Is there any trick to doing it softly? To get the note out, I have to really push the air and the volume goes up quite a bit. I’d like to have it match how softly I’m playing in the lower octave parts of a piece sometimes, but it doesn’t really seem possible. Is there something I’m missing?
In principle expect that second octave notes need more push than first octave notes, and are louder in consequence. To sound higher octave notes the air stream needs to be increased in speed, but because the whistle has a fixed distance from exit of windway to labium edge, the player needs to increase the pressure in order to increase the air speed. In contrast a flute player can reduce the distance from mouth to sounding edge, and tighten the air stream, to increase the air speed, and have second and higher octave notes sound with similar or even less volume, if desired. On a recorder (dare I mention it?) higher octave notes can also be played less loud than on a whistle, because by opening the thumb hole a little the first octave base frequencies are getting suppressed and the notes are getting excited in the second octave, even with a lower air speed.
Having said all this, there are differences among whistles. Some whistles will play the second octave needing less push than others. They are regarded having a better “balance” between octaves. But the second octave will still be louder, so it is not an absolute balance. Reasons for this lie chiefly in window and windway geometry, but also in bore diameter relative to the tube length, bore shape, and tone hole sizes and geometry.
If you are unhappy with the push required for second octave notes you may try a few other whistles, to check out if a different design suits you better. Designs of whistles vary greatly, so you should be able to find a whistle having a more acceptable second octave behaviour.
I’ve actually been considering getting a flute head for my whistle and trying that out. I don’t know where to even start finding one of those, though.
Thanks for that answer hans. I’ve always had to practice while living in tightly packed accommodation where you can hear the neighbours sneeze. So when it got to learning the second octave, I’ve always been very self conscious of the noise I’vne made which has meant it’s been a sticking point for me.
Try starting those high notes with a bit of tonguing. A subtle little burst of air like that can get the note started and still let you play the note at the volume you like.
You might want to have an experienced player check out your whistle to make sure the whistle itself isn’t the problem.
I’m not trying to sound smug or sarcastic here FJ…but what you are missing is experience…just relax, practice and it will come with time…no sense jumping around instruments…the lowly whistle is not a toy, as some might think, and it takes years to master…you are playing a nickel plated Generation…these whistles are being manufactured some 50+ years…I know that there are some “defective” ones being made but I would suspect that any experienced whistle player would be able to take any one of these whistles ever made and give a solid performance with it…read your books, the forums here and elsewhere and practice, practice, practice and more practice…after some time, you should be able to control the whistle…there are so many variables to producing a good sound and they have been discussed here time and time and time again…use your search option…it always amazes me that beginners expect to be in control of a whistle after several weeks or months of playing…unless one is some kind of musical prodigy, it just doesn’t happen like that…relax, keep playing and listening, respect the instrument and tradition and it will come…
Oh, I’m sure it’s not the whistle’s fault. I’m not playing the Generation either, I only play my Kerry Low D. I can’t even get to the second octave on the Generation. =)
Why can’t I get a direct neural upload of skill? lol
Oh, and I’m not expecting to be brilliant at it right now. I know where I am. =) It took me years of playing to get anywhere decent with my trombone back when I played that. I was really wondering if there was some technique that I’m missing or something I can try to bring the volume down a bit when playing that high, or if it was just a consequence of the whistle.
Is there any trick to doing it softly?
… I’ve drilled a thumb-hole in some of my whistles, like used on a recorder, it makes a world of difference in evening out the volume across the octaves. Unfortunately that concept seems like heresy around here 
and I’d have reservations about even recommending it on a “quality” whistle … but it works for me 
Yeeeaaaaaahhh, I’ll just keep practicing it for now. 
Having started my Mary Bergin tutor Vol 1, my question is how do you play second octave notes without tonguing as Mary seems to do on some of her exercises especially when the note is short and especially when the whistle has a decent amount of backpressure?
practice
edit - perhaps that is a bit too short of an answer, there was a long thread recently on playing quick large leaps that would apply. I don’t think backpressure has much to do with it (being easier or harder) - just a matter of getting the wind speed correct for the note you are playing, getting it right is a matter of practice. Hence my original answer - Practice!
I don’t know that I can add much to what’s been said but maybe a slightly different framing of the really good answers you’ve already read will help.
Different whistles will require more or less effort to cleanly change octaves and play higher and lower notes and they will also exhibit different volume and pitch variability at each note, but particularly noticeable in the highest notes in general. This is a balancing act and there is no perfect whistle that does everything for everyone. However, there may be a perfect whistle for you it’s just that this is a personal decision you will reach by either playing a multitude of instruments or choosing one and adapting your playing to it’s idiosyncrasies.
Tonguing, glottal stops (I’d ask that we let go any technical fight over this and just accept that there is a mechanism for stopping and starting a breath that doesn’t require one’s tongue) and fingering effects like leaking, cuts, strikes, slides etc. can all be utilized to initiate notes. However, all of these require practice to master. It’s not that one can’t use any of these early on in the learning process, but to become proficient at combining and automatically utilizing using these and other techniques requires a certain amount of technical skill that simply requires lots of practice. The whistle is a relatively simple instrument to play. However, I can play chopsticks and other simple tunes on a piano too but that’s not mastery is it?
If a whistle has high resistance (I loathe the term back-pressure because it is so inaccurate) one must find that magical spot, that will vary on each note, where the transition between octaves occurs. Then one must practice until the transition can be made either slowly or quickly by breath alone, or tonguing, or a combination of one of these and fingering techniques, to become truly proficient as a player.
I use breath along with glottal stops, but YMMV. It’s not the only way, maybe not even the best way, but it came naturally to me so I use it.
When playing a whistle with low resistance, I do the same thing but, apply it differently depending on the particular whistle. This is a compelling argument for sticking to one whistle and mastering it. That’s a much different decision which is often discused here on C&F too.
My two cents.
ecohawk
Thanks for the input. Generally speaking I don’t have any great problems with quick octave changes on any of my whistles using tonguing. I find it somewhat intuitive given the resistance of any particular whistle. I guess I just need to practice the same changes without using tonguing, just something I’ve never thought about before.
fingering effects like leaking, cuts, strikes, slides etc. can all be utilized to initiate notes
Okay, you have me here! The rest I’ve heard of but “leaking!” Can you enlighten me as to what that is?
It’s probably more commonly called “venting” but I’ve heard both terms use. It’s a common flute technique and though maybe less commonly used on whistle, I find it useful. You can search and find plenty of descriptions of how it’s used to introduce harmonics, sound effects, clarify higher notes etc.
Here’s one thread where there’s a pretty good discussion.
https://forums.chiffandfipple.com/t/struggling-with-high-end-notes/80972/7
This may be dipping a little into the more esoteric but the point I was making to the OP was that lots of really good things come with practice. Leaking or venting is one that can help when you’ve found your dream instrument that does everything else perfectly in your eyes, but one of those aforementioned compromises that maker chose may necessitate a little innovation from time to time.
ecohawk
I always get softer, sweeter 2nd octave notes if I open the back of my throat (think yawning) while I play, and conciously breathing from the diaphram.
I’ve noticed a difference in overall sound from having the throat more opened up, too, though not necessarily the same as being mentioned here… However, I also wonder if the slight change is really happening, or if it’s a result of the change in one’s hearing when they do this.