Place in Estonian folk musicEdit
Template:WikifyIt is not clear when exactly the bagpipe became established in Estonia. It may have arrived with the Germans, but an analysis of the bagpipe tunes in West and North Estonia also shows a strong Swedish influence.
The instrument was known throughout Estonia. The bagpipe tradition was longest preserved in West and North Estonia where folk music retained archaic characteristics for a longer time. Later when the fiddle was taking over folk music a lot of bagpipe tunes were transcribed for it.
Very often the bagpipe was used for playing dance music; other instruments served this purpose only in the absence of the bagpipe. Some old ceremonial dances, such as the Round Dance (Voortants) and the Tail Dance (Sabatants) were performed together with a bagpiper who walked at the head of the column. Ceremonial music took an important place in the bagpipers' repertoires in the 17th c., as seen from the literary sources of that time. For instance, the presence of a bagpiper was considered essential during weddings, where he had to take part in certain ceremonies. There were special tunes, marches or riding melodies that were performed in the wedding procession, etc. The bagpiper was an indispensable participant in dances and social gatherings. He accompanied minstrels during Martinmas and Christmas. No pub could manage without a good musician.
The Estonian bagpipe has a bag, a mouth-pipe (blow-pipe) for inflating the bag, a melody-pipe (chanter) and 1 or 2, rarely 3, drones.
The bag ("tuulekott", "magu", "kott", "loots", etc.) was usually made of the stomach of a grey seal in the western and northern parts of Estonia and on the islands. Most valued were the stomachs of big old seals. The bag that was made of a seal's stomach, was not spoilt either by aridity or by humidity. A bagpiper of the Hiiu island is known to have said that if his bagpipe (made of a seal's stomach) became wet, it sounded richer because the seal is a sea animal.
In bag-making certain superstitions were observed. In South Estonia, for example, some thought that the more a dog, who had to leave its skin, howled when being hanged, the better the sound of the bagpipe later.Template:Fact
The blow pipe ("puhumispulk", "naput", "naba", "puhknapp", "napp") was made of wood.
The 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", "kai", "tori", "pill", "pulk", "toro") were made of wooden pipes, different in shape and diameter. The number of pipes determined their length. If there is only one, it is quite long, if two, they are both shorter. In some rare cases bagpipes with 3 drones could be found. The drone consists of 2 - 3 separate joints. In the lower end there is a wooden bell. The joints can be pulled out in order to tune the drone. The drone is placed in an oval or round stock.
Although they can be quite long sometimes (with 3 passages or more), they remain simple in their structure.
The music for the bagpipe has much in common with the melodies of old Estonian so-called runic songs. A number of tunes, like the instrument itself, are of foreign origin. Supposedly they chiefly derive from Sweden. The Swedish influence is suggested by the texts of dance songs for the bagpipe, and the dances themselves also seem to come from Sweden.
- Sandra Sillamaa
- Cäitlyn Jaago Bagpipe: "One goose makes two sounds.", 2005.
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