37 Traditional Bagpipes from Around the World (2026 Guide)

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The Bagpipe is a family of wind instruments found across Europe, the Middle East, and North Africa. Recognizable for its continuous drone and powerful, sustained sound, the bagpipe plays an important role in many regional musical traditions, ceremonial contexts, and community gatherings.

Rather than belonging to one nation or a single historical narrative, bagpipes exist in multiple forms, each shaped by local musical systems, craftsmanship, and social life. Today, they continue to be played in both traditional and contemporary settings, sustained by musicians, cultural communities, and revival movements.

This guide introduces the history, structure, and main types of bagpipes, while offering practical advice for those interested in choosing an instrument. The final section presents a curated selection of bagpipes available online, intended to support informed and respectful engagement.

Quick Picks: Where to Start with Bagpipes

Not sure where to begin? These are the two most practical starting points.

BEST FOR BEGINNERS

Thomann Practice Chanter

Essential tool for learning fingering and technique

Controlled volume, ideal for home practice

Stable and easy to maintain

More details here

VIEW ON THOMANN

BEST STARTER BAGPIPE

Thomann Hümmelchen in C

Low pressure and manageable volume

Warm, soft tone suited for indoor playing

Great transition from practice chanter to full bagpipes

More details here

VIEW ON THOMANN

The History of the Bagpipe

Bagpipes are among the oldest known wind instruments using a reservoir system.
Early references appear in the ancient Mediterranean and Near East, including visual depictions and written accounts of instruments using air storage to produce continuous sound.

It is likely that early double-reed or single-reed instruments, similar to the aulos or tibiae, were later combined with a bag to simplify the demanding technique of circular breathing. This innovation allowed for a more stable and sustained airflow, shaping the development of the bagpipe as we know it.

Over centuries, through migration, trade, and cultural exchange, bagpipes spread across vast regions, developing into a wide range of local variants.
Each form reflects specific musical systems, repertoires and construction techniques, often closely tied to regional dances and traditions.

For much of their history, bagpipes were central to rural and community life, used in:

• celebrations
• dances
• religious events
• seasonal rituals

Their strong volume made them ideal for outdoor performance, while the presence of drones provided a natural harmonic foundation, filling the acoustic space without the need for additional instruments.

Decline and Revival

In the early 20th century, many bagpipe traditions declined rapidly due to major social and economic changes, including:

• industrialization
• migration from rural areas to cities
• the rise of new instruments, particularly the accordion, which offered greater harmonic flexibility and adaptability to modern musical styles

Because bagpipe traditions were largely transmitted through oral practice, many instruments disappeared when the last players passed away without students. In some cases, entire repertoires and playing techniques were lost.

From the mid-20th century onwards, however, a renewed interest in traditional music, often referred to as the folk revival, led to the rediscovery and documentation of many instruments.
Ethnomusicologists and musicians recorded the last remaining players, while new generations began to reconstruct, reinterpret and reintroduce bagpipes into contemporary musical life.

A Diverse Family

Today, the Great Highland Bagpipe of Scotland is one of the most internationally recognized forms, often associated with military and ceremonial contexts.
However, it represents only one branch of a much broader and diverse family.

Below is a selection of bagpipes found worldwide:

Each of these instruments differs in tuning system, drone configuration, scale structure, and performance context. Their diversity reflects the varied musical languages and community traditions in which they developed.

Bagpipes are often closely connected to communal celebrations, seasonal rituals, dances, and storytelling traditions. In many regions, musical knowledge has historically been transmitted through listening, imitation, and apprenticeship rather than written notation.

Today, the diverse family of bagpipes remains deeply embedded in regional traditions including Scottish Highland piping music, Irish uilleann music, Iberian gaita repertoires, Italian zampogna traditional music, and Breton fest-noz culture, while related instruments are played in Balkan folk music and North African mizwad traditions, and continue to evolve within contemporary folk revival and experimental contexts.

How Does the Bagpipe Work?

A bagpipe consists of three main components:

• The bag, which stores air and maintains continuous pressure
• The chanter, used to play the melody
• One or more drones, which produce sustained background tones

Air is introduced either by blowing into a mouthpiece or by using a bellows system, depending on the regional type. The bag acts as an air reservoir, allowing the player to maintain a continuous sound without interruption.

The chanter typically has finger holes similar to a flute, while the drones are tuned to fixed pitches that accompany the melody. The interaction between melody and drone is central to the instrument’s distinctive sonic character.

Playing the bagpipe requires coordination between breath or bellows control, steady bag pressure, and finger technique. Different regional instruments demand different approaches in tuning, ornamentation, and repertoire.

How Bagpipes Differ: Key Design Systems

While bagpipes vary widely across regions and traditions, most differences can be understood through a few core design principles.
These elements shape not only how the instrument is built, but also how it sounds and how it is played.

Drone vs No Drone

Many bagpipes include one or more drones, pipes that produce a constant pitch (usually the tonic or dominant), creating a continuous harmonic background.
This gives the instrument its characteristic full and sustained sound.

Other bagpipes, particularly in Mediterranean and Eastern traditions, do not use drones.
Instead, they rely on multiple chanters or tightly integrated melodic systems to create a dense texture without a separate harmonic layer.

Single vs Double Chanter

A single chanter functions similarly to a melodic wind instrument, playing one line supported by drones.
This system is common in many European traditions.

A double chanter involves two pipes played simultaneously.
These can be:

• in unison, reinforcing the same melody (e.g. tsampouna)
• or in parallel, producing simple harmonies or two-part textures (e.g. gudastviri)

This distinction has a strong impact on the musical structure, ranging from melody + accompaniment to integrated polyphony.

Mouth-blown vs Bellows-blown

In mouth-blown bagpipes, the player inflates the bag directly by blowing into a mouthpiece.
This is the most widespread system and is often associated with outdoor, high-volume performance.

In bellows-blown instruments, air is supplied through a mechanical bellows operated by the arm.
This allows for:

• drier air (less moisture affecting the reeds)
• greater stability and control
• the ability to play and sing simultaneously

Bellows systems are often found in more refined or indoor musical contexts, such as the uilleann pipes or musette de cour.

Simple vs Complex Systems

Some bagpipes have a simple structure, with a limited number of notes and no additional mechanisms.
These instruments are often closely tied to specific regional repertoires and dance traditions.

Others are more complex, incorporating:

• keys (to extend the range or add chromatic notes)
• regulators (additional pipes for chordal accompaniment, as in uilleann pipes)
• advanced tuning and mechanical systems

These instruments allow for greater harmonic flexibility and expressive control, often supporting more elaborate musical styles.

Understanding these four design principles provides a practical framework for navigating the wide diversity of bagpipes, helping both listeners and players recognize how structure, sound, and musical function are deeply connected.

Choosing the Best Bagpipe: A Beginner’s Guide

Choosing a bagpipe begins with identifying which type aligns with the musical tradition you are interested in. Because “bagpipe” refers to a family of instruments rather than a single standardized model, this initial decision is essential.

Sound should remain your primary consideration. Listening to recordings of the specific regional instrument you are considering can help clarify whether its tonal character resonates with you.

Other factors to consider include:

• Type of Bagpipe: Decide whether you are interested in the Great Highland Bagpipe, a smallpipe, a gaita, a zampogna, or another regional form. Each has distinct musical functions and learning paths.
• Experience Level: Beginners may benefit from practice chanters or student models before investing in a full professional instrument.
• Materials: Traditional models may use woods such as boxwood, ebony, or local hardwoods, while modern versions may incorporate synthetic materials for durability and stability.
• Accessories: Reeds, spare bags, maintenance kits, and cases are essential for long-term care.
• Budget: Prices vary significantly depending on craftsmanship, materials, and regional type.
• Maintenance: Bagpipes require regular tuning, reed adjustment, and bag maintenance.

The curated selection below reflects these considerations and aims to support both new learners and experienced players in making an informed choice.

The 37 Best Bagpipes

Best Bagpipe for Beginners

In most cases, the first stage of learning the bagpipes is centered around the practice chanter, where players develop fingering technique, learn melodies, and become familiar with traditional embellishments.
The following are some of the most suitable options for beginners:

1) Thomann Practice Chanter

Instrument Profile

Brand	Thomann
Body Material	Rosewood
Reed	Plastic
Use	Practice and learning
Fingering System	Similar to Great Highland Bagpipe
Included Accessories	Thomann plastic reed

Acoustic Characteristics

The Thomann Practice Chanter produces a soft, controlled and relatively quiet sound, specifically designed for practice rather than performance. Its tone is stable and consistent, largely due to the use of a plastic reed, which ensures a predictable response and facilitates learning.

Compared to a full bagpipe, the sound is less powerful and less rich in overtones, focusing instead on clarity and pitch accuracy. This makes it particularly suitable for developing fingering technique and musical precision. The overall response is smooth and manageable, allowing beginners to concentrate on control without the added complexity of air pressure and bag management.

The synthetic reed also contributes to long-term stability, as it is less sensitive to environmental factors such as humidity and temperature, resulting in a more uniform playing experience over time.

2) McCallum PC2 Standard Plastic Practice Chanter

Instrument Profile

Brand	McCallum
Model	PC2 Standard
Body Material	Plastic
Lenght	Standard
Use	Practice and learning
Hole Spacing	Slightly tighter than pipe chanter
Construction	Two-piece
Included Accessories	Practice chanter reed

Acoustic Characteristics

The McCallum PC2 Standard Practice Chanter produces a clear, stable and well-focused sound, designed specifically for consistent practice. Its tone is more defined and slightly more refined compared to entry-level models, while still maintaining a controlled volume suitable for indoor use.

The plastic construction contributes to a uniform and predictable response, making the instrument reliable across different environmental conditions. The slightly tighter hole spacing enhances playability, allowing for more precise fingering and smoother transitions between notes.

Compared to a full bagpipe, the sound remains less powerful and less complex in overtones, but it provides a strong emphasis on clarity, articulation and intonation, which are essential for developing technique. The included practice reed ensures stability and ease of use, supporting a consistent playing experience over time.

3) R.G. Hardie Basic Standard Plastic Practice Chanter with Twist-Trap Top

Instrument Profile

Brand	R. G. Hardie
Model	Basic Standard with Twist-Trap Top
Body Material	Plastic
Lenght	Standard
Use	Practice and learning
Hole Type	Countersunk holes
Top System	Twist-Trap moisture control
Construction	Two-piece with removable top section
Included Accessories	Practice chanter reed

Acoustic Characteristics

The R. G. Hardie Basic Practice Chanter produces a clear, stable and controlled sound, suitable for beginner-level practice. Its tone is straightforward and functional, with a focus on consistency rather than tonal complexity.

The plastic construction ensures a reliable and uniform response, while the included practice reed provides an easy and predictable airflow, supporting early-stage learning. The sound remains relatively moderate in volume, making it appropriate for indoor use.

A key functional aspect is the Twist-Trap top, which helps manage moisture buildup during playing. By reducing excess condensation around the reed, it contributes to maintaining a more stable sound over longer practice sessions, particularly in situations where moisture would otherwise affect responsiveness.

The tonal character remains effective for developing basic technique, fingering accuracy and control.

4) Thomann Hümmelchen in C

Instrument Profile

Type	Hümmelchen (small German bagpipe)
Brand	Thomann
Key	C major / D minor (soprano)
Fingering	German recorder fingering
Drone	1 drone, tunable to C or D
Pipes Material	Cherry wood
Bag Material	Cowhide leather
Air Pressure	Low
Volume	Low
Included Accessories	Chanter reed and drone reed
Case	Not included

Acoustic Characteristics

The Thomann Hümmelchen in C produces a soft, warm and relatively quiet sound, making it particularly suitable for indoor playing and beginner use. Unlike larger bagpipes, its tone is more intimate and controlled, with a gentle and stable airflow requirement.

The chanter delivers a clear and focused melodic line, supported by a single drone that adds a subtle harmonic foundation. The use of cherry wood contributes to a rounded and natural tone, while the overall sound remains light and accessible.

Compared to louder bagpipes, the Hümmelchen emphasizes musicality, control and ease of playing rather than volume and projection. Its lower pressure requirement allows for a smoother playing experience, especially for those new to bagpipes.

Best Professional Bagpipe

Scottish Bagpipes

While the Great Highland Bagpipe is the most internationally recognized Scottish instrument, it represents only one part of a broader tradition.
Scotland also developed other types of bagpipes, including the Scottish Smallpipes, Border Pipes, and Northumbrian Smallpipes (shared with northern England), each associated with different musical contexts and performance settings.

Historically, bagpipes in Scotland were used in both civilian and courtly environments, as well as later in military contexts, which contributed to the global visibility of the Highland pipes.
Together, these instruments reflect a more diverse and nuanced Scottish piping tradition than is often assumed.

5) McCallum AB2

Instrument Profile

Type	Great Highland Bagpipe
Brand	McCallum
Model	AB2
Wood	African Blackwood
Mounts	Imitation Ivory projecting mounts
Ferrules & Slides	Nickel, plain beaded
Finish	Fully combed and beaded
Bag	Synthetic Zip Bag (size selectable)
Chanter	Manufacturer’s standard plastic
Drone Reeds	Standard drone reed
Moisture Control	Bottle and tube system
Cover	Navy cord cover with navy fringe
Cords	Navy cords
Optional Version	AB2 Deluxe (with recessed alloy plates)
Production	Made to order (approx. 8–10 weeks)

Acoustic Characteristics

The McCallum AB2 produces a powerful, rich and highly resonant sound, characteristic of professional Great Highland Bagpipes. The African Blackwood construction contributes to a deep, focused tonal core, with strong projection and a well-defined harmonic presence.

The drones deliver a full and stable low-frequency foundation, while the chanter provides a bright and penetrating melodic line, allowing the instrument to cut through ensemble settings and outdoor environments. The overall balance between drones and chanter is designed for clarity, stability and tonal cohesion.

Compared to practice instruments or small bagpipes, the AB2 offers significantly greater volume, complexity and dynamic presence, requiring precise control of pressure and airflow. The sound is not subtle or intimate, but rather expansive and commanding, suited for performance contexts such as pipe bands and ceremonial settings.

6) R.G. Hardie Store

R.G. Hardie Store is a specialized online shop dedicated to the production and distribution of Great Highland Bagpipes and accessories, featuring instruments from both R.G. Hardie and Peter Henderson, two historically significant names in Scottish bagpipe making.

These brands represent a long-standing tradition of craftsmanship rooted in Scotland’s piping heritage, with instruments designed for a wide range of players, from beginners to professional pipers and pipe bands. The catalog includes complete bagpipe sets, practice chanters, reeds, and maintenance accessories, reflecting a comprehensive approach to the needs of pipers at different stages of development.

R.G. Hardie bagpipes are generally known for their reliability, consistency and accessibility, making them a common choice for students and developing players. In contrast, Peter Henderson instruments, now produced under the same company, are often positioned towards a more heritage-oriented and refined aesthetic, drawing on historical designs associated with traditional Scottish craftsmanship.

The store emphasizes made-to-order instruments, allowing for a degree of customization in materials, finishes, and configurations. This approach reflects the nature of bagpipe making, where setup, component selection and player preference play a central role in the final instrument.

Overall, R.G. Hardie Store serves as a reference point for Scottish bagpipes, combining contemporary manufacturing standards with historical continuity, and supporting both the technical and cultural dimensions of piping.

Irish Bagpipes

The uilleann pipes are the main form of bagpipe associated with Ireland today, and represent a highly developed and distinctive musical tradition.
They emerged through a process of evolution from earlier instruments such as the pastoral pipes and the so-called union pipes, rather than alongside multiple coexisting regional types.

Unlike many other European bagpipes, Irish piping developed primarily in indoor and social settings, shaping a style focused on expressive control, ornamentation and dynamic nuance.
This makes the Irish tradition less centered on volume and projection, and more on subtlety and musical detail.

7) Uilleann Bagpipes – Irish Bagpipes, Full Set

Instrument Profile

Type	Uilleann Bagpipes (Full Set)
Key	D (Concert Pitch A=440 Hz)
Maker	Hakam Din
Wood	African Blackwood
Chanter Range	Low D to High D + keyed notes (C, F, G#)
Chanter Keys	3 Nickel keys
Drones	Tenor (unison), Baritone (1 octave below), Bass (2 octaves below)
Regulators	Tenor, Baritone, Bass with nickel keys
Regulator Notes	Bass: C, B, A, G Baritone: A, G, F#, D Tenor: C, B, A, G, F#
Chanter Reed	Spanish cane (included)
Regulator Reeds	Included (one per regulator)
Drone Reeds	Not included (compatible EzeeDrone recommended)
Bellows	Airtight, synthetic leather
Bag	Synthetic leather, airtight
Cover	Black velvet
Accessories	Fingering chart booklet, carrying case
Setup	Fully tested and reeded before shipping

Acoustic Characteristics

The Uilleann Bagpipes Full Set in D produces a rich, warm and highly expressive sound, distinctly different from the more powerful and penetrating tone of Highland bagpipes. Its tonal character is softer and more intimate, with a strong emphasis on melodic nuance and dynamic control.

The chanter delivers a fluid and lyrical voice, capable of both legato phrasing and articulated ornamentation, while the keyed system extends its expressive range beyond the standard diatonic scale. The drones provide a deep and stable harmonic foundation, tuned to reinforce the tonal center without overpowering the melody.

A defining feature of the full set is the presence of regulators, which add rhythmic chords and harmonic accompaniment. This creates a polyphonic texture, allowing the player to combine melody, rhythm, and harmony simultaneously.

Compared to other bagpipes, the Uilleann pipes offer greater dynamic flexibility and tonal subtlety, with a sound that is less focused on volume and more on expression, balance and musical complexity.

8) Uilleann Bagpipes – Irish Bagpipes, Practice Set

Instrument Profile

Type	Uilleann Bagpipes (Practice Set)
Key	D (Concert Pitch A=440 Hz)
Maker	Hakam Din
Wood	African Blackwood
Finish	Natural Polished
Chanter Range	Two octaves (Low D to High D)
Chanter Keys	3 Nickel keys (C natural, G#, F natural)
Mounts	Stainless steel / nickel
Drones	Not included
Reed	Cane chanter reed (included)
Regulator Notes	Bass: C, B, A, G Baritone: A, G, F#, D Tenor: C, B, A, G, F#
Regulators	Not included
Bellows	Dual leather, padded
Bag	Synthetic pipe bag
Cover	Velvet bag cover with gold fringe
Accessories	Fingering booklet, carrying case, installation support
Setup	Professionally tested and set up

Acoustic Characteristics

The Uilleann Practice Set in D produces a warm, controlled and highly expressive sound, closely related to the full Uilleann pipes but more focused on the melodic function of the instrument.

The chanter offers a clear and fluid tonal response, with the ability to cover two octaves and additional chromatic notes through its keyed system. The African Blackwood construction contributes to a rounded and stable tone, while the bellows-driven airflow allows for precise control over articulation and dynamics.

Unlike the full set, the absence of drones and regulators results in a more direct and exposed sound, centered entirely on melody. This makes the instrument particularly suitable for developing intonation, phrasing and ornamentation, without the added complexity of harmonic accompaniment.

Overall, the sound remains intimate and nuanced, prioritizing musical expression over volume or projection.

Best Regional Bagpipes

9) Askomandoura

Cultural Context

The askomandoura is a traditional wind instrument from Crete (Greece), combining elements of a bagpipe and a double-reed pipe.
Its name derives from the Greek words asko (leather bag) and mandoura (reed pipe), reflecting its structure.
Considered one of the oldest instruments in Cretan musical tradition, it has been historically associated with rural life, pastoral contexts and local celebrations, where music is closely tied to dance and community.

Acoustic Characteristics

The askomandoura produces a raw, penetrating and continuous sound, shaped by its double-reed system and air reservoir (leather bag).
Its tone is strong, slightly nasal and highly expressive, with a constant airflow that allows for uninterrupted melodic playing.
Compared to more complex bagpipes, it offers a more direct and rustic sound, emphasizing drone-like continuity and rhythmic phrasing rather than harmonic complexity.

10) Binioù

Cultural Context

The binioù is a traditional bagpipe from Brittany (France), closely associated with Breton folk music and dance.
It is traditionally played in a duo with the bombarde, forming a central element of Breton musical practice, where the binioù maintains rhythm and supports dancers.
Deeply rooted in community celebrations and festoù-noz (traditional dance gatherings), the instrument remains a key part of Breton cultural identity.

Acoustic Characteristics

The binioù produces a very high-pitched, bright and penetrating sound, designed for outdoor performance and dance settings.
Its tone is powerful and continuous, with strong drones and a sharp melodic line that complements the louder bombarde.
Compared to other bagpipes, it is notably higher in pitch and more intense, emphasizing rhythmic drive and projection rather than subtle dynamic variation.

Maker – Hervieux & Botuha (Tudual Workshop)

The Tudual Hervieux & Botuha workshop is one of the most recognized makers of Breton instruments, specializing in binioù and bombarde.
Their instruments reflect a balance between historical tradition and contemporary craftsmanship, with a strong focus on acoustic balance, stability and projection, essential for ensemble playing.
Particular attention is given to bag construction, ergonomics and fine detailing, including custom fittings and inlays, allowing for instruments tailored to different players while maintaining a clear connection to Breton musical heritage.

11) Bock

Cultural Context

The Bock is a traditional bagpipe from Central Europe, particularly associated with Bohemia (Czech Republic) and neighbouring regions of Austria and Germany.
Historically linked to rural and folk traditions, it has been used in dance music, local celebrations and community gatherings.
Its distinctive goat-head design reflects both its name (Bock, meaning “he-goat”) and its strong connection to pastoral culture and regional identity.

Acoustic Characteristics

The Bock produces a deep, rich and slightly reedy sound, shaped by its single-reed system and cylindrical bore.
The melody pipe offers a focused and stable tonal range, while the drone, tuned two octaves below, provides a strong and grounding bass foundation.
Compared to other European bagpipes, the Bock emphasizes a darker and more grounded sound, with less brightness but greater depth and resonance, suited to traditional folk ensembles.

Maker – Pavel Číp

Pavel Číp is a Czech luthier specializing in traditional Central European bagpipes, including the Bock.
His instruments are built with close attention to historical models and regional construction methods, using materials such as maple and pear wood.
The focus of his work lies in preserving the authentic sound and structure of Bohemian bagpipes, maintaining a strong connection between craftsmanship and local musical traditions.

Maker – T. Sonoda

T. Sonoda is a maker known for producing Central European-style bagpipes, including Bock models, with a focus on both traditional design and modern precision.
His instruments reflect careful attention to acoustic balance, playability and finishing, making them suitable for both historical performance and contemporary use.
This approach bridges traditional craftsmanship and modern expectations, while respecting the instrument’s cultural origins.

12) Boudègue

Cultural Context

The boudègue (also known as craba) is a traditional bagpipe from Occitania, in southern France, particularly in regions such as Haute-Garonne, Aude, Tarn, and Hérault.
It is one of the largest and most archaic forms of European bagpipes, historically associated with rural life, street festivals and carnival traditions.
Often used in public celebrations and processions, the instrument was closely linked to performative and visual elements, with musicians decorating it and engaging in theatrical presentation.
Today, the boudègue represents an important part of Occitan musical heritage, connected to both historical practice and revival movements.

Acoustic Characteristics

The boudègue produces a deep, powerful and resonant sound, with a strong emphasis on low frequencies.
Its large goatskin bag and single shoulder drone create a dense and continuous tonal foundation, while the melodic pipe delivers a raw and direct sound.
Compared to other bagpipes, it is characterized by a heavier, darker and more immersive tone, often described as closer to early or medieval sound aesthetics, prioritizing volume, depth and sonic presence over refinement.

Maker – Robert Matta

Robert Matta is a maker specializing in Occitan bagpipes, including the boudègue, with a strong focus on historical reconstruction and traditional craftsmanship.
His instruments reflect careful attention to materials, proportions and construction techniques, particularly the use of full goatskin bags, which are central to the identity and sound of the instrument.
Matta’s work contributes to the preservation and transmission of Occitan musical traditions, maintaining a close link between instrument making, regional culture, and historical continuity.

13) Boha

Cultural Context

The boha is a traditional bagpipe from Gascony (southwest France), particularly in the Landes region.
It is part of a distinctive regional musical culture, historically linked to rural life, local rituals and community gatherings.
Unlike more standardized bagpipes, the boha developed within a continuous process of adaptation, maintaining its relevance through both tradition and innovation.
Today, it remains a symbol of Gascon cultural identity, while also being played beyond its original geographic area.

Acoustic Characteristics

The boha produces a raw, buzzing and rhythmically distinctive sound, shaped by its double chanter and integrated drone system.
Its tone is nasal, continuous and highly textured, with a strong emphasis on rhythmic patterns and sonic density rather than melodic clarity alone.
Compared to other bagpipes, it offers a more compact and percussive sound, where melody and drone are closely intertwined, creating a dense and hypnotic sonic effect.

Maker – Yan Cozian

Yan Cozian is a maker specializing in the boha and other traditional French bagpipes, with a focus on both historical continuity and contemporary development.
His instruments reflect ongoing research into construction techniques, acoustics and materials, contributing to the evolution of the instrument while preserving its regional identity.
Cozian’s work positions the boha not only as a historical instrument, but as a living tradition, adaptable to modern musical contexts.

14) Cabrette

Cultural Context

The cabrette is a bagpipe that originated in Auvergne (France) in the 19th century, later spreading to regions such as Haute-Auvergne and Aubrac.
It became closely associated with dance music and popular traditions, particularly through its use in bal musette ensembles, where it played a central role in urban musical life, especially in Paris.
The instrument reflects a transition from rural to urban contexts, becoming a key element of Auvergnat identity and migrant culture, while remaining rooted in traditional dance practices.

Acoustic Characteristics

The cabrette produces a bright, clear and highly articulated sound, well suited to fast dance music.
Its tone is focused and penetrating, with a continuous airflow that supports precise ornamentation and rhythmic phring.
Compared to other bagpipes, it offers a more agile and melodic character, emphasizing clarity, speed and expressive articulation rather than depth or volume.

Maker – Nicolas Rouzier

Nicolas Rouzier is a maker specializing in French traditional bagpipes, including the cabrette, with a focus on both historical accuracy and modern playability.
His instruments reflect careful attention to materials, acoustics and ergonomics, supporting the technical demands of cabrette playing, particularly in dance and ensemble contexts.
Rouzier’s work contributes to the preservation and evolution of Auvergnat musical traditions, maintaining a balance between craftsmanship and contemporary performance needs.

15) Chabrette

Cultural Context

The chabrette is a traditional bagpipe from central France, particularly in regions such as Haute-Vienne, Corrèze, Dordogne, and Quercy.
It belongs to the family of Central French bagpipes, historically used in dance music and rural festivities, accompanying forms such as bourrées, waltzes, and other regional dances.
Over time, it was gradually replaced in many contexts by the cabrette, especially with the rise of urban musical traditions.
The chabrette is also notable for its decorative and symbolic elements, reflecting a strong connection between instrument making, visual aesthetics, and cultural meaning.

Acoustic Characteristics

The chabrette produces a rich, resonant and slightly reedy sound, combining melodic clarity with a stable drone foundation.
Its tonal character is shaped by a double-reed chanter (hautbois-like) and a complex drone system, resulting in a sound that is both full and textured.
Compared to other bagpipes, it offers a balance between melodic expressiveness and harmonic support, with a tone that is less aggressive than high-pitched bagpipes but more articulated than deeper, drone-heavy instruments.

Maker – Robert Matta

Robert Matta is a maker specializing in Occitan and Central French bagpipes, including the chabrette, with a strong focus on historical reconstruction and traditional craftsmanship.
His instruments reflect careful attention to organology, decorative elements and symbolic design, preserving features such as mirrored inlays and traditional structural forms.
Matta’s work contributes to the continuity of regional musical heritage, maintaining both the acoustic identity and visual language of historical instruments.

16) Cimpoi

Cultural Context

The cimpoi is a traditional bagpipe from Romania, historically associated with rural life, pastoral culture, and folk traditions.
It has been used in dance music, local celebrations, and ceremonial contexts, often accompanying singing and regional dances.
Compared to other Balkan bagpipes, the cimpoi developed within a more localized and less standardized tradition, reflecting the diversity of Romanian folk music.
Today, it remains an important symbol of Romanian cultural heritage, particularly within traditional and revival contexts.

Acoustic Characteristics

The cimpoi produces a soft, warm and slightly buzzing sound, less strident than many other Balkan bagpipes.
Its tonal character is shaped by a single drone (bâzoi) and a straight-reeded chanter, creating a sound that is continuous but more mellow and restrained.
Compared to louder and more penetrating bagpipes, it emphasizes a gentler, more intimate tone, with a balance between melody and drone that supports fluid phrasing and traditional dance rhythms.

17) Dūdas

Cultural Context

The dūdas is a traditional bagpipe from Lithuania, with documented references dating back to the 16th century.
Historically, it was associated with rural life, festivities and itinerant musicians, often appearing in weddings, markets and communal celebrations.
The instrument was also linked to wandering performers and entertainers, including musicians accompanying dancing bears, reflecting a broader social and performative role.
Over time, political and religious restrictions, particularly during imperial periods, contributed to its decline. Today, the dūdas is part of Baltic cultural heritage, preserved through revival and historical interest.

Acoustic Characteristics

The dūdas produces a raw, buzzing, and resonant sound, shaped by its reed-based system and traditional construction materials.
Its tonal character combines a strong, continuous drone foundation with a direct and slightly nasal melodic line, often enhanced by horn bells acting as resonators.
Depending on the number of drones (one to three), the sound can range from simple and focused to more layered and harmonically rich.
Compared to other European bagpipes, it offers a rustic and expressive tone, with a balance between melodic clarity and drone-driven texture, suited to outdoor and communal performance settings.

At this link you can find makers who are building Dūdas instruments.

18) Gaida

Cultural Context

The gaida is one of the most characteristic traditional instruments of Bulgaria, deeply rooted in folk music, rituals and social life.
It is particularly associated with regional traditions such as the Rhodope Mountains, where specific types like the kaba gaida developed distinct identities.
The instrument plays a central role in weddings, dances and communal celebrations, to the point that it is often considered essential in traditional ceremonies.
Today, the gaida remains a living tradition, performed both in local contexts and professional folk ensembles, representing a key element of Bulgarian cultural heritage.

Acoustic Characteristics

The gaida produces a rich, expressive and highly resonant sound, combining a strong melodic presence with a continuous drone.
In the case of the kaba gaida, the tone is deep, warm and slightly melancholic, with a slower and more expansive character compared to higher-pitched bagpipes.
The chanter (gaidanitsa) allows for a wide melodic range, including chromatic possibilities, while maintaining a fluid and ornamented style.
Overall, the sound is powerful yet nuanced, balancing drone stability and melodic expressiveness, making it particularly suited to both solo performance and ensemble contexts.

Maker – Zdravko Beshendjiev

Zdravko Beshendjiev is a Bulgarian instrument maker specializing in traditional folk instruments, including the gaida, since 1993.
Born in the Rhodope Mountains, he is closely connected to the cultural context in which the instrument developed, and his work reflects this regional knowledge.
His instruments are crafted using traditional materials such as plum wood and goat skin, with a focus on acoustic quality, durability and playability.
Beshendjiev’s gaidas are used by professional musicians internationally, representing a continuation of Bulgarian craftsmanship within both traditional and contemporary performance contexts.

19) Gaita Pequeña

Cultural Context

The gaita pequeña is a modern adaptation of the traditional gaita galega, the bagpipe of Galicia (Spain) and the wider Iberian Peninsula.
While the gaita itself is deeply rooted in regional identity, dance music and outdoor performance, the gaita pequeña was developed as a practice-oriented instrument, allowing players to study and perform in more intimate settings.
It maintains the same fingering system and musical approach as the traditional gaita, making it a practical tool for learners and experienced players alike.
Rather than replacing the traditional instrument, it represents a functional extension, bridging formal practice and performance.

Acoustic Characteristics

The gaita pequeña produces a soft, controlled and more intimate sound compared to the traditional gaita galega.
Its cylindrical-bore chanter results in a smoother and less piercing tone, with a more limited range, typically around one octave.
The overall sound is milder and quieter, designed for indoor use, while still retaining the characteristic continuous airflow and melodic phrasing of Iberian bagpipes.
Compared to the full gaita, it emphasizes control, stability and clarity rather than volume and projection, making it particularly suited for practice and small ensemble settings.

20) Gudastviri

Cultural Context

The gudastviri is a traditional wind instrument from Georgia, particularly widespread in regions such as Racha, Kartli, and Pshavi.
Although structurally similar to a bagpipe, it differs significantly in function and musical role. Rather than supporting dance, it is primarily used to accompany recitative singing, where text and storytelling take precedence over melody.
Historically, gudastviri players were often itinerant musicians, performing at weddings, gatherings and social events, and participating in improvisational traditions such as Berikaoba, where poetic skill and wit were central.
The instrument remains an important element of Georgian musical heritage, reflecting a tradition where music, poetry, and performance are closely interconnected.

Acoustic Characteristics

The gudastviri produces a raw, nasal and continuously sustained sound, shaped by its double-pipe system without a true drone.
Unlike most European bagpipes, it generates two-part textures through simultaneous playing of two melody pipes, rather than separating melody and drone.
The resulting sound is dense and harmonically compact, with a strong emphasis on intervals and chordal movement, rather than melodic expansion.
Its tone is direct and expressive, supporting speech-like phrasing and recitative delivery, making it particularly suited to narrative and vocal accompaniment.

21) Habban

Cultural Context

The habban is a type of bagpipe used in the coastal regions of the Persian Gulf, particularly in Bahrain and Kuwait.
It is part of a broader family of instruments within Arab musical traditions, where it has been historically associated with festive events, dance and maritime culture.
Its presence in coastal areas suggests connections with trade routes and cultural exchange, linking local traditions with wider musical influences across the Indian Ocean and Middle East.
Today, the habban remains an element of regional cultural heritage, reflecting a blend of tradition, craftsmanship and performance practice.

Acoustic Characteristics

The habban produces a continuous, warm and slightly reedy sound, shaped by its goatskin air reservoir and reed-based pipe system.
Its tone is generally softer and less aggressive than many European bagpipes, with a more fluid and sustained character suited to melodic playing and accompaniment.
Depending on the reed used (often related to ney-type reeds), the sound can vary in timbre and responsiveness, allowing a degree of personalization.
Overall, it emphasizes continuity, tonal warmth and expressive phrasing, rather than volume or strong drone dominance.

22) Hümmelchen

Cultural Context

The Hümmelchen is a small bagpipe from Germany and Central Europe, with documented references dating back to the early 17th century, notably in Michael Praetorius’ Syntagma musicum.
Unlike many bagpipes associated with outdoor and dance contexts, the Hümmelchen developed within a more refined and intimate musical environment, often used for indoor performance and vocal accompaniment.
Its name, meaning “little bumblebee”, reflects both its size and character. Historically, it was part of a broader Renaissance musical culture, where instruments were adapted for chamber settings and mixed ensembles.
Today, it is mainly found in historical performance and early music revival contexts, preserving a link to Renaissance sound aesthetics.

Acoustic Characteristics

The Hümmelchen produces a soft, delicate and well-balanced sound, designed for indoor use and close listening.
Its cylindrical-bore chanter combined with a double reed results in a smooth and stable tone, less piercing than most bagpipes.
The presence of one or two drones creates a gentle harmonic support, without overwhelming the melody.
Overall, the sound is controlled, refined and intimate, prioritizing blend, stability and vocal accompaniment rather than volume or projection.

Maker – Zdeněk Seidl

Zdeněk Seidl is a maker specializing in historical and traditional Central European bagpipes, including the Hümmelchen.
His instruments are based on historical research and reconstruction, drawing from sources such as Praetorius while incorporating modern materials and techniques where appropriate.
Seidl works with a variety of woods, including maple, cherry, pear and boxwood, focusing on acoustic balance, playability and craftsmanship.
His Hümmelchen models reflect a balance between historical authenticity and practical functionality, and are used in both early music performance and contemporary interpretation.

23) Launeddas

Cultural Context

The launeddas are a traditional wind instrument from Sardinia (Italy), with origins that likely date back to ancient Mediterranean cultures.
They are deeply embedded in ritual, religious and dance traditions, particularly in processions, festivals, and community ceremonies.
Unlike many other wind instruments, the launeddas are associated with a continuous musical practice, where players sustain long performances using circular breathing.
Often considered an ancestor or parallel development to bagpipes, they represent a distinct musical system rooted in oral tradition and highly specialized technique.

Acoustic Characteristics

The launeddas produce a continuous, bright and rhythmically complex sound, generated through a system of three pipes: a drone (tumbu) and two melodic pipes (mancosa manna and mancosedda).
This structure allows for simultaneous melody and accompaniment, creating a form of polyphony without the use of a bag.
The use of circular breathing results in an uninterrupted sound flow, with intricate rhythmic patterns and ornamentation.
Compared to bagpipes, the sound is more direct and articulated, with a strong emphasis on rhythmic continuity and layered melodic interaction.

Maker – Vinicio Sanna

Vinicio Sanna is a Sardinian maker and musician specializing in launeddas, deeply connected to the living tradition of the instrument.
His work reflects a combination of craftsmanship and performance knowledge, with particular attention to the selection and preparation of reeds, which are central to the instrument’s sound.
Sanna’s instruments are built according to traditional methods, while also supporting contemporary players in maintaining and evolving this highly specialized musical practice.
His activity contributes to the preservation and transmission of Sardinian musical heritage, where making and playing the instrument are closely intertwined.

24) Mizwad

Cultural Context

The mizwad is a traditional bagpipe from Tunisia, generally believed to have emerged in the early 20th century.
Initially associated with working-class urban communities, particularly in suburban areas, it was long considered a marginal or popular instrument, before gaining wider recognition.
Over time, the mizwad has evolved and is now integrated into various musical genres, including traditional dance music as well as contemporary styles such as hip-hop and jazz.
This trajectory reflects a shift from local, socially rooted practice to broader cultural visibility, while maintaining strong ties to Tunisian identity.

Acoustic Characteristics

The mizwad produces a loud, raw, and highly energetic sound, characterized by a strong nasal and reedy timbre.
Its tonal identity is shaped by double pipes connected to a goatskin bag, often using natural materials such as reed and horn, which contribute to its distinctive and expressive quality.
The sound is typically dense and rhythmically driven, with a powerful projection suited to dance and outdoor performance.
Compared to more refined bagpipes, the mizwad emphasizes intensity, immediacy and rhythmic vitality, rather than tonal smoothness or harmonic complexity.

Maker – Khaled ben Khemis

Khaled ben Khemis is a Tunisian craftsman who has been building mizwads for over 30 years, working primarily with natural materials such as goatskin, river reed, and cow horn.
His approach reflects a strong commitment to traditional construction methods, emphasizing that instruments made with synthetic materials lack the acoustic character and expressive quality of traditional models.
Ben Khemis represents a generation of makers who bridge craftsmanship and cultural continuity, maintaining the identity of the mizwad while acknowledging its evolution within contemporary musical contexts.

25) Müsa

Cultural Context

The müsa is a traditional bagpipe from northern Italy, historically associated with the “Four Provinces” area (Alessandria, Genoa, Pavia, Piacenza).
It was traditionally played alongside the piffero (a type of folk oboe), forming a central duo in festivals, dances and community celebrations.
The instrument disappeared in the mid-20th century, with the death of its last known player, and no direct recordings of its original sound have survived.
Today, the müsa exists through reconstruction and revival efforts, based on historical instruments, research, and the living tradition of the piffero repertoire.

Acoustic Characteristics

The müsa produces a bright, direct and rhythmically supportive sound, designed to accompany the more prominent voice of the piffero.
Its tonal structure is relatively simple, with a single drone and a chanter typically in C, allowing for clear melodic lines within a limited range.
Compared to more complex bagpipes, it emphasizes clarity and functional accompaniment, rather than harmonic richness or extended dynamics.
In reconstructed models, the sound is adapted to modern contexts, offering improved intonation and compatibility with instruments such as accordion and melodeon.

Maker – Andrea Capezzuoli

Andrea Capezzuoli is an Italian maker and musician whose work spans both historical reconstruction and contemporary reinterpretation of traditional instruments.
In the case of instruments such as the müsa, his approach is based on organological research and reconstruction, aiming to recover lost musical practices from historical sources.
With the piva, however, his focus shifts toward a more practical and contemporary perspective, designing instruments that can integrate with modern ensembles and tuning systems.
This dual approach reflects a broader vision in which instrument making operates on two levels: preserving historical knowledge while also adapting it to present-day musical needs.

26) Musette de Cour

Cultural Context

The musette de cour is a French bagpipe developed in the 17th and 18th centuries, closely associated with the royal courts and aristocracy, particularly during the Baroque period.
Unlike most bagpipes rooted in rural traditions, it became a courtly instrument, used in chamber music, salons and refined musical settings.
It was integrated into art music repertoire, with compositions written specifically for it by composers of the time, reflecting its status within elite cultural circles.
The musette de cour represents a unique transformation of the bagpipe, from a folk instrument to a symbol of elegance and sophistication within European musical history.

Acoustic Characteristics

The musette de cour produces a soft, refined and highly controlled sound, designed for indoor performance and ensemble playing.
Its tone is smooth and stable, with a continuous airflow supported by a system of multiple drones housed in a common stock, allowing for subtle harmonic support.
Compared to traditional bagpipes, it emphasizes balance, precision and tonal elegance, rather than volume or raw power.
The overall sound is delicate and ornamented, suited to the expressive and structured language of Baroque music.

27) Ney Anban

Cultural Context

The ney anban is a traditional bagpipe from southern Iran, particularly associated with the Persian Gulf region.
It is closely linked to folk music, dance and festive occasions, especially in coastal communities where musical traditions reflect cultural exchange across the Gulf.
The instrument represents a fusion between local Persian traditions and broader regional influences, sharing similarities with instruments such as the habban.
Today, the ney anban remains part of regional musical identity, used in both traditional celebrations and contemporary interpretations.

Acoustic Characteristics

The ney anban produces a bright, buzzing and rhythmically driven sound, characterized by a strong reedy timbre and continuous airflow.
Its tone is generally lively and energetic, with a slightly nasal quality that enhances its presence in ensemble and dance contexts.
Compared to softer bagpipes, it emphasizes projection and rhythmic intensity, while maintaining a degree of melodic flexibility.
The overall sound is vibrant and direct, suited to outdoor performance and communal settings.

28) Parkapzuk

Cultural Context

The parkapzuk is a traditional bagpipe from Armenia, with origins that may date back as far as 1300 BCE, making it one of the oldest known bagpipe traditions.
It has historically been associated with folk music, rural life and communal celebrations, reflecting the deep continuity of musical practices in the Caucasus region.
The instrument forms part of a broader cultural landscape where music is closely tied to oral tradition, ritual and identity.
Today, the parkapzuk survives through revival efforts and craftsmanship, preserving a link between ancient practices and contemporary cultural expression.

Acoustic Characteristics

The parkapzuk produces a continuous, bright and slightly nasal sound, shaped by its air reservoir and reed-based pipe system.
Its tonal character is direct and expressive, with a strong emphasis on melodic articulation supported by sustained airflow.
Compared to other bagpipes, it offers a balanced sound, neither extremely powerful nor overly soft, making it suitable for both solo playing and ensemble contexts.
The overall sound reflects a combination of clarity, continuity and traditional timbral character, rooted in ancient performance practices.

29) Piva

Cultural Context

The piva, in this context, is a modern reinterpretation rooted in the tradition of the Emilian piva, a historical bagpipe from northern Italy.
While maintaining this foundational reference, the instrument is not conceived as a strict reconstruction, but as a contemporary development designed for present-day musical contexts.
It draws from the broader family of European bagpipes — including the baghèt, gaita, musette, and Highland pipes — while remaining conceptually anchored in the Emilian tradition.
Rather than preserving a fixed historical model, this approach reflects a living and adaptive practice, where the instrument evolves to interact with modern ensembles and performance settings.

Acoustic Characteristics

The modern piva produces a clear, balanced and adaptable sound, designed to integrate with contemporary instruments such as accordion, guitar, and other ensemble contexts.
Compared to the traditional Emilian piva, its tuning is more stable and aligned with modern intonation standards, allowing for greater compatibility in mixed ensembles.
The sound retains a recognizable bagpipe character, but is less tied to a specific historical tuning system, emphasizing clarity, control and blend.
Overall, it represents a shift from a strictly regional sound toward a more versatile and musically integrated voice.

Maker – Andrea Capezzuoli

Andrea Capezzuoli is an Italian maker and musician whose work spans both historical reconstruction and contemporary reinterpretation of traditional instruments.
In the case of instruments such as the müsa, his approach is based on organological research and reconstruction, aiming to recover lost musical practices from historical sources.
With the piva, however, his focus shifts toward a more practical and contemporary perspective, designing instruments that can integrate with modern ensembles and tuning systems.
This dual approach reflects a broader vision in which instrument making operates on two levels: preserving historical knowledge while also adapting it to present-day musical needs.

30) Sac de Gemecs

Cultural Context

The sac de gemecs is a traditional bagpipe from Catalonia (Spain), historically associated with folk music, dance and community celebrations.
It played a central role in ensembles accompanying traditional dances and festivities, often alongside other regional instruments.
After a period of decline, the instrument has been revived through cultural preservation movements, and today it is once again part of Catalan musical identity, both in traditional and contemporary contexts.
Its presence reflects a broader effort to recover and sustain regional heritage within modern performance practice.

Acoustic Characteristics

The sac de gemecs produces a bright, powerful and well-balanced sound, combining a strong melodic line with a rich drone foundation.
Its tonal character is clear and projecting, suited to outdoor performance, while maintaining a degree of balance and blend within ensemble settings.
Compared to other Iberian bagpipes, it offers a stable and centered tone, with an emphasis on clarity, rhythmic support and timbral cohesion.
The overall sound is full and structured, supporting both melodic articulation and harmonic continuity.

Maker – Jordi Aixalà i Basora

Jordi Aixalà i Basora is a Catalan luthier and musician from Reus, active in the field of traditional instruments since the 1980s.
His work combines craftsmanship and performance practice, with a focus on instruments such as the gralla and sac de gemecs.

He builds instruments based on historical models from Catalonia and other Iberian regions, combining faithful reconstruction with practical adaptations for contemporary use.
Alongside his work as a maker, he is also active in teaching and promoting traditional music within local communities.

Maker – Sans Luthier

The Sans Luthier Sac Basic represents a modern, accessible interpretation of the sac de gemecs, designed with a focus on practical use and reliability.
Built with materials such as bubinga wood and contemporary components, it prioritizes stability, ease of maintenance, and ergonomic balance.

This type of instrument is aimed at players looking for a functional and consistent setup, suitable for both learning and ensemble playing, rather than strict historical reconstruction.
It reflects a broader approach in which traditional instruments are adapted to modern production standards and usability.

Maker – Seivane

The Seivane sac de gemecs is a professional-level instrument developed within a workshop known for its expertise in Galician bagpipes and Iberian traditions.
Built from boxwood, it reflects a balance between traditional design and refined craftsmanship, with particular attention to acoustic projection and stage performance (“scenario format”).

Compared to more entry-level models, this instrument emphasizes precision, tonal clarity and build quality, making it suitable for advanced players and professional contexts.
It represents an approach where tradition is preserved while being adapted to modern performance environments.

31) Säckpipa

Cultural Context

The säckpipa is a traditional bagpipe from Sweden, historically associated with rural folk traditions and local music practices.
After a period of decline, it has been revived through research and reconstruction, becoming part of the broader Scandinavian folk revival movement.
Unlike more widespread European bagpipes, the säckpipa remained relatively localized, contributing to its distinctive musical identity.
Today, it is used in both traditional and contemporary folk contexts, often within small ensembles or solo performance.

Acoustic Characteristics

The säckpipa produces a soft, mild and well-blended sound, characterized by a strong sense of balance between chanter and drone.
A defining feature of the instrument is the structural similarity between chanter and drone, which share comparable bore and reed design.
This results in a sound where both elements merge closely, creating a homogeneous and harmonious texture, often described as resembling a duet of closely matched voices.
Compared to other bagpipes, it emphasizes blend, intimacy and tonal cohesion, rather than contrast or strong projection.

Maker – T. Sonoda

T. Sonoda is a maker known for producing historical and European-style bagpipes, including the Swedish säckpipa, with a focus on precision and acoustic balance.
His instruments reflect a careful approach to design consistency and playability, often incorporating practical solutions such as tuning systems and adjustable components.

Sonoda’s work is characterized by a balance between traditional models and modern engineering, making his instruments suitable for players seeking stability, reliability, and refined control.

Maker – Max Persson

Max Persson is a Swedish maker specializing in the säckpipa, closely connected to the instrument’s regional tradition and revival.
His work is rooted in historical research and local craftsmanship, with particular attention to preserving the distinctive sound and character of Swedish bagpipes.

Persson’s instruments reflect an approach centered on tradition, authenticity and continuity, contributing to the ongoing development of the säckpipa within both traditional and modern folk contexts.

32) Sakkipilli

Cultural Context

The säkkipilli is the historical bagpipe of Finland, now considered an extinct instrument.
Although no continuous living tradition has survived, historical evidence confirms its presence in Finland, including a bagpipe fragment dated to 1390 preserved in the Turku Museum.
Today, the säkkipilli exists mainly through research, reconstruction and artistic revival, situated within a broader Baltic context in which neighboring countries such as Sweden, Estonia, Latvia and Lithuania still maintain bagpipe traditions.
Its reconstruction is therefore not only a musical project, but also a contribution to Finnish cultural memory and identity.

Acoustic Characteristics

Because the historical Finnish säkkipilli does not survive as a continuous performance tradition, its acoustic character is approached through reconstruction and comparative study with other Baltic bagpipes.
It is generally understood as a bagpipe with a strong, direct, and folk-oriented sound, likely suited to dance, outdoor use, and communal music-making, rather than courtly or highly refined settings.
In reconstructed forms, the instrument emphasizes a clear melodic voice supported by drone texture, placing it within the broader family of Northern and Baltic bagpipes, while leaving room for interpretation as research continues.

Maker – Gonçalo Cruz

Gonçalo Cruz is a maker and researcher whose work on the säkkipilli is based on historical reconstruction, organology, acoustics, and artistic research.
Rather than reproducing a fully preserved tradition, his approach addresses the challenge of rebuilding an instrument for which only fragmentary historical evidence survives.
His work bridges instrument making, scholarship and performance, contributing not only to the study of bagpipes around the Baltic Sea, but also to the possible reactivation of a lost Finnish sound world.

33) Sordellona

Cultural Context

The sordellona is a modern instrument inspired by historical Italian bagpipes, particularly the sordellina and the zampogna zoppa traditions.
While rooted in central and southern Italian pastoral culture, it reflects a contemporary process of reinterpretation and reconstruction, combining elements from different historical models.
The instrument is connected to a broader tradition of Italian zampogne, historically played by itinerant musicians (zampognari) in both rural and urban contexts, especially during religious and festive occasions.
Today, the sordellona exists within a space where early music, folk traditions and experimental reconstruction intersect, rather than as a strictly continuous tradition.

Acoustic Characteristics

The sordellona produces a deep, warm and structured sound, with a strong emphasis on low register and harmonic support.
Its multi-chanter configuration allows for a layered texture, combining melody and accompaniment in a way that recalls more complex historical bagpipes such as the sordellina.
Compared to traditional zampogne, it offers greater control and tonal flexibility, partly due to the inclusion of keys and adjustable components.
The overall sound is rich and stable, balancing the raw character of pastoral instruments with a more refined and articulated response.

Maker – Marco Tomassi

Marco Tomassi is an Italian luthier specializing in traditional and historical wind instruments, including zampogne, ciaramelle, and related bagpipes.
His work is based on a combination of historical research, craftsmanship and acoustic study, involving collaboration with musicians, engineers, and ethnomusicologists.

Tomassi’s instruments reflect a synthesis of ancient construction techniques and modern precision, aiming to achieve both authentic timbre and mechanical reliability.
The sordellona, in particular, exemplifies this approach, where historical inspiration is reinterpreted through contemporary design, creating instruments suited for both traditional and professional performance contexts.

34) Tsampouna

Cultural Context

The tsampouna is a traditional bagpipe from the Greek islands, particularly in the Aegean region.
It is closely associated with local dance traditions, festivals and community celebrations, where music plays a central role in social life.
Unlike more complex or courtly bagpipes, the tsampouna developed within a rural and insular context, shaped by local practices and materials.
Today, it remains an important part of island cultural identity, sustained through both traditional performance and revival movements.

Acoustic Characteristics

The tsampouna produces a bright, raw and rhythmically driven sound, characterized by the use of two parallel chanters tuned in unison.
Unlike many bagpipes, it typically does not use a separate drone, instead generating a dense, unified melodic texture through the simultaneous playing of both pipes.
Its tone is nasal, penetrating and continuous, with a strong emphasis on rhythm and articulation, making it particularly suited to dance music.
The overall sound is direct and energetic, with less focus on harmonic layering and more on timbral intensity and rhythmic flow.

35) Tulum

Cultural Context

The tulum is a traditional bagpipe from the Black Sea region, particularly in northeastern Turkey and parts of the Caucasus.
It is deeply connected to regional dance traditions and communal celebrations, often performed in fast-paced group settings where music and movement are closely intertwined.
Unlike many other bagpipes, the tulum developed within a localized mountain culture, shaped by isolation and strong regional identity.
Today, it remains an important element of Black Sea musical heritage, actively played in both traditional contexts and modern interpretations.

Acoustic Characteristics

The tulum produces a sharp, bright and highly energetic sound, characterized by a double chanter system without a separate drone.
Its tone is penetrating and rhythmically intense, with both pipes working together to create a dense and continuous melodic texture.
Compared to other bagpipes, it emphasizes speed, articulation and rhythmic drive, rather than harmonic layering or deep bass resonance.
The overall sound is raw and powerful, perfectly suited to fast dances and outdoor performance, where clarity and projection are essential.

36) Xeremías

Cultural Context

The xeremías are the traditional bagpipes of Mallorca (Balearic Islands, Spain), deeply rooted in local festivals, dances and ceremonial events.
They are typically played in combination with other instruments, forming part of ensembles that accompany processions and traditional performances.
Unlike some reconstructed instruments, the xeremías represent a continuous living tradition, maintained through generations of musicians and makers.
Today, they remain a central element of Mallorcan cultural identity, actively performed in both traditional and contemporary settings.

Acoustic Characteristics

The xeremías produce a loud, bright and highly projecting sound, designed for outdoor performance and festive environments.
Their tonal character is strong and penetrating, with a clear melodic line supported by fully functional drones, creating a rich and sustained harmonic background.
Compared to softer bagpipes, they emphasize volume, stability and presence, making them particularly effective in processions and open-air contexts.
The overall sound is powerful and structured, balancing melodic clarity with a solid drone foundation.

Maker – Jordi Aixalà i Basora

Jordi Aixalà i Basora is a Catalan luthier and musician whose work includes the construction of Iberian traditional instruments, such as the xeremías.
His approach is based on historical models and traditional craftsmanship, combined with practical adaptations for modern performance.
By working across different regional traditions, Aixalà contributes to the preservation and transmission of Iberian musical heritage, maintaining a balance between continuity and functionality.

37) Zampogna

Cultural Context

The zampogna is a family of traditional bagpipes from Italy, particularly widespread in central and southern regions such as Lazio, Abruzzo, Molise, Campania, Calabria, and Sicily.
It is deeply associated with pastoral culture and transhumance, historically played by shepherds (zampognari) in rural contexts and during seasonal migrations.
The instrument is strongly linked to religious and festive traditions, especially Christmas rituals, where it accompanies processions and devotional music.
Unlike many other bagpipes, the zampogna exists in multiple regional forms, each with distinct structures and playing techniques, reflecting the diversity of Italian folk traditions.
Today, it survives through both continuous practice and revival movements, maintaining a strong presence in traditional and contemporary folk music.

Acoustic Characteristics

The zampogna produces a rich, full and harmonically dense sound, characterized by the presence of multiple chanters and drones played simultaneously.
Its tonal structure allows for a continuous polyphonic texture, where melody and accompaniment are integrated into a single instrument.
Compared to many European bagpipes, it emphasizes depth and harmonic complexity, often with a strong bass presence and a layered sonic profile.
The overall sound is warm, powerful and immersive, suited to both solo performance and ensemble contexts, particularly in open-air and ritual settings.

Maker – Liuteria Sabatini

Liuteria Sabatini is an Italian workshop specializing in the construction of traditional wind instruments, including various types of zampogne.
Their work is rooted in regional traditions of central and southern Italy, with a focus on preserving the organological characteristics and sound identity of historical models.

The instruments reflect a commitment to traditional craftsmanship and materials, aiming to maintain continuity with established playing practices.
This approach positions Sabatini within a lineage of makers dedicated to the preservation of the zampogna as a living folk instrument.

Maker – Marco Tomassi

Liuteria Marco Tomassi is an Italian workshop focused on the construction of zampogne and related instruments, combining historical research with modern acoustic and technical development.
Their instruments are designed through collaboration with musicians, engineers, and researchers, integrating traditional knowledge with contemporary methods.

This approach results in instruments that balance authentic timbre with mechanical precision and reliability, making them suitable for both traditional use and professional performance contexts.
Tomassi’s work represents a synthesis of heritage and innovation within the field of Italian bagpipes.

Final Considerations

The bagpipe is not a single iconic instrument, but a diverse family of instruments shaped by different cultures, histories, and social practices. Approaching it with curiosity and respect means recognizing the specific musical tradition to which each form belongs.

This guide is intended as a starting point, an invitation to listen, learn, and connect with the communities and musical practices that continue to sustain these instruments today.

“This article is written from an educational perspective, with the aim of supporting informed and respectful access to diverse musical traditions. It does not replace the knowledge transmitted within the communities where each bagpipe tradition originates, but seeks to provide orientation and practical guidance.”

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