Although I know several threads have been generated which relate in some way to my question, I’m too fascinated by the topic to resist starting another.
It’s clear that, for some pipers, the tonal richness and spectrum of available sound that (good) flat pipes offer can never be equalled by the concert D pipes. It’s also clear that any given maker’s pipes, as much as that maker may be trying to follow in another’s steps, have their own tonal character that generally applies in whatever pitch their pipes are made.
What is it about the acoustical physics of the D chanter that would, by definition, make it incapable of rendering the full tonal possibilities of a lower pitched chanter? I’m not saying that I believe this is the case, but I am, as I said, fascinated by the way music evokes passionate preference in people and would love to read some discussion on this. I have done enough reading to be aware of the factors in chanter design that control tone quality–at least some of them. What I know, though, isn’t sufficient to explain why D is the magic pitch, why the intrument can still sound sweet, rich, mellow, etc. at C#, but not at a semitone sharper.
Great topic, L. I would love to hear some pipemakers come forward with their comments/insights on this subject, as we mere players can only really comment on the few chanters we’ve had the opportunity to hear/play.
I don’t know that there isn’t a truly narrow bore D chanter out there that’s just as smooth and mellow as any other narrow bore chanter of another key, just that there doesn’t seem to be a big market for such things. Also, we shouldn’t overlook the importance of how one designs or sets up the reed, as this can also play a big role in the sound you get from the same chanter.
Not that I’m against wide bores. I love a really raunchy wide bore sound when ripping through some fast reels or jigs with a real beat. The milder/narrow bore chanters just don’t have the punch you might sometimes want. But you can’t beat a lovely B or C chanter for airs, or when you want to play smoothly.
Then again, some of the narrow bores sound so nasal that they’re almost comical; like a kazoo with a head cold. Not to get anyone upset, but I find the sound of Scots small pipes and Northumbrian pipes ridiculously comical. They always make me laugh when I hear them - just my own taste of course.
Why not have both wide and narrow bores? Each has its own voice and its own place. Switch back and forth as your own musical tastes dictate.
When speaking for whistles, the lower keys also sound more mellow to the ear. Take the difference between a high G and low G for example. And of course, even the difference between a D and a C or Bb is noticeable in the tone.
Am I correct in the assumption that narrow bore, and flat pitch sets are generally made with a smaller reed as a whole than many D sets these days? Smaller reed lips = smaller area to generate sound = softer tone. At least that would be my line of thinking.
So here’s the stumper for all the poindexters in the audience tonight!
Why does no one seem to make a wide=bore flat set???
brian, i was thinkin’ about your question about a wide bore “flat” chanter and my mind tells me that the chanter would have to be too long, at least for the B chanter. smaller in bore equals flatter in pitch. also think of how much smaller the tone holes already must be on a “flat” chanter. a smaller bore seems inherent to “flat” chanters.
someone correct me if i am thinking wrong on this, tansy
Three D chanters, same length reed tip to bottom of bell, one is narrow bore. The main differences are size of tone holes and width of reed… the narrow bore seems to use a slightly narrower reed and smaller tone holes.
Why would anyone want to make a wide bore flat chanter? all it would do is make the instrument louder,do yourself a favour, stick a microphone on it, save a lot of design work, the concert pitch “D” chanter was only designed for two reasons, one’ more volume, two’ pitch changed from flat pitched D to concert pitch “D” so the pipes could be played with other concert pitched instruments or instruments being able to be tuned in to 440 pitch, tone comes more with materials used I think, but thats me.
I’m sure I’ve read somewhere of a Taylor made (?) flat set with a wide bore. IIRC, the writer suggested that car horns might be an appropriate substitute should the regulators be found wanting at any future time.
all it would do is make the instrument louder,do yourself a favour, stick a microphone on it, save a lot of design work, the concert pitch “D” chanter was only designed for two reasons, one’ more volume, two’ pitch changed from flat pitched D to concert pitch “D” so the pipes could be played with other concert pitched instruments or instruments being able to be tuned in to 440 pitch, tone comes more with materials used I think, but thats me. 