I know that Low Ds are supposed to be the beall of whistles - Overtons, O’Briains, Copelands, Howards, Chieftains, O’Riordans, oh my. Everybody seems to talk about them all the time, who first introduced it, how much like a flute it sounds or not, played at Riverdance, etc., blah blah.
Frankly, that’s been about my least favorite key and I’ve never found anything extraordinarily pleasing about any of them regardless of maker. (Of course it’s a wee bit possible that yours truly just can’t make them sing.)
I have now Copeland, O’Riordan (Traveler), O’Brain, Kerry, Burke Viper, and have owned in the past Howard, Overton, and one other whose name escapes me (no longer being made, all the rage for a while some time ago - composite or plastic).
I find that the deep tone does not compensate for the relative (to other keys) loss of volume, responsiveness and ease of play. Some say they’re great just for airs, but I’d rather play (when alone) a low G, for example.
The Viper comes closest for me in retaining projection, responsiveness and ease of play. Granted some of this may have to do with hole size (old Howard and O’Briain).
Thoughts? How often do you regular whistlers out there actually play low D? Should I just turn myself in to the low D whistle squad and be done with it?
I agree. In that key, I’d rather play a flute - in most situations. The new Sweet Low D, though, is very responsive. It sounds better than many flutes. The resonance of the lowest note is worth the price of admission. But, yes, in general, I don’t see what all the hype is about.
I don’t play 'em 'cause my fingers spread less than anyone I know. I like the sound alone or with minimal accompaniment. From experience I know harp works. Low D is handy when you want to avoid two high whistles competing, which can be a problem especially when out a tune a even a mere tad.
I have low D’s in Copeland and Kerry Pro and love them both. I always bring one or the other to sessions and switch between low and high D (as well as mandolin and fiddle). Often there are many D whistles at a session and a low whistle really rounds out the sound. I also love playing the low whistle solo. I keep one at home and one at the office so I always have one around.
One terrific thing I’ve noticed is that if I work on a difficult tune on the low whistle and then switch back to high, I find that I play the tune a LOT better after the practice on the low whistle.
I agree with Whitmores and Paul here..I play low D about 20% of the time or so at session. I’ve had listeners comment on how it adds to the music, so I have no complaints. Flute may be louder, and you can make more neat sounds with it, but ya know, I just don’t play flute
In Houston just as I was leaving a guy would show up on Sundays who only played Low D, and he was pretty darn good at it. It added quite a bit to the music. In fact, he’s the one who twigged me to the info that Phil had the New Range of Low D’s coming out, since he was playing an early model.
I don’t know that they are the “be all” of whistles, Phil. The lows in my music bag have either been sold, or given away. In truth, for me, they were a novelty.
Personally, I would never take one to a session, but that’s me. They are pleasant enough, solo, for slow airs, but I don’t find they come close to a flute for dance music. IMO, they are amazing when used for jazz and fit the new age genre more than traditional music.
Really, if you’re looking for responsiveness, you probably shouldn’t be playing a low D.
Basically, I only play my (Traveller) low D in situations that require playing a D whistle and seem to call for a low one – playing an air in church, playing in the session if there are lots of high D whistles there, playing along at a fiddle workshop.
If I’m just playing by myself at home, not trying to play along with anything, I play my Water Weasel Bb or A as often as not.
I do have a Traveller low Eb body, and it’s much easier to play than the low D and every bit as good sounding. But usually it just seems like too much work to take it out and put it together — I normally just grab whatever whistle is handy and play during my workday.
There are those of us who, um… don’t currently play flute (for multiple reasons) but who like the deeper woodwind sound. I may not fall into your “regular whistler” catagory, paticularly in this case, not owning a low D (yet) but have heard and played some enough to say that a low D is definately on my whistle wish list.
Loss of volume seems irrelevant to me, unless you are playing in or for a group, and as I don’t do much of either, the personal preference as to the type of sound as heard by the player is more important here.
when i started learning in november last i bought a low D…couldn’t get on with it…then i accumulated about 8 decent high Ds and developed a passion for trad irish…i really only ever use the high Ds now, including for any airs…still got a low D but somehow got hooked on the highs but since i got on so well with the highs i have found the low D easier,much easier to play. Like the sound of the low D though. Les.
I’m in the low D for slow airs camp. But I haven’t ever had a flute, (probably will some day,) and may find I agree with Jessie on this one.
I will say, though, that my Overton low D does have a unique tone, and may be just the thing at times.
I love my Howard and find it a nice contrast to the high D when there is more than one whistler at the session. I don’t, however, think it the ‘beall’… it is just one of many instruments to play.
The only reason I can think of why anybody would think the low D special is that most Irish music is usually played in D or G and related keys and to play it on low whistle you just use the same fingering you’d use on high D whistle or simple system flute.
Since I use whistle in many different musical contexts, low Eb, F, G and A get just as much use. I’m comfortable enough on all of them to be able to get around tehm quickly and I’m so much better on whistle than flute that the low Ds get plenty of work. Most of my low whistle practice is done on Grinter F and Overton and Copeland G whistles. If I’m playing another whistle for a recording or whatever I’ll practice it for a week or two beforehand. I even enjoy playing my Howard low C.
I’m another one who’s all about the low whistles. But, I don’t play IrTrad - mostly P&W at church and solo gigs, along with other instrumental stuff.
I will add that having a low D made exactly for me, for the way I play the whistle, has made for the most responsive low whistle I’ve ever played. I simply think of what I’d like to do, and it responds perfectly. What is it, I hear you ask? It’s my Overton. Colin nailed it when he made my baby, and it’s my favorite to play.
I’d say 80% of my playing is on whistles below low A, with a lot of that on low F, Eb, D, C, and bass Bb. The remaining 20% is in the mezzo range - with about 2% on a D. Everybody’s world is just a little different, eh wot?
I dont understand the “I prefer flute to Low whistle camp”. Its like comparing apples and pears. When my parents first heard my Reyburn wide bore they commented how you could hear similarities to a flute and bass recorder, but overall it had its own sound. You cant make a flute or a recorder sound exactly like a good low whistle. If you want the tonality of a low whistle then, nothing else will do. If you dont then fine!
Its the limitations of a Low whistle that give it its character. Trombones have limitations when playing fast compared to some brass instruments, but do people say they are not as good as a Saxophone? The Trumpet has a narrow range compared to some brass instruments (hardly any solos were written for it during the Baroque period for this reason), did Miles Davis or Satchmo care? If you prefer the flute fine, thats your choice, just dont think you’re objectively right!
No, Phil, just turn in your Low D’s and all will be forgiven! Alright, maybe just the O Briain and the O Riordan. PM me! (just kidding)
I play the Low D 90% of the time when I pick up a whistle to play. It just sounds better to my ears than some high pitched whistle tweeting away.
If you spend enough time with them, have a responsive whistle, and can manage the stretch and hole size, you can play amazing things on them. Just give a listen to Paddy Keenan, Eoin Duignan, Cormac Breatnach, Brian Finnegan, among others, cut loose on their low whistles, and what do you hear? Any limitations?
I prefer the flute now to Low whistle, overall, but you can’t make it sound like a Low whistle no matter how you try. I still can appreciate how unique the tone of the Low D is in comparison, so I won’t be giving mine up for good. Besides, if your lips get tired of puckering on the flute(and they do), you can pick up the Low D and keep going, and have some more fun!
From what you say, you need to get a flute. You won’t ever find it lacking in capability, just your embouchure. It’s definitely a trip worth taking!
I play my Low Ds most of the time. I explore a lot of non-ITM and it sounds better than tooting in the higher octave.
I agree with the apples/pears comparison re whistles and flutes; 2 different styles and sounds.
If I wanted to play a flute too, I would play a flute. They are as attractive to me as a set of maracas.
First of all…apples and pears are just about the same fruit. They’re both roses too, btw.
I like a low sound, and though I’ve got a flute and like to play at it, I don’t have much embouchure to do a tune justice. The low whistles give me the mellower sound, and don’t disturb the residents birds after lights out. My mother detests the soprano whistle I play, but actually enjoyed the sound of the low D.
Sara