My tip: When learning a new tune (or ornament, or whatever) play it SLOW. You will actually burn it into muscle memory faster if you go slow. The speed will come by itself.
Excellent advice, speed can only come, when you allow your body to do it by itself, you cannot do it that fast. If you do not learn it first, that will never happen. 🎉🎼🎶
Exactly! I truly believe that when playing Irish music up to speed, it's 99% muscle memory as I don't believe the brain can think quick enough at that speed. It's sort of like a drummer performing a solo or snare roll, he isn't focused on every single strike of the drum head, it's impossible.
Good tips, all. An additional suggestion I'd offer is don't let what you haven't yet learned distract you from what you're currently learning to play. Pick 2 or 3 fairly easy tunes and get them firmly under your fingers before trying to learn another. With the sheer volume of Irish traditional music it's easy to get overwhelmed at first as you attempt to learn individual tunes, learn a few bars of those tunes, and then set those aside to pay attention to all the others you might also wish to learn.
This is a great point! I'd learn a couple tunes and then go to sessions only to find that there were thousands that I didn't yet know, and it definitely was a discouraging issue. Don't let it bother you!
I think it needs to be said that even the settings of tunes we think are purely “traditional” are likely to be just one version out of many that existed generations ago. The version that we know today is just the version that got written down or recorded, and got published first. The piper from 20 miles down the road from the source played it his own peculiar way. His version would sound odd to us but it was just as authentic. Who are we to say that variations that arose in the last 50 years are less legit than the greater variety that probably existed 200 years ago? Every traditional tune was a brand-new tune once. Or it was an old tune that got worked over by one player, or a chain of them, until it was something new. My point is, the “tradition” include change and variety, and was never set in stone. All that said, it’s totally valid to tell beginners to build an awareness of what tunes and settings to expect at actual sessions. There is going to a common baseline that most sessions will share and recognize as “legit”, and that’s where a beginner should focus. Master the basics and build some cred before you start bringing new variations. At the same time, I hope we don’t let the tradition get locked in place. It deserves to live. A generation from now, I hope some of those modern band versions get absorbed into what’s considered “trad”.
As others have said, learning a tune at a slow tempo is essential. Equally essential is keeping time. Learn to tap your foot to keep time and practice phrases slowly with proper beat emphasis. Critical if you hope to play with others....
I just saw you at the Highland Games in Florida! That was cool to see you live. Wish I could upload pictures. My daughter and I loved it. She was the redhead dancing in her wheelchair! Really thanks for a good time and inspiration to keep going.
Thanks for listening! That festival is fantastic, too bad the weather changed so quickly - I'm hoping we can come back to the area and do some more gigs soon, we had a blast! And if you've got Instagram or Facebook and can post/tag pictures there feel free, I'd love to see them - cheers!
Thank u so much for reminding me to not give up on the understanding of the scales! I tend to be a jump on too far person so thankx for reminding me to keep the basics in check!
I have a Tony Dixon brass whistle. It was my first whistle. It's wonderful. My Wild Irish whistle is in the mail. I came to your videos to refresh my brain since I haven't played in a long time. You videos are great. Thank you for all of your hard work.
On learning tunes from modern bands... I agree with you for most of it, I play a lot of modern and indeed, those tunes are not known on sessions here! BUT, many modern band recordings of traditional tunes are usually fine for learning in my experience. Of course there will be variations but that's the same with traditional bands. I kinda see it as a practice element too: learning a tune and then realizing a different setting is played at your sessions, then learn your session's setting by ear there. Not only is it good practice to be able to adapt to the others, but can also help you break free from the mindset of "these are the notes in this tune, you play them exactly like this" instead of *knowing* the tune, what chords and patters actually build up the tune. Got a bit confusing now I feel but hopefully it makes sense :D
Oh definitely - there are plenty of modern bands that play traditional tunes (Dervish, old Solas, Danu, Teada, Girsa, etc.) - and you're right, there's loads to be learned about variation from groups like that. It's the bands that play brand new tunes or change keys of traditional tunes that can throw folks off if they're not aware of it.
Wonderful video, Sean. I would also add breathing and fingering as two important learning points. The breathing thing I screwed up on at the beginning and am still working on.
Love Irish music been trying to play some I've got to where I can play dirty old town. I've been playing dubliners. I bring the cds out on the road with me. But I have to say I'm all over the place with what im learning. Last sunday it was bridge over trouble water. So i thinging its just a longer way Around the goal. Thank you for your help. Keep up with the tips I'm learning alot.
@@whistletutor sometimes i just have go back in time. And try again. Its not a problem I'm not impressing anyone but me anyway. And the people who does hear me tell me how much I've improved. Still have a long way to go before I can go cornagey hall. Haha. I'm not quitting my day job just yet.
(but I take your point that it helps folks new to the music to realize that what bands like Lunasa are doing might be quite different than what they can expect at a session!)
Thank you, very much, for this excellent tutorial, on playing these whistles!! I need to learn the finer points, as I'm only basically capable of playing some easy tunes, and still trying to get up to speed at reading written music. IMHO: It's disappointing to have to play tunes that don't sound "beautiful"... perhaps they'd sound nicer if played by a "skilled" traditional style player!... I was first interested in learning to play when I discovered "Silly Wizard, and other bands that used the whistle(s). However, I am really needing to develop a good "reflexive style" of playing what I'm "hearing" in my brain, because I'm barely able to play anything "fast, or complex"!!!.... I just don't know how to go about getting more "advanced"!!....????.... I would like to find more good books, full of beautiful, written "traditional tunes, that explore a variety of "tune styles" (Reels, Jigs, Slip Jigs, Double Jigs, Hornpipes, Airs, Polkas, Marches, etc. as in "The Complete Irish Tin Whistle Tutor" (by L.E. McCullough), ["SHARED" ON GAB.AI ]
I've been cleaning mine by blowing on it because i've seen so many people doing it, i thought it was either a ritual or it actually made something lol, turns out it does help. Dididin't knew i could tune the thing tho, i thought it came apart for cleaning the inside
@@whistletutor I leave in India and its very hard to find people who have even heard the term "tin whistle"! People only know about breathy, extremely low pitches bamboo flutes. So no.. youtubers are my only source :(
@@MrSamkots Sorry, what I mean to say is to quote fiddle player Brian Conway: consider the source. While RU-vidrs (myself included) can be a fine source of both tunes and music instruction, you'll want to make sure you're learning from folks who are well-versed in the styles and traditions that you're after. I only know about Irish traditional music so I'll use it as an example - if you find someone teaching a tune that you like, continue down that RU-vid wormhole and find other versions of that tune by folks who are a part of the Irish tradition.
@@whistletutor ahh okk.. Yes that's true.. but what I was talking about was the *tone* of it. When I hear youtubers playing it, their tone is so clean, sharp and sweet! But my whistle sounds breathy! I'm wondering whether it's my lack of experience or the youtubers improve the sound digitally with effects like reverb etc.
Help please. I’m trying to learn how to play the penny whistle. I ordered the Feadog in D. Here’s my problem. I have arthritis in my fingers & am having difficulty getting my fingers over the holes. Is there a penny whistle that has a wider circumference? I think I could manage better if the whistle wasn’t so thin. I measured it & it looks like it’s 1/2 inch diameter. Any advice would be greatly appreciated. Thank you.
Hmm, Susatos (or its more affordable cousin, Woodi) are noticeably wider than the Feadog/Generation style, that could be a good option - also the Dixon plastic ones are too and I prefer the sound of those myself. Good luck!
@@whistletutor I just ordered the Dixon and the Woodi. I so hope one of them works for me. I absolutely love the sound of the penny whistle. Thanks much for your advice.
there are tutorials on how to get the head off, if i remember correctly you just need to soak the head in some wharm water for a while and then you can slowly take it off, but i am not an expert by any means and i dont reccomend altering your whistle based on what i say :)
Do you think it’s possible for someone to learn an instrument late? I’m 37 now and I don’t have a musical background. I’d love to learn tin whistle. Is it too late to burn it into my brain?
I never bought into the idea that there's a window of learning. I started late myself, relatively speaking (17) and I was definitely behind folks in my age group but I wanted to learn so I spent the time doing it and I think that applies at any age!
If the whistle's mouthpiece was machine made then you might have some burrs or other imperfections that are causing the air to break unevenly, throwing off notes in the upper octave. I'd say practice jumping the octaves to see if you can get clean notes in the higher register. Try and hold out one of those notes that screech - it could be user error but it could be the whistle's fault too.
@@grayalun I've had that issue on my cheap clarke tin whistle. Wondering if anyone else has that issue on a clarke or is it just me? I went ahead and bought a better quality wooden one.
Hey man thanks for the content, I recently picked up the tin whistle, having played guitar for most of my life and I am having a ton of fun with it and your videos are hugely inspirational. I am hoping you can offer me a bit of advice on a practical issue. As a kid I cut my right hand little finger severing several tendons so it's kinda stiff and crooked. Being shorter than normal and a lot less agile it kinda throws my whole hand position in an awkward way every time I reach to support for the c# on my D whistle. Is there some other grip or way of supporting the whistle for the c# that will be generally practical, or at least the second best option? (I am thinking that in hindsight maybe I should have reversed hands and learned with my left hand as the lower one but as Machbeth said "I am in blood stepp'd so far, that should I wade no more, Returning were as tedious as go'er" :D)
Glad the videos are helping! As for grip, I'm not envisioning exactly what the situation is in your case, but my general rule is if it's not comfortable then you're not holding it right. Assuming the whistle you're playing is reasonably well balanced you shouldn't need much grip on the thing at all. That said, there's nothing wrong with playing with your little finger on the whistle at all times for support.
@@whistletutor Ah right, thanks maybe I was being unclear. My pinky is too short to reach the whistle to properly support it at any time due to the injury (I know I sound like every guitar student I ever had, telling me their fingers are too short or too weird etc. but it's generally kinda useless :) But based on what you are saying it I should probably simply work on that general balance so that right hand pinky support is not needed at all. I am fine doing everything but that open c#, the imbalance occurs when I try to reach and support with a finger thats too short, and responds too slow for the job The whistle is a clarke "the meg", btw I've not tried anything else yet
@@whistletutor It's more widely known name is "Roxburgh Castle" (the "Fools Jig" name does come from the Morris single jig from Bampton). It's an English hornpipe (not a jig!) and well within the traditions of Britain and Ireland. ie. not unlike many Irish hornpipes.
I play whistles made by Gary Humphrey (link in the description) but to start, any D whistle will do - if you think you might stick with it I'd always recommend getting something handmade as it'll save some frustration down the road.
Been playing the whistle for about 3 weeks now. I'm enjoying learning a new instrument but I am finding that my right thumb (I play right hand lower) is getting sore. I can't imagine it's from the weight of the whistle, but maybe I am just not positioning it properly? I try not to think about where it is...I just play. Any tips on how my right thumb should be placed under the whistle??
If something's hurting than something's wrong - it's possible that you're simply gripping the whistle too tightly and that's causing strain on your thumb. Your lower thumb should really just be for balance, you shouldn't have to squeeze the whistle to the point where you feel any stress on your hand. Try and consciously relax your grip as you're playing, see if that makes any difference. Cheers!
i think my only argument with the modern bands comment is that I think they ARE playing traditional music. They are making it their own, the same way that older traditional musicians did in the years before the celtic music boom(s). I mean, even Dervish is definitely arranging tunes, adding intros, changing keys of tunes - to serve their vision of what traditional music is. I get squirrelly when it feels like people (and I don't mean you per se!) are implying that to be a traditional musician, you have to play the tunes exactly as they were played in some mythical "before now" time - when we know that there is no single version of any traditional tune, but rather tons of variations that all bear the mark of the players who played them.
Totally agree that there's no one right way to play anything - variations (and to a lesser degree, changing keys) are very common practice - but I would argue that while some might think those modern bands are playing traditional music, *they* would say that they're not. Take someone like Eileen Ivers or Michael McGoldrick - they're both brilliant traditional players, but they've made their living playing more modern stuff. It's not because they don't know the difference, or that they don't like traditional music - sit them down at a session and they'll play all night - but they simply prefer to spend their time and careers doing something different. Nothing wrong with that at all, and in fact I own every CD McGoldrick has put out and I love them all. My point is that if you're just starting out, you're probably going to be doing a lot of solo playing at sessions if you learn from modern bands exclusively. Also I would put Dervish in a slightly different category - they will occasionally change keys of tunes but with few exceptions, their key changes are also considered existing versions of those tunes, though perhaps not as common (not counting the whole Eb thing, that's just because they like the sound pitched up.)
"before now" isn't a myth (it really did happen). These are dance tunes (well, basically anything other than the airs, and they have a tradition too), and "tradition" means understanding this, playing them with the right phrasing, lift and speed. And do you learn that from people who learnt to play them before you? Yes, of course you do. That's a part of what makes it a tradition. This community of players (and singers and dancers) is what keeps a tradition alive, and it's not "anything goes." Not even with variation, which is absolutely part of the tradition, though less prevalent at sessions. Does the tradition change and develop. Yes. Pub style Irish music sessions, for instance, were the invention of the late 1940s and early 1950s in London. Guitars were included from the 1950/60s, the B/C accordion is basically became popular post WW2, concert flutes from the end of the 19th century. Festivals and bands etc too. There has been a lot of innovation is a shot period of time, but still not "anything goes." There is a tension in traditional music between conserving and innovation. Get that balance right and a tradition will thrive. Does that limit what you can do in playing and accompanying traditional music. Yes, it does. All traditions have their character and that can be seen as "limitations" or understood as a community of musicians (singers and dancers) who wish to exercise a culture with history, character and, yes, tradition. No-one is preventing anyone from playing anything. How could that be? These tunes and songs will survive and are robust. However, please don't (as many do, and I know this time and again from personal experience) come from outside a musical tradition and try to impose practices and music that are entirely antithetical to its practitioners whilst claiming that it's simply "modernising" or that since it's folk music "anything goes."
Which key of whistle? Definitely start with D. As for which key has the best tunes? I'd say D as well though fiddle players would likely fight me for A.
Hey, i have a problem getting the C note to sound good on my D whistle, even using other fingering. Kinda sound breathy? Dont know how to explain. Is it the whistle? Or am i doing something wrong?
@@whistletutor hey, thanks for the reply! Is a Feadog D Brass tin whistle, a really basic one. When i play with a tuner i can see i hit the C note, but is kinda airy you know?
Here is a resource that may be helpful - OAIM, Online Academy of Irish Music. They offer some free introductory lessons and then one may subscribe monthly for a nominal charge. And a question for you and other readers. I hesitate to ask this because it is kind of, ah, icky. I was practicing the other day and after some playing spit was dripping out of the end of my whistle! YUCK! Have anyone else experienced this? Would you post titles or links to "modern tunes?" Thanks.
Sorry just now saw this comment - yes, OAIM is a great resource, they're staffed with brilliant musicians! And yeah, no worries about drippage - typically it's more condensation than spit and it's really only an issue if it clogs up the mouthpiece. That's why you see me blowing the whistle out periodically during the videos.
