If the transition from the c# to the B roll is causing problems, stabilizing the whistle with your bottom-hand ring finger (covering the bottom hole) or little finger may help. In fact you could easily place all three fingers of your bottom hand over their holes without affecting the pitch of the B (depending on your whistle).awildman wrote:It has something to do with the upper octave >fingers up for c# > fingers down for B > initial cut on B for the start of the roll. This combination is especially tricky for me. The initial cut sounds just too long and awkward, and is, of course, throwing off the rest of the roll.
As for the roll, you say you are practising it slowly, but are you executing the cut and tap as distinct movements - first one and then the other - rather than trying to do the whole thing at once as it were? If in doubt refer to the Brother Steve da-blah-blah method, and remember that for a roll on an offbeat, such as these ones, you do NOT want to "swing" the roll (which you might want to do on a long roll) but to divide the B into three even notes.
c# (ya) + B (da) + {c}B (blah) + {A}B (blah)
Get that going nice and evenly and speed up very gradually.