Nothing in music sounds quite like the uilleann pipes. Not Scottish bagpipes \u2014 which are louder, brasher and designed for the open air. Not any other instrument. The uilleann pipes have a sweet, reedy, haunting tone that can whisper a slow air of devastating beauty one moment and tear through a set of reels at blistering speed the next. They are Ireland\u2019s most complex and most distinctive instrument, and for many listeners, the sound of the pipes is the sound of Ireland itself.<\/p>\n
Uilleann piping was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in 2017. That\u2019s a fancy way of saying: this is important, this is irreplaceable, and this belongs to the world.<\/p>\n
ILL-in or ILL-un. The word is a form of the Irish word for \u201celbow\u201d (uillinn), because the player\u2019s elbow pumps the bellows that supply air to the instrument. You\u2019ll also sometimes see them called \u201cunion pipes\u201d \u2014 an older English term that may refer to the union of chanter, drones and regulators, though the origin is debated.<\/p>\n
The uilleann pipes are bellows-blown, not mouth-blown. This is the fundamental difference from Scottish Highland bagpipes. A small set of bellows is strapped under the piper\u2019s right arm and pumped with the elbow. The bellows push dry air into a leather bag held under the other arm. The piper squeezes the bag to force air through the chanter (melody pipe), drones and regulators.<\/p>\n
Because the air is dry \u2014 not moistened by the player\u2019s breath \u2014 the reeds can be thinner and more responsive. The sound is softer, sweeter and far more nuanced than Highland pipes. It\u2019s an indoor instrument, built for kitchens and concert halls rather than battlefields and parades.<\/p>\n
A full set of uilleann pipes is one of the most complex acoustic instruments in existence. Playing it requires the piper to simultaneously pump the bellows, control the bag pressure, finger the chanter, manage the drones, and operate the regulator keys with their wrist. It\u2019s been said that it takes seven years to learn, seven years to practise and seven years to play. That\u2019s an old saying and an exaggeration, but nobody pretends it\u2019s easy.<\/p>\n
Beginners typically start with a practice set \u2014 just the bellows, bag and chanter, with no drones or regulators. This lets you learn the basic mechanics of pumping, squeezing and fingering without the overwhelming complexity of the full instrument. A half set adds the drones. A full set adds the regulators. Many accomplished pipers play half sets in preference to full sets, depending on the musical context.<\/p>\n
The two instruments are often confused, but they\u2019re quite different:<\/p>\n
The two instruments are cousins, not twins. Each is magnificent in its own context. But the uilleann pipes\u2019 nuance and complexity make them one of the most expressive instruments in any tradition.<\/p>\n
The uilleann pipes evolved in the early 18th century from earlier forms of bellows-blown bagpipe. The earliest known tutor, Geoghegan\u2019s of the 1740s, calls the instrument the \u201cPastoral or New bagpipe.\u201d Over the next century, the instrument became progressively more complex: the regulators were added in the 18th century, additional keys were fitted to the chanter, and the tonal range expanded.<\/p>\n
Uilleann piping went through periods of decline \u2014 particularly after the Famine, when the rural communities that sustained the tradition were devastated. By the mid-20th century, the number of active pipers was dangerously small. Na P\u00edobairi Uilleann, the pipers\u2019 association founded in 1968, played a crucial role in reviving the instrument through teaching, events and the encouragement of pipe-making.<\/p>\n
Today, the tradition is in good health. More people play the pipes now than at any time in recent history, and the quality of instrument-making has never been higher. The UNESCO inscription in 2017 recognised the importance of the tradition and the community that sustains it.<\/p>\n
The uilleann pipes have produced some of the most extraordinary musicians in the Irish tradition.<\/p>\n
S\u00e9amus Ennis (1919\u20131982): <\/strong>Piper, singer, collector, broadcaster. Technically brilliant, deeply musical, and capable of performances of shattering emotional power. His slow airs are among the most moving music in the tradition. Also a tireless collector who preserved thousands of tunes and songs.<\/p>\n Willie Clancy (1918\u20131973): <\/strong>The Clare piper whose earthy, rhythmic style embodied the local tradition. The Willie Clancy Summer School, held annually in his honour, is the world\u2019s largest trad music education event.<\/p>\n Paddy Moloney (1938\u20132021): <\/strong>The founder and leader of The Chieftains. His piping and tin whistle playing defined the sound of Irish music for millions worldwide.<\/p>\n Liam O\u2019Flynn (1945\u20132018): <\/strong>A founding member of Planxty. Technically immaculate and deeply expressive. His solo album The Given Note is one of the finest piping recordings ever made.<\/p>\n Paddy Keenan: <\/strong>From a Traveller piping family. Plays with raw, uninhibited power. The antithesis of O\u2019Flynn\u2019s polish \u2014 wild, rhythmically unpredictable, thrilling.<\/p>\n Davy Spillane: <\/strong>Popularised the low whistle and brought a contemporary, sometimes cinematic sensibility to piping. His playing on the Moving Hearts and Riverdance projects reached huge audiences.<\/p>\n John McSherry: <\/strong>A Belfast-based piper whose playing combines technical mastery with a modern approach. A driving force in the Northern trad scene.<\/p>\n Mick O\u2019Brien: <\/strong>A piper and multi-instrumentalist whose collaborations, particularly with Caoimh\u00edn \u00d3 Raghallaigh, have produced some of the most adventurous piping recordings of recent years.<\/p>\n You\u2019ll hear all of these pipers on Radio Siamsa. The sound of the uilleann pipes \u2014 whether playing a slow air that stops the room or driving a set of reels \u2014 is one of the great treasures of Irish music.<\/p>\n Read our complete guide to Irish traditional music instruments<\/a><\/p>\n Read our guide to the great Irish traditional musicians<\/a><\/p>\n ILL-in pipes or ILL-un pipes. The word comes from the Irish for \u201celbow,\u201d referring to the bellows pumped by the player\u2019s elbow.<\/p>\n Uilleann pipes are a type of bagpipe, but they\u2019re very different from Scottish Highland bagpipes. They\u2019re bellows-blown (not mouth-blown), played seated, softer in tone, with a two-octave range and unique regulators that allow the piper to play chords.<\/p>\n They\u2019re challenging. The coordination required to simultaneously pump bellows, control bag pressure, finger the chanter and manage drones is demanding. Most beginners start with a practice set (chanter only) and spend a year or more on the basics before adding drones. That said, the initial steps \u2014 getting a sound, playing simple tunes \u2014 are achievable for any motivated learner.<\/p>\n A practice set from a reputable maker typically costs \u20ac1,500\u2013\u20ac3,000. A half set (with drones) runs \u20ac3,000\u2013\u20ac6,000. A full set from a top maker can cost \u20ac8,000\u2013\u20ac15,000 or more, and waiting lists of several years are common. Na P\u00edobairi Uilleann (pipers.ie) is the best starting point for information on makers and acquiring a set.<\/p>\n Radio Siamsa plays uilleann pipe recordings daily. Live, you\u2019ll hear pipes at sessions, concerts, and particularly at the Willie Clancy Summer School in Miltown Malbay each July.<\/p>\nFrequently Asked Questions<\/h2>\n
How do you pronounce \u201cuilleann pipes\u201d?<\/h3>\n
Are uilleann pipes the same as bagpipes?<\/h3>\n
How hard are uilleann pipes to learn?<\/h3>\n
How much do uilleann pipes cost?<\/h3>\n
Where can I hear uilleann pipes?<\/h3>\n
Further Reading<\/h2>\n
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