I have had a leaking gaita bag for some time, I could still play it but it was not holding the pressure after sometime. Perhaps the stitch was being stretched and the air was escaping through the stitching (the bag material was airtight). It was an old bag I made, and I have changed my technique since then for making.
Today I undid the stitching of my bag, took off the strip of tape that I had around the edge which was used for decoration, and cleaned up the loose threads. I then started the process of sealing the bag with a waterproof/gutter sealant. I did this to both sections of the bag, leaving an unsealed section/trip around the edge of the bag. I put extra sealant around the drone stock holes. Once I had sealed all the bag I went and covered the edge of the bag using a thicker film of sealant, then I left it to dry over night.
Tomorrow I will silicone the edges of the bag again with the same sealant and press them together, then leave to dry.
Once dry I will sew the edges with thread.
I will then glue one side of the bag/edge and reconnect the tape that I removed earlier. This gluing is only to seal the stitching/holes. When that is dry, I will do the same to the other side. Once dry I will tie in the stocks.
I have been playing my C gaita recently and I decided to make a small drone to go with it. I did not want to make the large C drone that normal go with a C gaita, but something I can carry around and make drone while I practice. I drilled though a piece of Bubinga wood and made 2 half from the one piece, 50cm each length. internal bore was 6mm. then I began designing the top sliding part. the internal diameter was 12mm. and I played around with the design.
The bottom standing part has an outside diameter of 12mm. the overall outside diameter of both pieces was 15mm.
The design for the bottom standing part was an idea I have been had for sometime and I wanted to try it out. if it did not work it could always be used for a chair leg!!
When I make the reed I will cover it in a removable stock and this will be inserted into a drone stock in the bag. It plays in C and I will make different sections for the top/movable part so I can play in D and Bb. I was gonna drill holes further up the drone but I decided to make new sections. This will add to the tembre of the sound.
I also intend to make a middle section to this C drone until I have a bass C playing alongside this tenor C. with 2 drones going it will be nicer for the gaita chanter which can be quite shrill. I have been thinning down the reed and now it plays a lot quieter than normal, this is for use indoors (pub setting).
I completed 2 drone stocks for my “workshop pipes” (2 drone holes are drilled at the top of the stock).
If you need to take the drones out of the stock the top part of the stock is removable, the drones stay still and the drone reeds are protected, the bottom stock is fixed snug into the bag via the grove.
The drone stock (lying down) has a smaller hole drilled into its bottom end for air to pass through, this reduces the size of the air hole to stop any drone reeds falling out of the drone seat into the bag; if this happens the top part is removed and the reeds retrieved.
The bellows are finally taking shape to what I imagined. They have studs around the edges for cosmetic purposes, the bellow’s fabric matches the fabric of the bag (different fabric can be sort to the buyers choice).
The shape of the bellows were sourced from a Musette’s bellow I had seen in the National School of Piping’s museum in Glasgow, I thought the design was unusual yet attractive.
The straps have a quick release and adjustable clasp. The bellows have a hinge attachment inside of the cheeks this gives a solid connection. The bellows are completely airtight, they are large enough for NSP and SSP as well as Border Pipes, as they are large less action is needed to inflate the bag.
Although the chanter and drones are still under design, the bag and bellows are beginning to be finalized.
The Small pipe workshop went really well last Saturday in Hexham (Northumbria). The students engaged with the exercises very well and I think got a lot out of it…well I know they did. I got good feedback from them and the boss of Core Music, who ran the event. I would like to do more events there, and do a follow up workshop for the Small pipes, as I feel the students wanted to go further with their playing. They managed to get a regular bellow technique; they got 2 drones in harmony and the beginnings of a steady chanter note, not bad for 3 hours. Northumbrian/closed fingering was popular; I guess Scottish Small pipe fingering is more popular over the border. If lessons could be held regular then I feel they could advance quickly.
There are 7 completed Small pipes for the Newcastleton Folk Festival. I have covered most of the bellows with a fabric except for 2 of them.
Bubinga chanter, cherry and cedar drones. The bellows were donated by a friend this is the only item that I did not make.
Indian Red Wood chanter and drones, the deeper colour on the chanter is due to oiling. The bellows I made in 1994 in Lithuania
Bubinga chanter and drones, cedar wood decoration on drones
Cherry chanter and drones, walnut wood decorations on drones
Bubinga chanter, cherry drones with Indian red wood decorations
Indian red wood chanter and drones, cherry wood decorations on drones, cedar wood decoration on chanter
Cedar chanter and drones, this was the first bagpipe I made in Spain in 2014
A leaflet will be given out at the workshop giving contact details and letting people know about other workshop ideas…
“The intension of the workshop is promote the Small pipe tradition to people who have an interest in learning the Northumbrian Small pipes, Scottish Small pipes, Leicestershire Small pipes and other types of bellow-blown pipes. The aim is to provide sets of pipes to develop the student’s playing techniques and offering 3 levels of classes:
The 1st level is the total beginner’s workshop to show the techniques for starting to play.
The 2nd level is a workshop to introduce tunes from the Scottish Borders.
The 3rd level is to teach more demanding tunes and build a varied repertoire.
Within the 3rd level there is the opportunity for the student to buy their small pipes and to continue the classes privately.
(The small pipes in the workshop are made by myself and are of different quality depending on the level of workshop).
To learn more about the musical activities, concerts, lessons and workshops visit my web page http://ethnopiper.blogspot.co.uk or email me at firstname.lastname@example.org”
I have been making ‘small drone parts’ over the past few days. The original plan was only to have bass drones for the workshop, but the small drone adds to the techniques and is an important part in learning how to play. It can be a little difficult tuning a 2nd drone easily and successfully, an out of tune drone is annoying as an out of tune chanter, so tuning ones ear to a harmony can be useful to know.
I am experimenting with woods, mixing them together, joining them together and playing with outer designs. I do like making the wooden parts.
I made another bellow, still trying different techniques out, experimenting with different glues and ways of assembling in a less messy manner.
If I get the time I will use it with the workshop, but at the moment I am finalizing 7 sets and if I can squeeze in an 8th all well and good.
The chanters are being tested to see if they are in the right key. My original idea was to have them all playing in the key of D (a common key for sessions) but after assembling them and testing them out I am finding they are quiet for sessions (due to wood type and reed limitations). So I am forgetting about unifying the chanters in the same key, I will make each of them in tune with the drones so each player can practice by alone (and not as a group).
Thinking more about it this makes more sense as anyone coming with their own small-pipe will be in a different tuning (possibly F, C, Bb, G, A) to my D set, it only takes 1 key difference to make the group sound discordant. I cannot cater for this. It will be easier to ask the student to play alone, and I can see to them individually, and occasionally to get them together as a group for general discussion.
The workshop will not only be “hands on” practice, but informative with maintenance tips, buying guide, types of pipes etc. a general introduction. It is catering for the “person who is intending to own a set of Small pipes in the future”. This workshop cannot give them hours of practice (which is what is needed) it can give them ideas on what to look out for and to suggest the steps to practice when they have their own sets.
I made a “sackpipa practice chanter” by putting my original chanter into a highland bagpipe practice chanter mouth piece. This gives me an opportunity to learn the melodies before applying them to the bag.
Many years ago when I began researching the sackpipa I made a PowerPoint slide show of the melodies I had collected from the internet (mainly from the early version of Olle’s page), I found the mp3 recordings and added them to the slide show. I had intended to learn these melodies one day using the slide show… now is that day. On screen comes the notation and the music automatically plays; as it plays I follow using fingering patterns only, and then I play the melody myself.
The tunes I have been working on so far with any regularity are:
Jag blaste I min pipa (which I have memorized)
Ljugaren (I have memorized)
Sackpipslat efter Jont Lars Olsson (memorized)
Krigsvisa om danskarna (struggling with this one, to remember the melody, it feels a different style in some way).
Steklat fran Sarna (memorized, but the 2nd half creates some mix ups with the finger order)
Vals fran Enviken (memorized)
Visa fran Venjan (I have been playing this one with the C natural just for easiness; the tune requires a C sharp).
Langdans fran Solleron (memorized)
Bjorskottens polska (memorized)
Polska efter Troskari Erik (struggling, due to the polska rhythm)
Gardsbygubbarnas polska (struggling, 2nd half looses me, the polska rhythm and the duplicate notes)
Miller of Dee (memorized)
What a difference a few days make when someone comes and helps with the making. Leila flew over from Spain to help with the sewing of the outer bags; she also helped with other aspects of making. By the end of the 3 days we completed all of the assembly, the finer tasks of clack valves, blow pipes, belts for bellows, decoration on the bellows, a new design for the bellows, and securing the wooden drone parts to the metal sliding section.
What is left to do is to drill and fine tune the chanters against the drones, and complete making the reeds. Last week I was wondering if I could complete everything in time but having someone help and encourage and just to bounce ideas helped get through the mountain of jobs that often overwhelmed me. Sometimes, I just froze due to the amount of jobs still to do.
1 bag had to be discarded due to leaking. It was an old bag, an experiment from Spain. It will be easier to make a new bag with the current method than to try and find the leaks.
The next jobs will be tuning of the chanters and making reeds for the drones. It is the last and trickiest task to do.
I finished gluing the leather to the cheeks of the 1st bellow, and then I left it to dry over night. It was beginning to look like the finished bellow. Instead of screwing the leather to the cheeks, I inserted safety pins into the cheeks to hold the leather while the glue dried. This worked very well and took a lot quicker to do. I can simply pull the pins out and insert the screws later then the glue is dry.
I then started on the 2nd bellow (my own design). I connected the two ends of the leather by stitching and smearing silicone between the folds and over the stitching, and left it to dry over night.
The glued cheek covering (a green velvet) that was done the previous day had glued smooth and came out nice.
I took the stocks out of the bags, ready for dying them to give them some uniformity in design.
I had some success yesterday, I began by redrawing the plans for the new bellow cheeks, and I also standardized the plans for the leather, ignoring the Northumbrian style as well as the Irish bellow style. I thought why not experiment with my own style.
After drawing the plans, I cut the leather to the new plans.
I started on the Irish bellows, I glued the leather to the cheeks first instead of adding the screws to the cheeks, and then I loosely place the screws to keep the leather in place, and left it to dry for 24 hours.
I drilled the new holes in the new bellow cheeks and put a covering over the wood for decoration.
I then went to the lathe and finished off the bass drone, my best yet, a nice combination of woods (bubinga and cedar).
Sometimes the work can go smoothly, other times like today it can be really slow and frustrating. The final bass drone is still yet to be completed due to the gluing of the ornamentation.
The fixing of the leather to the bellow cheeks had to be postponed due to the cheeks splitting/cracking. I had to cover the cheek with glue; hopefully this will seal and strengthen the sides making the wood stronger for the screws to go in without splitting the wood. I do not want to revert to the traditional Northumbrian method as I know this works; I want to try new things out. But it is a very slow process having to measure the leather around the cheeks, then sealing and sewing the two ends of the leather together (which I did today), then fixing the leather to the edges of the cheeks.
I do not want to abandon the process just yet, I want to see if I can do it, but it is a method I will not try in the future. Irish pipers have this method for making their bellows, it works fine for them, but for me I need a different system for making bellows.
My own system I will try, straight after I have completed the ‘Irish method’. I have started it already but it is taking time due it is my first try and I am working ‘blind’, after this one it should be smoother.
I dyed and varnished the stocks to make them seem uniform in the bags. This is not essential but from afar it will look presentable; they look like a dark oak colour now.
Today I glued the bass drone pieces together using bubinga and cedar woods, it looks attractive. I will shape it tomorrow then I will have the 7 bass drones made.
I made 7 bellows cheeks today, cut them and sanded them down ready to apply the material. I did away with the curved ends; I want my own design, something to make them a little different. The construction is my own idea, so I might as well make the design a little different too.
The glued fabric on the 2 bellows cheeks I did yesterday was a success, it is ready to apply the “leather” part now…. the tricky bit.
Yesterday I completed shaping another bass drone this time with bubinga and cherry. After taking advice from the “Bagpipe Makers Exchange” forum, I began different tasks to rest the eyes and mind so not to make too many mistakes in the future.
I worked on the bellows by drilling the outlet holes and gluing fabric over the cheeks and letting them dry for 24 hours. Then I went back to the bass drone making, cutting the wood, long boring and shaping it down to 19mm. This will be my 7th and final bass drone for the workshop.
At Newcastleton, I looked around the venue space where the workshop will be held. There was a leather couch type seating around the wall which is good for spacing out the students so their pipes will not overlap each other too much.
The room also took me back to the 1980s Festivals where they used to hold the Northumbrian small pipe competitions, times change, next year it will no longer be a venue but flats.
I finished off the bass drone from yesterday, it was gluing over night and today I turned it down and added decoration. There is a mixture of woods: European cedar and cherry, a white wood mixed with a light pink wood, it looks nice. That makes 5 bass drones in total completed.
An accident occurred yesterday as I was re-boring the drones to clean out some chaff. The reamer came out of the lathe and hit the tool rest; the reamer was bent and came out of the chuck. It happened so fast I could do nothing, luckily I have another. Was it tiredness which made me not fix it securely or just one of those things?
Today, I used the Visio programme and redesigned the measuring and cutting of the bubinga wood for another bass drone. I will mix the woods again, this time using the cherry as a contrast wood to the bubinga.
I long bored the bubinga and choose a piece of cherry to complete the length of the drone. I will try and join them now and glue them before I leave for a folk session at Monkhill tonight.
I spent too much time over a drone yesterday. The boring and rough turning was done the day before, so all was left to do was shape it, but this is where the time went, designing and turning all has to be done in my head then acted upon; and since it has been months since I had made a drone I was again remembering how to do it. I had altered the design since last time too by using new measurements and new forms; using my chisels instead of the tool post and cutters. It was a success, it looked ok, until the last piece was to be turned and here (again) tiredness took over and I glued the finishing piece and left it for the night. I should have left the gluing until today, as it was not long enough. Not to worry the beauty about wood is that you can redo it.
Later I decided to revisit the design of the drone, not in my head, but on the computer by using a “vsd” format. This allows quite detailed drawings to be experimented with, and a working blueprint to be achieved ‘on paper’. So I am hoping today I will have gained some time and drones will not take so much time.
I started working on my new idea for the bellows, I submerged the wood into a barrel of water to make it more supple, then I laid heavy weights on it to iron out any lumps and bumps, and then let it to dry.
An interesting talk with a young piper yesterday in Carlisle prompted me to write a little about drone tuning. Our conversation centered on the types of drones one should use and for which melodies. He was interested in using the drone configuration of A, d’, a’’ (Bass A, tenor D, alto A) with his ‘A’ Scottish small pipes. This drone configuration is not unusual in the European style but it is with Scottish small pipes. When I first heard about it I was skeptical, there would be a clash of sounds, but it was not as bad as what I thought as I listened to him play.
The problem is the amount of melodies he could play, not many would fit the harmonic arrangement. The Highland tunes would be more willing to blend in with the drones especially the one which were routed in the D note, but the Northumbrian and Border melodies that used the C# (3rd note of the A scale) a lot clashed with the D drone. He thought it sounded ok, but I begged to differ.
When I started to play the Northumbrian small pipes in G I looked for melodies that played with the A drones (a’, a’’) there was not many melodies either, the root note of the melody being the A note on the chanter. With the drone playing the root note it harmonized with the rest of the scale. Not a problem.
My young friend was interested in a small pipe that “fitted all situations”, I was too, many years ago and in some respects the addition of owning chanters reflect this still. But perhaps this has been tried before, in the past, and the best that was achieved by the tradition was a drone configuration of A, a’, a’; giving a strong root note for different types of modes/scales to be explored. For me it was interesting to see a “work in progress” but I wonder if it will be followed up in a few years time… I hope so.
I have not turned any drones for a couple of months so yesterday morning I had to spend most of my time trying to remember how to do it, or in what order I should do it. Also, within those months I have changed my making process and now I do things differently. What is the point (besides documentation) in writing anything down, to remember the process, when it is changing all the time?
With the new drill I bought the boring and drilling went very well, I did 2 sections of wood which will become a tenor drone.
Later that day I got given some wood which will become bellow cheeks. A change of design has been growing in my mind for several weeks now, to make the design of the bellows more airtight. My present system is an adaptation of the traditional method, but I have this idea and it will not go away! What I need to do is try it out, and this wood will be ideal for that. The process is not quicker but I believe it will be a cleaner and more secure/airtight that the traditional method.
I bought screws for the bellows cheeks, not the ones I was looking for, but they will do for the traditional bellows. This is the problem of making pipes in 2 countries (Spain and the UK), there is not the same product in both countries, not the same measurements and not the same price, and availability is not the same either. These screws will do for now until I can source better ones.
Later on that afternoon, I met a piper and we went to the park in Carlisle, the meeting was an interesting one but for the point of this blog I noticed that the reed I had made was not so bad. It was louder than what I had thought and the tone was sweeter. There were some problems with it (too sharp in the chanter) but from the point of view of making I was pleased.
Yesterday I made 5 removable chanter stocks; these stocks are made for each chanter so they protect the reed if removed from the bag.
In hindsight I could have made only the bag/chanter stock, but this is not only about the workshops, it is also about learning and creating a finish product I am pleased with. The bag/chanter stock would have been quicker but the chanter would have to fit each chanter stock exactly and I would not be able to interchange the chanters in different bags if there were any deviation in size. This might have been limiting if a student wants to try Northumbrian fingering and then they want to try Scottish small pipe fingering… they would have to change bags, bellows etc. which is all time consuming. With the removable option I can simple take one chanter out of the bag and add it to another without damaging the reed (most damage done to the reed is when it is removed from the bag).
As I was completing the 4th stock it suddenly jumped out of the chuck in the lathe and crushed itself against the tool post. Tiredness and lack of concentration can be dangerous. It is the first ruined piece of work so far… well there has been many failed experiments but this was my first broken experiment. It was a valuable lesson “take a break and rest”. Bad things happen very fast indeed!