i once heard a good sentence
“i can play it fast because i can play it slow” or something like that
and i discovered so more often i play a tune slowly, so more accurate i can play it later fast
so go ahead play the cd with less speed and play along slowly, if you want to play along at all
id say, important is that you repeat it again and again …
and when u feel good with that tune i hope youll record it again and post it here
Another good saying
Be lazy… do it right the first time 
and thats why, i did order, the clarke tin whistle book, by bill ochs, today too
i did know i want it one day, but i also have the feeling, that this german tutorial, wich i still use, cant give me much more as it did already and i think, even if its in english, i can learn much more (and surely a better way of playing) from bill ochs book
so hopefully it will be here saturday or latest monday i should have it 
Thats great news GW,
Marco and I now have another learning buddy doing Bill Ochs tutorial I go over my sticking lessons in the tutorial every day it’s slow enough going, for example getting 16th note playing consistent with a 2/4 beat my foot keeps wanting to tap out 16th instead of 1/4’s, I have to work the exercise a few times before I get it correct and thats been pretty much every time I practice that lesson. Though I sure time and practice will solve it still early days
i am looking forward to get the book
in the german tutorial there are no 16th at all
and i do have a problem with beat/rhythm,cycle (how u call it?) anyway
(as u can see here:https://forums.chiffandfipple.com/t/reading-or-better-writing-sheetmusic-question/82729/1)
… but u made me curious
only problem is, i think it will arive tomorow, but tomorrow i am not in town
Hi Gw,
I see from other posts that you have got your B. Och tutor book I hope you are enjoying your new lesson plan.
I’m on vacation on the North coast of Ireland and have taken my Tony Dixon and Clarke SweetTone with me so I can keep working on the first 9 lessons for now and I’m glad to say the daily practice is allowing me more control with the intricate notation in some of the later lessons specifically
Lesson 4
Tonguing 1/8th notes with Mitty Matty lots of practice at this technique.
Lesson 5
16th note practice, Johnny get your hair cut. Very enjoyable catchy song and with the vocal aspect Och uses the 16th feel is relayed very well. I’ve used the metronome with this as it’s easy to get familiar with the tune makes it that bit more difficult but I see progress.
Lesson 6
The first challenging musical piece with dotted quarters and half notes. I’ve been working on this slowly with metronome and without metronome using the internalised beat I have leaned from metronome use.
Lesson 7
The Katie Bairdie piece is evolving for me can’t quite playalong with the cd yet but it’s coming along very nicely
Lesson 8
Oats and the barley grow - this gets my fingers in a muddle but it’s starting to stick in memory an this allows me to concentrate on the 6/8 rhythm.
The cats jig - really had me stumped for a while. The variation in the triplets note combinations was leaving it difficult for me to hear if I was playing them properly. I abandoned the metronome almost completely until I got the notes flowing, just my using the vocal method that Och employs. This piece/lesson has been my biggest challenge so far.
Lesson 9
Slurring, this lesson for me gives me a great amount of satisfaction the tonguing learned in the previous lessons combined with slurring makes the Bridal Song sound wonderful. I have this almost fluent it’s feels good to have something sounding almost authentic
That’s a little update for now, here on the Irish coast the weather here has turned foul the first week was glorious not unlike learning a new instrument you have to learn/accept the good with the bad and get on with it. A change and progress is always just around the next corner.
Sorry, to many threads to answer, to many private messages to read and write , to many things to do, new whistles which want to get to know and be played and old whistles which want to be cleaned and repaired and or fixed, stands which want to be built, 2 new tunes which want to be mastered, one of them very difficult for me, 2 many photos to take and tunes to be recorded, … and I am ill and we just had the hottest summer days in Germany since the last 30 years, … so I am a bit late to answer here … but I never would forget .. . so here we go (damn I always have to make to many words that’s why it takes to much time for me )
Now, since I have the Bill Ochs Book myself I didn’t do much more with it than read the beginning.
And I did listen to the CD, a bit, and so, I know now, that I really was much to fast with my Katie Bairdie version.
Bill really makes it very nice with his singing and playing on the CD, its fun listening.
But I didn’t start to work with the Book because when it came, I saw the notation of a song I did like to play for a while already and so I couldn’t resist to turn them into my Numbers and learn that tune.
Its maybe crazy, that I, as a Beginner start to learn one of the last tunes in that book first, but the notation didn’t lok so difficult, the problem is just the speed
So I was quite busy since I got this Book, is it 3 weeks already?
I didn’t even try to read music since I did read and write down the notes for Johnny Mickey’s polka from Bill Ochs book,…nearly didn’t practise other tunes,… nearly cant hear Johnny Mickey’s anymore, so it was good that I did listen and exercise with “The star of county down” in the last 2 days for a change.
Ok back to the Thread.
About your Problem with:
I think Bill Ochs just did write it with 1/16 notes to make you learn them.
Because I think it can be done with 1/8 notes, correct me if I am wrong.
But here we have 1/16 and 1/8 notes, couldn’t they be 1/8 and ¼ instead?
In that German Tutorisal it is notated (right word) that way, thast why I noticed. I think Bill Ochs way is better for to Learn more but the other way its easier to play. Try it.
Well I have a big problem with how you call it? Cadence? If 2/4 opr 4/4 or whatever … and I mostly don’t tab my feet or whatever to get the rhythmn,… its my weak point maybe or one of them
Anyway lets see your last post:
I will once i started and I will do soon.
you lucky guy
did you see that thread with my Scarborough fair recording? I just did get my lesson in tonguing and still am “chewing on it”
Just try the Mathematic on it
But hey, “Johnny get your Hair cut”
there I noticed something else, again I know a longer version, same as with Katie Bairdie.
I am sure Bill Ochs has a reason for it. Just teaches you the 1/16 notes instead of something less important but anyway:
Here is a recording for you guys, maybe u want to try your ears on it and learn to play this additional part next time too
http://www.andreas-fischer-privat.de/no-fo/soundfiles/jo-psrt2-eco.wav just take this aditional to what u already now, its like a second verse or chorus, dont know
see the Scarborough fair thread https://forums.chiffandfipple.com/t/mors-first-clip-sharing/82698/25
and my recordings … I did slur first and have to learn tonguing now, well I can tongue but I am not used to do it
about the other lessons, i have to start with that book first, cant say anything now, dont know them yet, just did know katie bairdie and johnnys haircut
[/quote][/quote] I hope so, its too hot here in Germany over 40 degrees yesterday and in my room much hotter.
New Whistle Recording The Lewis Bridal Song. https://www.youtube.com/watch?v=lCBv6rtoOSU
I’ve given this some good practice time it’s played on my Tony Dixon Trad (D)
Played with the high octave and low octave parts switched for variation
Andreas, I understand the maths there are 4 x sixteenths in a one beat and 2 x eighths in a beat so as I tap I must have 4 sixteenths played before the second foot tap. Making 16th’s into 1/8ths. In turn makes the eighths into quarter notes and the quarters into half notes. The sixteenths are more difficult initially to get the beat with but I find it is better for me to read 16ths when the music is written that way. Using the second part you played in your recording this is how the notation would look in 16th’s and 1/8th’s.
Actually (while the doubled note values are correct), your 2/4 should become 2/2 to go with them and (while not rhythmically relevant) you’ll be wanting a key signature for the F#s too.
Hi Peter,
Thanks for commenting,
A 2/2 time signature would imply that there are 2 x half notes per measure my notation is in 2/4 as there are 2 quarters per measure as for the key this notation is written for a whistle in the key of C, transpose to key of D or others as needed 
Peter means that you’d also need to remove every other bar line (in 2/2 or cut time) in the second one, in order to preserve the equivalence of each measure.
Remember that measure divisions are not completely arbitrary. They say (or at least imply) something about the phrasing and metrical emphasis. The two versions you wrote would be played somewhat differently.
No, the key of the whistle is irrelevant. As written in the key of G, the F needs to be sharp in the key signature.
Ahhh! I see yes now I’m correct, thanks for the clarification guys. I’ll be more mindful of this in future.
Regarding the notation this is my own transcription from a recording Andreas supplied here http://www.andreas-fischer-privat.de/no-fo/soundfiles/jo-psrt2-eco.wav and
I notated what I was hearing in the Key of C. Andreas let me know how accurate my transcription is in comparison to your original notation.
Well, I’m not Andreas, but I knew what you were transcribing and am afraid you’ve notated his G tune in G Mixolydian (not C!) and your notation is still wrong without the F#…
there is a lot to learn here
about your recording, i did listen to it and ill write something later, i am short on time right now
Peter,
Thanks for your insight but consider that this was and aural exercise on my part.. and if technically my notation is written in G Mixolydian mode it’s still derived from the C major scale… getting pedantic over inclusion or omission of and F# note in error is frankly over the top
Could you pass some thoughts on my newest recording it’d would be appreciated
No, sorry, that makes no sense at all. What you’ve written has nothing to do with the C major scale, and it is not what Andreas played in his clip. Andreas played an F#, and you’ve written F-natural. You have written the wrong note. It’s not a matter of “over the top”. It’s a matter that you’ve made an actual error that Peter is trying to correct.
Makes perfect sense to me. Here’s a reference from Gray Larsons Irish whistle book.
Bugger the chart (which we understand perfectly well). You claim this was an aural exercise to write down what you heard played. In that you’ve not succeeded, because you’ve written a note (F-natural) which was not played, and missed the actual note (F#) that was played. It’s that simple!
Bugger whatever you like! what are you getting in a flap about? Peter has fingers why do you feel the need to jump all over a conversation between to members are you a moderator or a mouth piece?