A Summary of Whistling Wisdom
A Summary of Whistling Wisdom
In regard to the whistle or whistling, what is the best advice you've received on Chiff and Fipple?
What is the best whistle advice you didn't get here?
Inquiring Cats Want to Know
What is the best whistle advice you didn't get here?
Inquiring Cats Want to Know
Remember, you didn't get the tiger so it would do what you wanted. You got the tiger to see what it wanted to do. -- Colin McEnroe
- brewerpaul
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I didn't get this right here on the board, but at the Northeast gathering of Chiffers this past summer.
I was telling Bloomie's teacher Gunther about how hard I found it to play that last strike on an A roll-- the note always came out too distinct as opposed to the mere blip needed in the roll. He advised me not to try striking with my right ring finger. Instead, he recommended striking with my pinky(not on a hole, just wherever it happens to be). The ring finger sort of "comes along for the ride", hits the hole nice and sharply, then bounces up out of the way. Result: a nice quick clean roll
I was telling Bloomie's teacher Gunther about how hard I found it to play that last strike on an A roll-- the note always came out too distinct as opposed to the mere blip needed in the roll. He advised me not to try striking with my right ring finger. Instead, he recommended striking with my pinky(not on a hole, just wherever it happens to be). The ring finger sort of "comes along for the ride", hits the hole nice and sharply, then bounces up out of the way. Result: a nice quick clean roll
There is a lot of useful advice on when to breathe while playing...The tip I have NOT found is when to swallow. (no jokes please)
I seem to have a pavlovian response to whistle playing. I can barely get through a nice lament before I have to start pointing the whistle up to avoid an unpleasant scene. I mean, eccch.
Any constructive advice?
Thanks
PS: I look forward to trying the "solution" for MRFOS (Mid-Reel Fluid Obstruction Siezure).
I seem to have a pavlovian response to whistle playing. I can barely get through a nice lament before I have to start pointing the whistle up to avoid an unpleasant scene. I mean, eccch.
Any constructive advice?
Thanks
PS: I look forward to trying the "solution" for MRFOS (Mid-Reel Fluid Obstruction Siezure).
- michael_coleman
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- Tell us something.: I play the first flute Jon Cochran ever made but haven't been very active on the board the last 9-10 years. Life happens I guess...I owned a keyed M&E flute for a while and I kind of miss it.
- Location: Nottingham, England
a lot of good stuff going on over on the flute forum, specifically the one about water condensation and your air stream:
http://chiffboard.mati.ca/viewtopic.php?t=24708
its actually helped me see how tight of an embochure I can get and where I am placing the air stream...
But you guys probably don't care about that..
http://chiffboard.mati.ca/viewtopic.php?t=24708
its actually helped me see how tight of an embochure I can get and where I am placing the air stream...
But you guys probably don't care about that..
-
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"Check out Brother Steve´s Whistle pages"
Did so last night and learned a LOT!!!!
http://www.rogermillington.com/siamsa/brosteve/
................and dont´t skip the two first pages! ........that´s wisdom fore you!!
Did so last night and learned a LOT!!!!
http://www.rogermillington.com/siamsa/brosteve/
................and dont´t skip the two first pages! ........that´s wisdom fore you!!
-Blessed is the man who, having nothing to say, abstains from giving wordy evidence to that fact-
George Eliot
George Eliot
- Phil Hardy
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Advice.
Nobody said this was going to hurt!.
Phil.
Phil.
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I was in a workshop with Mary Bergin back in October and, as you might expect, learnt just masses of stuff...
One thing in particular that has stayed with me and absorbed itself naturally into my playing is her tonguing, especially of cuts, and most especially of the cut note in rolls. She had us practising cuts really slowly, tonguing with the "cutting" finger open and then shutting it immediately to get a really crisp attack.
She uses lots of short rolls, tonguing the first note and getting a really distinctive phrasing as a result. It's also particularly good for long rolls in jigs, because it introduces an automatic "lilt". So when you have a long roll on the beat (start of the Kesh, say) try tonguing the cut note: i.e. the middle one. It'll sound really lumpy until you get the hang of it, especially if you're not used to tonguing much, but it's worth the effort.
(Interestingly, Mary was very much of the opinion that the three notes of a roll should NOT be even in length, in jigs or reels. But that's an argument for another day..)
You can definitely over-tongue - as I did for the first month afterwards - but it's a really effective little trick to throw into the mix.
Sam
One thing in particular that has stayed with me and absorbed itself naturally into my playing is her tonguing, especially of cuts, and most especially of the cut note in rolls. She had us practising cuts really slowly, tonguing with the "cutting" finger open and then shutting it immediately to get a really crisp attack.
She uses lots of short rolls, tonguing the first note and getting a really distinctive phrasing as a result. It's also particularly good for long rolls in jigs, because it introduces an automatic "lilt". So when you have a long roll on the beat (start of the Kesh, say) try tonguing the cut note: i.e. the middle one. It'll sound really lumpy until you get the hang of it, especially if you're not used to tonguing much, but it's worth the effort.
(Interestingly, Mary was very much of the opinion that the three notes of a roll should NOT be even in length, in jigs or reels. But that's an argument for another day..)
You can definitely over-tongue - as I did for the first month afterwards - but it's a really effective little trick to throw into the mix.
Sam