Cuts Technique

[EricGibson]

In reading Grey Larsen's book, the Essential Tin Whistle book, he seems to use a different cuts than many use, ie (on a D whistle) he uses B2 for D, B1 for E, T3 for F , T2 for G, and T1 for B and A notes (if I got that right). Most seem to have a simpler style, just using T3 for the bottom 3, and then T1 and T2 for the top notes. Gary says the reason is that in both the higher register and especially on lower whistles, the further away the cut is from the base note, the more it can create a gap, and sound sloppy.... Others tell me it's not so much which technique you use, as how well you execute it (makes sense to me). It seems to me that Grey's method would take longer to learn... would I come to regret it later going by the simpler techique?

thanks, Eric

(I should say that I'm into this as a hobbyist rather than a performer/professional)

[swizzlestick]

I do hear that difference on lower whistles, so I am currently using the same method as Grey Larsen. But I can't argue with the fact that there are excellent players out there using both techniques.

I do think that you, as a beginner, may be overestimating the relative difficulty. It seemed to take me about the same amount of time to develop the muscle memory to use either method.

[Ceili_whistle_man]

Try this simple test Eric;
Play a four note sequence, each note being of the same duration and at a medium pace (like a slow reel), start on your bottom D then play G and then two bottom D's. (D G D D)
Separate the last two D's with a cut.
Try cutting the two D's first by lifting R3, then go through each four note run alternating through R2, R1, L3, L2, L1.
Can you hear the difference in the strength of the cut note when cutting at each position?
I know what I can hear, can you tell me what you hear?
Which notes sound (respond) quicker and cleaner?
I don't think that you need to be bound by using one/any particular cut for any particular note, it is a matter of which sounds right to your ear, or which one gives the sound dynamic you are trying to achieve with each cut.
Remember that each whistle you try will have it's own playing characteristics, and there will be slight variations between them in regards to which cut will give you the best sounding and cleanest cut to suit your needs.
I hope this helps.

[m31]

I've been whistling for more than a dozen years and I'm finally getting around to using B1/R1 to cut second octave e and d, especially for the flute. I found that when a melody ascends from the first to the second octave, and the beat lands on an e or d, I wanted to cut the beat and blow a tad harder to accent it. The second octave e tends to be weak on many instruments and requires reduced breath pressure -- opposite to what I want to do. Result? The note breaks up and a spurious harmonic is sounded. Depending on the instrument (and most of us own more than one), cutting with B1/R1 can be more stable, plus it expands your musical vocabulary. It's really not that much more work.

[doogieman]

Grey's cuts may sound "smoother" because the "note" that makes the cut is close to the note your playing. (I'm using the quotations because the cut is not really a note you play.) If you want a larger, rougher sound to your cut you may want to cut using a different "note" that uses a larger interval from the cut note. It's good to learn several ways to cut and use them as you see fit.

[dsmootz]

I'm working through the Larsen book too, and I think switching to cutting bottom D with B2 is the largest improvement I've picked up from the book so far. However, I'm mainly playing a Low D whistle (Burke) - it doesn't seem to really matter on the high whistle. I was having to hold on the air flow if I was going cut, or I would jump into the second octave after cutting - now I can lean into the low d and cut with impunity.