Description
Die Sackpfeifen-Fibel – Band 1″ is the first and only textbook to date on the bagpipe, the medieval bagpipe as we know it from medieval markets or bands such as In Extremo or Corvus Corax.
A year full of musical discoveries and improvements
It is now a good year since the first edition of the bagpipe primer was published. Since then, the author has received a lot of positive feedback, but also one or two suggestions for improvement. As far as possible, Thomas Zöller has incorporated these suggestions into this second edition.
The textbook is suitable for both beginners and advanced students and teaches a structured ornamentation technique. “The Bagpipe Primer – Volume 1” guides the learner step by step from the practice whistle to the bagpipe. The breathing and playing technique of the bagpipe is clearly presented with texts, pictures and graphics.
From entry to the championship
In addition to useful exercises, there are of course a lot of melodies included – e.g. Goddesses, Pavane, Skudrinka, the Palestine Song or the Bear Dance – to name but a few. In addition to these more traditional pieces, there are also some modern compositions, e.g. by Briantanus.
The beautifully designed textbook “Die Sackpfeifen-Fibel – Band 1”, printed in four colors throughout, is dedicated to all those who are interested in the ‘medieval’ bagpipe as it can be heard at most medieval markets today. Medieval’ is in quotation marks here because this form of bagpipe is not a historical instrument. Various names are associated with the instrument, for example, bagpipe, A-sack or market sack. In this textbook, the author uses the term ‘bagpipe’.
The playing techniques presented in “Die Sackpfeifen-Fibel – Band 1” are explained in an easily understandable way and significantly expand the musical expression possibilities on the bagpipe. They give the musician new possibilities. Despite the innovative approaches, it is important to Thomas Zöller to respect the peculiarities of the instrument.
Visual aids and detailed instructions
Below the learning units are visually highlighted areas. Here, the stumbling blocks associated with the respective exercise are again specifically discussed. Sometimes a shawm is shown below the notes, on which the fingerings belonging to the notes are depicted. For melody notes the shawm is shown large, for ornament notes small.
As with any instrument, complete self-study is not recommended for the bagpipe. So in addition to the bagpipe primer, you would do well to look out for a teacher who can deal conscientiously with your own needs and problems.
Get into the art of playing the bagpipes
With “The Bagpipe Primer – Volume 1” you not only receive a textbook, but also a comprehensive companion on your way to becoming an accomplished bagpipe player. This book combines historical insights with practical instructions and draws on a wealth of experience. Expand your musical skills and discover the joy of playing the medieval bagpipes. Get your copy now and start your musical development!
Foreword
It is now a good year since the first edition of the bagpipe primer was published. Since then, I have received a lot of positive feedback, but also one or two suggestions for improvement. As far as possible, I have incorporated these suggestions into this second edition.
The bagpipe primer is suitable for both beginners and advanced players. It is dedicated to all those who are interested in the “medieval” bagpipes as they can be heard today at most medieval markets and with bands such as In Extremo or Corvus Corax.
“Medieval” is in quotation marks here because the bagpipe is not a historical instrument. Various names are associated with the instrument, for example, bagpipe, A-sack or market sack. I only use the term “bagpipe” for this book.
The playing techniques presented below significantly expand the expressive possibilities on the bagpipe. They provide the inquisitive with new possibilities. Despite the innovative approaches, it is important to me to respect the characteristics of the instrument. With this in mind, I wish you, the reader, lots of fun and success in practicing with the bagpipe primer.
With best wishes,
Thomas Zöller in fall 2010
Winter 1995. Marc and I, two young, slim guys with transitional hairstyles to long hair, set off in the snow with great determination to the Kniebreche, a small music venue deep in the Ore Mountains. Tippelklimper plays – an East German folk-medieval band from the 80s.
A (proudly owned!) cassette of the same name with original hand-painted cover, but already thinly played tape, was spinning in the car cassette player to set the mood. Finally, the “Tippels” took to the stage – what an incredible atmosphere! The band seemed to be from a different, old time – fairytale-like & predatory.
When they played the bagpipes, we went wild. The “Tippel” Michel Bach later gave me the address of the bagpipe maker Klaus Stecker in Berlin. I actually wanted to make a call that night from an icy phone booth, but decided to postpone it until the next day. The following May, Klaus brought me my first bagpipes, by chance personally – wow!!!!
Yes, and now …??? Questions upon questions. Klaus gave me a few tips, after which I euphorically stood on the garden wall with my few “guitar lesson music skills”, certainly out-of-tune drones and the Klaus voice in my head “Yes, don’t fiddle around frantically with the wooden reed without experience!!!”, playing at an angle with a joyful view of Marc, who was waiting for the shawm and davul.
With these instruments, nothing could stop us. Our lives became a “road movie”. Influenced by the music of Jethro Tull, The Doors, Frank Zappa and Steeleye Span, we went on an “easy rider trip” in a “Robin Hood outfit”. Living on tinned soups and fresh baguettes, we set off for the summer splendor of southern France. The constant jumble of cultural sights and “other” beauties made our foreheads sweat and occasionally took us into the cool vaults of old ruins, where we did – yes, still do – a bit of doodling. Because how do you play this instrument properly? Where can I find a teacher?
In addition to helpful playing and maintenance tips from some fellow musicians, I quickly decided to take up classical flute training. That helped me quite a bit. The intensive concert and studio work with the bands FABULA and CULTUS FEROX gave me a lot of experience – but also pushed me to my limits!
In the summer of 2004, I met Thomas Zöller, who opened my eyes, ears and hands in a positively frightening way. Thank you, Thomas! I almost started all over again, but there was no other way. It is simply brilliant what a clarity of sound, ornamentation, expression and view of oneself is created when you learn the right techniques and the exact approach – and without them it simply doesn’t work.
Thanks to Thomas’ studies in Scotland, his special talent and his contacts, he has a wealth of knowledge. Potential, not only in terms of techniques and exercises, but also in terms of cultural background and emotions. The whole thing has led me to call my instrument the “New German bagpipe”, because the increasing popularity of bagpipe playing in Germany over the last 20 years or so has already become a small “cult~ur” movement of its own for me.
A long-awaited, trend-setting textbook is now available – the Sackpfeifen-Fibel. I hope to make a good and innovative contribution to this in further cooperation with my friend, colleague and teacher Thomas, my students (thanks to you too!) and of course with my FABULA band(s).
I now wish you lots of fun and success with the bagpipe primer.
With this in mind and with joyful confidence
Brian Haase (Briantanus)
Author:in
Thomas Zöller
discovered his love of bagpipe and drone music at an early age. In 1995, at Rüdiger Oppermann’s summer music festival, he dared to take his first steps on a French bagpipe and the hurdy-gurdy.
The sound of the Scottish Great Highland Bagpipe led him to study this bagpipe and its repertoire intensively in 1996. Over the years, Scottish Smallpipes and Borderpipes were added. In collaboration with the instrument maker Nigel Richard, he expanded their tonal possibilities with the aid of keys.
On his instruments, he sees himself as a border crosser, exploring the traditional repertoire while always searching for new paths and timbres. From 2002 – 2005 he studied Scottish music with a major in Great Highland Bagpipe at the Royal Scottish Academy of Music and Drama and the National Piping Centre in Glasgow, Scotland. He is the first mainland European to successfully complete this nationally recognized course of study.
His musical activities range from medieval music to pop productions. As a permanent band member, guest or studio musician, he has played with and for, among others: Adelante, Adversus, Andras Zauberband, Anna-Maria Kaufmann, Às a’ Phìob, ASP, Chieftains, Estampie, Fabula, HOMEBOUND, Otterfl ug, Qntal.
In the summer of 2005 he founded the Bagpipe Academy, the first professional bagpipe school in Germany. The latter sees its task in conveying culture instead of cliché, interpretation instead of imitation. It sees itself as a German center for various European bagpipe traditions and teaches them through individual and group lessons, weekend workshops and the Storas Òran Winter School, which lasts several days and is held in cooperation with the German Center for Gaelic Language and Culture.
Since 2007, the Bagpipe Academy has conceived and organized the Interceltic Folk Festival, which brings internationally renowned artists from the folk scene to Hofheim a. Ts. for several days. leads.
