The other day I had a 50 minute airport layover turn into a three and a half hour layover. Since I had my trusty Parks Walkabout whistle with me, I found a relatively quiet corner and set the tone ring to maximum stealth. I played mostly Blavet, Boismortier, and Teleman but I also spent some time just improvising. One of the consequences of years and years of classical training is that it seems to be much easier for me to memorize Baroque music than ITM tunes. Early French Baroque flute music is particularly rich in great tunes that are quite whistle-friendly.
Since I don’t play ITM, that’s all the time. I play 60’s folk music (like Peter, Paul, & Mary, Simon & Garfunkel), classic rock (that’s why I was so caught off guard by The Immigrant Song), church music and carols, American and other folk music and children’s songs, classic jazz, torch songs, show tunes, and simple classical. If it’s a song I have in my head, I always try to give it a go.
I like when songs are played in a style and interpretation different than the version that made those songs popular.
As I said on another thread, the best thing about Irish tradition (as I see it) is the emphasis on art as a participatory and inclusive activity, rather than a passively consumed commodity produced by a exclusive few.
Totally agree with you Phil. Just wish that I could play ITM in the ‘East Galway’ style. I am not an ardent fan of the Sligo and/or other schools, and prefer the subtle style of the west.
The thing is … with the prices of these Irish flutes - like the Breton flutemakers; the Ruddall or Pratten copies .. you wouldn’t know that it is a participatory or inclusive activity when you look at the prices of these things!
I see the harmonica or the recorder as fitting into this participatory and inclusive ‘folk’ realm - the majority of these instruments are within the budget of most, although the cheap ‘tin whistle’ is another relic of an instrument which I had in my childhood - costing as much as either of these instruments 
50 minutes is brilliant - I’ve been laid over for 8 hours 
Curious how you set the tone ring to maximum stealth. How audible is this solution?
I can only do fingering, or breathing exercises in public like this. Anything I own, would be too loud to play.
Got sent to Denver only to be told I should have stayed in Chicago because they re-routed me. So why didn’t the gate agent in Chicago say anything when I asked if I should go to Denver?
Got to sleep on the floor of the airport and fly back to Chicago in the early AM.
A whistle would have been nice. I’m sure I could have found a place to play it on full volume without bothering anyone. I do frequently travel with an electronic practice chanter for bagpipes though. It’s great – you just plug in the ear buds and away you go. Something like that would be cool for whistle.
I just wish my ear and skills had progressed far enough to hear the differences… When I say that I do not play ITM it is because I do not know what ITM is. I play tunes.
Must be my imagination carrying me away. When I read this, I thought you had some kind of quiet playing whistle.
Nothing of the sort exists for the (aerophone) flute. It would mess with the physics of sound and player feedback too much.
I daren’t breathe a sound in public (officious) spaces where jobsworths reign. They would probably cancel my flight and off-load me from the airport altogether if I leaked any kind of sound other than an apology 
County Mayo, Clare and Connemara are my destinations of choice when I return back home (these areas encompass the East Galway style). I can pick out the style when playing, but I can’t replicate anything by ear (I’m more of a visual learner).
Here’s a brief introduction: http://www.theflow.org.uk/articles/article_styles_east_galway.html
I bet you’ll pick out the differences very easily from now on 
ITM encompasses the 3 major stylistics of Irish Traditional Music, derived from the original ‘Celtic strand’ from Bretagne, before Bretagne split into Grande Bretagne (Great Britain) and (little) Bretagne, or Brittany. Historically, I’m sure the cross-fertilisation of culture from Scottish culture and English plantation era influences reshaped ITM, and no one really bothers about the origins of the ‘traditional’ in Irish and just get on with playing it.
I’m not a purist in any case. I would rather try playing ITM on a bass recorder or a duduk lol.
County Mayo, Clare and Connemara are my destinations of choice when I return back home (these areas encompass the East Galway style).
I think you may be casting the net a bit wide, geographically. That or you’re interpreting ‘East Galway style’ quite differently compared to the way most people would understand it. Not that it matters though, as long as you find music you enjoy.
It was MikeS who said he’s got an adjustable sound level whistle. I don’t, but I have made paper mutes for them from time to time. Just fold a little V of paper and slip it over the blade – instant mute.
The “T” in ITM, stands for “Traditional.” I’m sure you knew that part. But what it means, I think, most importantly, is that you learn the style of play from others.
If you’re working on your own from printed material then you definitely don’t play ITM because your playing is not informed by the playing of others who have come before you.
Nothing wrong with that, and bravo to you for knowing the difference – more than a few people seem to think they can play the tunes off the page with the “correct” style without putting in the necessary time to learn what the style is. More than a few others are further confused by this and believe that the reason the people couldn’t play with proper style is because they learned from dots. This is not the case at all – it’s just because they didn’t bother to learn the style!
No mistaking that. When I play, it doesn’t sound right 
Someone recommended I listen to Matt Molloy to get a feel for the songs more. When I visit County Clare, it’s a bit tricky trying to cram it all in a week, especially since there’s only so much you can learn whilst doing a social in the pub (oer).
I never knew Matt Molloy sang songs!?
and arias
Wait till I discover what he does and then I’ll let you know if he does any ITM tunes
If you look at the picture of the Parks Walkabout on this page,
http://www.parkswhistles.com/WalkaboutWhistle.html
you will notice a plastic ring around the window. You rotate the ring to cover as much of the window as you like. When you get down to having only about 1/16" of the window exposed, the whistle is audible but just barely. At this setting you can play in pretty much any public space without worrying about causing offense. The Walkabout fits in any pocket (I highly recommend getting the case) and allows you to play virtually anywhere. Plus, it’s just a really fine whistle by any standard. Don’t leave home without one.
Thanks - I’ve just been listening to the sound clips.
I couldn’t find a low D option, but there is a Bb or Eb version!
Anyone got one of those?
For the EveryWhistle, they’re $55 for a Eb, C or D, or $71 for all three.
It makes sense to get all three, right?
Well I wonder when these will come in a low D version. That’s the one I really want.
Nah. You don’t want one of those, James. You want a Copeland low D. That’s the thing for you.
Haha. A new one, that looks as likely (as it is affordable) as a unicorn horn. I’m trying to forget about unaffordable whistles for me. Maybe I should concentrate my efforts on a Breton flute
Ditto!
Philo
That’s really quite enticing guys.
I wished this design could be applied to a flute (somehow), since I play transverse flutes more than vertically blown ones.
The only thing putting me off … is the keying. I like low whistles…
Currently playing James Rae’s saxophone works. He’s such a good composer.
I was playing Ricks’ Rambles (downloaded from the internet). I can’t make it sound punchy, rhythmic and groovy like it’s supposed to.