We often think of the recorder as being the instrument for early music, and the whistle for folk tunes and more modern music, but the 6-hole whistle is a more ancient member of our musical world, while the recorder is a derivative of the whistle (contrary to those who would claim the tinwhistle is just a simplified recorder). Below is an exerpt from the Recorder Homepage, that bears this out. Whether known as a shepherd’s pipe, a flageol, a whistle, or even a flute, the whistle, essentially as we know it, has entertained, and given expression to countless people for centuries. In fact, even in the recorder’s heyday, the 6-hole whistle was quite popular.
It is generally assumed that the development of the recorder as such from its simpler, six-holed ancestor was the result of a search for a stronger tone richer in fundamentals (Hunt 1977). However, Brown (1995: 22, footnote :sunglasses: argues that the recorder was a remarkable innovation in duct-flute design, for the complication of having to use two more holes, including a thumb-hole, did not result in any increase in the instrument's range or improvement in its tone — what it achieved was that high notes could be played more softly ', a view echoed by Rowland-Jones (1996, 1999b).
Although more or less cylindrical-bore recorders are generally louder than similarly sized pipes by virtue of their wider bore and greater cross-sectional area of the windway, the useful range of at least some reconstructions of medieval recorders, including those made by Fitzpatrick, Carlick, Bartram and Miller & Anderson is limited to an octave and a sixth. On the other hand, reconstructions of medieval recorders by Hanchet and Reiners reportedly play over a range of two or more octaves, though the latter departs markedly from a cylindrical bore (Reiners 1997: 33). Doubtless much would depend on the skill of the maker and even the player. However, the fact remains that a six-holed pipe can easily ascend two octaves with very little effort necessary on the part of either maker or player, and need be neither unduly shrill nor lacking in volume.
Surely of far more value would be the sheer number of novel fingerings opened up by the addition of an extra finger-hole and thumb-hole which, whilst creating an instrument with possibly decreased range, made the recorder a truly chromatic instrument. The six-holed pipe, even in its modern form (the Irish whistle or faedog), is essentially a diatonic instrument. Thus Tuschner (1983) has more convincingly discussed the transition from woodwind instruments with six upper fingerholes into those with seven (including the recorder) in the light of the tetrachord system of the Musica enchiriadis and the later Guidonian hexachord system.
quoted from: http://members.iinet.net.au/~nickl/medieval.html
Poststructurally
Reasonable Person
••• WALDEN •••••••
[ This Message was edited by: Walden on 2003-02-13 06:28 ]
The whistle has been found at stoneage sites around the world, end-blown like the kaval and ney, or notched, and apparently fippled in a number of cases. There may even be one that has been discovered at a Neanderthal site…under debate, natch, but the arguments are compelling and indicate probable interaction with Cro-Magnon cultures. It appears that the fipple pre-dates transverse flutes by a long shot. Crane bones were often used to make whistles from China to Britain.
Ancient and humble…and with a pedigree like that, noble, too.
I’ve played several of the bone flute/whistles he’s made and they are really fascinating. Really gives you a feel for how ancient our little instrument is, in one form or another…
Tuaz, that sort of thing would usually be obvious to a musician, but even then not necessarily. More than once I’ve had musicians (!) come up and ask if my flute was a clarinet of some sort, or “why aren’t you playing a traditional flute?” (!!)
Much patience is required. One time a young lady -a Boehm flautist- asked what my weapon was, and tongue-in-cheek I replied that I killed an oboe to make it. She got the joke, bless her, and now wants to pursue playing simple-system in addition to her first instrument, esp. since she loved the sound of it.
There ARE those who have assumed that the whistle in its present form is only a toy with no further history than modern marketing. Go figure.
5 Flour Tortillas
2 Cans Green Chilis
2 Recorders or Susato whistles (one small bodhran may be substituted)
1 can enchiriada sauce
3 cups shredded sharp cheddar cheese
Cumin, Mexican Oregano, and Cilantro to taste
Preheat oven to 375.
Corsely grind the musical instruments in a chipper-shredder (available at most lawn and garden stores). Combine chilis, enchiriada sauce, and ground musica in a medium saucepan. Bring to a boil over medium heat. Set aside to cool.
Place one tortilla in the bottom of a large casserole (cut into strips if necessary). Sprinkle with spices (if desired) and approximately 1/4 of the cheese. (the more cheesey it is, the more it will be enjoyed). Add a layer of musica sauce.
Continue layering musica, cheese, and tortillas. Bake until shredded whistles quit shrieking, about 25 minutes. (Longer at high altitude or if you have a condensation problem)
