Zampogna a paro (~ a paru) (f)
(with) definite article: laBagpipe, mouth-blown: 1 stock (double chanter + 3 drones) / no additional drones
Solo instrument with chanters of equal length (generally shorter than usual); It is not played in combination with a Ciaramella (shawm), but, eventually, accompanied with a Tamburello [tambourine]; Central-Southern Calabria (prov. Catanzaro, Vibo Valentia and Reggio Calabria, incl. the latter’s Grecanic (i.e. Calabrian Greek) communities); According to Castagna, who consistently spells it "a paru", it is widespread in southern Calabria up to almost the Isthmus of Catanzaro-Lamezia, where it once was "the dominant type" (➺ p.20); NB¹: ➺ Sicily.
Reeds are usually all single (up-cut), but combinations with double-reed(s) occur (according to Leydi in northern Calabria only); In such case the low drone is always provided with a single reed, the other pipes with double reeds; According to Castagna, the bells are of the "half-closed" type; NB²: ➺ Wood types used.
Cardigliu, Dritta, Manca, Paro, Terzo, Zùmbaco, ·? (reed, single, idioglot, up-cut [Term not mentioned in available sources])
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Leydi, Roberto: La zampogna in Europa. Como, 1979, p.136 (~ a paro).
Leydi, Roberto: Typological outlines of the Italian bagpipes. In: SIMP IX (Stockholm, 1989), p.112, 114, 115/* (~ a paro).
Zampogne: catalogo della mostra permanente di cornamuse italiane e straniere di Scapoli. A cura di Mauro Gioielli. Scapoli, 2001, p.13 (~ a paro).
Tucci, Roberta: Le zampogne in Calabria. In: La zampogna: gli aerofoni a sacco in Italia (2005), II, p.114, 117 (~ a paro).
Castagna, Ettore: La zampogna a chiave calabrese (The Calabrian zampogna with key) - 1 (Disegni: Stefano Fraschetti). In: Utriculus, Nuova serie XVII (56), II semestre 2018, p.20, 22, [34, 35 (Tavola 2, ill. 1*), 38, 42, 43 (Tavola 6, ill. 1*)], (53, 56-57, 58-59 [Family tree Terzarola]).