What has whistle-playing done to your skill on your other in

Whistle
1

…and do you regret it?

Just curious, because it is only in the last 2 months that I’ve noticed adverse effects on my sax playing. This is weird because:

  1. I’ve been playing both sax (main instrument) and whistle during worship for the last year or more without any problems, despite spending more time on my whistles at home due to their convenience;
  2. I don’t normally practice my sax anyway (busy with work) except during the practice for the worship service I play in.

But now, it’s like I’ve crossed a threshold or something: playing too much of another instrument in too many different keys (the diff-key whistles were gradually accumulated, and it’s only recently that I’ve amassed/made so many diff keys).

I’m losing my instinctive note-recognition on the sax. Now, when my mind thinks of notes to play while adlibbing, my fingers are sometimes not sure where these notes are on the sax. It used to be automatic.

I think it’s because I play whistles in too many keys. A note in a particular pitch is no longer limited to a particular fingering on alto or sop sax; it could be anywhere, depending what key whistle I play.

Also, I’m guessing that last time, altho I only played my sax during worship and the worship practice, I wasn’t playing another instrument in between the gaps. That’s probably messing me up.

Do I regret it? Yes. I was terrible during the last service. That totally freaked me out. So for the next few weeks, I’m laying off the whistles and working on my sax.

Don’t get me wrong; I still love my whistles.

Ah’ll be bahck!

2

I used to have quite a bit of trouble switching between instruments – the different fingerings and pitches. This is true of stringed instruments as well, I play both bandurria and mandolin. But as time goes by, it seems like it is easier to instinctively use the right fingering for the instrument in hand.

In church I just pick up whichever instrument would be easier for the particular hymn in the key given in the hymnbook.

I think you’re right though in practicing up on saxophone. The more you practice it, the easier it will be not to let the whistle fingerings get you stumbled up.

3

The sax was my primary instrument, the GHB was my secondary instrument. The fact that the fingering on the whistle is nearly identical to the sax helped me pick up the whistle so fast. The fact that the GHB is played with so much ornamentation helped me with whistle ornamentation. These similarities also created some problems for me…

  1. I find myself playing the whistle without tonguing as if it was the pipes.
  2. The ornamentation I instinctively insert is sometimes kinda weird (non-Irish trad)
  3. When I pick up a chanter I forget that the thumb of my left hand and the pinkie of my right hand now have assigned seating
  4. After playing the pipes I just can’t seem to get my Hoover narrow bore whistle to work right.

(You may have noticed that I didn’t mention any problems going between the whistle and the sax…that’s cause I pawned my sax to get money for whistles!)

Anyway, I think the key to success is switching frequently between the instruments…your brain can handle the changes if given enough exercise.

Good luck,
Eric

PS
I plan to pick up a soprano sax pretty soon (to replace the tenor [Yamaha Proline]lost in a pawn shop)…any suggestions on CHEAP saxes that play good??? There are about 2 bazzillion more brand names than there were when I was actively playing…I’m sooooo confused!!!


[ This Message was edited by: vaporlock on 2002-05-17 13:06 ]

4

Hmmm, I usually find that playing other instruments helps. It is time taken away but I’m a firm believer in setting an instrument down for a period of time to counter act burn out.

I just picked up my clarinet which I haven’t played in a long time and had no problem. The case of your Sax vs. Whistle may be in yer head…or fingers. I really don’t know.

One thing that I’m noticing is rolls. I never played rolls on the clarinet, and they sound great. I will say the octave key is funny to me now, and I appriciate the chromatic range of the licorice stick not to mention crescendos, which is one thing that I really miss in whistles. Talk about back pressure…# 4 reeds are killers, but they are like bikes, a couple minutes and I’m there again.

I have noticed the whistle has helped my singing tremedously. My breathing has become more refined and focused. I guess this would stand true for my clarinet as well.

Hey, thanks for the topic, It got me to pick up the stick again and I’m feeling refreshed playing it…it’s about time. Did I ever mention the time I called Artie Shaw and he told me to F off…thats another story for another topic on another board I guess. :slight_smile:



[ This Message was edited by: jackorion on 2002-05-17 05:58 ]

5

I’ve been off the mandolin for a couple of weeks, partly because I had a house guest which cut into my practise time, and partly because I was trying to learn some new tunes on the whistle.

I tried to play the Mimi Polkas on the Mandolin, and found that the fingering is near impossible for me (switching from f# to B to E required a first finger bar on the top 2 strings, something I’ve not tried before).

But some tunes I like to play (e.g. Martin Wynne’s no 1 & 2) can’t be played properly on the whistle, so I still like to have the choice.

I can see how two end blown wind instruments would confuse the fingers.

6

Whistle playing had to take a back seat to Uilleann piping.

7

I find that I don’t have any problems playing other instruments… It’s just as it always was. Although, I will find myself doing the occasional “irish cut or tap” between notes on the Sax when I’m playing sometimes. And a vibrato from the Diaphragm is harder on the Sax than it used to be- because I’ve become “lazy” not having to “push” so hard to make the whistle vibrato.

8

I find that playing the whistle has absolutely no affect on my other instruments. I played them poorly before, and I still do.

9

I find that playing the whistle improves my guitar playing, and vice versa. Playing the whistle improves left- and right-hand independence and co-ordination, and many of the fingering moves are the same (e.g. hammer-ons and pull-offs).

10

I think the responses that have been posted show pretty well what seems to happen. Either you have no trouble, or the instruments blend into one another. I suppose it depends on the person, and his/her hard-wiring.

I started on GHB. Well, wait, actually if you want to get technical, I started on baroque recorder. I was nerdy in that I thought it was neat (recorder) and actually learned how to play it in grade school, so I got the baroque fingering down pat (and still remember a couple of octaves, fully-chromatically). Then GHB, which was my sole wind instrument for years. Later I picked up first the flute, then whistle, then the uilleanns.

For whatever reason, I have never even thought to try the fingerings for one on another. It just feels wrong to my mind, I guess. Of course, the basic feel is quite different: GHB uses eight finger holes and a thumbhole, like recorder, but recorders are fat and chanters are skinny. Whistle and flute have six holes and no thumbhole. UP has nine holes like the GHB, but you play on the knee, which makes it feel different.

I will second the earlier reply that I think that my early GHB indoctrination did do something, and that was get rid of my tonguing. I can’t tongue fast enough to play recorder the way I’d like, for example. I notice that my whistling and fluting is also tongue-free, with few exceptions (for emphasis, like on quick triplets) I use highland ornamentation. I also ornament the UP more than most uilleann pipers, but that’s just because the GHB gracing is SO complicated compared to Irish (yes, including crans) once you know it you can’t help but use it.

I do feel like, at least in my case, time spent on one instrument does improve the others. It’s the whole mind-body connection, I suppose. I have the problem the original poster mentioned (sorry that I can’t quote the names): key switching is hard, because I have relative pitch which is turning into perfect pitch as I age. I learned a tune off a Matt Molloy CD the other day that he plays on a B-flat. At first I was having trouble trying to get it to work on the D flute because it sounded wrong. So, I got out the B-flat flute, learned it, and now can play it on the D. Weird.

More than you wanted to know about my psychosis, I know. :wink:

Stuart

11

learning to play Whistle 2 years ago helped to re-ignite my interest in fiddle which,due to plain lack of ability,dificulty and frustration,I,d put on the back burner for a number of years.I,m happy to say my fiddle playing is much improved these days and I enjoy bouncing back and forth between the two instruments.The whistle has given me improved co-ordination and dexterity on all my instruments. :slight_smile: Mike

12

I’ve also found it helpful all around with my other instruments and vice versa. Whether playing my whistle or my clarinets it keeps my fingers in shape. And, my clarinet playing actually helps my whistling abilities. For instance, my bass clarinet takes a lot of air. After practicing that for an upcoming concert, I find that whistle air requirements for my Chieftain are a piece of cake, though I have to consciously hold back on my Susato VSB a bit more :slight_smile:

13

hehe I wanna see how you deal with my laughing whistle this summer!

14

I think the whistle has helped me on the keyboard. I still stink at the piano, but I can play it far better than I used to play the piano. I’ve been praticing switching from piano to whistle in various songs - they’re each helping each other out.

I’m sure taking a break from whistling will help. One suggestion, instead of not playing whistles at all, perhaps you could pick out one two and still play them; pratice both the sax and whistle for the same amount of time.

There’s my two cents.

Peace in the world,
Sara

“I’m taking the next train to Jupiter.”

[ This Message was edited by: Sara on 2002-05-18 10:29 ]

15

I have problems with my embouchure when going from whistle immediately to flute. Somehow my lips are the wrong shape and/or in a lazy position so it gets very airy. This makes it difficult to switch while playing in front of folks… I have to VERY consciously tighten my lips. No problem going back to the whistle, though.

I haven’t really had a problem with the fingering - it is so similar, and I think that I tend to think in intervals more than absolute pitch.

Like someone else above, playing in my pseudo Irish mode has certainly reduced the amount of tonguing that I do. I’m finding that sometimes I need to put more in now.

Erik

16

Well, an interesting question.

Since I play bodhran as my principal instrument and whistle and flute not quite in second place, I interchange depending on the tunes being played at the time.

I found that whistle playing and learning the tunes has helped over the last twelve years, mainly in the fact that I play the bodhran into the tune rather than just the beat. A form of syncopation, in some instances I play the tune on the bodhran, this is were your left hand on the back is working overtime to change the pressure on the skin.

And to all bodhran players and future bodhran players ---- learn the tunes — learn the dances, especially the Ceili ones and if your more adept— Step dancing. This is were you learn the rthythms of Irish dance music.

Mark

17

I play trumpet, recorder, wind controller and various flutes and whistles (which I build the later two).
Playing whistles seems to help my breath control, going from say trumpet to whistle is quite a change. Playing many instruments really helps develop good breath control. (Now if I only could control breath odor that well! )

18

Thanks for all the replies, which indicate that most people have improved rather than worsened. Guess I was a little presumptious: I shouldn’t have included the words “and do you regret it?” in my question.

Actually, I did notice an improvement in my sax fingering, and others have remarked on it. But now I realise that that was due to those pieces being in D or G or A on the sax; ie. the “standard” fingering and scales of a whistle.

The problem last week was that all the pieces were in B, C#, & Eb major fingerings on the sax, which are fingerings you hardly use on whistles. They’re not that uncommon to me, because they arise from pieces being in (actual) D, E and F# major. Yet I had so much trouble playing them.

Also, maybe pitch recognition is very impt to me because I don’t play to a score nor play melody. I need my fingers to be able to react without thinking to chord and key changes I hear. Currently, my fingers are a bit lost when my mind gives a command.

I can see though how playing various totally different instruments helps keep one fresh and inspired.

19

Hey Tuaz, sorry to hear about your saxophone performance gone wrong. I’m experiencing something similiar. Due to my daily flute practise, I find that I now suck at the whistle (which I hardly practise) and playing Irish music altogether. My rhythm goes awry, the tunes get forgotten, and notes get missed. While all this is happening, all I’m doing is struggling to get a decent sound on the flute. It can be extremely frustrating sometimes.

20

I might be be the only brass-playing whistle player on this board. I don’t have much trouble moving back and forth between the two. They’re totally different, so that helps. I do have some trouble between whistles and recorder… Makes one go hmmmm.