When you've heard one bagpipe tune, you've heard them both.

The bagpipes sound exactly the same when you have finished as when you started

The Irish gave the bagpipes to the Scotts as a joke, but the Scotts haven't seen the joke yet.

The Scots are subsidy junkies whingeing like a trampled bagpipe as they wait for their next fix of English taxpayers' money.

The tune was wailing and mournful, almost flagrantly so, and the total effect was of a heartbroken piccolo being parted forever from its bagpipe lover.

If the Scottish want to break away, I shall stand on Hadrian's Wall with a teary handkerchief, and say: 'Good riddance to the lot of you, and take your stupid bagpipes with you.'

There's always something in most world folk musics that always seems connected; whether it's a bagpipe or a tambura, there's always some sort of drone instrument, and there's always percussion.

Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.

I got into one of the Scottish classical styles called piobaireachd, which is a very old music that started around the 1700s or something. I really got into this music. After that, I started to compose bagpipe music in my notations. Then I started building bagpipes by myself, and then I started to perform with the instrument myself in the 1980s.

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