For the Beginner Who Asks: Why Can't I Play Faster?

About once a month C&F gets a posting from a new whistle player that says something like “I’ve been playing the whistle for six months and I can’t play anywhere near session speed. What am I doing wrong?”

The truth is, you’re not doing anything wrong.

Unless you’re particularly gifted, have hours of free time every day to practice, or are already expert on another instrument, it takes several years to play at session speed. You’ll probably never be able to play as fast and as well as a professional whistle player, and there’s a good chance that you’ll never master ornamentation at session speeds (although you might think you have).

Sorry to be the one to break the news to you.

One reason is that Irish traditional music at session speeds is just very challenging. Listen carefully to different sorts of music, and you’ll find that very few genres play at the pace of a fast reel. So the bar is set very high. I find that most beginners in despair over how slow they are would have no trouble playing along to folk music, for example.

Another reason is that a lot of sessions are dominated by really good musicians who spend a lot of time on their music. Many’s the session around the US that really gets rolling around 10 PM on a weeknight – and if you’re a person who holds down a real job, has a family and comes to the music as a hobby, you have to wonder who these people are who can stay out till 2 in the morning playing music. When you get to know them, you’ll discover that for one reason or another they don’t have a day job or kids or other commitments. Their music is their highest priority. Kudos to them, but don’t feel bad if you can’t measure up to that standard. If you’re lucky, you can find an intermediate session in your area more welcoming to people like yourself. (If not, maybe you should start one!)

No doubt this posting will generate responses from people who never picked up an instrument before and mastered the whistle in six weeks while holding down two jobs and volunteering for Habitat for Humanity. Congratulations to them! But I’ve run beginner and intermediate sessions for many years and played in twenty different sessions around the country, and I’m confident when I say that the average person should expect to take several years to master the whistle to session speeds. (In truth, half the people or more who take up an instrument drop out within six months, so really the “average” people who take a few years are already in the top half of the class.)

On the other hand, there is some good news.

First, the whistle is the perfect instrument for someone who plays music as a hobby. It’s cheap, you can carry it anywhere, and it can be a beautiful solo instrument. Regardless of how fast you can play, making music is its own reward.

Second, you will get faster. There’s plenty of good advice on C&F about how to work on your speed, but if all you do is play the whistle as much as you can, you will improve. It might take a few years, but one day you’ll find that instead of sweating and concentrating your way through a tune, your mind is wandering and you’re watching the TV in the bar and listening to the rest of the players. All you really need is the commitment to stick with it.

– Scott

1 Like

Thanks for this.

I have said this before but I’ll repeat it for new people. I’ve played music all my life, but took up the whistle only recently. I toodled around on my own for a year or so, then found a teacher. The damn thing seems like such an easy instrument, that I found myself frustrated by my lack of instant progress, regarding speed and accuracy. I expressed this to my teacher a few times, and he just said to keep at it.

I’ve come to realize that this attitude was an insult to him–to think I could be even a hundreth as good as he in two short years of playing. I’ve taken a longer term perspective to practicing and learning, and figure I’ll lie on my death bed, trying to squeeze in one more try at an A roll, to see if I’ve finally mastered it.

Nicely put Scott,

I posted about 3 months back or so with the question about playing at speed, I am at just over the year in my playing and have a mix of slow and medium speed tunes, the slow tunes are great for relaxing back and mastering in your own time and adding your own style, the faster tunes are what keep me interested and challenge me to pick up the whistle even for only five to ten minutes a day, I would have given up a long time ago but the whistle is so portable that you can practice anywhere, and I now find that my fingers start to just fall into place and the speed issue is now not so much of an issue, its been said on many posts

practice, :smiley: practice, :smiley: practice :smiley:

sponge

Right on, this. Also the musicians who dominate sessions
have often been playing for fifteen years or more.

Also one can play beautifully and well, at least at more relaxed
tempos, before one can play blazing fast.

John Skelton once said at a flute workshop that session
playing needn’t be the be all and end all of playing.

Some good advice given here has been simply to go to
sessions to just listen for a couple of years, if needs be–
good sessions, I mean, with good musicians. As
a courteousy to them.

What’s this?!? You mean that I’ll never be as good as Joanie Madden? My dreams lie shattered!!! :laughing:

Some areas have “slow sessions” where newer players are catered to. See if you can find one of those. I used to go to one session where the first hour was slow (although the pace used to creep up) then the better players would show up and kick things into higher gear.
If you can’t find a slow session, maybe you could start one.

Unless you’re particularly gifted, have hours of free time every day to practice, or are already expert on another instrument, it takes several years to play at session speed. You’ll probably never be able to play as fast and as well as a professional whistle player, and there’s a good chance that you’ll never master ornamentation at session speeds (although you might think you have).

This puzzles me greatly. First of all the old ‘sessionspeed’ idea, as if there’s one particular speed this music is played at: very fast. In my experience good sessions are rarely ‘very fast’.

Thepoint that few types of music play as fast as the speed of an average reel is ludricous in itself.

There is no reason why anybody wouldn’t be able to play in a decent manner, given they put a bit of work in. Thousands of people of all ages seem to manage, why not you guys? Just take it handy and work at it, you may surprise yourself although it won’t come in weeks or months. If you don’t start deluding yourself you won’t have to work at it because you’ll never be any good anyway you’ll not get anywhere.

I often wonder if the general speed which tunes are played at sessions in Ireland differs from here in the U.S. ? Having not been to Ireland, I haven’t a clue.


Loren

Actually Mike (slowair) and I have been kicking around the idea of having a little session at lunch, since we work less than a mile apart from each other - that is, if he ever gets back to me about it. . .

In other words: Mike, check your PM’s

Loren, sessions here would be slower. We used to get Jackie Daly back after touring the US and usually it took us two or three weeks to nurse him back to his senses.

As for the rest of the post I will refer you to the woman who I play music with every week, Kitty Hayes. She taught herself the concertina when she was seventy after putting it down 45 years before. She’s not a high speed player, but musically you can’t wish for much more and at 80 she’s still flying it and learning new tunes all the time.

:laughing: :laughing: :laughing:

A couple of points occur to me regarding this issue: first of all, it’s helpful to get to know a tune really well and to attack it many different ways. First of all, that means being able to hum it. But it also seems to me that visual learning is often ignored–or at least I don’t hear it referred to very often. I find that practicing a tune or a phrase while watching my fingers can be very instructive–also playing it with eyes closed and “getting the music into your hands.” Looking at sheet music (just a pictorial representation of the tune–it won’t give the feeling of it, but it will give another angle in terms of knowing it–a visual representation of intervals, etc.). Breaking the tune up into different rhythms. Practicing little bits. Working without the whistle in your hands but visualizing where your fingers would be on each note.

Thanks Peter. Now, if we could only nurse the entire U.S. session scene to it’s senses…


Loren

An appropriate thread for me to share a horrifyingly humiliating experience. I had gone off on my own for a while (i.e., no teacher), thinking I was like that kung fu hero in the old Saturday afternoon movies who goes off into the woods alone to chop trees down with his bare hands and comes back and kicks a–. I was using the metronome to keep myself steady and playing at increasing speeds, getting up to as high as 115 on jigs wo losing a steady pace. Thinking I was ready to reach some new exalted level, I returned to lessons fully expecting some sort of "are you kidding? but getting even worse from venerable teacher. Got my a-- kicked. Turns out, yes I was playing faster and yes I was keeping time, but had somehow lost my “musicality.” What was once good rhythm and sense of the musical phrasing albeit at way less than so-called “session speed” had turned to some souless wooden noise.

A real eye opener and much-needed reality check. So after a few days of wound-licking, it’s back to the drawing board in a more relaxed way. Teacher repeats often “slow down” work on the phrasing and the rolls and the overall feel of the music and the speed will come naturally - don’t force it.

I share this in response to the initial question of this thread. And, as I believe Lee used to sign off, enjoy the music!

Philo



Well, I think you answered yourself Peter ol’ chap. No longer should you be puzzled over the phrase “session speed”, especially when used by US players. We just play the tunes faster in session.

I’m not saying that’s necessarily a good thing. But it is a fact of life for most sessions I’ve been to.

Part of the phenomenon may be that pubs here only tolerate sessions because they bring in customers. Sessions here bring in paying customers if they are fairly exciting–the average crowd in a US pub being a different age and having a different expectation from musicians than the average pub-goer in Ireland. In this kind of situation, there is a strong push for sessioners to be as much “performers” as “folks hanging out enjoying tunes together”

They play reels at my session at about 210, which is not really fast by many standards, but I can only play two tunes that fast–Silver spear and Sally Gardens. I can play snippits of other tunes–like the A part to St Anne’s reel or the opening to Dick Gossip’s–at that speed. I can play them all at much slower speed, but not that speed. But it’s taking me a long time to make progress on any other reels.

Great story Phil. Oh how I can relate…


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Loren

Keep me posted too. If I’m free I might be convinced to make the trek to Albany, maybe bring an octave mando for variety.

Well, I think you answered yourself Peter ol’ chap. No longer should you be puzzled over the phrase “session speed”, especially when used by US players. We just play the tunes faster in session.

No, it shows there no such thing as ‘sessionspeed’ because this shows that while some people play ridiculously fast, others prefer not to. And fast=exciting? Remember the old:

“… it was never simple-hearted enough to speak plainly, and so, intensely. It therefore
dazzles us rather than moves us.”

“… if that’s a lament I’d like to hear them when they’re jolly.” :wink: