The Scottish smallpipe is a type of bagpipe that uses a bellows to blow air. It was developed by Colin Ross and others, based on an earlier design of the instrument. Examples of similar bellows-blown instruments from the past still exist, as well as mouth-blown Montgomery smallpipes from 1757, which are kept in the National Museum of Scotland. Some modern instruments are exact copies of historical ones, but most are larger and sound lower than older versions. The design of the reeds in modern smallpipes was mostly influenced by the Northumbrian smallpipes.
Although small pipes have been around since the 15th century, the current version of the instrument is the youngest type of bagpipe that is widely used. It has only been in its present form since the early 1980s.
Characteristics
Scottish smallpipes are different from Northumbrian smallpipes because they have an open-ended chanter and usually do not have keys. This means the chanter produces a continuous sound, not a short, separated sound, and its range includes only nine notes, not the larger range of Northumbrian smallpipes from the late 1700s to early 1800s.
The chanter of Scottish smallpipes has a cylindrical shape inside and is most often tuned to the note A. Other common tunings include D, C, B flat, and G. Because the chanter is cylindrical, it sounds an octave lower than a conical-shaped chanter of the same size, like those on Border pipes. The basic scale of Scottish smallpipes matches the Mixolydian scale used in Highland and Border bagpipes. In this scale, the seventh note is slightly lower than in A major, so on an A chanter, the low and high G notes are natural, not sharp.
Scottish smallpipes are usually tuned to use the same fingering system as Highland bagpipes, called "half-covered." However, they can also be tuned for a "covered" system, similar to Northumbrian smallpipes, where only one finger is lifted to play each note. The only difference from the Northumbrian system is that the main note hole on the chanter remains uncovered, except when playing the low leading note.
Scottish smallpipes are typically blown with bellows, like Northumbrian smallpipes and Border pipes. Bellows-blown pipes have advantages, such as more stable tuning because air temperature and humidity changes are smaller, and they allow players to sing or talk while playing. These features make them very popular. However, mouth-blown smallpipes are also common.
The chanter is usually not keyed, but sometimes keys are added, such as high B, G sharp, F natural, and C natural, to extend the range or play accidental notes. A second thumb hole may be added to the back of the chanter to play C natural. While it is possible to add more keys like on Northumbrian smallpipes, most Scottish smallpipes have no more than three keys. Most music written for the instrument uses only the nine notes of its unkeyed range.
The drones, usually three in number, are attached to a shared stock and are often tuned in one of two patterns. For A-tuned pipes, the tenor drone matches the low A of the chanter, and the bass drone is an octave lower. A dominant drone may also be added, either a baritone (a fifth above the bass) or an alto (a fifth above the tenor). For tunes in D (on an A chanter), the dominant drone can be turned off or retuned to match the D note. Most makers prefer a baritone drone, though some use only the bass and tenor. Some makers create drones that work with both A and D chanters, allowing one instrument to be used with either. An example is the "ADAD" style, which includes bass, baritone, tenor, and alto drones. With longer tuning slides or tuning beads (common on Northumbrian smallpipes), drones can be adjusted to higher pitches. This allows tunes to be played in A Mixolydian, D major, B minor, or G by tuning down a tone. Longer tuning slides also let A and D drones be adjusted to G and C, enabling the same set of drones to work with chanters in D, C, A, and G.
History
Smallpipes were among the earliest recorded bagpipes in Scotland, along with Border pipes. They were popular in the Lowland regions, including areas as far north as Aberdeen. Historical evidence shows they existed as early as the 15th century. During this time, they were played at dances and events in courts and castles. Later, they became common among burgh pipers and town minstrels until the early 19th century, when the decline of town pipers caused them to disappear from records. Smallpipes are bellows-blown, which allowed them to be played for long periods without interruption. These instruments likely entered Scotland from England and Europe. Examples of smallpipes appear in many drawings, carvings, and paintings from the 15th century in Scotland and from the 12th century in Europe. Information about the history of Scottish smallpipes is discussed in Collinson’s work on bagpipes. More detailed and reliable information can be found in Hugh Cheape’s book, Bagpipes: A National Collection.
Because the continuous tradition of playing smallpipes and Border pipes was interrupted, no single, clear playing style can be identified for these instruments. However, surviving musical manuscripts, such as those by Dixon, Peacock, and Riddell, suggest their style included variations, runs, and arpeggios. This differs from Highland music, which often uses stylized gracenote techniques.
Smallpipes are widely used by Highland pipers, many of whom play them or Border pipes as a second instrument. These instruments are better suited for indoor settings and are played following the Highland tradition. While they have replaced the less satisfying Highland practice chanter for quiet rehearsals, smallpipes are now commonly used in musical sessions. They are played for both Highland and Lowland (Border) music.
Scottish smallpipes were the first instrument widely available that allowed Highland pipers to join musical sessions with fiddlers, flautists, and other musicians, as well as to accompany singers. Notable players of smallpipes include Hamish Moore, Iain MacInnes, Allan MacDonald, Gary West, Fred Morrison, Fin Moore, Brìghde Chaimbeul, Michael Roddy, Callum Armstrong, Ross Ainslie, Gordon Mooney, EJ Jones, Ailis Sutherland, Glenn Coolen, Barry Shears, and the late Martyn Bennett.