Enclose, first you MUST set goals. You might become a passable technician without goals, but never a musician.
As far as a teacher is concerned, I began playing traditional music in the late '50s. I did not learn from a teacher because there were none where I live. I learned by listening to recordings and doing my best to imitate them. I went to all of the concerts and workshops I could to watch what the players were doing. I learned over a dozen instruments that way. Of course, there were no cassettes or videos then, so I often had to relearn things. My children play instruments, and I am amazed at the progress they make--much faster than my own. I would say that if you can find a good teacher, grab him or her and learn. If there is no competent teacher near you, get some of the videos and DVDs out there and work with them. Above all, listen to the kind of music you want to learn to play. I suggest listening five hours for every one you play. Sounds excessive, but it's necessary to get the music inside you.
Teacher vs selfteaching
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Trixle
- Posts: 244
- Joined: Tue May 22, 2007 2:36 pm
- Please enter the next number in sequence: 1
- Location: Lakeland, FL
I've only been playing for almost a year, and even though i have no teacher i am happy with my progress so far. I definitely would like a teacher, but unfortuanately i have not found one in my area so i'm stuck with online tutorials and books and figuring out tunes from recordings i like. I'm considering investing in the brian finnegan and seamus egan mad for trad computer tutorials, but i wonder if it'll be time and money well invested or just a waste/repetition of what's already out there online.
We live in an increasingly technologically evolving age, where there are online resources available, opportunities to learn on your own that really have never been available ever. Looking at things like the Ryan Dunn tutorials, the tradlessons.com, and all the examples of professional players and teachers and such on you tube and such can really give an attentive learner access to knowledge that they would otherwise need a teacher for. I guess there is probably some bad teaching/technique and such there as well, but when you can within a few moments find a professional player and have closeups of his fingers, lips, techniques and what not, while it doesnt take the place of someone critiquing you, it allow a bit more self critique than previously available. Also, there are sites that will let you submit clips and get critiques as well on your playing, like the whistlethis site and such, again, something that was impossible or impractical really in the past.
Actually, i'd imagine someone could video themselves, post a clip on youtube and ask for critique from someone that is respected in the online itm community and perhaps get pointers there as well. So much can be done now it just really changes the whole dynamic of the previous way of learning to play music, i'd imagine.
Again, i wish i had a teacher available, but until one moves to the tampa FL area, i'm forced to do it alone. Styill though, i'm happy with my progress
We live in an increasingly technologically evolving age, where there are online resources available, opportunities to learn on your own that really have never been available ever. Looking at things like the Ryan Dunn tutorials, the tradlessons.com, and all the examples of professional players and teachers and such on you tube and such can really give an attentive learner access to knowledge that they would otherwise need a teacher for. I guess there is probably some bad teaching/technique and such there as well, but when you can within a few moments find a professional player and have closeups of his fingers, lips, techniques and what not, while it doesnt take the place of someone critiquing you, it allow a bit more self critique than previously available. Also, there are sites that will let you submit clips and get critiques as well on your playing, like the whistlethis site and such, again, something that was impossible or impractical really in the past.
Actually, i'd imagine someone could video themselves, post a clip on youtube and ask for critique from someone that is respected in the online itm community and perhaps get pointers there as well. So much can be done now it just really changes the whole dynamic of the previous way of learning to play music, i'd imagine.
Again, i wish i had a teacher available, but until one moves to the tampa FL area, i'm forced to do it alone. Styill though, i'm happy with my progress
"Well, rhythm, i think, if it's rhythmatic, that's the whole thing. Technique and everything comes second, i think, to the rhythm." --Mary Bergin
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FJohnSharp
- Posts: 3050
- Joined: Thu May 30, 2002 6:00 pm
- antispam: No
- Please enter the next number in sequence: 8
- Tell us something.: I used to be a regular then I took up the bassoon. Bassoons don't have a lot of chiff. Not really, I have always been a drummer, and my C&F years were when I was a little tired of the drums. Now I'm back playing drums. I mist the C&F years, though.
- Location: Kent, Ohio
I was self teaching for a while, then I got a teacher and made better progress. I was shown the correct way to play, and I was engaged in dialog that helped me understand the instrument and the music.
I stopped lessons a couple of years ago and I'm back to self teaching, but I'm starting to feel like I've stagnated and need to go back.
Hope that helps.
I stopped lessons a couple of years ago and I'm back to self teaching, but I'm starting to feel like I've stagnated and need to go back.
Hope that helps.
We're all self-taught because in the end you have to put the knowledge given to you into practice, and most of the time you will do that alone. I think the main value of an instructor is that the information given is relevant particularly to you.
I don't have an instructor. I try to learn by watching the fiddle players at the session. I can't hardly tell what the other flute player is doing. And the whistle player is so good I can't tell what he's doing either. So I watch the fiddles and try to figure out how they get the rhythm.
I've also learned from Ryan Dunns' videos on YouTube and from Bother Steve's web site and from June McCormack's and Matt Cranitch's tutorials.
I've gotten a few tidbits of info from the other wind instrument players at the session but not much.
Listening to recordings of myself is helpful, too. I have heard things that were clearly wrong that I didn't realize until I heard them played back to me.
Some may hear my recordings and scoff at all the above. That's fine. It's the best I'm able to do.
I don't have an instructor. I try to learn by watching the fiddle players at the session. I can't hardly tell what the other flute player is doing. And the whistle player is so good I can't tell what he's doing either. So I watch the fiddles and try to figure out how they get the rhythm.
I've also learned from Ryan Dunns' videos on YouTube and from Bother Steve's web site and from June McCormack's and Matt Cranitch's tutorials.
I've gotten a few tidbits of info from the other wind instrument players at the session but not much.
Listening to recordings of myself is helpful, too. I have heard things that were clearly wrong that I didn't realize until I heard them played back to me.
Some may hear my recordings and scoff at all the above. That's fine. It's the best I'm able to do.
~ Diane
Flutes: Tipple D and E flutes and a Casey Burns Boxwood Rudall D flute
Whistles: Jerry Freeman Tweaked D Blackbird
Flutes: Tipple D and E flutes and a Casey Burns Boxwood Rudall D flute
Whistles: Jerry Freeman Tweaked D Blackbird
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straycat82
- Posts: 1476
- Joined: Tue Sep 27, 2005 12:19 pm
- antispam: No
- Location: Arizona
- Contact:
Your tuition will only be as good as your teacher so, as it sounds in your case, you may not have the option in your locale. I wouldn't spend a dime on whistle lessons unless the teacher was A. a good whistle player, and B. played well in an Irish style (because that is my personal goal as a musician).
That is what has kept me from taking lessons thus far. I am entirely self taught and there aren't really any whistle players locally who play in an Irish style who aren't newbies such as myself (I've been playing for about five years).
That said, a well-trained ear can teach you volumes. Listening to recordings of not only good whistle players, but good trad music will pay off. Playing with musicians who are better than you is a must. Listening and watching some of the seasoned musicians in a session will be very helpful (whether they play whistle or not). Listen to the rhythm and pulse of their music then go home and find a way to make it happen on your instrument.
I can say that I've hit many walls in my journey and would have loved to have the chance to pick the brain of a seasoned whistle player but the option simply has not presented itself. I've done what I can with the resources I have available and I'm sure that may have slowed my learning process but it also caused me to stop and train my ear along the way too, something I will continue to consciously develop for as long as I play. If you ever have the chance to go to a workshop and learn from a master then jump on it. I've not yet had the pleasure.
That is what has kept me from taking lessons thus far. I am entirely self taught and there aren't really any whistle players locally who play in an Irish style who aren't newbies such as myself (I've been playing for about five years).
That said, a well-trained ear can teach you volumes. Listening to recordings of not only good whistle players, but good trad music will pay off. Playing with musicians who are better than you is a must. Listening and watching some of the seasoned musicians in a session will be very helpful (whether they play whistle or not). Listen to the rhythm and pulse of their music then go home and find a way to make it happen on your instrument.
I can say that I've hit many walls in my journey and would have loved to have the chance to pick the brain of a seasoned whistle player but the option simply has not presented itself. I've done what I can with the resources I have available and I'm sure that may have slowed my learning process but it also caused me to stop and train my ear along the way too, something I will continue to consciously develop for as long as I play. If you ever have the chance to go to a workshop and learn from a master then jump on it. I've not yet had the pleasure.
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fancypiper
- Posts: 2162
- Joined: Mon Jun 02, 2003 1:08 pm
- antispam: No
- Please enter the next number in sequence: 12
- Location: Sparta NC
- Contact:
I am an "isolated" ITM player where everything is at a minimum of 1 1/2 hours travel to play with anyone besides Naomi's Fancy (health has caused me to withdraw as a regular band member).
Because of that (and limited finances), I am self taught on whistle, but I had to attend some summer schools and tionols before I got a handle on the uilleann pipes (if that is possible).
I learned the basics from "The Pennywhistle Book" by Robin Williamson and "The Complete Irish Tinwhistle Tutor" by L.E. McCullough and once I got the handle on the ornaments and cross fingering/half holing, I started throwing in variations until I could "play the same tune but differently" for a few turns of the tune, then I would try them out either with band members or a session/jam.
I discovered that I am a kinetic/aural learner, once I learned how to "listen faster".
Listening is the key, whether you have a teacher or learn on your own. After all, music ends up being ear candy.
I recommend lots of listening, especially to the uilleann bagpipes. You did know that the tinwhistle is the gateway drug to uilleann pipes, didn't you? You will need the money for for your set and then you will need money for a tutor/tionol/summer school (or several).
Because of that (and limited finances), I am self taught on whistle, but I had to attend some summer schools and tionols before I got a handle on the uilleann pipes (if that is possible).
I learned the basics from "The Pennywhistle Book" by Robin Williamson and "The Complete Irish Tinwhistle Tutor" by L.E. McCullough and once I got the handle on the ornaments and cross fingering/half holing, I started throwing in variations until I could "play the same tune but differently" for a few turns of the tune, then I would try them out either with band members or a session/jam.
I discovered that I am a kinetic/aural learner, once I learned how to "listen faster".
Listening is the key, whether you have a teacher or learn on your own. After all, music ends up being ear candy.
I recommend lots of listening, especially to the uilleann bagpipes. You did know that the tinwhistle is the gateway drug to uilleann pipes, didn't you? You will need the money for for your set and then you will need money for a tutor/tionol/summer school (or several).
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KBR
- Posts: 45
- Joined: Tue May 22, 2007 8:33 pm
- Please enter the next number in sequence: 1
- Location: Porter Corners NY
- Contact:
teacher - yes or no
Enclose,
A GOOD teacher is always better than no teacher but, a BAD teacher might put you off music entirely so, be careful. If you find a teacher and find that you are not making progress/don't enjoy your lesson/don't like the music you are playing/don't want to practice, etc., find another teacher if possible.
Two things to remember, 1. A teacher (even a good one) will never make up for lack of practicing and 2. It is always useful to be able to read music.
I had lessons many years ago but have been self-taught(on several instruments) since grade school. My ability to read music was extemely important to my development. Also, you should listen to as much of the music you wish to play as possible. Don't just listen to it, count with it, listen to the changes (harmonization) listen for a pulse, etc. Also, WATCH as many musicians as possible. Sometimes a technique makes more sense if you can see it being performed rather than just listening to it. Be critical and you can become a good teacher for yourself. kbr
A GOOD teacher is always better than no teacher but, a BAD teacher might put you off music entirely so, be careful. If you find a teacher and find that you are not making progress/don't enjoy your lesson/don't like the music you are playing/don't want to practice, etc., find another teacher if possible.
Two things to remember, 1. A teacher (even a good one) will never make up for lack of practicing and 2. It is always useful to be able to read music.
I had lessons many years ago but have been self-taught(on several instruments) since grade school. My ability to read music was extemely important to my development. Also, you should listen to as much of the music you wish to play as possible. Don't just listen to it, count with it, listen to the changes (harmonization) listen for a pulse, etc. Also, WATCH as many musicians as possible. Sometimes a technique makes more sense if you can see it being performed rather than just listening to it. Be critical and you can become a good teacher for yourself. kbr
"ain't no other place 'round dis place, like dis
place so...dis must be de place...."
Sammy Ray
place so...dis must be de place...."
Sammy Ray
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Stephen Seifert
- Posts: 29
- Joined: Sat May 27, 2006 3:39 am
- Please enter the next number in sequence: 1
- Location: Nashville, TN
(I realize not everyone's into Irish Traditional Music. I'm writing for those that are.)
While I've never had a formal whistle or flute lesson, I have taken many opportunities to ask better players about whatever I'm currently working on. Imagine a whistle/flute FAQ. I've asked maybe all of these questions, usually one question at a time, to good players I've met in my travels or on the internet.
I try to keep each of these "lessons" very short, usually under two minutes. If I ask by email, I try to ask something that could be answered with one to two sentences. Most really good players are too busy to spend 60 minutes teaching a one-on-one. I think their time is worth much more that $45-an-hour.
In retrospect, if you're not near any sessions or great players:
Set I-Tunes to download every podcast from http://clarefm.ie. Download the kitchen series. Also look for live session recordings on the internet, try for the most "authentic", if that's what you're into. I'm going for complete immersion in the target language, the real deal, pure, unadulterated sessions. Look around the web. There's a number of great sites for this.
Listen every day and hum along with everything no matter how much you get or miss. For a short time, use software to slow sessions down so you can acknowledge the passing of each note. I listened for three months to Clare sessions at 75% speed. Work towards 100%. Try to get to where you're humming things before you try them on the whistle.
Use sheet music but break free as soon as possible. These tunes are living. I think of a piece of sheet music as a recipe. Everyone's biscuits seem a tad different from all the others, but they're still biscuits. The same goes for chocolate cake, sugar cookies, etc... Good players seem to play the same old tunes in subtly different ways, not enough to really change the tunes. Even the same player three times through a tune uses subtle variation.
Whether it's an internet class, an email, a website, a DVD, or in-person, learn:
- D Major, D Mixolydian, E Dorian, E Minor, G Major, A Major, A Mixolydian, A Dorian, A Minor, B Minor, and C Major (Learn the notes C natural, G sharp, and F natural.)
- Cuts, strikes, and rolls. At first, only use cuts to separate notes of the same pitch. I think simple rolls should be taught from the very start. (I like The Essential Guide To Irish Flute & Tin Whistle by Grey Larson. I also like Brother Steve's online videos.)
- Learn proper use of your diaphragm. Ever hear the pipes played by someone who can't keep a steady squeeze on the air bag? I try to keep a steady "squeeze" on my lungs.
- Using your ear, play better in-tune by blowing a bit less in the lower register and a bit harder in the upper register. Lots of beginners sound sharp in the first register and flat in the upper.
Realize there is some variation on how things are done. How you finger a C natural can have a lot to do with your instrument. Mary Bergin plays more on her finger tips somewhat while others try to keep the fingers flat. Which hand should be on top? What to do with the bottom pinky. What holes to use for cuts, rolls, and crans?
I've noticed that my favorite players have a slight, subtle swing to their reels and jigs. Hornpipes have much more of a swing. Some players use different degrees of swing. Be warned, many American sessions made up of beginners and or isolated intermediates do not have the same sense of swing-rhythm-lilt as do the better players in Ireland.
MY MAIN POINT: Spend as much time completely immersed in the language of Irish Traditional Music. If possible, attend real sessions as much as possible. Get there early and be the last one to leave. Hum along the best you can all night without bothering anyone. Put your brain in the position of sink or swim. Ask questions and pay attention without bugging folks. I think everything else should augment this foundation. "Never give up! Never surrender!"
I consider myself an intermediate. I still have much to learn. Please correct me publicly if I'm off base on any of this. I would seriously appreciate it.
While I've never had a formal whistle or flute lesson, I have taken many opportunities to ask better players about whatever I'm currently working on. Imagine a whistle/flute FAQ. I've asked maybe all of these questions, usually one question at a time, to good players I've met in my travels or on the internet.
I try to keep each of these "lessons" very short, usually under two minutes. If I ask by email, I try to ask something that could be answered with one to two sentences. Most really good players are too busy to spend 60 minutes teaching a one-on-one. I think their time is worth much more that $45-an-hour.
In retrospect, if you're not near any sessions or great players:
Set I-Tunes to download every podcast from http://clarefm.ie. Download the kitchen series. Also look for live session recordings on the internet, try for the most "authentic", if that's what you're into. I'm going for complete immersion in the target language, the real deal, pure, unadulterated sessions. Look around the web. There's a number of great sites for this.
Listen every day and hum along with everything no matter how much you get or miss. For a short time, use software to slow sessions down so you can acknowledge the passing of each note. I listened for three months to Clare sessions at 75% speed. Work towards 100%. Try to get to where you're humming things before you try them on the whistle.
Use sheet music but break free as soon as possible. These tunes are living. I think of a piece of sheet music as a recipe. Everyone's biscuits seem a tad different from all the others, but they're still biscuits. The same goes for chocolate cake, sugar cookies, etc... Good players seem to play the same old tunes in subtly different ways, not enough to really change the tunes. Even the same player three times through a tune uses subtle variation.
Whether it's an internet class, an email, a website, a DVD, or in-person, learn:
- D Major, D Mixolydian, E Dorian, E Minor, G Major, A Major, A Mixolydian, A Dorian, A Minor, B Minor, and C Major (Learn the notes C natural, G sharp, and F natural.)
- Cuts, strikes, and rolls. At first, only use cuts to separate notes of the same pitch. I think simple rolls should be taught from the very start. (I like The Essential Guide To Irish Flute & Tin Whistle by Grey Larson. I also like Brother Steve's online videos.)
- Learn proper use of your diaphragm. Ever hear the pipes played by someone who can't keep a steady squeeze on the air bag? I try to keep a steady "squeeze" on my lungs.
- Using your ear, play better in-tune by blowing a bit less in the lower register and a bit harder in the upper register. Lots of beginners sound sharp in the first register and flat in the upper.
Realize there is some variation on how things are done. How you finger a C natural can have a lot to do with your instrument. Mary Bergin plays more on her finger tips somewhat while others try to keep the fingers flat. Which hand should be on top? What to do with the bottom pinky. What holes to use for cuts, rolls, and crans?
I've noticed that my favorite players have a slight, subtle swing to their reels and jigs. Hornpipes have much more of a swing. Some players use different degrees of swing. Be warned, many American sessions made up of beginners and or isolated intermediates do not have the same sense of swing-rhythm-lilt as do the better players in Ireland.
MY MAIN POINT: Spend as much time completely immersed in the language of Irish Traditional Music. If possible, attend real sessions as much as possible. Get there early and be the last one to leave. Hum along the best you can all night without bothering anyone. Put your brain in the position of sink or swim. Ask questions and pay attention without bugging folks. I think everything else should augment this foundation. "Never give up! Never surrender!"
I consider myself an intermediate. I still have much to learn. Please correct me publicly if I'm off base on any of this. I would seriously appreciate it.
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anniemcu
- Posts: 8024
- Joined: Thu Sep 11, 2003 8:42 pm
- antispam: No
- Please enter the next number in sequence: 10
- Location: A little left of center, and 100 miles from St. Louis
- Contact:
It is possible to attend a workshop type lesson set up at some of the festivals and Tionol's.
There is a great one coming up the beginning of next month in St. Louis ( http://www.tionol.org ). One day of classes with an expert teacher and two nights and two days of immersion in the genre.
Not as good as regular lessons, but a real boost!
There is a great one coming up the beginning of next month in St. Louis ( http://www.tionol.org ). One day of classes with an expert teacher and two nights and two days of immersion in the genre.
Not as good as regular lessons, but a real boost!
anniemcu
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"You are what you do, not what you claim to believe." -Gene A. Statler
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"Olé to you, none-the-less!" - Elizabeth Gilbert
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http://www.sassafrassgrove.com
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"You are what you do, not what you claim to believe." -Gene A. Statler
---
"Olé to you, none-the-less!" - Elizabeth Gilbert
---
http://www.sassafrassgrove.com
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pkev
- Posts: 114
- Joined: Tue Sep 14, 2004 8:12 pm
- Please enter the next number in sequence: 1
- Location: Scotland
Hi there,
Enclose; I believe in many ways your playing will be very much influenced by what you listen to as you make progress.
Your playing and learning curve will go through various transitions in ultimately trying to acheive your own personal style of playing.
At the end of the day it's you that has to make the decisions about what is best for you.
If you think you are making decent progress as it is, then continue along that road. There is nothing wrong with this view to my mind.
Experiment with different techniques / ornamentation etc it's not like trad music is set in stone.
Take each tune and work with it, see where it goes for you, how does it sit with you. If it sits well with you, keep it until you think you can change it for the better.
As for a learning approach, I would also forget about categorizing your playing into any particular standard or level while your at it!
ie comments on these forums like; I've been playing for 3/4 years and I still consider myself to be a beginner, I have so much to learn!.....
Let them wallow in their `beginnerness` for the next 3/4 years.
Same applies to self confessed intermediates!
Try and have a `balanced` critique of your own playing!
You have already considered that you are making decent progress.
That means you are not wallowing in beginnerness, you are looking forward and being positive!
That's all from me
Enjoy your music
Cheers
pkev
Enclose; I believe in many ways your playing will be very much influenced by what you listen to as you make progress.
Your playing and learning curve will go through various transitions in ultimately trying to acheive your own personal style of playing.
At the end of the day it's you that has to make the decisions about what is best for you.
If you think you are making decent progress as it is, then continue along that road. There is nothing wrong with this view to my mind.
Experiment with different techniques / ornamentation etc it's not like trad music is set in stone.
Take each tune and work with it, see where it goes for you, how does it sit with you. If it sits well with you, keep it until you think you can change it for the better.
As for a learning approach, I would also forget about categorizing your playing into any particular standard or level while your at it!
ie comments on these forums like; I've been playing for 3/4 years and I still consider myself to be a beginner, I have so much to learn!.....
Let them wallow in their `beginnerness` for the next 3/4 years.
Same applies to self confessed intermediates!
Try and have a `balanced` critique of your own playing!
You have already considered that you are making decent progress.
That means you are not wallowing in beginnerness, you are looking forward and being positive!
That's all from me
Enjoy your music
Cheers
pkev
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Ron Jarvis
- Posts: 61
- Joined: Fri Apr 20, 2007 2:16 pm
- Please enter the next number in sequence: 1
- Location: Overland Park, KS
Wow, what a good question. I do not have all the answers, but here is just a bit of what I know for certain. If you can offord it, you will want a good teacher - one who both plays very well and understands what it is that makes him/her play well and can articulate/demonstrate it. Unless you are fortunate, a good teacher may cost $30 and $ 40 per hour. That may seem high. IF so, see if you can take a 1/2 hour lesson every 2 or 3 or 4 weeks, depending on how much practice time you expect to get in. Another key, I beleivel, is to listen to as much whistle playing as you can and try to duplicate it. Songs like The Cricket's March Over the Salt Box (Jig) recorded by Laurence Nugent on his CD titled simply "Laurence Nugent", comes to my mind. It is a simple tune that he plays in a straight-forward way and slowly enough for you to hear what he is doing. Also, the faster you can get away from the music, the better off you will be - it frees you from having to think about the notes. Listen, listen, listen.
See if you have a local "session" perhaps twice each month in your area. Listen to any whistle players in the session group in your area, espepially those who have captured the seemingly illusive Irish rythym in their playing. Sometimes it helps to sing or hum a song to yourself - it helps you with the correct rythym. Many of us (especially me) can sing or hum a song with the correct emphasis/rythym, but have trouble playing it on the whistle. Record yourself playing the whistle! Be ruthlessly critical, not about the notes but the rythym. I keep focusing on the rythym because unless you have the right emphasis, it never seems to come out quite like you want. Of course, not everyone can do it - we all just do the best we can, but we try to get it. For example, emphasizing the 1st and 4th notes of a 6-note measure in a jig (that is over-simplified), but you get the point.
If you like learning from a book and CD, you might consider "The Essential Guide to Irish Flute and Tin Whistle by Grey Larsen. It's about $35 dollars new and $$25 used - make sure you get both the CD's. Have the book spiril bound at Kinko's for $4 and you've got enough material for about 2 years!
If any of what I have written sounds reasonable, great. Feel free to PM me with your detailed questions and I'll try to help - can you tell I like details? If I can't provide a solid answer, I'll tell you so and perhaps be able to recommend others here for an answer. If what I have thrown out to you does't seem to apply, well, best of luck and have fun.
Final thoughts - at some point after you have gotten the notes down to a song or songs, you might consider practicing with a metronome, if you have any trouble with tempo. Learn to play songs you like, not just ones that are in a book. It is so much easier to learn what you like.
Ron
See if you have a local "session" perhaps twice each month in your area. Listen to any whistle players in the session group in your area, espepially those who have captured the seemingly illusive Irish rythym in their playing. Sometimes it helps to sing or hum a song to yourself - it helps you with the correct rythym. Many of us (especially me) can sing or hum a song with the correct emphasis/rythym, but have trouble playing it on the whistle. Record yourself playing the whistle! Be ruthlessly critical, not about the notes but the rythym. I keep focusing on the rythym because unless you have the right emphasis, it never seems to come out quite like you want. Of course, not everyone can do it - we all just do the best we can, but we try to get it. For example, emphasizing the 1st and 4th notes of a 6-note measure in a jig (that is over-simplified), but you get the point.
If you like learning from a book and CD, you might consider "The Essential Guide to Irish Flute and Tin Whistle by Grey Larsen. It's about $35 dollars new and $$25 used - make sure you get both the CD's. Have the book spiril bound at Kinko's for $4 and you've got enough material for about 2 years!
If any of what I have written sounds reasonable, great. Feel free to PM me with your detailed questions and I'll try to help - can you tell I like details? If I can't provide a solid answer, I'll tell you so and perhaps be able to recommend others here for an answer. If what I have thrown out to you does't seem to apply, well, best of luck and have fun.
Final thoughts - at some point after you have gotten the notes down to a song or songs, you might consider practicing with a metronome, if you have any trouble with tempo. Learn to play songs you like, not just ones that are in a book. It is so much easier to learn what you like.
Ron
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Ctrl Alt Del
- Posts: 83
- Joined: Tue Dec 25, 2007 8:32 pm
- Please enter the next number in sequence: 1
- Location: Wollongong, Australia
I support Enclose. This has been a really useful thread. As someone who is only a couple of months into the 3/4 year trek of "beginnerness" many of these suggestions I'm trying to do. Others I'll pick up.
One of the things I am really trying is the 'immersion'. I see ITM just like another language. I'm not a native in it, and I'm learning it by correspondence. So listening, talking, reading, being on this site, practicing, more listening etc is what I'm focusing on.
Also I'm making sure that I do some 'practice' and some playing. Playing, is when I really just enjoy the songs I know, or play along with a CD or my iPod. Practice, when I really focus down, apply some discipline and work on my technique and try to learn or polish specific things.
All the best Enclose as we head down the journey together
One of the things I am really trying is the 'immersion'. I see ITM just like another language. I'm not a native in it, and I'm learning it by correspondence. So listening, talking, reading, being on this site, practicing, more listening etc is what I'm focusing on.
Also I'm making sure that I do some 'practice' and some playing. Playing, is when I really just enjoy the songs I know, or play along with a CD or my iPod. Practice, when I really focus down, apply some discipline and work on my technique and try to learn or polish specific things.
All the best Enclose as we head down the journey together
I find that I need rebooting every now and then!
