I’m not sure what tonguing means to Linda Lovelace, but I use the term to refer to interrupting the air stream with my tongue as I whistle. Like saying “ta” or “da” into the whistle. That gives a note attack or separates notes. Sometimes I triple-tongue. Beat that, Linda. 
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/bloomfield
[ This Message was edited by: Bloomfield on 2002-08-26 16:54 ]
On 2002-08-02 11:55, Azalin wrote:
I just let it flow naturally and don’t think much about it anyway…
Much the same here, I rarely think about putting in more or less tonguing. I use it sparingly, depending on the tune.
I’ve never tried to play “in the style of” X, Y, or Z, just in my own way. If I’m trying to copy the sound of a CD I’ll use it as much as I hear it in the recording, I guess, but then when I have the tune learnt and am playing away from the CD, I’ll just let nature take it’s course.
I think StevieJ’s pages about tonguing sit well, just like most ways of ornamenting a tune, you don’t want too many croutons in the soup!
The following works for me re Tongueing,
Slow Airs sound ‘Tuh’,at players discretion.
Marches and medium tempo pieces I sound ‘Tuh’
as well if the tune ain’t too fast. Triplets at medium tempo, I would tend to use ‘Tuh’,‘Tuh’,‘Tuh’ only because it makes the notes sound even. For faster tunes and triplets I would use ‘Tuh’,‘Kuh’,‘Tuh’. The ‘kuh’ sound coming from the back of the throat. This makes the notes sound less even but still works. Albeit I also have to use discretion with each tune.
Hello everybody,
I am very new to all of this Irish whistle stuff. I have just been learning about tonguing from the L. E. McCullough Irish Whistle Tutor. Found it very difficult to pick up but I am getting a little better at it. Before this I was using that glottal stop process and have found that I have a tired glottal. I’m not kidding. I thought that using the glottal stop must have been incorrect because it is not mentioned in any of my learn how to play a whistle books and after playing for a few days, I developed this tired glottal. Is this glottal abuse?
Does anyone know of a whistle teacher in the Provience/South of Boston area? The more I read these postings, the more lost I know I am!!
Hi, Whistlewort (nice nick, btw) and welcome. I am not suprised that you are a bit lost here in the ITM Forum. So am I. It’s meant to be a place where there is enough serious discussion of Irish Trad Music to get lost in.
For more technical or beginner questions, the main whistleboard is a good place (although there is an awful lot of silly, off topic stuff there nowadays). You’ll get great whistle-specific advice.
It’s all there in McCullough, Wort. He da MAN!
Is’t the Eisteddfodd still happening in New Bedford? Lots of players there.
I first learned Irish tunes from a banjo player and tongued all the time (1972) till I was SEVERELY reprimanded by ceilidh musicians (who played for Irish social occasions in Boston). This was law until 1975 when I heard flute-players tongue on Irish 78s recorded in the 30s. Now I play any way I want to (which is usually as much like Cathal McConnell as I can ;=).
Now, it took me a long time to figure this out, so gather 'round, chillun: “No nay never tongue” comes from people who think that Irish pipes are the soul of Irish music, and that flutes and whistles are modern English impositions on an ancient Celtic culture. “It’s OK to tongue” comes from flute players in the 1920’s and 30’s who HAD to tongue to make those cruddy flutes work.
My advice (in addition to all the wonderful things posted before me) is this: Don’t try to play a tune like a fiddler, a banjo player, or a harp. After you learn a tune from such a one, rework the tune for you and for your whistle. And different whistles will require different ornaments because you have to breathe differently. Change notes, change ornaments, make it sound right to you, as good as you currenly can play. Once a year or so go back over your tunes and re-learn them based on what and who you are at that time.
It’s only music. Please yourself.