technique

These techniques will guide you towards proficiency on the low whistle. There is a focus on playing in the traditional Irish style. Keep in mind this a starting point.

Those who play tin whistle, concert flute or uilleann pipes will discover the easy transition to this instrument. Many pipers use the low whistle to practice their tunes.

The Grip

The size of the low whistle can be difficult for smaller hands. The spacing of the tone holes require some stretching of the hands. Practicing a proper grip will lead to comfortable, accurate playing.

The low whistle is commonly held vertically and directly in front of the player. When holding the whistle directly in front, the fingers lie flat across the holes. The mid section of the fingers seal each hole, and the tips will clear the width of the whistle. Try not to arch your fingers. Keeping them flat, even when uncovering holes, will ensure quick fingering. This also allows you to reach the holes properly.

Some players angle the low whistle towards the side of the body. The arms are more relaxed, and the fingers of the top hand can curl around the holes.

Fingering

This chart shows the range of notes on the D low whistle. There are alternative cross fingerings, however these are quite common. Some low whistles will play into a third octave. These fingerings will allow you to easily play tunes in D, G and A. They are identical to concert flute fingerings, and quite similar it uilleann pipe fingerings.

Breathing

This is obviously the most vital element of low whistle playing. The low whistle requires more precise breath control than the tin whistle. You are filling a larger column of air compared to the tin whistle, and the speed of air blown into the mouthpiece must be slower. Be seated straight up, and use your diaphragm muscles to control your breath. The low whistle has a range of two octaves. The higher octave is achieved by overflowing. These higher notes requires more air at a faster rate. The hardest notes to play are in the lower octave. Sound the lowest note that you can play best, and decrease the amount and speed of air as you descend the scale. Check that your fingers are completely sealing the holes. Keep the stream of air gentle and steady. Soft pressure and slow breathing will sound the lower notes.

Ornamentation

The traditional Irish ornaments of uilleann pipes and concert flutes can be used on the low whistle. There are plenty of guides to help you brush up on your cuts, strikes, crans and rolls. Here are some basic ornaments to get you started:

Cut: To separate two of the same notes by quickly sounding the note above.
Tap (Strike): To separate two of the same notes by quickly sounding the note below.
Roll To separate one note with a cut followed by a tap. The roll for G would be G, A, G, F#. The 'A' is the cut and the 'F#' is the tap.
Cran: To sound the bottom D note, and separate it by quickly sounding A G F#. Also can be used on E.

Vibrato

Tapping your finger repeatedly on the second hole below the note being played creates vibrato. This is sometimes referred to as 'finger vibrato' Using your breath to create vibrato is another method to achieve this effect. Vibrato is a pulse of alternating forceful breaths, at a constant rate. It is debatable as to exactly what controls vibrato. Most people use a combination of the throat and diaphragm muscles. Practice vibrato at different speeds, keeping the rate consistent. Use forceful yet controlled breaths, and be careful not to overflow the notes. Using 'breath vibrato' is not a traditional method.

Legato

The large note holes will allow you to create long graceful slides between each note. Practice these, for the low whistle is exceptionally capable of them. These are also known as 'slides' or 'slurs'.

Articulation

You will find some low whistles have a slower response than the tin whistle when playing at faster tempos. Proper fingering and ornamentation will separate the notes. Some people use tonguing and glottal stops for phrasing a tune.

Continuing Your Education

The best way to learn the low whistle is from another player. Check local pubs in your area that may feature traditional Irish music sessions. Spend plenty of time listening to other players, even those not playing low whistle.

Contact your local branch of Comhaltas Ceoltóirí Eireann to find players who may also teach low whistle.

There are many tin whistle tutor books that can further your low whistle skills. The House of Musical Traditions is one source for these books.

You can contact other players on the internet on the rec.music.celtic newsgroup, or the IR-TRAD mailing list.
 
 
 

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