I’ve just begun to play the whistle in the past year and I’ve bought several Clark’s Sweetones and a Susato. I noticed that I had some trouble initially with the high range notes when I started with the Clark’s, but eventually, I could get a good true high note without squawks. Now with the Susato I just got, I’m inconsistent in the upper register again. I’m not sure if this is because I’m just not used to this whistle yet or if the whistle needs to get used to me. Any ideas?
Another related question–someone heard of my whistle interest and sent me a lovely cherrywood recorder that he played “just a few times.” When I tried to play it, it tasted like chewing tobacco. Is there any way to purge a wooden wind instrument of bad smells and tastes? Thanks!
Now with the Susato I just got, I’m inconsistent in the upper register again. I’m not sure if this is because I’m just not used to this whistle yet or if the whistle needs to get used to me.
As the proud owner of several instruments (including Susatos), my best guess is that you just need some time getting to know the Susato. Each different ‘brand’ of instrument has it’s own feel and breath requirements (some more, some less, some stronger, some softer). The Susato is a lot pickier about breath control than the Sweetone, and tends to be squeaky in the upper part of the 2nd ocatve. Some of this can be overcome by better breath control…compared to the Sweetone, the Susato takes a lot more breath pressure in the 2nd register. I’ve read that some of the squeakiness can be mitigated with alternative fingerings for the upper part of the 2nd octave, but can’t vouch for that personally. I imagine that things will get better the more you play your instrument.
Greg
[ This Message was edited by: Wandering_Whistler on 2001-07-17 17:00 ]
I agree: the Susato takes some getting used to and has greater breath requirements in the upper registers than other whistles. I really think it is more a matter of you determing what the whistle needs to bring out the best tone - it is, after all, made from a fairly inert material that is not going to change over time. Good support of the tone from the diaphragm works for me (so does standing up while playing).
As for eradicating foul smells from wood, I can only think to consult someone who reconditions wood and is experienced with recorders. Lee Collins, of Collins & Williams Historic Woodwinds, does excellent work and charges reasonably. He is also very happy to chat over the phone. He may have some ideas.
His website: http://www.leecollins.com
best of luck
FE
Thanks for your responses, Greg and FairEmma. I notice that stronger breath pressure plus a smaller lip opening with that /t/ sound at the start is working to give me better high notes. I’m interested in the alternative fingering you mentioned, Greg, but I’m not sure what that would be. And, Emma, your comment about the whistle being inert material that won’t change certainly makes sense. I’m the one that has to change! Standing up does make a difference with my breath control. I’m going to track down Lee Collins to find a solution to my nasty smelling recorder. Thanks so much for taking the time to help me.
On 2001-07-17 23:33, Dot Farnsworth wrote:
I’m interested in the alternative fingering you mentioned, Greg, but I’m not sure what that would be.
Glad our advice has helped!
As for the alternative fingerings, I’ve never used them myself, so I don’t really remember what was said..maybe someone will jump in and help us out! I believe that it was said that closing the bottom 1 or 2 holes when playing high A and B would help stabilize the note. I’ve always gotten along with lots and lots of practice with breath control instead.
Dot,
A great resource for alternative fingerings can be found at:
http://www.stainedglass.org/other_pages/tinwhistle/whistle_main.html
It’s a long page, full of lots of great information, and is the website Dale refers visitors at Chiff & Fipple to for fingerings.
If you catch up with Lee, let me know how it goes. I haven’t used him personally, but a close friend was thrilled with what he did for her recorders.
best
FE
Hello, Dot,
Just a few lines to tell you that the concept of “playing in” instruments arises from the behaviour of wood, which does alter it’s tonal voice over time and usage, usually for the better to most peoples ears.
You are correct, I think in your observation that you yourself adapt to whatever instrument you are using (wood or otherwise), with the result that you voice that instrument better over time. I guess that’s the whistle breaking US in…