Sam McReynolds and I had a conversation the other day about whistles.
He stated a thought that (on reflection) made so much sense to me I just had to share it here, especially since there are a couple of threads where Clarkes are getting cussed and discussed.
The crux of the argument goes like this: you should start learning whistle on the Clarke original, and shouldnât move to another whistle until youâve played for at least a few months on the Clarke.
Learning on the Clarke, so the conversation progressed, gives you a kind of baseline, an understanding of where the modern pennywhistle came from. Then when you move to other whistles, you have the background to understand better what their strengths are and how to better take advantage of them.
The more I think on this, the more I think heâs on to something here.
I like the idea of getting grounded in the original tinwhistle sound, but I agree that the breath requirement is a problem. Sweetones are popular starter whistles because theyâre also cheap, and so easy to play.
Thatâs not bad, right? Thins the field a little.
I think Jerry is right on the money: Sweetones are more like the high-end whistles of today (except for volume), theyâre in tune, and cheap. Generations can be murder, theyâre so bad sometimes. (Iâm writing this just to see someone else post âyes, but a good Generations is a wonder!â).
I do love the sound of the Clarkes and Shawns, though. My first whistle was a Clarke original, in C; i prefer the Shawn a little over the Clarke.
Donât go with this oneâŚsome people (me included) wonât like the feel of the mouthpiece on a Clarke original. I gave mine away the other day pretty much as new to a friend whose beloved old friend - his Shaw D - was lying at the bottom of the sea! I donât miss it, and heâs happyâŚor would be if he could get a top C sharp out of itâŚ
I think the Clarke has the easiest breath management of any whistle I have ever used.
After years and years of playing whistles from Michale Burke to Meg, I consistantly pick up one of my Clarke original design D.
I love playing my C as well, but the band has string instrument players in it and you know they canât pick up a different one to play like I can.
I even started playing on my Generations again and it seems like it takes a lot more breath pressure control in the upper octave to play it in tune than does the Clarke.
I started on a Clarke original, but Iâd played wind instrument before, so the breath control wasnât an issue. But the Sweetone is probably best for not discouraging folks.
I started on a Clarke C. If the fipple hadnât fallen out, Iâd still be playing it. One of these days, Iâm gonna remember to just epoxy that sucker back in placeâŚ
I think there is a certain amount of variation in the Clarkes, though not to the degree that Generation has⌠I think a slight flattening of the windway to reduce breath requirements is a good idea. My older Clarke D has a lower windway than a newer one I bought a couple of years later. That older one is one of my true treasures.
So, I agree that Clarke is a great place to start. It gives the history of the instrument, the breathiness, the fairly forgiving lower octave that beginners should have (meaning, it doesnât tend to squeak on the lower notes or to fall silent on the bottom d, both of which I have had happen on higher-end instruments), and it looks great. I love the gold diamonds.
I have a couple of more valuable whistles and have played a few others. I like my Sweetheart (old style), but the oomph needed in the second register puts it out of the beginner category. I enjoy my Tully, but it really favors the top end and the lower d, e, and f# are a little picky. Erik did some tweaking at my request and it is better, but it just isnât ever going to be truly solid at the bottom end. I have played Erikâs Bussman and it is lovely, but not a beginnerâs instrument. Likewise the Overton.
With a Clarke, you donât need to think about the back pressure, the careful breath control on the bottom notes, the numb lip from the poison Oak, etc. You just play it.
I love Clarke whistles. They are humble, but really quite lovely in every way I think a cheap instrument can possibly be.
The âbreath control requirementsâ of Clarke originals are not that bad, and, honestly, I think the few weeks needed to learn not to be sucked out by the Clarke are well invested. Yes, in the beginning one might only be able to play shorter phrases - so what?
But Iâm weird anyway - I donât like Sweetones and love Generations (send your âunplayableâ ones my way, Iâll give them a loving home!), and am not attracted by high-enders either, except for the weird keys cheapos are not available in.
Read: I second that suggestion. Clarkes are lovely.
I am a bumbling beginner with a Clarke D. Itâs working out. I have no previous experience with wind instruments, so that partâs a little tough. But it seems nice enough not to scare me away from whistling.
BTW I like the diamonds. They add sort of an art-deco element.
I just happened to start on a Clarke C that was part of the Bill Ochs package at the time; Iâve always loved the look and tone of that whistle and still have it. The only problem to varying degrees on different Clarkes was the somewhat sharp bottom edge of the tin which was a bit uncomfortable on the supporting thumb. All in all, though, what a great way to start!
If Iâd started on my old Clarke Iâd never have gotten another one. No, that does not mean Iâd never needed another one. That means I would not be a whistle player at all.
As one truely spoiled by hearing it when I hated it, TW music on a Clarke has no equal - IMO.
There used be debates about the dangers of the tradition falling apart when the Generation arrived. It didnât and whats more nowadays I see more Generations than Clarkes - come to think of it, havenât seen the little black snake in a longtime.
But in the right hands there is nothing quite like it.
I started on a Clarke Orig. D and eighteen whistles later (including Waltonâs, Generations, Acorn, Oaks, Water Weasel, Feadog), itâs still my favorite whistle. Itâs one of the older ones with a more flattened airway and the sound is absolutely HEAVEN! Sure, the air requirement was tricky at first, but like someone else said, that isnât necessarily a bad thing.
Hi my name is Tom and I love the Clarke Original.
It wasnt my first whistle but most of the ones before it are gone. It has its own sound and is not comparable to any other(IMHO). I love Gens and I love Shaws too. I am a hopless cheepy peepy. I still havent played a dog yet thoughâŚ
I like my unpainted Clarke original because it is historically accurate for my Civil War reenactments. It didnât take too long to get used to the air requirement, though it definitely was a shocker when I started (enough to make me chuck my very first black painted Clarke back in its box and forget it for about six months). I think that having to play it made me a better whistler in general.
My Sweetone is my favorite cheapie whistle, and I love my Abell⌠but my Clarke original will always have a reserved space in my knapsack.
My dear wife gave me a Clarke unpainted for Christmas. My previous whistle was a Bach big-bore trombone, so I didnât really notice that the Clarke took that much air. I loved the sound, and just took off with it. I play in my car at stoplightsâin Atlanta that adds up to a lot of practice time. Iâve never really thought about getting another high whistle, except now that Iâd like to play with our student praise band and they like to play in other keys than D, G, and A minor.
It didnât take too long to get used to the air requirement, though it definitely was a shocker when I started (enough to make me chuck my very first black painted Clarke back in its box and forget it for about six months). I think that having to play it made me a better whistler in general.
