(Where’s that ‘jaw drop’ emoticon when you need it?)
Most wow-inspiring!
OUTSTANDING!!
Me →
… 
← MTGuru
You forgot the . . . “we’re not worthy, we’re not worthy”
I’d guess there are thousands of school kids who could do a better job on whistle, recorder or otherwise than my amateur effort … a humbling thought. But it’s sure fun to try.
The trickiest thing to play are those accidentals in the B part. The darn whistle doesn’t have any of those handy key thingies on it, just a bunch of holes. 
I imagine your SM58 should work fine; as you know, it’s basically the same microphone. You do need a good preamp (the Behringer board is not bad). I use a foam windscreen and point the mic down toward the fipple around 20 cm away. I also roll off the treble -3 dB above 12 kHz. Try recording the whistle at a fairly low level, -12 dB or less, then normalize later. I find that helps to reduce harshness and noise with my limited space and poor acoustics.
Yes, the continuo is nice, but my own keyboard skills are in chopsticks territory. The midi file is from the Recorder Home Page midi page, transcribed by Randy Kwak (with a few clinkers repaired by me). And the patches are just my default 4MB SoundBlaster sound fonts.
If your kitchen looks like Notre Dame cathedral. 
Very good advice. I record everything this way. Only I usually don’t normalize later as that can bring on unwanted noises as well. I just keep all my levels around -12 to -10 dB which, with a few instruments like this, will show the master level around -8 to -6 dB. I then bring the overall level up with master compression or just a master limiter if the mix doesn’t need any compression.
Actually, my kitchen does sound like that.
I’m doing some work, and there’s no furniture in there right now. No curtains, large glass surfaces (patio door, large windows), ceramic tile floor, smooth nonacoustical ceiling, about 16’ X 15’ area.
The Supremes recorded in a bathroom because in the record company offices, that was the room with the best reverb at a time when the recording equipment was unsophisticated and the studio redimentary.
Best wishes,
Jerry
Absolutely amazing, John. You are, in fact, the man.
W:boggle:W!!
That’s probably the weak link in my setup. I’m plugging the mic directly into my old Soundblaster Live!. The kX drivers let me control input gain… but the whole deal is very noisy. The woes of cheap A/D converters I suppose. Note to self: get a decent mic preamp.
20 cm I’ve been recording at like 5 cm to get a good input level… Are you using any compression? I’ve found it very hard to record my whistle playing without quite heavy compression. There’s huge differences in volume between octaves, though that might be related to my whistles and/or my technique.
I never normalize, I compress. But I see your point.
Also, sorry for derailing the topic with a lot of technical talk. This is a lovely and very impressive piece – it really shows the versatility of this little instrument. I was just curious how you got that very sweet whistle sound.
Hey! Don’t underestimate midi! 
Yes, never underestimate midi, particularly with a great synth for the output!
Wouldn’t it be great if you had a teaching site?
Great stuff loved it! 
Great Idea,and lovery playing.
I love this tune much.
I recorded it in Irish style.
sorry for the bad tuning on semi tones.
http://www.irishflute.info/mp3/Telemann-hatao.mp3
Here are score, whistle part sheet,and Karaoke.
http://www.irishflute.info/mp3/Telemann_sonata_Tinwhistle_part.pdf
http://www.irishflute.info/mp3/Telemann_sonata_Tinwhistle_score.pdf
http://www.irishflute.info/mp3/Telemann_sonata_Tinwhistle.MID
Do you know more good baroque piece suitable for Tin whistle?
Thanks for that, nice job!
Do you know more good baroque piece suitable for Tin whistle?
Try the opening Aria to Bach’s Goldberg Variations. It works perfectly with only one or two half holings needed. Go here and scroll down to the Goldbergs. Some of the other movements work too:
http://icking-music-archive.org/ByComposer/J.S.Bach.php
The Badinerie from Bach’s Orchestral Suite Number 2 is tougher,but excellent on whistle. If you play it with the eighth notes dotted, it becomes a smashingly good Hornpipe. The whole suite is in a whistle friendly key, and can be found at the same site as above.
Hatao, my friend … that is just too funny. Telemann meets Carolan.
(And please say hello to Peter the next time you see him!)
In that case, Jerry, I’ll be right over. I take my coffee strong and my eggs over easy.
Bathroom sessions rock. But you do need a large bathroom:
Yikes, that is close. At that distance you also record a lot of wind noise, finger noise, and strange transients. A whistle really does sound better at a distance - which is why it sounds different to the player and the listener. 20 cm is a compromise. In a quiet studio with a large diaphragm condenser, I’d back away from the mic even further.
No, no compression. What you hear is mostly what you get … except for that high passage that I compressed very lightly. You can always “work the mic” (distance) to control the volume. But a volume difference between registers is just a natural characteristic of the instrument. Even a well-balanced whistle might show ~20 dB difference. More than that, and I might use some light compression. But too much compression sounds unnatural to me.
Of course, by recording at a lower level in the first place, you introduce a bit of natural compression. Personally, I think that the modern over-use of artificial compression is the #1 killer of natural sound when recording acoustic music. But that’s a matter of taste and aesthetics … and a different discussion.
Part of it is definitely the instrument, which is a very sweet-sounding little whistle.
Very true, compression is a dynamics-buster. But then again, it all depends on how, when and why it is used. In a song where there’s a lot of other things going on, unnatural is better than inaudible.
Couldn’t agree more.