It may be possible to play a Low F or Low F whistle with the fingertips but for maximum comfort and speed most players would suggest you learn the piper’s grip. If you do decide to go for the swap - and I’m concerned about the size of the fifth hole on the Kerry Pro Low F, I would advise you to ignore the other whistle for now and concentrate on one whistle using piper’s grip and one using the fingertips, the reason being that you need to learn muscle memory and it will be harder to do if you are playing too many instruments. Since piper’s grip is sufficiently different to the normal fingering it will be like learning two instruments. That’s my advice anyway. And that’s the way I continue to learn.
Right, so here is the update. I did go with the swap, and also bought myself a Dixon high D.
Many thanks to all of you, I’m really liking this forum, there seems to be a real wealth of knowledge on these boards for which a beginner like me is extremely grateful!
I spent last night watching a fascinating documentary on YouTube of Mary Bergin and decided to plump with her instructional material, volume I.
I also downloaded the (free version) of Anytune app. Thanks for the tip. Not sure if I’ll buy the full version yet as it’s a bit pricey but will see how I go. I use the PC software Transcribe for most transposing problems but it’s nice and easier on the app.
Not sure if I ought to start a different thread with the following, but two things I’ve got queries over… Firstly, the Dixon high D arrived today. It’s the tunable version but I notice that it can only tune down, not up. Is this right? I mean, with the mouthpiece down a far as it will go, the tuning is a fraction flat and playing along with a CD is a bit off putting.
Second thing… While I await the Mary Bergin material to arrive, I’ve started on Claire McKenna’s ‘110 Ireland’s Best Tin Whistle Tunes’ and already a little lost. I played recorder very briefly as a child and am used to tonguing a ‘t’ sound, but listening to the disc, she doesn’t do that often. But how do you know when to do that or not? There’s nothing in the notation. Also, does anyone know what ‘V’ means above the stave?
Sorry if this isn’t the right place to put this, I’ll copy and paste into a new thread if not.
Looking forward to getting the low whistles and thanks a lot for all the encouragement.
Some quick answers for you. You may find the Dixon in tune when it warms up. Even though it’s not metal, it’s good to warm it up first by closing the window and blowing through the whistle a few times.
With recorder you would have been used to tonguing every note the classical way. Many beginners, like me for example two years ago, can over-tongue to start with and so I’m finding it very handy in Mary’s Vol. 1 to find she teaches everything with from day one with instructions when to tongue and when not to. Very helpful.
The v over the music stands for a “cut”. Again you will start to learn about cuts very early on in the lessons. Be patient. Don’t jump the gun. You will love her lessons!
Nope, (as I’ve just guessed and checked through Amazon’s ‘LOOK INSIDE!’) it’s when to take a breath!
First guess would be that you need to blow harder. Blowing harder makes the note sharper. Especially for the lowest notes, you may need to blow not quite to the point where it jumps into the next register.
Much of the music played by Irish Trad whistler players is legato.
When to tongue and not to tongue is a bit of an art.
Likewise when to breath, and how you phrase things and such.
Here is one perspective;
http://www.rogermillington.com/siamsa/brosteve/tonguing.html
A link on the same Brother Steve Whistle Page has transcribed tunes by some masters;
http://www.rogermillington.com/tunetoc/index.html
This is headlined as “Further Study”.
Ahhh, so that is why I see videos of whistle players (‘whistlers’?! Is there a collective name?) blowing down the whistle before playing, to warm it up?
The Dixon is the metal one (alloy). It is the A and the B that sound flat, especially the B. I notice if I cover the first hole three quarters of the way then it plays in tune. But I don’t suppose this is a technique that will aid speed!
Thanks for the links on the tonguing, and can’t wait to get the Mary Bergin material, she sounds very thorough.
By the way, the V thing in the book, I thought at first that it was the symbol to breathe but I listened closely on the CD and that’s not where they breathe. Maybe the book is the ‘correct’ way to play and breathe and the playing was just breaking all the rules 
Have you yet tried the suggestion of blowing the B harder? That note usually tolerates more push than many of the other notes in the first octave. I really think it will work.
Mary’s book is thorough. It will explain everything!! Sorry about the V. That’s the symbol Blayne Chastain uses for a “cut,” so it can be a little confusing sometimes. Stick with Mary’s symbols for now.
Aha! Yes, you’re right, blowing harder helps! Thanks.
You should also consider the possibility you’re actually blowing the other notes sharp, beginner can be strong blowers sometimes. Play it by ear, don’t check yourself against a tuner all the time.
I hadn’t thought to check against a tuner, I was just hearing what I hear, but I’ll keep a close check on airflow, thanks.
This seems to be an oft repeated statement about the “classical way”. I don’t have time or inclination to get into this too much right now but much of the music originally composed for recorders probably would not have had slurs/tonguing indications in the written parts - the player would be expected to know what to do, much like ITM!
And there would be, as always, differences of opinion.
And you might even do it differently at different times.
A couple General Rules
- don’t tongue too much
- listen to “good players” and imitate them, though it can be tricky to know what they are doing!
Instead of “good” I could have said “players you like/love” - but as one listens to more players what one thinks is “good” may change
Thanks. Who are some favourite players of people in here? I find lists on the Internet of famous Irish tin whistle players but without going through every single one (I intend to at some stage) it would be really useful to know some of the best loved.
Both the A and low F Cheiftain whistles arrived today. They have a very nice sound, and the low F is do-able although it will take quite some time to manage the stretch comfortably. So glad I swapped the low D, I honestly don’t think I’d ever have managed that one, at least not the Kerry Pro. The A plays wonderfully, extremely nice tone.
One thing I noticed is the plastic boxes that whistles come in… I’m guessing that’s how most come because the Dixon high D also came in the same style. Very useful boxes to put the whistle back each time, but is this usually how to store a whistle? Or is there some sort of canvas holder or something to keep multiple whistles?
Glad you’re pleased with the swop! Generally speaking, very generally speaking, whistle players can be classified between high and low whistle players though some are known for covering both. Mary Bergin and Joanie Madden stand out as perhaps the most famous and loved of contemporary high whistle players (though both do play lower key whistles). Depending on your taste in music there is a wide range of low whistle players. My favourites are Davy Spillane, John McSherry and Brendan Ring.
There are bags available for keeping multiple whistles but they are not always cheap. There have been several threads relating to these bags. Examples include http://mkwhistles.com/mkshop/accessories/mk-roll-bag.html and http://www.colingoldie.de/accessories.html.
Edit: Here’s a recent thread https://forums.chiffandfipple.com/t/roll-bags-cases/86773/1
Ok, thanks a lot! Will follow that link in a minute. I take it then that most people keep their whistle in the hard plastic container it arrived in?
I have recently bought Mary Bergin’s ‘Feadóga Stáin’ which I’m enjoying, and will look out now for the other you mentioned. I’m interested in both low and high players. Davy Spillane I know, great sound, though I know him more for his uilleann pipes. Michael McGoldrick and Brian Finnegan are the others I listen to. But after that I’m rather unfamiliar. Definitely will go and listen to John McSherry and Brendan Ring, thank you.
My advice would be that you don’t keep a whistle in the plastic container. Playing will leave dampness inside the whistle and an airtight container is then the last place you want to put it. I tend to leave whistles stood up in a corner allowing then to drain and breathe. If you do want protective containers for them then go for something breathable. Colin Goldie’s individual whistle bags are tough and inexpensive. http://www.colingoldie.de/accessories.html. Or you can find whistle bags on eBay e.g. http://www.ebay.co.uk/itm/24-LOW-WHISTLE-STANDARD-PADDED-NYLON-BAG-/141019154907?pt=UK_Woodwind_Instruments&hash=item20d56589db
Joanie Madden is almost as famous as Mary Bergin for the high whistle but much more prolific. Check out sample of her solo albums here http://www.cduniverse.com/sresult.asp?HT_Search=ALL&HT_Search_Info=joanie+madden&style=all. They are very different to Mary’s albums but wonderful all the same. In addition there are all the albums she has done as part of the band Cherish The Ladies. If you like her music, and few people don’t, a book of transcriptions of many of her tunes is available if you want to spend more money!!
So glad I swapped the low D, I honestly don’t think I’d ever have managed that one, at least not the Kerry Pro.
Everyone feels that way with low D at first, I assure you. Your experience probably would have been the same, regardless of what low D you were using. If you practice using the piper’s grip each day, it does get better and will eventually likely be no more difficult than a regular soprano whistle.
I felt the same way with low whistles at first, and simply thought I couldn’t ever be able to do it, no matter what. Now I have no issues with them, at all.. It’s no more difficult for my hands than a soprano D. Then I went through a repeat of that situation when I got a reviol which has bigger left hand holes than any other whistle I’ve played. I thought it would also be impossible or that I had some kind of physical limitation due to how my hands are, and that it would be impossible. A month of practicing heavily on it, and now it’s no problem either.
It is extremely common for people to think this way when they start playing something with a greater reach, but the simple fact is that it takes actual time and effort to be able to do it, and I highly doubt anyone picks up a low whistle for the first time and plays it with no problems.
Just to chuck in my thoughts.
You need a D (low or high) if you are going to play with others. No one can play along easily with the other keys BUT you may be able to play with singers who sing in all kinds of bizarre keys.
Dixon whistles are my least favourite because from experience they are often out of tune so you are not at all alone in your findings. Then I did wonder if that is because they are often bought as a second whistle by less experienced players and with practice can be played in tune as suggested above. However, why not just get a whistle that sounds right? Something like a susato is easily found and won’t break the bank and is reliably in tune.
When I got my low d I cried because I couldn’t play it, but I can now. Times have moved on and there are lots of low d s designed for smaller hands and some time you may find one that suits, so don’t give up the dream completely.
Enjoy your whistling, it changed my life for the better.