1.	Introduction - “twelve highlanders and a bagpipe make a rebellion” sir Walter Scott)

2.	Chapter one - history of the Scottish bagpipes

3.	Chapter two - description and types of the Scottish bagpipes. Their comparison

4.	Chapter three - concerning the great highland pipes

5.	Conclusion - living tradition

6.	Literature & sources

7.	Supplement

„ In Scotland, we can distinguish two flavours of bagpipes. The better known is the Highland variety (the Great Highland Pipes, the GHP); the other category consists of bellows-driven pipes, which are sometimes named “the cauld wind pipes” because they use “cold wind” from bellows rather than hotter air of breath. These bellows pipes do not come from the Highlands, but from the Lowland areas. That group of musical instruments includes the Border pipes, the Northumbrian smallpipes (from north-east of England), and the Scottish smallpipes. There is no mention of bellows-driven pipes till the 16th century, so it could be supposed they were invented around the middle of that century along a German example.
In this chapter, I do not want to summarize the most characteristic type of the bagpipes of Scotland because the next chapter is bent on it wholly. This part of my seminar paper is dedicated to other types:
THE BORDER PIPES (also called THE LOWLAND PIPES), as their name indicates, are called so because of the Border region of Scotland. The Border pipes and the Northumbrian pipes have a parallel history because each type of those bagpipes was popular on one of the sides of the English-Scottish border.
The Border pipes feature a stock with three drones, typically two tenor drones and a bass drone (in this respect, they are similar to the Northumbrian pipes - the NP - and Scottish smallpipes). Conical chanters, similar to the GHP, make the Border pipes louder than the Scottish smallpipes or the Northumbrian pipes, which both have cylindrical chanters.
About the utilization of the Border pipes in the Middle Ages I have already written in the Chapter One… Until the end of the 18th century, the functionality of the Border pipes had not changed. The progress began while popularity of fiddle hornpipes increasing. Bagpipers were frustrated at the limited range of the Border pipes (and NP). It would be impossible for them to play the new fiddle repertoire on a nine-note Border pipes chanter or eight-note NP chanter. To the fore of concern rose the Irish Uilleann pipes, which were suitable for the new repertoire. The Border pipes nearly fell out of existence (about 1855). The Boy Scout Pipe Bands together with young men in military training programs, who played their marching music on the Border pipes, they were used to preserve this type of bagpipes. At last, in the 1980s, the Border pipes were rescued. New players and veteran GHP bagpipers took up the instrument and traditional music ensembles adopted it.
THE CHAMBER PIPES are famous for its sound’s similarity to the GHP. They are also much easier to blow - the fingering technique, the method of blowing and squeezing is identical to the GHP. However, the final sound is quieter; and that is why these bagpipes tend to be played indoors.
THE PRACTICE PIPES are instruments with two brass drones, which produce steady sound. The chanter of the bagpipes is made from African black wood. These bagpipes have amazing sound - not dissimilar to the Scottish smallpipes."

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