Cornemuse du Centre

The Cornemuse Du Centre is located in France widespread type of bagpipe. Region of origin is the name according to central France.

• 2.1 moods

Construction

The chanter is conical drilled, double reed and has 7 front constant, arranged in two groups, handle holes. In modern instruments are two to find a behind permanent thumb hole at historical instruments. The lowermost, intended for the little finger hole is usually displaced to one side, with historical instruments are often two of these holes exist, of which the unused ( left or right hand below) were each sealed.

The drones are cylindrical drilled with single-reed and two ( small drone ) or three parts (large drone ).

The instrument is inflated via a valved crook, which is connected by a cylindrical own floor with the bag. The bag is made from a flat piece of leather sewn together, with instruments of the 18th and 19th century from goat skin, now often made ​​of cowhide. The seams centrally French bagpipes are on the outside and are covered with a strip of leather. Especially with historical instruments of the leather bag for decoration with the degree of ornamentation of the instrument is accordingly complex case covers.

Typical of the hand-blown Cornemuse du Centre arrangement of the drones is the little drone in common with the chanter usually rectangular or oval chanters floor ( boîtier - French, Box ',' enclosure '), while the large drone is above the shoulder. This arrangement " with an oboe and a clarinet chanter tuner in common spout and a separate therefrom clarinet tuner " occurs only in France. It was in L ' Harmonie Universelle ( 1636) Marin Mersenne as cornemuse of the bergers (, bagpipe the Shepherd '), to be precise in the stimmumg C / c / c '- e'' - that is, a cornemuse 23 pouces in deep C; see moods.

Decoration

A typical feature of the Cornemuse du Centre is often rich decoration of the instruments. The techniques range from simple decorative rings of contrasting wood, horn or tin at the ends of the pipe chanter and drones over dark solid, carved fine engravings in zig-zag and triangle patterns on all wood parts - after the bagpipes Bauer Jean Sautivet (1796-1867 ) named - to very elaborate Zinnverzierungen with religious and secular symbols.

Cornemuse Béchonnet

Joseph Béchonnet (1820-1900, a turner from Effiat, Puy -de- Dôme ) presented late 19th century, modeled after the illustration in Mersenne's book bagpipes of very high quality here. Béchonnet provided his instruments with a third, smaller drone, the chanterelle, another octave above the small drone sounding. The chanterelle is located behind the chanter and small drone on the same floor. Named after him Cornemuse Béchonnet is typically balggeblasenen and often tuned in G ( 13 to 18 pouce, see below).

Function and match practice

The range is for instruments in high mood today mostly a twelfth, from the whole tone below the root note to the fourth above the octave. The notes above the octave are played by overblowing, at low instruments, this is often only possible to the small third. The chanter modern instruments is usually chromatically playable without flaps, often with the exception of the minor second above the root and its octave. The semitone below the root is playable through half of the lowest ceiling hand hole or using a flap.

The fingering is in moods higher than D ( ie, less than 20 pouces ) usually half-closed, open at lower instruments in general.

The small drone sounds a, the great drone two octaves below the tonic of the chanter.

Moods

Cornemuses du Centre were and are in different moods, they are in accordance with the nominal length of the chanter in pouces (Fr. " thumb ", is the unit of the French Customs with 27.07 mm).

Basic tones are often vary by region G ( cornemuse 16 pouces ) or D (20 p), and F ( p 18 ) or C (23 p), although other tunings are to be found more or less frequently. The deepest -built instruments of this type are Cornemuses du Centre 30 pouces ( deep -G), the highest about 10 pouces ( with root h to d).

It pairs were found by instruments that suggest each other due to their preparation and careful matching that with Cornemuses du Centre in the 18th/19th. Century were both in unison, also played in octaves as polyphonic together.

Common practice is also the interaction of the Cornemuse du Centre and the hurdy-gurdy, another Borduninstrument.

There is a close relationship is the Cornemuse du Centre often said with the Flemish bagpipe or the shepherd pipe. This is only a consequence of the current practice of the manufacturer, the standard chanter of the French Cornemuse du Centre as a model for the sgn. to take the " Flemish " chanters. After the single - lying under wraps - Judging obtained copy of such an instrument, but there are considerable differences present in the structure.