleik, also called langleik, is a Norwegian stringed folklore musical instrument, a droned zither. The langeleik has only one melody string and up to 8 drone strings. Under the melody string there are seven frets per octave, forming a diatonic major scale. The drone strings are tuned to a triad. The langeleik is tuned to about an A, though on score the C major key is used, as if the instrument were tuned in C. This is for simplification of both writing"
"common stock and are usually tuned in one of two patterns. For pipes in A, the tenor drone is tuned to the low ""A"" of the chanter, usually the tonic note, and the bass drone to the ""A"" an octave below this. There is also sometimes a dominant drone - this can be either a baritone, tuned a fifth above the bass, or else an alto drone, tuned a fifth above the tenor. For tunes in the key of D, the dominant drone can be either shut off or retuned. Most makers now prefer to make a baritone drone, rather"