I have put whistles as a separate category from the recorder simply because they have different fingering and, this is my personal opinion, they sound a lot better.  Their range is bigger too.  Only the connoisseur can appreciate the blackouts from oxygen starvation whilst sustaining long passages in the lower octave of a low D whistle.  The feeling of melting ear wax running down your neck from the sound of the top octave of a high G whistle is something you never forget, not to mention the amount of dogs you can attract to you.

I recently resurrected my two Flageolet whistles (C & G) which were purchased for the princely sum of 12 shillings (60p) and 8 shillings  (40 pence) around 1968.  A fact which highlights the spelling and pitch mistake in the photograph and also the disgusting rise in price, plus they are slightly heavier and better made than the modern versions.

Surprisingly, they were both intact and still in tune.  Suddenly a new interest took over from the squeezebox and fiddle.  Well, they both weigh less than 40 gms, which is a definite plus when compared against the 7-8 Kg of an accordion, especially during an all day long session.

Now the fingering seems much easier which is probably due to the developed finger dexterity due to playing other instruments over the years.

These three are the latest additions to my collection.

The Generation D-Flageolet looks a lot like the Irish made Walton's whistle and is not generally listed in many catalogues.  More commonly you see the red and blue mouthpieces of the brass and nickel range of these instruments.  If you are a Generation fan and want to get hold of one of these whistles, check out the useful links.  George Gladstone, can supply them by mail order.

The other two are really impulse buys.

The left instrument was sold as a South American flute although I think it is really African.  It has a surprisingly beautiful tone although it the fingering is a bit tricky.  It feels as though it should play just like a recorder, but the fact that the end is stopped makes it a bit more difficult to handle.  I will post more when I track it down and learn the fingerings.  However it still makes a good talking point when people see it in the whistle bag and it is quite pretty.

The instrument on the right is sold as an easy to play recorder for school use by a well known 'High Street' retailer.   Wrong on both counts!   It is simply a noise maker and a rather annoying one at that.   It is not even in tune with itself!

Parents please, if you want your child to learn, spend an extra pound or so and buy them a proper instrument.

This one is going to undergo major surgery.  The holes on the front and back will be sealed with a good quality filler and after it is tuned to the nearest base note, it will be having a new set of holes bored to allow it to join in the fun with the rest of its friends at folk meetings.

To try and encourage a more practical interest I recently gave a D whistle to a family member, who likes listening to folk music but has never come to grips with any instrument.

The major problem I noticed he had was breath control.  Remember, you are not a football referee and lower octaves are not easy to play under a full head of pressure. 

Before I get to the fingering charts, here is a liitle trick I was taught to help you control your breathing.   Take one lighted candle.  Place it on a table or a shelf so that it is level with your mouth when you are either sitting or standing.  Then simply pucker-up and blow from a distance of about 30 cms.  The idea is to 'bend' the flame and not extinguish it.  With practice you will be able to keep the flame bent at an angle, without flickering, for about two minutes.

Although whistles are available in a wide range of keys, the most popular are the low and high whistles in the key of D.  The fingering charts are identical for any six-hole whistle, but any references I use here will specifically be in the key of D.

It is also possible, with a little practice to produce a C natural on a D whistle which opens up the chance to play tunes in the key of G.  As most traditional tunes are writtn in one of these two keys, you  can see why this whistle is so popular.

You should be able to get a 2-octave range from your whistle and with practice add a third.  The fingering chart will show you positioning of your fingers for two octaves and all you need to do is repeat the fingering for the second octave and blow a little harder to go higher.

It looks easy until you have to get your fingers moving together.  Or as a family member said...

"You mean I have to breathe gently or strongly, move six fingers in sequence, read the notes and try and support the whistle on my two thumbs when all the others holes are open?...It can't be done"

Oh dear, did I forget to mention you also have to listen to the other musicians and stay in time with them.

Persevere my friend. 

The top picture also shows my first attempt at building a low D tabor pipe.  The material I used was a length of chromed steel tubing, available at most hardware shops, that is used for creating clothes rails in cupboards and wardrobes.  It's a little bit heavier than the commercial versions but I find the tone is a lot crisper than the alloy type of whistle which means it can be heard a bit better when playing outside.

I know Generation make a tabor pipe and it retails at around £4-£5, but the fun of building your own makes the effort worthwhile.

There are only three holes in the pipe and it relies on over-blown harmonics to be able to achieve a full octave.  I was convinced I had ruined it when I first tried it out as I could get the low D,E,F# & G but it kept jumping to the next octave when more wind pressure was applied.  The next octave was easy to obtain a full scale.  If I had done my research I would have found out that this is normal.

The fingering chart below shows the range you can expect to get out of one of these pipes.

Finally another addition to my collection, a genuine Clarke's tin whistle.  This model is the MEG and although it has the traditional black laquered tin body the wooden fipple has been replaced with a plastic version.  Once it is 'played in' I think the sound will be slightly more mellow than the original model.

Plus it means the mouthpiece can be dried much faster than the wooden versions.

Did I just say finally?  Well, only until the next time.  My latest addition is a beautiful, hand-made instrument from the workshops of Deerness Pipes.  It is made from a tropical Blackwood with silver trim and has an excellent tone.  It is one of a range of differnet woods used to give different tone and power. 

This is the Corrigan 'D' Whistle and it sounds as good as it looks.  The tone is rich and powerful enough to carry even during outside performances.  Without a doubt, I think it beats the traditional tin whistle hands down.

The mouthpiece is well shaped so you just can't help but produce a good tone over it's full range.

The instrument is in two pieces which means it is tuneable and makes cleaning it a lot easier.

The mark of a craftsman.  Each instrument carries the Deerness logo.

A sure sign of quality and dedication.