The British Isles produced an array of bagpipes, each rooted in the culture of its region. Among the most distinctive are the Scottish smallpipes and the Northumbrian smallpipes. At first glance they are close relatives. Both are bellows blown, quieter than the Highland pipes, and intended for indoor playing. The differences in construction, style, and history show two distinct musical lives that remain proudly regional.

Origins and history

The Scottish smallpipes are often called the parlour pipes of Scotland. Their ancestry links to older bellows blown instruments that were common across southern Scotland and northern England from the 17th century onward. The rise of the Great Highland Bagpipe pushed many smallpipe traditions to the margins and by the 19th century the instrument was in decline. A folk revival in the late 20th century revived interest in the smallpipes and modern makers redesigned chanters and drone systems to suit ensemble work in concert keys such as A and D.

The Northumbrian smallpipes developed a distinct identity in England’s far northeast. Key innovations set them apart. The chanter is closed at the end. When all holes are covered the pipe falls silent. This allowed pipers to play with an exceptional staccato articulation. In the 18th century makers added keys to extend the range to two octaves. Northumbrian music of hornpipes, reels and local dances suited this technical development and local societies maintained the tradition through times when many other regional instruments faded.

Musical role and style

In performance the two instruments sometimes share repertoire. Both are suited to domestic music making and are quieter companions to fiddles, flutes and guitars. Both benefited from the revival movements of the 1970s and 1980s and many modern players cross boundaries, performing Scottish tunes on Northumbrian pipes and Northumbrian tunes on Scottish smallpipes.

The Scottish smallpipes favour continuous melodic flow with ornamentation drawn from Highland piping. Grace notes and rhythmic shaping create a sustained, singing quality. The Northumbrian smallpipes favour precise articulation. The closed chanter allows true staccato and rhythmic clarity. The keyed chanter invites chromatic notes and a wider range, which opens the pipes to arrangements beyond the purely traditional repertoire. Side by side comparison

Feature	Scottish Smallpipes Scottish	Northumbrian Smallpipes Northumberland
Power source	Bellows blown, suitable for longer indoor sessions	Bellows blown, also designed for quiet, indoor playing
Chanter style	Open ended chanter producing continuous sound	Closed ended chanter allowing true staccato phrasing
Range	Roughly nine notes in a scale similar to Highland piping	Often extended with keys to reach up to two octaves
Drones	Typically three drones in a common stock tuned to the chanter	Often four or more drones with individual shut off stops
Tuning	Commonly built in A or D to match session instruments	Varied pitches possible with flexible drone options
Ornamentation	Highland style grace notes and sustained ornamentation	Clean articulation and rapid ornaments enabled by closed chanter
Repertoire	Scottish airs, marches, reels and dance tunes	Northumbrian hornpipes, reels, jigs and local tunes with chromatic possibilities
Cultural roots	Linked to Lowland and Highland piping traditions	Strong regional identity in northeast England and Northumberland

The charm of these two smallpipe traditions is how they embody the same instrument family with very different musical personalities. The Scottish smallpipes give a mellow, flowing voice that suits ensemble and session work. The Northumbrian smallpipes offer an articulate, technically rich approach that keeps a strong local repertoire alive. Both show how folk instruments adapt and endure while remaining true to their roots.

Further Reading

• Francis Collinson. The Traditional and National Music of Scotland
• Colin Turnbull. The Bagpipe, a history of the instrument
• Anthony Fenwick. The Northumbrian Bagpipes, their development and makers
• Northumbrian Pipers Society. Collections and tune books used by local pipers
• Hamish Moore. Articles and essays on the modern revival of the Scottish smallpipes