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The essential guide to irish flute and tin whistle pdf

If you are interested in playing Irish traditional music, you may have heard of the irish flute and the tin whistle. These are two of the most popular instruments in this genre, as they are easy to learn, affordable, portable, and versatile. They can produce beautiful melodies that capture the spirit and soul of Irish culture.

The essential guide to irish flute and tin whistle pdf

But what are these instruments exactly? How are they different from each other? How do you play them? And where can you find the best resources to learn them? In this guide, we will answer all these questions and more. We will explore the history, types, features, techniques, and tips of playing the irish flute and the tin whistle. We will also provide you with some useful links to books, online courses, videos, podcasts, and teachers that can help you master these instruments.

Whether you are a beginner or an advanced player, this guide will give you everything you need to know about the irish flute and the tin whistle. So grab your instrument (or get one if you don't have it yet) and let's get started!

History of irish flute and tin whistle

The irish flute and the tin whistle belong to a family of fipple flutes that have been around for thousands of years. A fipple flute is a type of woodwind instrument that has a duct or a mouthpiece that directs the air onto an edge or a hole. This creates a vibration that produces the sound. Some examples of fipple flutes are the recorder, the Native American flute, the pipe and tabor, and the fife.

The earliest evidence of fipple flutes dates back to prehistoric times. Archaeologists have found bone flutes that may have been used by Neanderthals in Europe. Other ancient civilizations such as China, India, Egypt, Greece, Rome also had their own versions of fipple flutes.

The modern irish flute and the tin whistle are derived from the European flageolet that emerged in the Middle Ages. The flageolet was a small wooden flute with six finger holes that was popular among peasants and nobles alike. It was often used for dancing, singing, or accompanying other instruments.

The irish flute is a wooden transverse flute that is held horizontally to the right side of the mouth. It evolved from the classical wooden flute that was introduced to Ireland by British soldiers in the 19th century. Many Irish musicians adopted this instrument and adapted it to their own style of playing. They modified it by removing some keys or adding holes to make it more suitable for Irish music. They also developed a unique way of blowing, fingering, and ornamenting the notes to create a rich and expressive sound.

The tin whistle is a metal fipple flute that is held vertically in front of the mouth. It originated from the English tin whistle that was mass-produced by Robert Clarke in Manchester in the 1840s. The tin whistle was cheap, durable, and easy to play, making it a popular instrument among the working class. It soon spread to Ireland, where it became a staple of Irish folk music. Many Irish musicians used the tin whistle to play tunes, songs, or accompany other instruments.

The irish flute and the tin whistle have been used in Irish traditional music for centuries. They have been played by soloists or in groups such as bands, sessions, or ceilis. They have also been influenced by other musical genres such as classical, jazz, rock, pop, and world music. Some of the most famous players of these instruments are Matt Molloy, James Galway, Mary Bergin, Paddy Moloney, Joanie Madden, and Micho Russell.

Types and features of irish flute and tin whistle

The irish flute and the tin whistle come in different types and features that affect their sound and playability. Here are some of the main factors to consider when choosing these instruments:

Keys

The key of an instrument is the pitch range that it can produce. The most common keys for the irish flute and the tin whistle are D and C, as they match the most common keys for Irish traditional music. However, there are also other keys available such as G, F, E, Eb, Bb, A, and low D.

The key of an instrument also determines its size and finger spacing. The higher the key, the smaller and shorter the instrument. The lower the key, the larger and longer the instrument. For example, a high D whistle is about 12 inches long, while a low D whistle is about 24 inches long.

The size and finger spacing of an instrument affect its comfort and ease of playing. The smaller and shorter the instrument, the easier it is to hold and reach the holes. The larger and longer the instrument, the harder it is to hold and reach the holes. For example, a high D whistle is suitable for beginners or players with small hands. A low D whistle is more challenging for beginners or players with small hands.

Materials

The material of an instrument affects its durability and tone quality. The most common materials for the irish flute are wood and metal. The most common materials for the tin whistle are metal and plastic.

Wooden flutes are usually made from hardwoods such as ebony, rosewood, boxwood, or cocuswood. They have a warm, mellow, and natural sound that blends well with other instruments. They also have a smooth and comfortable feel that many players prefer. However, wooden flutes are more expensive and require more care than metal flutes. They are sensitive to humidity and temperature changes that can cause them to crack or warp.

Metal flutes are usually made from silver or nickel alloys. They have a bright, clear, and loud sound that stands out from other instruments. They also have a sturdy and durable construction that can withstand wear and tear. However, metal flutes are more prone to tarnishing and corrosion than wooden flutes. They also have a cold and slippery feel that some players dislike.

Metal whistles are usually made from brass, nickel, aluminum, or copper alloys. They have a crisp, sharp, and piercing sound that can cut through ambient noise. They also have a solid and resilient structure that can last for a long time. However, metal whistles are more susceptible to denting and scratching than plastic whistles. They also have a metallic taste that some players find unpleasant.

Plastic whistles are usually made from ABS or PVC materials. They have a soft, sweet, and airy sound that is pleasing to the ear. They also have a lightweight and flexible design that is easy to play. However, plastic whistles are more likely to break or crack than metal whistles. They also have a synthetic look that some players find unattractive.

Designs

The design of an instrument affects its appearance and functionality. There are different designs for the irish flute and the tin whistle that offer different advantages and disadvantages.

For the irish flute, there are two main designs: simple system flutes and Boehm system flutes.

Simple system flutes are flutes that have six finger holes and no keys or only a few keys (usually up to eight). They are based on the original wooden flutes that were used in Irish traditional music. They are more authentic and expressive than Boehm system flutes, but they also require more skill and practice to play well.

Boehm system flutes are flutes that have a complex key system that covers all the holes. They are based on the modern silver flute that was invented by Theobald Boehm in the mid-1800s. They have a cylindrical bore and a metal body. They are louder and more accurate than simple system flutes, but they also lose some of the character and nuance of Irish music.

For the tin whistle, there are two main designs: conical whistles and cylindrical whistles.

Conical whistles are whistles that have a tapered bore that narrows towards the bottom. They are based on the original tin whistles that were made by Robert Clarke in the 1840s. They have a wooden fipple or mouthpiece and a metal body. They have a sweet and warm sound that is ideal for slow airs and ballads. They also have a wide dynamic range that allows for expressive playing. However, conical whistles are more expensive and less common than cylindrical whistles.

Cylindrical whistles are whistles that have a straight bore that is uniform throughout. They are based on the modern tin whistles that were developed by other manufacturers such as Generation, Feadog, and Walton's. They have a plastic fipple or mouthpiece and a metal body. They have a bright and crisp sound that is suitable for fast reels and jigs. They also have a high volume that can be heard in noisy environments. However, cylindrical whistles are cheaper and more abundant than conical whistles.

How to play irish flute and tin whistle

Playing the irish flute and the tin whistle requires some basic techniques that can be learned with practice and guidance. Here are some of the main aspects of playing these instruments:

Holding

The way you hold your instrument affects your posture, comfort, and tone quality. The irish flute and the tin whistle have different ways of holding them.

For the irish flute, you hold it horizontally to your right side, with your right hand reaching out farther and your left hand wrapped around the front and closer to your face. Your head should be slightly tilted to the right, but not too much. Your arms should be relaxed and your elbows slightly bent. Your fingers should cover the holes lightly, without pressing too hard or leaving gaps.

For the tin whistle, you hold it vertically in front of your mouth, with your left hand above your right hand. Your head should be straight and your chin slightly lifted. Your arms should be relaxed and your elbows close to your body. Your fingers should cover the holes completely, without squeezing or lifting them too high.

Fingering

The way you finger your instrument affects your pitch, intonation, and speed. The irish flute and the tin whistle have similar fingering patterns.

Both instruments have six finger holes that correspond to the six holes on a tin whistle or a recorder. Each combination of covered and uncovered holes produces a different note on the diatonic scale of D major (or C major for C instruments). To play notes outside this scale, such as sharps or flats, you need to use half-holing or cross-fingering techniques.

Half-holing is when you partially uncover a hole to raise or lower the pitch of a note by a semitone. For example, to play C natural on a D instrument, you need to half-hole the first hole with your left index finger.

Cross-fingering is when you skip one or more holes to produce an alternative fingering for a note. For example, to play F natural on a D instrument, you need to cross-finger by covering only the first three holes with your left hand.

Blowing

The way you blow your instrument affects your volume, tone quality, and expression. The irish flute and the tin whistle have different ways of blowing them.

For the irish flute, you blow across the mouthpiece or embouchure hole, creating a thin stream of air that hits the opposite edge. You need to shape your lips into a small and round opening, and direct your air slightly downwards. You need to control your breath pressure and speed to produce different notes and dynamics. You also need to use your tongue to articulate the notes by starting and stopping the air flow.

For the tin whistle, you blow into the mouthpiece or fipple, creating a steady stream of air that goes through a duct and hits a blade. You need to place the tip of the mouthpiece between your upper lip and teeth, and seal it with your lip. You need to adjust your breath pressure and speed to produce different notes and dynamics. You also need to use your tongue to articulate the notes by starting and stopping the air flow.

Ornamentation

Ornamentation is the use of extra notes or sounds to embellish the melody and add interest and variation. The irish flute and the tin whistle have similar ornamentation techniques.

Some of the common ornaments in Irish music are cuts, taps, rolls, crans, slides, and vibrato.

Cuts are quick grace notes played above the main note by lifting a finger momentarily. For example, to play a cut on D, you lift your left middle finger briefly.

Taps are quick grace notes played below the main note by lowering a finger momentarily. For example, to play a tap on E, you lower your right index finger briefly.

Rolls are combinations of cuts and taps that create a trill-like effect. For example, to play a roll on D, you play a cut followed by a tap.

Crans are similar to rolls, but only use cuts. They are mainly used on notes that cannot be tapped, such as E or A. For example, to play a cran on E, you play three cuts in succession.

Slides are smooth glissandos from one note to another, usually by half-holing or cross-fingering. They are mainly used on long notes or at the beginning of phrases. For example, to play a slide from C natural to D, you half-hole the first hole and then fully cover it.

Vibrato is a slight variation in pitch or volume that creates a wavering effect. It can be produced by changing the breath pressure or speed, or by moving the fingers or the head slightly. It is mainly used on long notes or for expression. For example, to play vibrato on D, you can vary your breath pressure or move your left index finger slightly.

Expression

Expression is the use of musical elements such as rhythm, tempo, dynamics, phrasing, and ornamentation to convey emotion and meaning. The irish flute and the tin whistle have similar expression techniques.

Some of the common elements of expression in Irish music are swing, syncopation, accents, variation, and interpretation.

Swing is a rhythmic feel that makes the music sound more lively and relaxed. It is achieved by playing some notes slightly longer or shorter than others, creating a dotted or triplet feel. For example, instead of playing two eighth notes evenly as 1-2-1-2-1-2-1-2-, you can play them as 1-2-3-1-2-3-1-2-3-, where 1 is longer than 2 or 3.

Syncopation is a rhythmic device that creates contrast and interest by placing accents on weak beats or off-beats. It is achieved by playing some notes louder or softer than others, creating an unexpected or irregular pattern. For example, instead of playing four eighth notes evenly as 1-2-3-4-1-2-3-4-, you can play them as 1-2-3-4-1-and-2-and-, where 1 is louder than 2 or 3 or 4, and and is softer than 1 or 2 or 3 or 4.

Accents are emphases placed on certain notes to highlight them or create a groove. They are achieved by playing some notes louder or softer than others, creating a strong or weak sound. For example, you can accent the first note of each measure or group of notes to create a sense of pulse or direction.

Variation is the modification of the melody or rhythm to add diversity and creativity. It is achieved by changing some notes or adding ornaments while keeping the main structure intact. For example, you can vary a tune by playing different cuts, taps, rolls, crans, slides, or vibrato to a tune. You can also play different versions or settings of a tune that have slight changes in the melody or rhythm.

Interpretation is the personal and artistic way of playing a tune that reflects your mood, style, and preference. It is achieved by using your own expression techniques and adding your own flair and personality to the tune. For example, you can interpret a tune by playing it faster or slower, louder or softer, simpler or more complex, or with more or less ornamentation.

How to learn irish flute and tin whistle

Learning the irish flute and the tin whistle can be a fun and rewarding experience that can enrich your life and connect you with other musicians. There are many resources available that can help you learn these instruments, such as books, online courses, videos, podcasts, and teachers. Here are some of the best ones:

Books

Books are great sources of information and instruction that can teach you the basics and the advanced aspects of playing these instruments. They usually contain exercises, tunes, tips, history, theory, and notation. Some of the best books for learning the irish flute and the tin whistle are:

• The Essential Guide to Irish Flute and Tin Whistle by Grey Larsen: This is a comprehensive and detailed book that covers everything you need to know about these instruments. It has a simple and clear approach to understanding and notating ornamentation, techniques never described in print before, adaptations for Boehm-system flute players, breathing and phrasing guidance, 49 ornamentation exercises, history and theory of traditional Irish flute and whistle music, and 27 meticulous transcriptions of recordings by important Irish flute and whistle players.

• The Complete Irish Tin Whistle Tutor by L.E. McCullough: This is a classic and popular book that teaches you how to play over 150 Irish tunes on the tin whistle. It has step-by-step instructions on how to hold, finger, blow, and ornament the tin whistle, as well as music theory, history, style analysis, discography, and bibliography.

• The Irish Flute Player's Handbook by Fintan Vallely: This is a concise and practical book that gives you useful advice on how to play the irish flute. It has information on how to choose a flute, how to care for it, how to develop your technique and tone, how to learn tunes by ear or by reading music, how to play with others in sessions or bands, and how to appreciate the history and culture of Irish music.

Online courses

Online courses are convenient and interactive ways of learning these instruments from the comfort of your home. They usually consist of video lessons, audio tracks, sheet music, quizzes, feedback, and community forums. Some of the best online courses for learning the irish flute and the tin whistle are:

• OAIM: This is an online academy of Irish music that offers courses for various levels and styles of playing these instruments. You can learn from some of the best teachers in Ireland such as Kirsten Allstaff (tin whistle), Conal O Grada (irish flute), Niall Keegan (flute), June McCormack (flute), Thomas Johnston (whistle), Mary Bergin (whistle), and many more. You can also access hundreds of tunes in their library and join their live sessions.

• Blayne Chastain: This is an online platform that provides courses for learning the irish flute from Blayne Chastain, a renowned flutist and teacher based in Colorado. You can learn from his beginner course that covers topics such as posture, breathing, fingering, blowing, ornamentation, and tunes. You can also learn from his intermediate and advanced courses that cover topics such as tone development, breath control, phrasing, variation, and repertoire. You can also access his library of over 150 tunes and join his live workshops.

• Online Academy of Irish Music: This is an online academy of Irish music that offers courses for various levels and styles of playing these instruments. You can learn from some of the best teachers in Ireland such as Kirsten Allstaff (tin whistle), Conal O Grada (irish flute), Niall Keegan (flute), June McCormack (flute), Thomas Johnston (whistle), Mary Bergin (whistle), and many more. You can also access hundreds of tunes in their library and join their live sessions.

Videos

Videos are visual and auditory aids that can show you how to play these instruments by watching and listening to other players. They usually contain d