The term piva is used in some Italian regions to indicate a specific type of bagpipe. In certain cases, it may be associated with the zampogna or the ensemble of pipes that comprise it.
This instrument is typical of Emilia Romagna, particularly in the Appenine areas of Parma and Piacenza provinces, specifically in the Nure and Arda valleys.

History and Use

The piva has a very ancient history. The first records of its use date back to the 13th century. It initially spread across the Tuscan-Emilian Apennines, particularly in the province of Parma. Its name originates from the dance of the same name, which developed a few centuries earlier in the same areas. The piva was used to accompany dancers during celebrations. The first to use this instrument were itinerant musicians who traveled between villages, playing lively melodies at local fairs and weddings.

Up until the Renaissance, the piva’s purpose remained largely unchanged. However, from this period onwards, there was a drastic shift: from a popular object, it became an instrument used in the courts of aristocratic families in central Italy. This change was partly due to the evolving role of musicians during this historical period. They were employed at court and paid by their patrons to play during banquets and palace festivities.

In the centuries that followed, the piva saw a gradual decline in popularity, becoming a tool known and used only in the areas where it originated.
The reasons for its decline are numerous. Firstly, it is a difficult instrument to tune and maintain, requiring frequent upkeep. Therefore, owning one was not practical unless used regularly. Its fixed tonality also worked against it, as it did not adapt well to the new musical demands that emerged after World War I. Additionally, more versatile instruments like the accordion appeared, offering a broader range of notes. Two further factors contributed to the piva’s decline: the depopulation of Apennine areas in favor of larger cities and a growing disinterest among younger generations in local culture and traditions.

From World War II onwards, the use of this instrument drastically declined, even in its heartland.

To preserve this regional tradition, a revival effort began in the 1980s. Some musical groups based in Modena province started playing the piva again, aiming to keep this beautiful musical instrument from fading into obscurity.

Since then, restored and newly crafted pivas have often been used at city festivals to accompany dances.

Parts of the Instrument

The main component of the piva is a leather bag that acts as an air reservoir. Its size varies depending on the instrument, much like a bagpipe. Several pipes are inserted into this bag. The main one, equipped with finger holes, is called the chanter or s-cella in the regional dialect. Another pipe, the blowpipe, allows the musician to blow air into the bag.

The piva is completed by the two drone pipes, known as the tenor and bass drones.
The bag is made of tanned leather, often sourced from a young goat. It is sewn to form a reservoir capable of holding air. Holes are made for inserting the pipes, and a cut is made for the blowpipe. Let’s examine each pipe to understand its function.

• Chanter: Made with a double reed, it is often crafted from a single piece of wood, hand-carved and turned. After shaping on a lathe, seven holes are drilled on the front and two on the back, which can be opened or closed with the fingers like a flute. The pinky hole is initially double to accommodate both left- and right-handed players. The unused hole can be sealed with melted wax. Additional tuning holes may also be created.

• Tenor Drone: This single-reed pipe is held against the forearm while playing. Unlike the chanter, it is often made from two pieces of wood, both hand-carved and turned. Its pitch is an octave lower than the chanter’s lowest note.

• Bass Drone: Also using a single reed, it is crafted from three pieces. Its pitch is two octaves lower than the chanter’s lowest note. Unlike the tenor drone, this pipe is rested on the shoulder while playing.

• Blowpipe: The pipe through which the musician blows air into the bag. It is much simpler than the other pipes and requires minimal craftsmanship.

As mentioned earlier, the drones and chanter can be made of one, two, or three parts. Why this difference? A multi-part drone can be tuned before playing. The process is simple: sliding the segments to adjust the drone’s length. This allows the musician to fine-tune the instrument.

Materials

The materials used for making the piva are leather for the bag and wood for the pipes. Traditionally, goat leather was used, but nowadays calfskin is preferred. Modern, more economical instruments often use synthetic materials, though these lack the characteristic sound of traditional models.
For the pipes, boxwood, known for its light color and durability, is commonly used, along with service tree wood, which is softer, and pear or cherry wood.

How to Play

Since the piva is part of the bagpipe family, correct pressure management inside the bag is essential for optimal performance. Air is blown in through the blowpipe, and as it exits through the pipes, it vibrates the reeds. The musician must skillfully balance the air input and output by pressing the bag with their arm. The two drones, as mentioned earlier, have single reeds, functioning similarly to a clarinet or saxophone. They produce a fixed sound, typically the G octave note, which accompanies the melody played on the chanter. The chanter, with a double reed like an oboe, allows the musician to play melodies by opening and closing the finger holes. When all holes are closed, it plays an F#. Opening the holes in sequence produces the notes: G, A, Bb, B, C, D, Eb, E, F, F#, G, and A.

It is also possible to play the drones or chanter individually by managing the air pressure in the bag appropriately.
The piva can be played solo or with other instruments. Traditionally, it was unaccompanied, though multiple pivas were often played together. The instrument most suited to accompany the piva is the piffero, a predecessor of the oboe with a double reed like the chanter. Originating in the same period and area as the piva, it is not uncommon to find melodies featuring both instruments.

The web hosts numerous videos showcasing musicians playing the piva. Here are a few:

https://www.youtube.com/watch?v=PtwbALHsbQ4
https://www.youtube.com/watch?v=Fg04TsoPPK0
https://www.youtube.com/watch?v=8Or4LSqr0Jw

Proverbs and Idioms

Many may have heard the phrases “returning with the piva in the sack” or “remaining with the piva in the sack”. This saying, typical of Emilia Romagna, derives from the instrument itself. It signifies a great disappointment or humiliation from failing to achieve something.

Meanings in Other Regions

The term piva is used in other Italian regions beyond Emilia Romagna, though its meanings may vary. In some areas, it is a simple synonym for bagpipe or zampogna, while in others, it refers to the piffero. Lastly, it can describe the ensemble of drones and chanter that form a bagpipe.