Greetings: I am a flutist (C flute), fairly accomplished on the flute, but weak on transposing and music theory . Our church is doing a Celtic Christmas program this year. I bought a Susato Oriole high D whistle to see if I can play the penny whistle part. It is fairly easy for me since the fingerings are almost the same as C flute. My question is about the written music. The penny whistle parts are all written in the key of D, BUT as each piece progresses, there are notes to use a āG whistleā or an āAb whistleā added into the score at various points. It asks for 7 different keys of whistle to be played throughout these pieces that are all written in the key of D.
From what Iāve read in these forums, I should be able to pick up the whistle in the key called for, finger it as if I were playing the D whistle, and it will fit the music. Is this a correct assumption???
Also, there is a notation that I do not understand in this music. It looks like ārepeat the previous measureā and has a chord written above select measures, and this goes on for several lines in the music. BUT, there is nothing to repeat, because there are several measures of rests before this sign appears. Is this some special āwhistleā notation? Perhaps it is telling me to improvise?
I will admit that playing the penny whistle is a challenge for someone who likes to see it in black & white on the page in order to play it! And the tone quality is not what I get on my flute, but I guess that is the ācharmā of the penny whistle. Would appreciate any and all advice! Thank you!
Well, there are no real standards when it comes to whistle in an orchestral context. So itās itās impossible to know for sure without seeing the entire score.
But yes, if all the whistle parts seem to be notated in D (2 sharps), it sounds like the composer is treating the different-pitched whistles as transposing instruments, to be swapped in and out as required by key modulations in the score. So your assumption would be correct.
Of course, if you have access to the score, you could probably verify this. Look at, say, the violin part or any concert pitched instrument. If the key of the called-for whistle matches the key signature of the violin part, or is a 4th below the violin key sig, then that would confirm your assumption. For example, Ab whistle matching a violin part notated in 4 flats (Ab major etc.) or 5 flats (Db major etc.). D whistle matching a violin part notated in 2 sharps (DMaj etc.) or 1 sharp (GMaj etc.). And so on.
Indeed, the studio guys who play whistle for film scores and such (a few are members here) generally carry a complete set of whistles in every key to handle whatever is thrown at them. And theyāre usually not so lucky to have everything written out pre-transposed for them.
You could get part-way there with a complete set of Generation whistles (Bb,C,D,Eb,F,G) for around $50-60.
You might also be able to avoid a trunkload of whistles by retransposing the odder keys back to concert pitch and playing them on a fully chromatic instrument like piccolo or recorder (or flute transposed up one octave). Or fudging the parts on one of the Generations with a bit of cross-fingering/half-holing.
Anyway, hope that information is helpful. If you have other questions, just ask.
Seems odd (to me) to have different parts for a D and G whistle. Unless the G part goes above the second octave D, It seems unnecessary. However you manage to make this work, I hope you annotate the heck out of the music for the next potential user.
Thatās true, but I wouldnāt assume thatās the case. Itās possible that the whistle parts were all written in 2 sharps for uniformity, and C#s canceled with nat signs as required for G fingering. Thatās why I said:
If the key of the called-for whistle matches the key signature of the violin part, > or is a 4th below > the violin key sig
A 4th below would indicate G fingerings with the C#s either canceled or absent. And as you say, if a G whistle is called for, it could be a matter of range.
At least, it sounds like the composer was aware of and took into account the diatonic limitations of whistles, which is not always the case!
Might be outside of what I was asking, but itās all very interesting to me, as a newbie to the penny whistle. I will definitely annotate for the next player. I had to turn the music back in last weekend, but am getting my own copy in a few days. Then Iāll be able to compare to the violin or C flute part, and see if it is a ārange thingā or if I can use the D whistle to play the G parts.
What do you think my chances are of actually playing in tune with the orchestra? I have been playing my Susato Oriole D with my tuner on in front of me, and finding it very hard to stay in tune, especially in the upper octave.
Iām guessing youāre finding the upper octave tends to be a bit flat compared to the lower octave?
Unlike your silver flute with a parabolic head, the whistle is a straight cylindrical bore instrument. Which creates a different relationship between the octaves. And itās basically up to you, the player, to correct that.
I havenāt tried the Oriole, but Iām very familiar with the Susatos. And in general, their intonation tends to be excellent.
First, you might try the O-ring tweak, when helps to even out the pressure requirements between the octaves and smooth the upper notes a bit. The main link is here:
Second, spend some time working on the intonation. Tune the whistle to concert A or G in the 1st octave, and make sure you can still play the bell note D in tune. Then check all the notes in the 1st octave. You may have to experiment with different combinations of breath pressure and whistle head (tuning slide) position. The whistle is a small instrument, so small changes of tuning position and breath can make a difference. Donāt rush it; play long tones, slow and steady.
Once youāve got that, work on the octaves intonation: D to D, E to E, etc. Again, slow and steady, and listen carefully. You may have to blow slightly harder than you think as you go up in the 2nd octave. Adjust the head position if you must. And remember that a metered volume difference of 20-30 dB between the lowest and highest notes of a whistle is normal. Thatās partly the nature of a fixed fipple instrument.
Finally, toss your tuner and use your ears. When youāre playing with others, youāre going to be matching your intonation with the orchestra as you go. And if you succeeded with the intonation preparation above, the orchestra will thank you.
Yes, my upper octave is flat. And my high C natural registers as a D on my tuner with the OXXOOO fingering
Just picked up the music today. Here are the whistle keys called for: High F, high Eb, high D, C, A, Low G, Low F.
ALSO, found that there is a piccolo part that doubles the penny whistle and is already transposed! So, I could play the piccolo and forget the penny whistle (GASP, did I just say that out loud on a whistle forum?!).
I need some real honesty here:
Do you think I can possibly pick up 7 different whistles between now and mid-Dec. and be able to play them all in a concert??
The things in my favor are: I can read the music, I can finger them all like the D whistle & not learn (for the most part) new fingerings.
But what about the technique required to play the range of whistles from high to low?
Iām thinking I would need to ask the worship pastor to buy Susatos with keys for the low G & F, to give me an advantage on those.
Am I crazy to try to make this happen?
There are other things to be considered here, like cost of acquiring 7 whistles vs. borrowing/renting a piccolo vs. what kind of āsoundā we are hoping to acheive vs. finding a ārealā whistler to hireā¦ but those are things my worship pastor will need to decide.
Christmas is the only time of year I ever go through gymnastics playing a variety of whistles in different keys one after another, responding to key changes in the same piece of music. Itās also the only time of the year when I use my keyed flute (aināt that peculiar?).
There are a couple strategies you could employ to help with the issue of technique on so many whistles. What I have learned is to use whistles from one maker where the playing characteristics will be virtually the same from whistle to whistle. Iāve been using Burke whistles for the last ten years just for that reason. And it has helped in that regard greatly.
Think your biggest issue will be learning to play them idiomatically rather than moving from whistle to whistle or simply getting the right notes. But, depending on what youāre looking for (possibly just the change of tone colour from flute?), that might or might not be a problemā¦
My little Mel Bay Music Pocketbook shows C nat the way I stated above. Duh, that is the fingering for D on my fluteā¦ brain did not connect on that one!
Should the same fingering work for C nat in both octaves?
. Our church is doing a Celtic Christmas program this year. I bought a Susato Oriole high D whistle to see if I can play the penny whistle part. It is fairly easy for me since the fingerings are almost the same as C flute. My question is about the written music. The penny whistle parts are all written in the key of D, BUT as each piece progresses, there are notes to use a āG whistleā or an āAb whistleā added into the score at various points. It asks for 7 different keys of whistle to be played throughout these pieces that are all written in the key of D.
