Should I be aiming to vent the high-D every time I play it?
For certain combinations of notes, I find it’s easier to play xxxxxx instead of oxxxxx, especially if I’m cutting on the D
So, it is better for me just to learn to play oxxxxx when I really have to, or should I learn to play oxxxxx each and every time I play the high-D?
John.
[edit]
Just to add to this, that if I am playing high-D down to low-A (for example), my fingering is;
D oxxxxx
C# oooxxx
B xooxxx
A xxoooo
Any comments?
I certainly don’t, especially in fast runs when my left index finger will have to be down immediately before or after the high D. Now, if you’re holding a high D, it’s probably a good idea to vent, just to make sure you’re properly in tune (depending on your whistle).
I rarely vent it. Try the tone covered and uncovered and see if it makes a difference that matters. It’s different on different whistles. If it’s clear enough closed, what the heck?
the 0XX000 usually gets you c nat, not B. Whether you use that or half-hole the top hole depends on what you get used to and how it effects the rhythm. It’s tougher to get a crisp distinction between c nat going down to B half-holing. You can make up for it sometimes by tonguing. You can also cheat on the c nat and play a c# if you’re going fast. It won’t be very noticeable.
Tony
I would say it depends on the whistle. If the breath requirement is low (e.g. Oak), you should probably vent the upper D to prevent overblowing it. If the breath requirement is high (e.g. untweaked Clarke original) you may be better off closing the upper D so you don’t end up with something like an out-of-tune lower A.
It sounds fine as xxxxxx to be honest, and I find it easier that way. I was just trying out oxxxxx to see if I could make high-D cuts sound clearer, and because every single fingering chart I’ve seen has it as oxxxxx!
I play the B as xooxxx just using the last three holes to hold the whistle, (the note sounds the same as xooooo) - I got that from reading the Brother Steve pages.
fearfaoin: The note sounds in tune either way on my whistle. I just wanted reassurance that I’m not doing something wrong by consigning xxxxxx to muscle memory now, and then having to spend time relearning it later on…
It’s a Waltons brass D, and the only notes I really have to concentrate on keeping in tune (have to watch my breath control on) are the high F# upwards. The others sound fairly clear and in tune whatever way I play them!
heh, heh, I just realized “I play the B as xooxxx” is the inverse of 0xx000, which is c nat. I do the same thing. 
Tony
I always do. No wonder Humours of Tulla is a b*tch to play!
On some tunes it’s easier to use xxxxxx.
Well, you can relate to what instigated my original post… Basically it’s ‘the blackthorn stick’, http://www.thesession.org/tunes/display.php/702
There’s a section in part b that goes;
edd gdd
Now, trying to play that with venting the high-D AND cutting the high-D is what’s causing my problem. I have no problem playing it using xxxxxx, but venting the D seems almost a physical impossibility on this tune… 
I’ve been beating myself around the head with this particular blackthorn stick… :roll:
John.
If you think that’s bad, try the B-part of Julia Delaney. Only way to do that cleanly (on a C whistle) is to vent the D hole. But that’s like stuff you really have to practice, which is a bit awkward when you’re busy reading the chiffboard.
*drags up ancient thread
http://chiffboard.mati.ca/viewtopic.php?t=5277
I use one of StevieJ’s suggested variations now, btw.
I don’t think the boss would be too impressed if I started practising these high-d cuts in the middle of the office either…
I was going to mention Brother Steve in my earlier post, but I couldn’t find my link for it at the time (guess you know of it already, then). I remember when I read his pages the first time, he mentions not having to vent the d in the second octave, so I would say you have permission 
Depends upon the tune.
I’ve read (true or false)that C.C.E. competition invigilators will mark you down if you don’t vent,but as I don’t expect to be EVER in that situation it doesn’t particularly bother me.
This is FOLK music remember? !
Of course it is! You never hear a cow playing it, do you?
My whistle sounds a little better when I vent the high D, so I try to do it most of the time, but on some tunes it’s practically impossible. If I’m playing fast the difference isn’t noticeable.
I almost added that old Louis Armstrong adage,when he was asked whether or not Jazz was folk music-his reply was"well I ain’t ever heard no Horse play it!"
I meant it as a bit of a sly dig against the ‘policing’ of musical style and practise,and the whole concept of musical ‘competition’.
:roll: It was Leadbelly,not Louis Armstrong.
Bloody Graniaud readers.
Slan,
D.
I ususally vent the high-d. But like you, I find some note combinations lend themselves to a non-vented high D.
Just like Kevin, I have read that some competition judges can e hard-asses about the point, and lower your score. Other than that, I don’t think it’s important at all.
Since I don’t anticipate ever playing in a competition, I use whichever fingering is suggested by the flow of the tune.
I always vent just because it is a habbit it is more in tune that way for the record. 
For me, venting the D makes it easier to avoid squeaks and squawks, especially when making larger leaps to the D. The breath control needed is less touchy. So I do it on slower tunes (because it usually sounds a bit nicer), and when it makes the tune easier to play. It does depend on the whistle though, some really let me get away with an unvented D, others are very touchy if I don’t vent it.