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Tuning the uilleann chanter |
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This is a subject which I have spent many years studying, and one that I am not alone in thinking, that there must be a better way of tuning an instrument, instead of having to dramatically alter its make up, once it had been made. I first started making concert D chanters about eight years ago now to a well known design, and almost as soon as I had mastered the art of making the instrument, I came up against a barrier as to how to control the many different issues I found whilst trying to fine tune them, there were no pointers or help as to why things had to be this way, and I soon came to the conclusion that many of the people who made them this way, never actually knew themselves what was what and simply carried on doing the same thing regardless. I searched the many museums and private collections throughout Europe in the hope that I would discover something that others had overlooked, it was not until a few years later that I came across a design unlike any other I has seen before, the instrument had its original reed fitted, and nothing else bar a small piece of paper rolled up in the very bottom of the bell, when I tried the chanter I soon realised that it was in tune, when I used the meter this showed that it worked and was in true concert pitch. At first I thought this was just a lucky encounter, so I took it home on loan and soon realised that there was something special about this product, so I sought out the maker, who turned out to be not very far from me, to which we all know as, Peter Hunter also of Yorkshire, who kindly granted me an appointment, and two days later I embarked on a journey and relationship which still stands firm today. No sooner had I settled into making things in the ways of this man, I recognised that something was not normal, no longer did I need the many different types of paraphernalia that went with the uilleann pipes, since then I have freely passed on this information to many other makers and players who all use it in some shape or form on their own instruments, what was good enough for me would inevitably make life much easier for them. When players first set out trying to make their own reeds, the bar or other items which are called rushes, that are fitted to an instrument creates so many variables that it can be really confusing for those who are trying to get to grips with it, and for many this has drove them near to despair and I believe has actively discouraged them from attempting this part altogether. There is an age old saying, what is good for the goose is good for the gander, which we have never questioned until now, we do not have to put up and shut up, especially if there is something worth saying, in this case we think there is and a new era has begun, one that all we can all benefit from , instead of struggling with what was before. Another finding by several parties and after witnessing many buskers and player is the subject of scalloping, this is very unlikely to have be a set method and to be no other than a well worn instrument, that was not actually meant to be this way from new, and more than likely have a rush fitted, which brings many other tuning issues to bare, and not a subject that I feel can be quickly mentioned here now, but can be explained if anyone would like a more detailed paper. As one can see, I am very keen to get across my message, so next time you are just about to bounce your chanter off the floor, remember what I have said here, less can most definately be more.
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