Mccluskeyarundell > Leon

Playing the whistle for fun, by Steve Dancer

(with occasionally irreverent footnotes by Leon Arundell.)

Historical:
You’ll be in good company as a whistle player. Exponents of very similar instruments have included, Samuel Pepys, Robert Louis Stevenson, Henry Purcel and George Frederic Handel !  So,....... your instrument is an extension of the “fipple-flute” family. Originally with 4 holes on top and 2 underneath, it was known as the flageolet.  Developed, if not invented, by Sieur Juvigny, c 1581 and modified by English instrument maker, William Bainbridge, c 1803, it was patented as the “improved English flageolet”. In several guises it’s had a useful life of 400-odd years, and we now know it universally, as the “penny whistle”.

Finding a Good Whistle:
To kick-off, get yourself a “D” whistle; by far the most versatile key, easy to physically get your fingers around and not too big to carry daily. Makes/models/prices/quality, all vary considerably.,......Generally, you get what you pay for.
With commonly available metal whistles, I’ve found, perhaps one in every 10, is “good”. Likewise, around one in every 10 is poor.  No need to get too finicky, just avoid the noticeably poor one.

Generation whistles are easy to find, Soodlum, though less common, are worth asking around for. “Clarke whistles¹, a better ratio, of 1 in 3 good ‘uns,” (David Barnes, Wellington, NZ). Unless you’re generally very careful, avoid the thinner aluminium-alloy variety, (just not robust enough.

Setting the benchmark, however, plastic Susato whistles are more expensive, though the two-piece D or C whistles are a consistently better product than off-the-shelf metal whistles. Why? Quality control, it seems (and the slightly tapered bore).  They’re generally “on key” immediately, though not quite as sturdy as most metal whistles. Smaller bore versions suit some folks’ styles and applications, with sweeter, perhaps softer tones. Susato?  Consistently the best value for money. If you opt for one of these instruments, forget about reading the next 3 paragraphs. At the other “end of the scale” are the hand-crafted wooden and metal instruments; works of art. You pay proportionately, and invariably even get a good instrument.

Good,....Bad,....or OK;  how to tell the difference? Minutely inspect the fipple area, (on top of the mouth-piece). You’re looking for any irregularities in the knife-edge (fipple) which “splits the breath”. And, are there any hairline cracks at the “head joint”? (where the mouth-piece meets the barrel).

All OK so far?  If you’re game, play the instrument. (see “Starting Off”, below) Hygiene is an issue; I’ve been known to carry a small bottle of mild chlorine solution, into which I insert the mouth-piece, (then dry it) before and after playing. The retailer I used to deal with didn’t object my using this method.  But first-off, if it’s a metal whistle, warm it by holding it firmly in your hand for 20 seconds-or-so; ( at the the top of the metal barrel section, near the mouth piece).  Body heat is sufficient to bring it on key...........I hope.

What to listen for? Play a scale, and demand easy changes from note to note, and clarity. Move from octave to octave, (using the same fingering, though with varying breath pressure) and check for unclear note/octave changes. A good whistle will (when warm) give you clear, sweet notes; no (or little) “fluffing”. Conversely, a poor whistle, not having these characteristics may greatly retard your progress.
 
Carry your D whistle and play it a little whenever you’re able; Tucked diagonally into the waist-band suits me. As above, (with metal whistles) they’re then necessarily warm, on-key, and less likely to “fluff” between octaves.

Music Supplied and Limitations:
The printed music sheets for “Amazing Grace”, “Oranges and Lemons”, “Scarborough Fair”, “The Minstrel Boy”  and  “The Sally Gardens’ are learning suggestions only; chosen mainly for their popularity. They include finger positions for each note, (for those folks like myself who don’t yet “read” music) though may learn to “play by ear”. However, you may choose to play something very different and never even look at a printed page. There are no limits.

However, if you “read” music notation you’ll be able to make some quick progress with the tunes provided, whether you “know” them or not². If you don’t read music (visually) ........though “play by ear”, (more intuitively) you’ll need to remember the melodies of these popular little tunes, in order to play them³. At the moment, I play only by ear. If you’re able to do both, you’re blessed.
  
Instantly remembering a piece of music can be a problem. When I need to, an “ipod” serves me well, as an aid to memory; not reading music (by sight).  In a social setting, other musos are of most help.  Finger “position notation” works, at a pinch to get going. And (alternately) an old gent once told me, “Play me the first 4 notes, and I’ll remember the tune”. Maybe one day I’ll gain this skill too.........
 
The humble whistle is capable of covering a wide range of musical genre. I enjoy playing Jazz (contemporary and trad), Blues, Pop, C & W / Bluegrass, even Classical pieces, Folk music, and for dance, (my favourite being Morris dance).  Playing solo’s fun, though for me, sharing music with others is far more illuminating and stimulating. Have fun; explore the versatility of this relatively inexpensive, portable little instrument.

Starting Off:
Stand, or sit quietly and be aware of general posture as indeed a singer would be aware.  No slouching, though not too stiff either. Just relax a bit, with head raised, rather than chin on your chest. Your whistle has 6 finger holes. Place 3 fingers (index, middle and ring) of the Left hand onto the top⁴ 3 holes, (with thumb beneath). Cover the lower 3 holes with fingers of Right hand, index, middle and ring, with thumb under. Relax. In time this precise positioning will become second nature.

Use the pads of your fingers, rather than the tips. Straighten fingers a little. Less stress will result in the finger joints (and even up into the shoulders/head). When playing, attempt to raise the fingers only a little way above the holes. Eventually, when you apply only just enough pressure to cover the holes, you may even feel  the air movement beneath the pads of your fingers; now you’re really in touch.

Rest the tip of the “head piece” between your lips and, with all holes covered, blow into it gently. Your first note! It’s a D⁵. Blow gradually harder,  and you’ll achieve another octave.*

Play a series of notes by “tonguing” the mouth-piece; interrupt the flow of breath into the mouth-piece by bringing the tongue across the whistle’s end-opening. Breathe, from the diaphragm.  Play a sequence of notes, individually tongued and then play them in one breath. Feel/ listen for the difference. Learn to retain your breath. Literally feel your way. “Use your stomach muscles to push your guts up into your diaphragm, which will support the air. Ribcage muscles control the air flow too.” (Karlin Love, Launceston)

Experiment. Try to sustain a consistent note (for as long as you can) or play a pleasing group of notes, maybe with differing timing. Learn to breath economically, and without “re-tonguing”, to change note. *By increasing/decreasing the pressure of your breath, play a sequence of 3 notes without moving your fingers; gentle breath to start, increasing pressure ‘til you feel how much breath is needed for the next octave. And, if you’re naughty, like me and  “over-blow”, you may be able to reach into a “third octave”, (or at least, bits of it!) Fear Not!  You may make some interesting musical discoveries.............. The dog’s already howling, in appreciation no doubt!

In readiness for later-on, to enable the (eventual)  tuning of the whistle, loosen the “head joint” by immersing in warm water, just enough to rotate it a little, on the barrel. (# “Music Session Etiquette”, below)

Play al fresco, in the bush or in the back yard (take a break from the weeding),.........the birds will come to see what’s going on. I’ve had “musical conversations” with curious birds; make it up as you go, or just imitate local bird-song; It’s rather fun and less daunting than rote scale practice. In fact, bizarre as it sounds, an early variation, the “bird flageolet” was employed in training birds to sing!!

Bad Habits, (ditch ‘em early):
Plenty to choose from, amongst others,.......Not listening,...... Poor posture,....... induces fatigue.  Gripping the whistle with your teeth; treat yourself to a new whistle, instead of paying dental bills.  Smoking,......a bit like farting really, (if you get my drift). In a “session-room”, not a good idea. Not to mention that it diminishes your valuable lung capacity.  (Not farting, silly). Though years ago I became adept at dangling a “ciggie” out of one side of my mouth, whilst sticking the whistle in the other side, (not recommended; difficult to blow and suck together).
   
Onward,.....Sharpening your Musical Ear:
Listen to your own favourite music; melodies and rhythms, or to the radio or Teev jingles, and see if you can play along with the same notes, or harmonize melodically. Try it, it’s good fun.

Blow the “Be-Je....” out of it ! (once in a while) right into the top octave and beyond (known as “overblowing”). “......don’t do it when other people are around”, David Barnes,Wellington, NZ) Get to know your/your whistle’s capacities. Like each of us, every whistle has its own personality!

If you already have a whistle selection, try out the different keys, ‘til you find one that fits a given tune better than any other. And,.......later-on listen for what notes you can get in a particular key (that you’re not even supposed to get) to fit in with other musos, so as not to have to change keys, (whistles). The “easy” key change to make, with the D whistle is into the key of G. Likewise, the C whistle seems to easily accommodate a key change into F.

Write something simple yourself (in your head or on paper) and use it as your “signature tune”; with which to warm-up, (yourself and your instrument) Eric Clapton does!  Design this self-penned tune, to take the whistle, and yourself through the disciplines of “octave change”, “sustain” and “timing  variations”, and what I call, “finger awareness”.

Ideas on Building Whistle Technique:
With “Oranges and Lemons”, play it in the low-range octave, and experiment with a sort of “call and response”, (the timeless communicative approach). * Launch into a higher octave by blowing slightly harder.  Play part “A” in the easy octave, then part “B”, higher up, (as the “response”); a bit like talking to yourself, musically.  Vary these A and B parts at will; makes for an interesting conversation!  By doing this you’ll find it easier later-on to adapt to playing politely with others and sensing how to add “light and shade”.

Lyric to “Sally Gardens”  (Sally, diminutive of  Salix, and so actually, “Willow Gardens”) is amazingly sad. (What’s new, it’s Celtic) Play it in a “measured” fashion, slowly, yet “determined” , as (literary) author, W B Yeats would have wished, and get that last ounce of musical pathos out of it. Eventually perhaps by lengthening some notes and “clipping” others. Unfortunately this tune’s more fitting for a wake than a wedding. If you start to weep,.....you’re either hopelessly bewildered,......or you’re spot-on!   And if others weep, (and don’t walk away) you’re playing’s almost certainly spot-on. All this could well keep you consumed for a couple of weeks. Play, play, play! It’ll all help breathing control. If you see me around, let me know how you go.

Later on,.....try “half-holing,” to get flats and sharps.  Blow evenly on a note and change it by half-removing (rolling) your finger (on its axis) off ,and then back onto the hole; combined either  with a single breath, or with tonguing. Listen to the difference. A good example, “Lilli Bulero”, (used as the 1940s/50s BBC theme tune, though of greater antiquity) has one “re-appearing note”, consistently played sharp. It’s so pleasing when you finally “crack it,” and play the whole piece; opening your musical options to so many tunes with the occasional flat or sharp. * “Bending” a note can similarly be achieved, by using a smooth breath and omitting the tonguing and “rolling” the whistle.  I find it easier to rotate, (roll) the whistle side-to-side, (on its axis) to expose half the hole, rather than by rotating the finger itself.  Better stability of the whistle also results. Fingers, it seems do not rotate easily nor independently!

Ornamentation,.....“Trills” (easily over-done) are played by blowing evenly, and fluttering the finger on and off the hole quickly. “Cranning”, (phonetic spelling) often heard in Celtic music is achieved by (almost imperceptibly) hitting a “wrong” note, immediately prior to playing the correct ,more sustained one. The limited, appropriate use of these techniques adds to their appeal. And, of course, the opposite also applies. Subtlety, and awareness of the piece being played will guide the judicious use of these ornamentations.

As beginners we may start playing slow airs. I’ve known sage players of many years experience, revisit these (apparently simple airs) and attempt to give their long-gone authors due respect. As in “Sally Gardens”, or maybe “Farewell to Whisky”,  the whistle comes into it’s own. Arguably, playing either of these tunes on a  B flat or even C whistle, lends a dignity and depth almost impossible to achieve with the standard D whistle.

Don’t forget to breathe! Inhale, not necessarily between perhaps part A and part B of a tune,  but wherever it works for you. Listen to the differences of alternate breathing patterns. “Clip” or instead, lengthen notes, so as to achieve an easier breathing pattern. You’re free to depart from the confines of “written music” if you wish.
 
For those of age.,.....alcohol consumption in moderation, happily loosens the (musical) inhibitions, so I’m told. For “woodwind” players it also dries the palette; very handy if you happen to be a dribbler, like me. Remember to re-hydrate the body (internally) with “aqua pura”. Keep a glass of water handy,......And externally, I’ve found slightly moistened, clean fingers, (not wet ones) move around the whistle more easily. Sticky fingers are a definite No-no! (Sort of like trying to swim with your clothes on.)
 
Do you yet have a C whistle as well as a D? If so I recommend next, a B flat (commonly, the jazz key) and then a G, (if your fingers are small enough to bunch up on the holes).  The longer, larger bore of the B flat , is good for the diaphragm/ breathing control, (and may help illustrate the benefits of cutting down to 20 “ciggies” a day!! ) With these whistles you’ll have command of most keys, C,F,D,G, B flat, (and bits of other keys). Above all, practice Listening,......probably not a bad metaphor for life either! I must remember to do that, and when I’m playing, too.  Feel which gaps to fill, which ones to leave, and Listen for what works in any given musical situation.

“Low” Whistles,...... require extra skills; spacial finger awareness, (knowing where to put your fingers to cover the holes), and greater breathing control, too.  Practice with a B flat, before moving-on, (to a more expensive and much larger) Low Whistle, with
its sonorous qualities, offering us an even greater musical depth. Listen to the opening segment of “Riverdance”, circa 1998?, played by Davey Spillane, if you haven’t already heard it. Likewise, Newfoundland band, “A Crowd of Bold Sharemen” incorporate the Low whistle into some of their brand of folk music. Most adults have the required physical hand size (and finger coverage), breathing capacity, and  strength, to effectively handle these larger instruments. Once again, Susato leads the way, in producing Low “semi-keyed” light weight whistles, making things that bit easier. Google their range.

Now, ........just for a minute, consider we have a possibe volume range of, say 0 to 100. The harder you blow, the louder you get? Sure that’s the easy bit. Your challenge is to use that volume range effectively,  to add “light and shade” (to renditions of your chosen pieces). Why is it a challenge? Because,..... as volume increases, you will change octave! Not always desirable and a  perennial problem. Your instrument will partly determine your ability to control this tool (of appropriate volume). Your breathing will do the remainder.  So,......as we play a note, and increase our breath to perhaps “50” (on our imaginary range), we may-well change up, into the next octave.  What if we don’t want to? At times, I’ve experimented, and  “dumped” air, through my nose; and it’s worked. I’ve managed to keep that volume down to “48” (on our imaginary range), when appropriate. However, an interesting little problem can result. Exhaling from the nose can affect the smooth egress of air from the fipple, and mess up the note! Experiment. Find out what works for you.

So, if you think about it,  our whistle actually has 9 holes to be considered; 6 for the fingers and 3 in other ways. Pipers, especially the Uilleann (meaning “elbow”)-powered variety, occasionally “dab” the end-opening of their pipe-section onto their knee, to vary  tonal qualities. Similarly, exponents of the 3 hole pipe, (“Tabour-and-Pipe” players) part-cover this end hole, with their little finger, to vary pitch. They even “quarter-hole” and blow hard and very precisely, to achieve certain notes and keep time as they beat a tabour. Fortunately we have more holes and other options. Regard this whistle as a “9 hole instrument”, and at least be aware of the “extras”.

Finally, I’ve noticed some interesting effects achieved as you play, by changing the angle at which the whistle sits on the lips.  A slight “bending” of (perhaps a tune’s final) note, can sometimes be found by blowing steadily, and lowering your instrument towards the floor, by 20 or 30 degrees; especially useful when finishing a soulful air or lament.  You’ll hear an almost imperceptible tonal change, none-the-less a wonderful skill to develop as an accomplished instrumentalist.  When you can do this consistently, please show me how.

Amplified Whistle:
Amplified whistle playing?  Basically two methods, “Free”, (when using a standing microphone)......and “Fixed”, (when the mic is attached to the whistle). For this, I use a small lapel mic, 10 mm long. 5 mm in diameter. Fixed on top of  the head-piece, (facing away from you,) is the best position; “Velcro” tabs give the necessary minute adjustment. The mic lead can then be held secure, further down, onto the barrel with tape or an elastic band,

“Free” mic use is recommended for typical (static) stage performance and has the advantage of you being able to move on and off the mic, and so achieving a handy method of “fade”; (gently easing off volume).  

With the “Fixed” method, you almost always have  to contend with the mic lead (wire connecting to the amp) becoming a dangling nuisance. And, for novices and experienced alike,......every breath you take (as the song goes,...) and note you play, will become immediately apparent to your audience. There’s no moving back from the mic, as it’s fixed to the whistle. These mobile applications, (often al fresco for me) do however offer some advantages. Using a “stand-alone” (battery powered) amplifier, maybe in a back-pack, you can often wander to suit the performance.  Expensive radio transmitters allow for even greater flexibility,...... and more fiddling around.

In most band situations, a “fold-back” system is employed, as part of the PA. Fold-back speakers (facing towards the musos) are the tools used (especially in mixed-noise company) mainly to hear your own instrument’s contribution to the band as a whole.

However, if you’re in an acoustic “session” you may have to listen carefully if you want to hear your instrument’s contribution. Record yourself, solo or with others (if they don’t mind) and listen to the breathing and clarity of notes you’ve played.

For Parents:
Perhaps,......considering you’ve read this far, you have an interest in music already. Great! You already know the benefits; for they are broad. And they are measurable. Learning outcomes (especially) for children are manifest. Mathematics, Co-operation, Communication, Conceptual development, Focus and discipline, Creativity,....the list goes on. The whistle may well be your child’s first instrument; small, robust, inexpensive, and opening a window onto a world of life-long musical fulfilment.

Music Session Etiquette:
When you rub musical shoulders with others, politely consider their needs too; in a musical sense⁶. By Listening! Even if you know a given melody perfectly well, and you can “belt it out”.  Where’s the enjoyment in swamping everyone else? You may come into a musical situation, where others are already “conversing”; wait your turn. Think along the lines of co-operation and contribution. Establish eye contact. Watch and Listen,.....improvise,.......find the silence as well as the notes.  Work on it. Be open to musical communication. This “music stuff “is a language, and a universal one, at that.

# If your whistle is already warm, and still sounds a little “off”,  tuning can be effected by gently sliding the mouth-piece and barrel sections in or out. The necessity to be “in tune” will become more apparent in the musical company of others. To remedy,  slide the two components apart, you’re actually making the column of air longer, and the resulting note more flat.  Conversely, by pushing the two pieces together, you’re sharpening the note, with a shorter column of air.  Warm water immersion (for anything other than wooden whistles) can loosen this “head joint”. Careful!  Only a little, or it can get sloppy and become a nuisance.

Watch and Listen to others. Attend a regular music session, if there’s one happening. If not, get one happening; part of the inclusive folk tradition, where we all may learn. A mentor can also be very helpful; someone to watch your progress and give fair criticism. Someone to sit next, in a session; an informal musical guide.

As time goes by, you may even discover mutually pleasing accompanists, and experiment jointly together. Fiddle goes nicely with whistle, as does guitar, bodhran, didge, tuba, crumhorn, washboard.......Only fear will stop you; find out for yourself.  Perhaps at the moment, a whistle duo, in G, played on a D whistle combined with a little G whistle.  Listen for the possibilities.

Later-on as a more experienced player, you may well be willing (and even expected) to lead-off with a tune, appropriate to the mixed company.  Not too hard and not too fast, for you also were once a beginner!
 
Cleaning your Instrument:
Rigid plastic “packing tape”, (often blue or white,  half an inch in width) available universally, is ideal to gently scour the barrel of most whistles. Cut some 30 to 40 cm lengths. Once-in-a-while, insert tape the full length of the barrel, and gradually turn the whistle while moving the tape in and out.  Then tap the open end of the whistle against a table-top, or solid surface. You may be surprised just what comes out!  Carefully clean inside the “head joint” . Be careful not to disturb the “fipple” (or air egress hole) on top of your instrument. The visible knife-edge at this point, (which splits the air flow) is easy to damage. Afterwards, immerse your whistle in warm water and then dry. Works well for metal and plastic whistles.  though don’t immerse  wooden ones.

Whistle Players from whom I’ve Learned:
Too many generous souls to mention, even if I knew their names. Some who I’ll always remember,.....Bob Ballantine, New South Welshman, originally from Northumbria. Specialist in playing Northumbrian tunes, (many written and played by his father).
All-in-all, an unassuming, quietly inspirational session player, (CD available). Tony Doyle, South Australian, ex-Ireland, with the most infectious, joyful, eclectic style, and though he doesn’t know it yet, my personal inspiration. (“The Old”) Tim Whelan, (deceased) a Tipperary man, with repertoire to match. A generous, humble, patient teacher, around Adelaide, SA in the 1970s and 80s,.....along with the equally patient John Stewart who with Tim, co-hosted the weekly Celtic (mainly) whistle class. More recently, in Tasmania, Craig Greer and then Patrick Owens, both fine woodwind instrumentalists, and both intuitive in the Celtic tradition. Leon Arundell, Canberra-based and a fine exponent of the whistle-related 3 hole pipe, often found in Morris dance circles. Ian Mundy, a generous recorder player, skilled in a broad array of styles, and always willing to share tunes and tips..................

Good Luck,
Steve Dancer, Launceston, 2009.

PS. Feedback (some incorporated above) from peers, so far:
David Barnes,....”overblowing, yeah, but don’t do it when other people are around!!! a sudden loud blast can really annoy, (I’ve known people to do it!!)”
Karlin Love,........”Breathing from the diphragm is a concept that most of my students can’t get, but they do understand pushing your guts up into the diaphragm to support the air and they can get the idea of how the rib cage muscles control airflow too.

If you want to play more seriously...
Download L.E. McCullough's Six Ways to Break Out of Being a Beginning Whistle Player.

This page was last updated on 15 February 2010