-could someone explain this “finessing into the upper octave” thing? I don’t quite follow it.
Don’t try to get the upper octave by simply pressing harder on the bag. That’s what I meant by “brute forcing” the octave. If you do, you’ll be working with unnecessary pressure to reach the 2nd octave. Instead, you need to learn to play in the first octave with the right pressure so that you essentially tap the chanter closed for a fraction of a moment to send the chanter into the 2nd octave. It feels like you aren’t pressing the bag any harder at all, or perhaps you only pressed a touch harder at the moment you tapped the chanter.
As Peter mentioned, it doesnt work that way for the upper A and B. You can’t tap the chanter closed and send it to the high A and B. You usually need to get the 2nd octave F first, which allows you to get to the high A and B from there (I find i tend to get to B from the octave G). The finesse point here is that the F is sounded so quickly that you dont really hear it. You form the F for the briefest moment, followed directly by opening the A. When the high A is sounding (and in my case, sounding with the extra pressure on the bag needed to maintain it), you are able to close the finger that was “venting” the F note. It’s done so briefly as to be nearly imperceptible.
The main point is that to learn the chanter, you have to learn to be able to play both octaves with the minimum difference in pressure possible. That’s what will provide steady drones, and if you have crappy reg reeds, steady pitches on your regs.
Close all holes with chanter bell on popping strap. Apply pressure to bag and raise off the strap to play bottom D.
Place back on popping strap (for the rest of the notes) and lift bottom 2 fingers for E.
Replace bottom 2 fingers and lift ring finger for F#.
Raise bottom hand ring and index finger for G.
Replace all bottom hand fingers on holes and lift ring finger of top hand for A.
Lift ring and middle fingers of top hand for B.
Replace top hand ring and middle fingers and lift top hand index finger for C#
Open only thumb hole for middle (or octave) d.
Close all holes and increase bag pressure slightly, then finger e as above for the octave. Fingering is the same for the octave except for top d’.
On most chanters, only (octave) e, f# and g can be achieved directly, a, b, c and d’ (top d) must be “vented” by a quick fingering of f# or a one fingered g just before the needed note. It should be quick enough for the jump, but not long enough to actually be heard (until your ears are trained).
Top d is fingered as is C natural, IE top index and bottom middle fingers lifted.
Pressure may need to be adjusted to play certain notes (especially the E and e) in tune.
I got them from a place called “Lark in the Morning.” The reed came with it. I’m sure the pipes aren’t quality pipes or anything, and I’m POSITIVE that the reed is crap. But I’m happy either way, as long as I can get the basics.
I’m STILL having trouble with intonnation in the second octave. Every note still sounds exactly a half step higher than what it is supposed to be. I don’t think I’m increasing the air pressure that much. I’m closing off the end of the chanter and all the right holes. Does anyone know why it might be doing this? It might just be the pipes…which would suck.
Some say that a roll of thin paper in the staple of the reed or a small wire (paper clip? maybe too big, but anything’s worth a try) curled at the bottom to make a ‘spring’ to keep it in place (effectively reducing the bore of the reeds staple) will bring the 8ves closer. … … .. . .. …
They are probably made in Pakistan, then unless stated otherwise, so don’t expect much from them unless it is made by some well known pipemaker (who would have been mentioned as the maker). Is the reed plastic or made of real Arundo Donax?
Individual notes are more easily adjusted to play flatter than sharper.
Sliding the chanter reed further into the reed seat - Sharpens pitch overall, the top hand sharpens more than the bottom hand. The largest effect is on Back D.
Sliding the chanter reed further out of the reed seat - Flattens pitch overall, the top hand flattens more than the bottom hand. The largest effect is on Back D.
Opening the reed lips flattens the reed and it will need more air to play
Closing the reed lips sharpens the reed and it will need less air to play. If the reed is too closed, it can cause you to lose the “hard” D and gain an “autocran”
If the 2nd octave is flat, bind tip, unwrap from the staple and insert the staple approx 1/8" further into blades. If the 2nd octave is sharp, use the same technique to withdraw the staple.
If the 2nd octave is sharp, you can also try putting “rushes” into the staple
Have patience before final adjustments. Play several days or weeks and make small adjustments at a time.