Most Difficult Whistles to Adjust to Consistently

[PhilO]

I'm curious about others' experience in adapting to new whistles. Most whistles have been easy for me to adapt to and be comfortable with rather quickly. At the easy end of the continuum, for example, would be the Burkes, which are instantaneous. What about the other or difficult end of the continuum? I'm not talking about Low D whistles here which have their own added degree of difficulty regarding reach and air requirements.

Most difficult of all was the Serpent Dreadnaught - a monster soprano D with a wider bore than most A or G whistles. Bill stopped making these I believe. It is of greatest use as a weapon and is a work of art (a massively built unique object); just a horrible player. I was amazed that I actually was able to get it to sound half decent after a week of respiratory contortions. This whistle is in a class by itself, mostly because I don't know anyone who could actually get it to sound good, without expiring in the effort. (The Serpent Viper D on the other hand is an easy and decent player).

Next on my most difficult list for soprano D whistles is the Seery delrin, now in Jessie's more capable hands. This whistle was fine as long as you remembered to severely attack the high B so that your entire face became puckered in the effort (ok, a bit of hyperbole here).

Then comes a very early Alba aluminum soprano D, which required more lungs than any human has. Still has that lovely Alba sound and I can certainly play it more easily these days. (Stacey's later models are a joy).

The O'Briain Improved is next and last on this list. In this case, I initially had difficulty for a couple of days with my breath control so as not to over blow. Funny thing is, though, since then the whistle has been quite natural and easy for me to play.

Anyone else with similar experiences?

Philo

[Jayhawk]

The O'Briain improved (high D is all I have) and the Oak were probably the most difficult to adjust to for me - both have the same breath control issues. Now that I'm used to them, I can really lean into them without squeaks and squacks.

Eric

[JessieK]

Next on my most difficult list for soprano D whistles is the Seery delrin, now in Jessie's more capable hands.

I sold it over a year ago. I didn't find it difficult to adjust to, but it was very loud.

I find most whistles easy to adjust to. As for bad whistles, I don't think it's a question of adjustment. Early Serpent whistles were just plain bad. They seem to be improving.

[PhilO]

Next on my most difficult list for soprano D whistles is the Seery delrin, now in Jessie's more capable hands.

I sold it over a year ago. I didn't find it difficult to adjust to, but it was very loud.

I find most whistles easy to adjust to. As for bad whistles, I don't think it's a question of adjustment. Early Serpent whistles were just plain bad. They seem to be improving.

I guess if you have to turn yourself inside out, turn blue and face a near death experience over a long period of time, resulting in poor to mediocre sounds, it just might be the whistle...

Philo

[Tyghress]

Every narrow bore I've ever played has taken some major effort to adjust to. I can honestly say I don't care for narrow bores at all. I'd rather mute one of my regular ones.

[Bloomfield]

Every narrow bore I've ever played has taken some major effort to adjust to. I can honestly say I don't care for narrow bores at all. I'd rather mute one of my regular ones.

I used to prefer the wider bore whistles, but I find myself inreasingly drawn to narrow-bore whistles. I like the balance between octaves better and I feel that they give you more control; which is the same thing as saying that they require more control.

Overtons are hard to adjust to, mainly because you need to support your breath, something only a few whistles require. Once you've put the work into that, though, switching between whistles is not a big deal, I find.

[markbell]

My recently-acquired Shaw mezzo A has unusual spacing on the E hole - it's a much further spread for the right ring finger than the others. I play a Chieftain low D, so I'm accustomed to piper's grip, it's just that the one hole is so much farther away from the others.

One whistle that I never came to good terms with was an older narrow-bore Susato mezzo A. It was even more temperamental than I am. Very unpredictable flipping between octaves, and a weak voice on the low end. It no longer lives at my house.

[Jennie]

Some of the adjustment problems on my part comes from reluctance, or timidity, in the upper octave. I hold back a little, not wanting to blast people, and then the instrument doesn't speak. Or I end up playing both octaves at the same time.

Now that I've been playing some of the harder-to-adjust-to whistles, though, I find that when I switch back to my Burke or Generation they feel too easy.

It may be an individual whistle thing... or an individual player thing.

Jennie

[Darwin]

I had a lot of trouble adjusting to my Shaw low G. The distance between the first and second holes was just too much for me--and the narrowness of the conical tube may have made it worse, since my Jubilee practice low D has similar hole spacing, but is very easy to play.

I solved the problem by trading the Shaw for a Syn aluminum and a Hoover Whitecap with brass tube, both easy to play, and the Syn particularly nice, both in sound and in having a good OXXOOO C-nat. (I should mention that I was less excited by the Hoover because I already owned two Whitecap high Ds at the time, not because it's not a great whistle.)

[StewySmoot]

Every narrow bore I've ever played has taken some major effort to adjust to. I can honestly say I don't care for narrow bores at all. I'd rather mute one of my regular ones.

I used to prefer the wider bore whistles, but I find myself inreasingly drawn to narrow-bore whistles. I like the balance between octaves better and I feel that they give you more control; which is the same thing as saying that they require more control.

Overtons are hard to adjust to, mainly because you need to support your breath, something only a few whistles require. Once you've put the work into that, though, switching between whistles is not a big deal, I find.

For posterity....

[Cynth]

mainly because you need to support your breath, something only a few whistles require

I have 3 whistles--all high D, a Susato, a tweaked Generation, and a Burke brass regular bore.

Whenever I play any of them, although I now play almost only the Burke, I find that the notes are sort of wavery---they are not staying on one pitch.

I thought that this was because the speed of the air entering the whistle was varying, i.e I was not controlling my breath well and that part of this control would involve "supporting my breath" using my diaphragm or whatever.

So I am a bit lost here. I have been reading and trying to work on getting a tone which is steady as far as pitch goes---what I have been thinking of as breath control and support.

I have been trying to breathe so that first my abdomen rises, then my chest and then my back---well, it is some sort of 3 step breathing in. Then I have been trying to learn to breathe out so that my muscles are pushing inward and upward at the belly.

My notes may be improving, but not very much---I don't really think they are. It is important to me that I be able to get a pure, unwavering sound and I have been thinking of taking some lessons from a recorder teacher to see what my problem is.

Could you elaborate on what you mean and tell me what I ought to be doing? This is a big problem for me and I would appreciate any help I can get.

[Bloomfield]

Stewy, you might be polite enough to cite to the other threads, too. For posterity. For example:

http://chiffboard.mati.ca/viewtopic.php?t=23783

http://chiffboard.mati.ca/viewtopic.php?t=9250&start=30

http://chiffboard.mati.ca/viewtopic.php?t=8536 (ah, nostalgia.)

[Bloomfield]

mainly because you need to support your breath, something only a few whistles require

I have 3 whistles--all high D, a Susato, a tweaked Generation, and a Burke brass regular bore.

Whenever I play any of them, although I now play almost only the Burke, I find that the notes are sort of wavery---they are not staying on one pitch.

I thought that this was because the speed of the air entering the whistle was varying, i.e I was not controlling my breath well and that part of this control would involve "supporting my breath" using my diaphragm or whatever.

So I am a bit lost here. I have been reading and trying to work on getting a tone which is steady as far as pitch goes---what I have been thinking of as breath control and support.

I have been trying to breathe so that first my abdomen rises, then my chest and then my back---well, it is some sort of 3 step breathing in. Then I have been trying to learn to breathe out so that my muscles are pushing inward and upward at the belly.

My notes may be improving, but not very much---I don't really think they are. It is important to me that I be able to get a pure, unwavering sound and I have been thinking of taking some lessons from a recorder teacher to see what my problem is.

Could you elaborate on what you mean and tell me what I ought to be doing? This is a big problem for me and I would appreciate any help I can get.

Ok, first I'd throw the Susato in the bottom of a deep drawer. You can pull it out again in a year or two, if you like. (And don't tell me you needed it because it's loud and you want to play at sessions; while you're still working on this breath stuff you shouldn't be so audible at a session. )

Who tweaked your Generation? If it's JerryGen, it probably takes a bit of breath and the tone is a little harder to affect with the breath than on other Generations. The Burkes are different between the old-style and the new Delrin-tipped, which take a little less breath and offer a little more resistance. The Burkes are fairly stolid in my experience in that they'll sound about the same no matter how you blow.

Since you are not playing that Susato anymore for the moment, you don't need to worry about breath support. You can play both the Generation and the Burke without breath support. All you need for such whistles is more or less volume of breath (not pressure). If you are thinking too much about breathing, doing that three-step thing, you may be breathing too deeply and unable to expel the breath as quickly as need to before you need more oxygen. Start with the Generation and try to take very small breaths (like sniffing a rose---through the nose, and you'll feel it in your diaphragm). Learn to take frequent breaths, by dropping a note from the tune (if it is dance tunes you play). Buy yourself a Feadog or Acorn or Oak. All those are great whistles hated by beginners: they will tend to squeak or rattle if you blow too hard, and will therefore teach you to not blow too hard. As you work on breath control you'll get the knack of blowing harder for certain notes or in the top of the second octave and so forth. On a good whistle, you will be able to make the sound sweeter or harsher (won't work on your Burke).

When you learn to blow a little less hard and to control your breath better, you'll be able to work with the pitch better; in my experience, backing off is the trick in the beginning. (If you get an Overton, or Alba, or Silkstone, or Water Weasel ... different story!)


Good luck.

[StewySmoot]

Stewy, you might be polite enough to cite to the other threads, too. For posterity. For example:

http://chiffboard.mati.ca/viewtopic.php?t=23783

http://chiffboard.mati.ca/viewtopic.php?t=9250&start=30

http://chiffboard.mati.ca/viewtopic.php?t=8536 (ah, nostalgia.)

Just wanted to get your most recent observations on the playability of the Overton down for posterity.

Thats all

[Bloomfield]

Nope. Just wanted to get your most recent observations on the playability of the Overton down for posterity.

Thats all

So you can come back to them in a year or two and suss them? :roll: