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PostPosted: Sun Oct 06, 2019 5:11 am 
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Mr.Gumby wrote:
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working with the embrochure (and ornamentation)


I really don't think embouchure is much (or any) significance when playing (high) whistles.


Well, Colin Goldie told me so and I learned it from Grey Larsens book that it matters.


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PostPosted: Sun Oct 06, 2019 5:16 am 
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Fair enough, Goldies may be as different story but I don't have yet to find any effect on the type of whistles I play.

I do believe the shape of your mouth may have some effect on tone but in playing your run of the mill high whistle, embouchure is not part of playing technique, it just doesn't come into it.

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PostPosted: Wed Oct 09, 2019 2:46 pm 
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After reading your comments thoroughly and listening to some sound examples I placed an order now for a Killarney. Another reason for choosing this one may be that they remind me of John Sindt's, which I always found amazing whistles. Maybe this is idiocy because the fact that they look alike doesn't mean they sound alike. But not all decisions are (or should be) rational.

Thank you for your support :thumbsup:


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PostPosted: Thu Oct 10, 2019 3:54 am 
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I don't know about whistles, but for sure in flute playing

"Tone quality is affected by the position of the tongue...lowering the tongue to the base of the mouth allows freer air vibration, and a slight inflation of the cheeks has been shown to enhance resonance. The action of the jaw, which affects mouth shape and lip position, is also a factor in tone production." Nancy Toff, The Flute Book

Then there's "support" which I feel has an impact on the strength of the lowest notes on Low Whistles.

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