Hi all -
I’m rather confused about something. In sheet music, I see dots by notes and have always taken that it meant for the notes to be played staccato. But I also know that dots by notes can mean play them for an extra half-beat.
Do all the dots by notes in pennywhistle music mean staccato? If they don’t - how do I discern when it means play an extra half beat or staccato?
Thanks in advance,
Sara
The dot beside a note means the longer-held note, whereas the dot above the note means staccato.
Thanks for explaining.
So - for instance, the hornpipe Brendan Vincent’s Favourite, from the tune book “Ireland’s Best 101 Session Tunes” has no staccato?
When I play this tune, I use a lot of tonguing, which is the same as staccato, correct? Very quick, short notes.
Sorry I’m asking so many questions.
Yes: that bouncy, hornpipe feeling is often notated with dots beside the eighth notes (followed by the shorter 16th note). However, not all books will notate music this way. Some of the hornpipe notations are written as straight eighth notes and it is assumed that the performer will add that “bounce” on his/her own as part of the interpretation. Jazz players do this on tunes that are supposed to “swing.” I have rarely seen stacatto markings written out in Irish music. I would assume that most of the dots that you see mean to extend the length of the note (1.5 the length of an “ordinary” note).
P.S. does this posting elevate my standings to #2984th of the C&F top 3000?
The subject of tonguing comes up periodically on the board. You might want to do a search and read through some of the past discussions. In general, tonguing is used in Irish music (a few have argued that tonguing is never used), but it is used with some restraint and discretion. I can’t think of a situation where real staccato playing would be appropriate in Irish music.
Also, if you have some formal training in another type of music, you should be aware that the notation used for Irish music is less precise (rhythmically) and less consistent than what you may be used to. It’s a rough road map, not intended to be followed slavishly. Ultimately, you have to listen and rely on your ear.
[quote=“JayMitch”] I can’t think of a situation where real staccato playing would be appropriate in Irish music.quote]
My whistle teacher uses what I think could be considered “real staccato” on ascending triplets (bcd) to good effect now and then. He doesn’t do it a lot…not even every time on the same tune, but now and then it sounds interesting and it really get’s your attention when you hear it.
-Brett
Tongueing is not the same thing as staccato. Tongueing is a form of articulation where the beginning of a note is made to stand out by momentarily blocking airflow with the tongue. Staccato means to cut short or disconnect. Often the two techniques go together, because to get a clean, short note, one would articulated by tongueing then cut off the note before the full duration. However, I have heard people end a slurred phrase with a staccato note.
John Ryan’s polka!
The first 2 notes at the beginning are played staccto.
(hehehehe)
S.J.
Yippee, I know that one! That polka is fun and easy. And my daughter absolutely LOVES it–particularly since Brian Lee “taught” her to play it (she can only play those first two notes, but hey, she’s only 4 
).
PS Woo hoo…my 600th post!!! 
Ha! My kids love it too. When I did a concert last year I had my daughter and my niece come on stage and hit the “c” notes (C whistle)
on the grand piano every time we hit those notes. It was really cute!
Just wanted to thank guys for the information!
Thanks! 
Anyone ever use the “brrring” tounge technique? There is a killer opening of a set on an Osna album (I’ll dig out the track name and album name if anyone cares) and the whistler does something that sounds like if you said “brrr” (or immitated a cat’s purr) when you whistle. Sounds very cool…
One player’s idiosyncrasy or standard technique?
Thanks,
PC
(newbie)
Standard, I’m not sure*; trad 
quite improbably…
But fun it is, I’ve tried and use for some jazz or rock effects… It gives a really eery, brass-wind tone.
Problem is, even with my low whistles with most back-pressure (seems it helps) I can’t get it in the low register where I’d most like it. This thing flips me automatically to second octave–if not third!
For lower octave, I’m working on growls i.e. a similar effect but bringing from a glottal vibration. I’d call this closer to the cat purr if Pucette-kitty here didn’t give me the bad eye whenever I try.