a few higher notes, typically b, c',and c#', are obtainable on some chanters by 'pinching' and overblowing. As with the Highland pipes, the basic scale is a mixolydian scale on A. Some chanters can play chromatic notes however, and some old tunes, for instance Bold Wilkinson or Wat ye what I got late yestreen, suggest a dorian scale may also sometimes have been used, requiring a minor third instead of the major third of the mixolydian scale. This could be achieved by cross-fingering or half-holing. Pete Stewart has further argued that the existence of some G major tunes with a nine-note compass from G to a suggests that Border pipes formerly sounded a c natural, rather than c sharp; cross-fingering would then have been needed to sound a c sharp. Some instruments are made in other pitches, typically B flat or G, rather than A. Drones The instrument has three cylindrically bored drones inserted into the pipebag by a common stock, typically tuned A, a, e', or A, a, a. In contrast, the Great Highland Bagpipe has each drone in a separate stock. The drone tuning A, e, a was used in half-long pipes in the early 20th century, and though still rare, sets are now beginning to be made with this drone tuning again. Bag and bellows The bag is not filled with breath from the player's mouth, but instead is supplied with dry air, from a set of bellows strapped under the player's right arm. This keeps the reeds drier, which helps keep the instrument in tune, as well as greatly extending the life of a reed. Border pipe repertoire There is a distinct body of music for the instrument – many of these tunes survived in the fiddle and Northumbrian smallpipes repertoire after the playing of Border pipes died out in the mid-19th century. Others survive in manuscript sources from the 18th and 19th century. Sources Most notably, the William Dixon manuscript, dated 1733, from Stamfordham in Northumberland, was identified as Border pipe music by Matt Seattle in 1995, and published by him with extensive notes. The book contains forty tunes, almost all with extensive variation sets. Some of these are limited to a single octave, and many of this group correspond closely to tunes for Northumbrian smallpipes known from early 19th-century sources – "Apprentice Lads of Alnwick" is one of these; others are melodically and harmonically