Description
Following the great success of the first edition of the Sackpfeifen-Fibel, we have received a lot of positive feedback and suggestions. These have inspired the author to write a sequel, “The Bagpipe Primer – Volume 2”, which will take your skills on the medieval bagpipes to the next level.
Thoughts on the second edition
Three years after the publication of the first bagpipe primer, it is now time to take your musical development to the next level. “The Bagpipe Primer – Volume 2” builds on the foundation laid in the first part and takes you deeper into the art of bagpipe playing.
Advanced playing techniques and basics
“The Bagpipe Primer – Volume 2” guides you through advanced playing techniques and expands your basics for playing the practice whistle and the bagpipe. Discover new and well-known melodies that will enrich your repertoire.
New ways of expression
Learn how to make your melodies more interesting by developing your own variations and using new stylistic devices such as vibrato and glissando. This volume is dedicated to expanding your musical expression.
Main topics in “The Bagpipe Primer – Volume 2”
- Development of variations through ornamentation notes and melody notes
- New embellishments and combinations
- Use of the G-bordun to expand the tonal variety
- Advanced music theory and intonation
Unique textbook
The Sackpfeifen-Fibel volumes together form the only comprehensive textbook on the medieval bagpipe. They are suitable for beginners and advanced players alike and introduce you to the instrument step by step.
Important information before the start
Before you start with “The Bagpipe Primer – Volume 2”, make sure that you have worked through the first volume completely and have understood the notation system. The basics are crucial for success with the second volume.
Inspiring stories and tips
Gain insights into the author’s experiences and the development of bagpipe culture. Find out how the bagpipe is gaining recognition in Germany and internationally and how you can shape your own musical style.
The goal: music that tells stories
Our aim is for you to be able to tell stories with your instrument. The Bagpipe Primer Volume 2 is designed to help you expand your musical skills and express your love of music.
Perfect your game on the market bag
Are you ready to take your musical skills on the bagpipe to the next level and tell your own musical stories? “The Bagpipe Primer – Volume 2” is the perfect companion for advanced players who want to deepen their art and develop their personal style. Dive deeper into the world of medieval bagpipe music and discover new ways to bring your music to life. Order your copy now and start the next chapter of your musical journey!
Foreword
Thoughts on the second bagpipe primer
First of all, a “thank you”
It is now about three years since the first bagpipe primer was published. Since then, I have received a lot of positive feedback, for which I would like to take this opportunity to express my sincere thanks. I would also like to thank you for your constructive criticism. Your enthusiasm for the Sackpfeifen-Fibel, your suggestions and experiences have inspired me to write this sequel. I would also like to thank Michael Hofmann from Verlag der Spielleute, who has supported the project from the very beginning. I would like to thank Frank Wolf for the wonderful graphic realization of my ideas.
The “Bagpipe Primer – Part II” continues seamlessly where the first one left off. The first primer focused on teaching the basics. This second primer is about expanding one’s own expressive possibilities on the basis of what has already been learned. You will learn how to develop variations on pieces. New ornaments and stylistic devices such as vibrato or drawn notes are also explained. Another component is the use of the G-bordun, which expands the tonal variety of the bagpipe.
Before working with this volume 2, you should have worked through and understood the first Sackpfeifen-Fibel (ISBN 978-3-927240-90-2). The notation system remains the same for the second primer. The background to this and how to read the notes can be found in the first primer under The notation system, p. 11.
May this textbook also find its way to those who want to tell us stories with their music and their instrument.
With best wishes,
Thomas Zöller
in summer 2012
P.S.: Oh yes, there’s one more important change: I’ve switched to “you” – I hope that’s in “your” interest!
Foreword by Brian Haase
From German bagpipes in Glasgow, ornaments & piercings
I am pleased to introduce the second volume of the Sackpfeifen-Fibel with a few words. Since the publication of the first volume in 2009, I have worked regularly and successfully with the “material” that Thomas provided.
worked. Weekly in class, for myself and also in relation to our band FABULA, a lot of this flowed into my work. The contents of the Sackpfeifen-Fibel have always proved to be a good basis.
A core aspect of this second primer is the variation of melodies: both on the basis of what has been learned so far and with the help of new ornaments and stylistic devices. In addition, rhythmically relevant aspects are explained and used in depth in this context.
Decorating means embellishing, giving things an individual touch. Over time, many musicians develop their own style. It is important to have studied the basics carefully and to add different spices that you like over time. Once you have absorbed everything, the great art of “omitting” comes next. The rule is: less is sometimes more.
In August 2011, Thomas and I were at the “Piping Live Festival” in Glasgow. We had the honor of presenting the German bagpipe there for the first time – which was a good thing! Many people were surprised that Germany has its own bagpipes. Others thought two half-naked, pierced guys were coming. They had already “googled” what was going on in “Old-Germany”. We were very civilized with our chosen wardrobe. I didn’t want to take my loincloth with me because of airport security …
It was a proud feeling to be a German in such a “bagpipe traditional country” as Scotland and at this great festival, not to appear with the Great Highland Bagpipe, but to “uffzuzeuchen” (play up, as it is called in minstrel jargon) with our bagpipes and to be able to present our relatively young tradition there.
We have had this new, developing bagpipe culture for around 30 years. Thanks at this point to the pioneers! Back then, the focus was on the original, the rustic, playing and being on the move, the wildness. These points are just as important for our music as the ornamentation techniques. A good mixture of both would be my recommendation.
With this in mind, happy practicing and learning!
Brian Haase (Briantanus)
in summer 2012
Author:in
Thomas Zöller
Thomas Zöller discovered his love of bagpipe and drone music at an early age. He took his first steps on a French bagpipe and hurdy-gurdy at Rüdiger Oppermann’s summer music festival in 1995.
In 1996, the sound of the Scottish Great Highland Bagpipe prompted him to take a closer look at this bagpipe and its repertoire. Over the years, Scottish Smallpipes and Borderpipes were added. He expanded their tonal possibilities in collaboration with the instrument maker Nigel Richard with the help of keys.
On his instruments, he sees himself as a border crosser who explores the traditional repertoire while constantly 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 state-recognized course.
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, Otterflug, Qntal.
Since 2007, he has been the artistic director of the Interceltic Folk Festival, which brings internationally renowned musicians from the folk scene to Hofheim a. Ts. for several consecutive days. leads.
In summer 2005, he founded the Bagpipe Academy, the first professional bagpipe school in Germany. It sees its task as conveying culture instead of cliché, interpretation instead of imitation. It sees itself as a German center for various European bagpipe traditions and teaches them in individual and group lessons and workshops. Together with the Centre for Gaelic Language and Culture in Bonn, she organizes the Stòras Òran winter school.
