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Ceud taing dhuit, Éamoinn, a charaid, airson na ceiste seo.I’m flattered to have received an A2A, but, as I don’t hold myself out as an expert on the pipes (and an excellent answer by someone far better qualified than I has already been given), I’ll just say some words about the pipes from a Gaelic / linguistic / cultural angle, for anyone who’s interested. In the examples given below, the spelling is as in Scottish Gaelic, although the spelling is similar or identical in Irish Gaelic.First of all, the pipes in Scottish Gaelic are feminine and singular.So, yes, it’s a ‘she’ and there’s only one of them (or of her, at a time at least). Maybe this is a metaphor for the fidelity of the piper (who is traditionally a man, although the times are a-changin’ on that front) towards his ‘wife’ in music, but there you go.So, in Scottish Gaelic, we talk about a’ phìob (literally, ‘the pipe’, meaning one set of pipes). We also draw a distinction between a’ phìob mhór (‘the great pipe’, i.e., the full set of Highland bagpipes) and a’ phìob bheag (‘the little pipe’, i.e., the other, smaller kinds of pipe). The pìob mhór is what most people think of, however, when they hear the word ‘bagpipes’ in English. The word uilleann that is sometimes heard in connection with the pipes literally means ‘elbow’ and refers to the manner in which such pipes are held between the elbow and the underarm (achlais, or ‘axle’ - I love how Gaelic works sometimes!). ‘Elbow’ pipes, in grammatical Gaelic, are a’ phìob-uilleann or a’ phìob-uilne (‘the pipes of the elbow’ and, yes, for the sharp-eyed, there is an etymological connection between uilleann / uilne in Gaelic and ulna in English, borrowed from Latin).The art of piping itself is a’ phìobaireachd, and this word is sometimes Anglicised as ‘pibroch’. The piper himself (or, more and more frequently nowadays, herself) is am pìobaire. In theory, a female version of this word exists (bana-phìobaire, literally, ‘piperess’), but I’ve never heard it used ‘for real’.One very important difference in usage between English and Gaelic is that, whereas you ‘play’ the pipes in English, you ‘sing on’ the pipes in Gaelic (seinn air a’ phìob).Although some Gaelic-speakers may say ‘play’ the pipes (cluich na pìoba), I’m not sure whether or not that’s an Anglicism, and so I’ve always avoided using it myself and always say ‘sing on the pipes’ in Gaelic instead. It’s not a hard-and-fast rule, but I’d say that the difference in Gaelic between instruments that you ‘play’ and instruments on which you ‘sing’ is whether or not you use the mouth in order to ‘play’ the instrument in question. In the case of the pipes - at least the pìob mhór - you definitely use the mouth (as well as the hands!), hence you ‘sing on’ the pipes in traditional Gaelic.One aspect of pìobaireachd that is often overlooked outside of piping circles is the art of canntaireachd.Canntaireachd - for which term I am not aware of any adequate translation into English; ‘cantoring’ might suffice - is a method of notation of the piping tunes. However, and because so much of the Gaelic cultural tradition (dualchas nan Gàidheal) is oral rather than written, the important thing to remember about canntaireachd is that it is a sung method of teaching and learning pipe tunes. Many tunes (fuinn, singular fonn) were passed down through the oral tradition, but this inevitably leads to deviations and distortions along the way. Canntaireachd was therefore devised by the Gaels as a means of accurately noting down the tunes but, in the learning process, these tunes are then sung by the tutor to the pupil as a way of imparting how the tune should be played, complete with the grace notes and other ‘embellishments’ to the basic tune that give to Gaelic music its distinctive sound and ‘feel’. The preferred method of teaching and learning pipe tunes is therefore still aural / oral, as opposed to written down.The above sentences impart only a basic sense of what canntaireachd is about, but suffice it to say that it is a uniquely Gaelic way to record and impart how a tune should be played. Pìobaireachd, canntaireachd and unaccompanied singing are perhaps the ‘Holy Trinity’ of Gaelic music, and it’s no coincidence that expert pipers in the Gaelic tradition are themselves often also skilled practitioners of canntaireachd and unaccompanied singing themselves. That’s not to say that pipers all have silken-smooth voices that could sell out Carnegie Hall, but more that they understand and ‘get’ what Gaelic music - with its distinctive modes, rhythms and cadences - is all about, in a way that, for example, a classically-trained opera singer probably never could. Indeed, one well-known piper (and also expert proponent of canntaireachd) is on record as saying that those who speak Gaelic are better at canntaireachd because of this (I won’t say here who it is, as the piping world is quite small, but it’s easy enough to find the source of the quote if you’re interested). Whether or not you agree with that view is up to you, but it is true that these three strands of Gaelic music are closely intertwined with one another.A large part of the piping terminology (briathrachas na pìobaireachd) in English is in fact a simple translation from Gaelic. Terms such as ‘ground’ (urlar) and ‘travelling’ (siubhal) in the piping world mean precisely what they mean because they are directly borrowed from Gaelic, without alteration for sense.Finally, and although there is a lot of tradition and ritual associated with piping (which can make it a bit daunting for newcomers or the uninitiated), piping does have its fun side, too. You may have noticed that many pipers, when they come up with a tune of their own (as they often do), bestow upon it the most bizarre and comical name possible, whether in Gaelic or English. Indeed, there seems to be a long, long tradition of this - Paddy’s Leather Breeches is a well-known example that comes to mind - but the names can vary from the sublime to the ridiculous: Mrs. Brown’s Clootie Dumpling, The Cat’s Pyjamas etc. etc. Indeed, my own, minuscule contribution to the world of piping comes from helping a friend (who had some lovely Gaelic but was just too shy to use it on his own) to translate into Gaelic the name of a pipe-tune that he himself had written: The Maestro’s Quiff (in honour of a music teacher and said bearer of a distinctive quiff of hair on his forehead). In the end, we settled on Cìreag a’ Mhaestro (cìreag being a little comb, like a rooster might have atop its head).PS / Final, final point: when it’s my turn to siubhal (‘travel’, as used in another sense in Gaelic, meaning ‘to pass on’), I want a piper at my funeral. As I’ve said in another answer on Quora, there’s nothing more dignified than the lone piper at a Highland funeral. He can pipe me out of this world and into the next: ’s ann mar sin a tha mi ’g iarraidh falbh (that’s how I want to go).EDIT: It’s heartening to see how the bagpipes have been exported around the globe and now have a home in many of the world’s armed forces, often as an inheritance from British imperial days. A wee bit of Gaelic / Scottish culture, wherever you go. Ever wondered how that happened? It’s one of the great ironies of history, in fact. After the failure of the Jacobite Uprising (Ar-a-Mach nan Seumasach) in 1745 and the various disarming and disrobing acts that followed in its wake, the Highland Gaelic clans who found themselves ‘on the wrong side’ were forbidden to carry arms and to wear traditional Highland garb (éideadh nan Gàidheal), as well as to practice other traditions such as playing the bagpipes. However, the one place where they could legally continue to carry arms and to practice traditions such as wearing the kilt and playing the bagpipes was in the British Army. Obviously, the Army knew too much about loyalty and how to inspire it in its troops to throw away the chance to create new regiments where the men would rally around their commander (instead of the clan chief (tòiseach), as before) at the sound of the pipes. And so the tradition of the connection between the British Army and piping was born and, when the Army went out to defend the Empire, the kilt-wearing, bagpipe-playing Highland troops went with them (perhaps most famously as the ‘Ladies from Hell’ in the First World War). And that is why, from Vancouver through New Delhi and on to Sydney, you will see regiments wearing the kilt and playing the pìob mhór to this day.Is mise le meas, Eòghann