Learn How to Play the Irish Tin Whistle

1. Your Adventure on the Irish Tin Whistle: Hello, my name is Mike, and I want to give you a warm welcome to your adventure in learning how to play the Irish tin whistle. It will be a fantastic and fun journey with an even more exciting destination. Because in this course, I will take you from a complete beginner on the tin whistle to a confident player that can add expression and emotion into your playing. You will learn all the insights into how this instrument works, the basic playing techniques, and how to get paused. The most common issues that beginners struggle with you. We'll even learn how to perform the advanced techniques and add expressive decorations. Another great point of learning this instrument is that you don't have to stick to traditional Irish or folk music. You can play any tool you want. If you'd simply learn how to play this instrument well and develop your skill and taking it. So why is the Irish whistle such an amazing instrument? Well, I personally love the sound of it. I love It's agility, it's expressive potential, unique decorations and the variation you can get from your playing style and performance, but also from using different keys and brands of tin whistles. Or you ready to learn how to play this amazing instrument? Then let's store your adventure right now. 2. Introduction to the Tin Whistle: Hello again. In this video, I will give you a nice introduction to this instrument. So let's start with the name. It can be called tin whistle, penny whistle, Irish whistle, or sometimes simply a whistle. But by far the most common name still to this day is tin whistle, which comes from the fact that it used to be made on the metal tin. However, modern 10 whistles or not made of tin, but in this case, aluminum. Brass is common like this one I think is made of brass, but it is coated with a black coat. Sometimes it can get results in wood and other materials, plastic of course. And still the name Tin with so is used to describe this instrument, even though it is actually quite uncommon to have a whistle made of 10. And the instrument comes traditionally from the country of Ireland, which is why it is often called an Irish whistle. And it is still used to this day in many traditional Irish music tunes. But you can of course, play any song you won't own it. Now let's talk about how these instrument actually works. So first, it is actually in a family or Foods called fetal fluids. So other instruments in the same family as the tin whistle is the classic recorder which he might have played as a kid. And the Native American food, because it's based on the same. You blow into the hole here and it has the football here. So it works in the same way as the tin whistle. And let's compare this to the other major family of fluids. Fluids, which is called vary side blown flute. I don't currently own a side bone flute, but that is what you see in the orchestra when you play it from the side. It is also called sometimes a transverse flute. So imagine this is a concert, silver or Castro food. Then you can see them holding it like this. And then they blow with a mouth airstream over a hole here so they can shape their mouth and the lips and the air stream to create different forms of expression. And that you cannot do on a fickle fruit. But advantage of it is that when you blow through the mouth piece, this mouth, this hole here, the Astra Theme is perfect from the actual construction. So you don't have to consider that. It makes it much easier to learn how to play. And then you can focus on the decorations and the expression you can do on the town tone holds themselves. So let's, let me just show you. Everyone has triad is an ordinary bottle, glass bottle. When you have a transverse or side bone flute, you cannot just blow like that. You have to shape your lips and direct the angle of the air stream on the sidewalk, food like on a bottle, like that. And if you change it just a bit, you fail the note. And the advantage of a people food with the mouthpiece and the hippo is that the air stream is already perfect in, over these people here. So I don't have to change the angle and as stream with and such to create the note. And let's check out the actual instruments. So it is a cylindrical tube, meaning it is the same width here in the end as it is in the beginning here. And it has this mouthpiece are at the top. And for the higher-quality instruments, the mouthpiece, you can move it like this. Slide it up or down, which you use to tune the instrument, and then the notes of the instrument. So again, it is a cylindrical tube. It has six total holes, which means if you can count here, if you close them all, this is the first lowest note. And if you open them all, so it's x to the seventh note because you have 1, 2, 3, 4, 5, 6, 7 if you open the hole, so six holes plus if you just leave everything open, which means seven notes. And as a matter of fact, seven nodes is how many nodes you have in a scale. So the nodes of the tin whistle, this instrumented tin whistle is a diatomic instrument. Let's not confuse you with the name diatonic means it is based on a scales, all the notes within the scale. And that is actually an advantage because 80, if you have a tin whistle in d, that means all the notes or in D major, which means if the song you played along to ease in D major, you cannot, you cannot play a wrong note. You can simply go. Whatever we play will be in the scaling key of the song. Now, what's really cool about this is there, there are actually teen whistles in many keys, from low to medium to high. And all of them or in a major key however, so this one is in D major. If I grab this one, the next one, it looks about the same. It's a bit bigger as you can see, because you get, the lower you go, the bigger the team muscle will be. And now the lowest noticed, see? But if you just play this game, it is C major. And the next one would be, if you go down another range, you will get a B flat and so on. So they are all based on major from the lowest note. But you can also play other scales if you start on a different node, which will, you will learn more about during this course. So it is actually good practice to own a couple of different team whistles if you want to be able to play along to different tunes. However, in most cases it is, it works best just to start on the classical whistle key, which is the one in high D. So a D whistle will get you covered. Great start, my friend, you now have a good overview of the foundations of the Irish tin whistle. So let's continue your learning journey in the next video of this course. 3. 10 Lessons on Tin Whistle Keys: Welcome back my friends. You are now going to learn ten different aspects, basically covering everything you'll need to learn about the different keys or thin whistles and the three different ranges of these keys. Okay, So number one is your main tin whistle, should be the Heidi. This key tin whistle, because it is the classic tin whistle. There used to be only risky Heidi. And it is still by far the most used. So when you start to learn playing tin whistle, I really recommend you to do so on a high D whistle, then you can expand on your correction later. So the second aspect regarding tin whistle case is you learn one key and you will know them all. Why? Well, because every tin whistle regardless of qi, is based on the major scale. Meaning that if you play from the lowest note going up, that is the major scale. So this means that the finger patterns all the same regardless of key. And that means that any tune you learn how to play which pattern of holes you need to cover it here for playing its Union on the fingers. Short TAB 14, whistle. If you learn it, OEM, for example, the Heidi, you can play it on any other key whistle. And it will still sound like that tune only higher or lower depending on the key. So for example, if we play on the Heidi like this, starting on the low D, lowest note, grab this other whistle here in a high C, and play the exact same pattern. That is still Lord of the Rings concerning hobbits. It will only sound higher or lower depending on the keys. So that is a second aspect. Now, let's get into the three different ranges that tin whistle keys can be categorized into. The first, the most classic is the high whistle range. So you already heard the most classy key is Heidi. And I mean, there are no strict rules for the ranges, how you categorize them. This is how I personally categorize the ranges of tin whistle. So high whistle range, I say from C5 to G5. So what does this mean? Well, if you play the middle key on your piano keyboard, that is S4, then you go up an octave, that is C5. So that is the lowest in the high Russell range. And the highest I've ever heard is the high G. So that is G5. So C5 to G5 is the high with the range sometimes called the soprano tin whistles. The next range over thin bristles is between the low and high. So Mead whistle range. I categorize these as G for two before. Basically, if you can play them with ordinary grape, not pipers grip, which will be due on more about in this course, I would say it's still in the mid whistle range rate depends on how big your hands or so G4 to be for, one of the most common is the B flat whistle, which can sound like this. So asking here, a much warmer tone, but still not in the low range of the inverse and this middle range obtain whistles is sometime called all whistles. The final third range of whistles or the low whistles. So I categorize these as C4 to F-sharp for meaning middle C on your piano keyboard is a low C was o, and then going up to edge sharp four. So here I have a low D with so, which is the most common in the low range. And I will play the same tune with Concerning Hobbits, Lord of the Rings. So you really hear that I play the same fingerings, the same pattern here for the holes as I did on the high whistles. And it sounds the same, only lower and deeper. So those are the three ranges of tin whistles. Now let's talk about the differences, advantages and disadvantages of the different ranges. So low, middle and high whistles. So first is tone and color. So if you play a high whistle, of course, that will have a higher tone. And the lower the key, the warmer and warmer the tone will be, the deeper it can go, and also be softer in tone. So not as loud. So there's a B flat going to F Now in the low range. And all the way to, let's say the little c, which is the lowest vom here, which is super, super deep. And as you can hear, it's much softer as well. Next, let's talk about agility and speed of the different ranges of tin whistles. So the higher the key, the shorter distances between the holes, they are smaller. And that means you can play it much faster, so faster phrases, faster melodies and reefs and rhythms, or much easier to play on a high range whistle. Whereas on a lower key whistle, let's say the low day. It's much harder because you don't have the agility. You need to spread your fingers, play with pipers grip and is much harder. So they are most often more suited for UDL slow, we're melodies and beautiful parts like that. Next, let's talk about breath control and add requirements for the different ranges of whistles. So the high range whistles require the least ADD requirements, and that means you need to blow. So feign sol, solve together the lowest null. And it's pretty easy to get to the higher octave, the second octave. Whereas the lowest whistles, you can blow a bit hotter. And you get a bit more dynamic range for the breath control on a lower key whistle. So that is an advantage. You can do vibrato much easier. On a low, the lower the key ys on the whistle. However, the downside of the disadvantages is it's so difficult to play those higher octane notes. You need to really push that air supplying long notes in the second octane and you breath will die out very quickly. So that is revolving the breath control and add requirements. Of course, the old arranged middle range is somewhere in between the low and high whistles in all of these aspects. And that takes us to the expression capabilities of these ranges of teen whistles. So the higher whistles, due to the close proximity of the holes, how they are spaced apart and that they all smaller. And that you don't need as much air requirements. They are great for adding decorations like caps, taps, roles, and doing stuff with your fingers here. Whereas if we go to the other end, the whole range, as I said, you get more expressive capability from your breath control due to the higher requirement and thus dynamic range. So doing vibrato, more pronounced and the true vine breath vibrato is great on the lower key whistles. And since the holes or bigger, it is also easier to do things where you shade the whole. So for example, sliding, slide out, bends and playing Chromatic, basically half holy. So all of these things due to the bigger holes and the beaker dynamic range and more breath control. Gibbs, those sorts of expression capabilities on the low whistle. Whereas all these hot fast taps, trills, roles and cats are ways here on the hierarchy, tin whistles. Finally, let's talk about your future to linguists little collection because if you fall in love with this instrument, as I have done, most whistle players have plenty of keys to choose from. But I recommend that a good sought, of course, the first choice should be the high D whistle, but choosing one in each range could be a good starting point. So I recommend the Heidi first. Then go into the altar range, where I recommend the B flat. It's a common key, or the G or a in the altar range. Then continue with a low key. Once you really get familiar with it, this will be the hardest to learn because you need pipers grip. And there I recommend a low D, so low D, and Heidi. And in the old terrains, either GA or B flat is a perfect thought for your collection. And then you can expand with more keys when you feel like doing so. Great. So now you have learned ten different aspects regarding the ranges of tin whistle keys. Now let's continue your learning journey in the next video. 4. How to Handle the Instrument: Now, in this video, I will teach you how to handle the Irish tin whistle. But before we begin, I also want to mention that some of the things I will mention is more like guidelines and rules because you will develop your own preferences and playing style as you learn this instrument and as you develop your technique. For example, some players prefer to play more straight like this. Some more downwards like this. And you might prefer an angle instead of straight like this. And so on and so forth. So let's begin now. So this sound is generated by the airflow inside the cylinder of the tin whistle. So it actually is affected by the how warm the air is inside the tube. So the first thing you can do is to actually warm it up. You can just hold it like this. And also if you just cover this hole here and blow air through it. So your warm air from your lungs is warming up the air inside the tin whistle. And also these takes us to the second which is, as you play, it will develop moisture from condensation from the air. When you blow air into the mouthpiece, you will have to develop the habits for as soon as you guys are going to begin a tune or practice or whatever, just covered this, the football here with your finger completely and then blow hard. And that will blow out the moisture inside and you will be able to play it better. The next thing is regarding tuning the instrument. So I recommend that you use a tuner app, which there are plenty of free ones on a smart phone. Or you can use a tuner app inside if you have a music software like I do. And then simply play the lowest note, covering all the holes. And check the tuning on the tuner. And when you feel it is too sharp. If you take, if you're instrumental team was Elisa tunable instrument which I recommend you to get. You could simply take it like this and then extend it. If you extend it, that will lower the pitch, making it flatter. If you push it in words, that will sharpen the page. So if you denote are coming up bit sharp, extend this and it will go down. And then you check on your tuner app to see if you can aim for that middle that is best. Now regarding holding your tin whistle, I was just becuase you can see here. So if you take your hand like this, I recommend that you start by having your thumbs below like this, then putting your pinky on your right-hand. So in most cases, if you are right-handed, you will want to have your left hand at the top and your right hand at the bottom. So this is my right hand. And then you simply place all your fingers, your middle fingers, so your index finger and your middle finger and your ring finger at the top like this? 1, 2, 3, and your right-hand index finger, middle finger, ring finger. So pink is are not covering any holes ever, but you can use your right pinky just to get some extra support at the end. Now regarding the angle here, some people prefer to play it like this, as I said in the beginning. More downwards. And some people more straight ahead. If you want to really see what you do. As a beginner, I recommend starting as an angle that you actually can see where your fingers or if you have it like this, you cannot see your fingers. And that goes for the angle to the side as well. If you have it like this, some people prefer to play it at an angle like this. But as a general guideline to start with, put it more straight ahead and note too much downward is angle. As for the mouth placement. So you're not going to cover like this. I'll put it in your mouth like that, but rather place the tape here on your lower lip like this and then just close the seal here. So just the tip of the lip. If you feel anytime that your mouthpiece is hitting the front of your teeth, then you have it too far back in your mouth. So just like that. Then blow gently. Okay, so let's move on to the finger placement. So it is very important that you actually seal the holes perfectly. If you do not do that, you will get a squeaky note or failed note. And as for how you place the fingers, do not place the fingertips like this. But rather the pads of your fingers here somewhere. So not to fluorine, not the tips, but the pads like this. And if you do not cover an old complete, Did you get that squeaky failed nodes? Now, once you have covered all the holes, I recommend now, place it like this. What we're left with just the angle start at somewhat of an angle, but you can see your fingers and then below gently to produce the lowest note. When you cover all the holes like this, all six holes, that will be the lowest note on a D whistle. That will be the D. Though gently. If you blow too soft, then the node will be very weak and sound will see almost like a failed node. And if you blow too hard, it will get into the second octane or B. They are very close to it, so it starts to fail again. You'd want to find that in the middle, the sweet spot. So once you are familiar with holding the tin whistle, placing all the finger pads on and ceiling, all the holes. The mouth placement, tuple the lip like this, and just close your upper lip, the angle. And then you can start to play the notes gently, releasing one finger at a time from the bottom. So C or D, I mean d, e. Then the D major scale goes to F sharp. Just released the next finger. Once you get here and here we will really get help if you have your pinky at the bottom as support because you're going to release all the holes now. So you can just do like that and hold it a bit. Your thumbs at the bottom, your pinky here at the bottom, and then the index finger that you had on the upper note, you can just release it, but still have it on here. You get some support from holding the whistle with your mouth. Of course. Without this pinkie. When you release all the fingers from the holes, it gets a bit wobbly like this. So I recommend that bottom pinkie there. The thumps blow. And that is the C Sharp until you get to the high D. So closing all the holes, but blowing a bit harder to get to the second octave. And that is the first scale you played on the tin whistle. So now you know how to handle these instrument regarding warming it up the air inside the tuning of it. How to place it in your mouth with the tip of the finger. Placement using the paths instead of a video tapes, holding it at an angle but still pretty straight. So you can see the fingers at least at the Stuart when you are a beginner on these instruments. So you can see what you are doing. And then just practicing playing the notes. Not too softly, not too hard, but that sweet spot for every note. Make sure you see you have a perfect seal on all the holes. And do not activate your vocal cords. Not but actually you just blow air so you shouldn't feel this humming from your vocal cords. You just spill out to 2. 2. So you have an initial consonant, for example, two. So you just blow to two without the vocal cord. And that is how you handle and start to play your first notes on the Irish tin whistle. In the next video, we're going to learn how your breath control and how it affects the tuning per node and the expressive range of each node. 5. Learn all the Notes on the Tin Whistle: Hello again, my friends. In this video, you will learn how to play all the notes of your tin whistle. So I will demonstrate this on a tin whistle in D, which is by far the most common. It basically is the standard tin whistle. So I recommend that you start learning on a high d tin whistle. So let's learn the first Octane first, then the second op tape. And then you will also learn some very important concepts about the tin whistle, the key of the train whistle, and the relation to the major scale. Because that is very, very cool. What you can do. So the first octave is, and I will put up a short, a tab for which holds or covered and then you see them in black. That means you should cover it with your finger. And if it is white, it means you should have it open. So release your finger pads from the hole. So you can see the tab go from the top hole to the bottom hole, which is here, your ring finger on your right-hand. The first octave is very easy. You just play the lowest note by covering all the holes with your finger pads like this. The next note is just releasing the lowest finger pad here from the lowest hole, as you can see on the chart. And then you are putting an E. If you do it on a whistle in d, like this, release your bottom finger. So you can hear D, E. And then you just release one at a time. Like this. F sharp is the next one. G, a, B. And here comes the tricky one, because you need to release all your fingers from the holes. So you're playing it completely open like this. And then I recommend that you use your pinky here at the bottom to stabilize it. Your thumbs at the bottom. And you can even have your index finger on your left hand. Like this, not covering the whole just as a stable balancing thing here. And then when you are going to the second octave and please look at the chart here. You can see that it is not exactly the same. You can in fact play the exact same fingerings for the higher octane, the second octaves. The way you reach the second octet is simply to blow harder. So let me just show you first with d. So low D covering all the holes. Put blue, very soft way. And you get the d in the first octave. If you blow harder, you get to this second Octavia E like this. Low, high. And you can actually use the same fingerings for the first octane and the second octane. But as you can see, there is a difference on the high D and the high C sharp node. And that is basically to get a more clear and get an easier way to play those notes more in tune. So second OK tape. It is recommended that you have all the holes covered, then you simply release the highest finger-like this highest hole here is uncovered open, as you can see on the chart. So playing a high D is easier to do that way. Then you simply continue like you do on the lower octave. All the upper holes covered except the bottom hole here is open, like the lowly. If you blow softly, you get the low E little harder and you get the second octet, ie, like that. And then you can continue if shore pyre or credit. And here we might have to push really hard to get more air pressure in to force those highest nodes. Because the higher the note, the more air is required. And this is the same on all whistles. It doesn't matter which was so key you play. The lowest note, recount what requires the least air. And the higher the note, the more air you need to push. So continuing on the higher octane, let's start from the high D, E, F sharp, G, a. And here I have to struggle there because it wants to go back down to the first octet. And a tape here to force the higher octave is to accentuate the Stuart with, by tagging. So to, to, to that forces the air stream to go into the can overtake much easier. So instead of Add a consonant sound and you will reach the higher octave easier. So that is Norway. We continue from G, a, B, and then C sharp. You can in fact plate open completely like the first octet like this. But it's easier. Often ambit get better shielding if you just covered the three bottom holes. And you are really up here in these high ranges. But anyway, this is the high C Sharp. Also, the third octane. You do the same, you go even harder, but this is extremely rare. The only note you might stumble upon, in my experience, is the high bell note, the bill note is the key or the whistle that no sub d, The Heidi. So let's play the lower octave. Want to show you, then go on to second octane, and I will finish with a high D on a third octave. Just cover everything and unreleased one finger at a time, D. And then the high D and the second octet. Then you cover again and just raise the bottom hole to get to the E in the second octet. And then the high D in the third octet. Again, very piercing sound, and very rarely will you go into third octave. In fact, it's quite uncommon to go even up above the high B on AD with also. That is how we play the notes in the, on the D whistle. Now, for the important concept, it is in fact so that all tin whistles or based major scale, and that simply means that the whistle in D plays in D major. And I will put up at short of the major scale in every key. So you can see here for the D, you play D, E, F-sharp, G, a, B, and C sharp. That is for D major. So that is the note you're playing on the whistle in d. Now the important thing here is that all these major keys share the same pattern. And that means that if you check the fingering short I put up here, it is the same to play the first octave and second octane, regardless of which key you're in, because all are based on the major scale. And what does that mean in practice? Well, let me show you some practical examples to demonstrate this concept. So here I have three different tunes, all based on the major scale, but written in different keys. So Lord of the Rings, concerning hobbits and written in D major, the Dubliners whiskey in the jaw is in C major, and the Lion King circle of life is in B flat major. So we retain whistle. You always have the option to transpose the tune if it is based on the major scale, you can play it on any whistle key. So let's take, for example, the Dubliners whiskey in the door. Okay, so that is written in C major. What about if you only own a D whistle, you can still play it simply because the all transposing the tuned to D major, you can always transpose to another key. So Dubliners in the correct version is onesy whistle, something like this. And so on. It, replay it on a D whistle. You are actually transposing the tune, but it will still sound like the two, like this same pattern you're playing here. The exact same short for the nodes. As you can hear, it's the same tune. Now of course, if you want to play along to a backing track to the real song that is written in, for example, like the Dubliners whiskey in the door, written in C major, you cannot use these transposing trick and simple played on a D we saw because they will clash of course, then it is recommended that you use a whistle that has the same notes as the nodes used in the song. So in this case, C major, which are all the white case on piano. And if you use a whistle in C In this case, you can play along to the track, and so on. So if you play by yourself, you can play any major children only whistle. And later on in this course, I will show you how you can also play any minor scale song on a D whistle or any other whistle, even though they are based on the major scale, you can in fact play the minor scale as well. All right, so finally, check the short and practice playing going from the lowest di, up, the first OK, save up and down, and then to the second octane. But realized that it's most important than that you get a good feeling for the first Octane from loaded, let's say to the Heidi and then go back to the low D first. Then when you feel that you already for it, you can try going up two octaves and then down again. Use this fingering short as your age, your guide, and do some practice sessions every day, at least 10 to 15 minutes. Just getting used to the notes, the scale of your tin whistle. Regardless if you have your tinnitus when D or any other whistle, good luck and have fun practicing organelles or your tin whistle. 6. Breath Control and Tuning: Hello again, my tin whistle friends. In this video, you will learn how to master breath control and tuning on your tin whistle. So the first lesson here is that the air pressure, how hard you blow into your team whistle, actually affects the tuning of each note. So let me demonstrate this. Let's do the bell known. So the lowest note, a, d or id with. So if I play very soft play, it is very soft in volume, but your air pressure also effects the tuning. So it will get lower in volume when you play softer, but also lower in pitch. And if you blow harder, it will increase in volume and pitch until it reaches that breaking point for the second octave. So let me show you. I will blow as gently as I can and they go higher and higher until it reaches the second octave D. And there it has broken into the second octane. And you could see on the tuner I used in my music production software that the tuning went from low to higher and higher, but it's still not Intune, as you can see, it's not in the center. But what do you want to do? And this is the second lesson here, is to learn this sweet spot for each note, because every node will have its sweet spot. So note the softest, gentlest bowing here. And note the loudest until the breaking point. But in the middle, the sweet spot in between that is the best tuning for each note. And what's important to learn on the tin whistle is that every node has its own range where you can blow. So the lowest note has the lowest range, so the agentless, softest pressure. And then the range moves upwards. For each node, you go up on the scale, on your tin whistle. Now, we're going to learn how to tune your tin whistle to the bell. No, so that is the lowest note when I DIE whistle, that is the D covering all the holes. So let me show you my music production software. I have my microphone setup here. You can use an app on your smartphone or if you have an external tuner device, you can use that as well. And just go why this play in the middle, find the sweet spot, note the softest. Not allowed us, but in the middle. So you can see we are somewhere about minus 20. Then if you are flat so too low, you can take your team. We're so if you have a high quality team, we're so that you can children, you can simply take the mouthpiece and they bought it and then just slide it in words, I don't know if you can see this little gap here. You can actually go all the way in and out will be sharper at the same air pressure. Let me show you. It is. So now we have plus 15 or so. Then take again the mouthpiece, body, twist and drag like this. Now we have about two millimeters gap. Let's try that one, the sweet spot again. And we are pretty much perfect dead-on, almost 0 in the middle here for the sweet spot. Now, I also want to finally show you that when you have this sweet spot, you can try to sway back and forth to get a feeling for that sweet spot where you are. Because later on in this course you will learn how to do browser and stuff like that where we actually sway in volume and pitch like this. So then you get a feeling you want to train your memory, muscle memory not only in your fingers, but for how hard you need to blow each note on your whistle because let's say you go up to this note, the B nodes, then you will have to go much harder to find a sweet spot. If I blow equally as the low date. Let's say I remain, I keep that air pressure. You get super faint and not tuned BY note here. So you need to blow harder to find its range. And you want to do this for every node, so low D, E, F sharp, G. And of course want to hold them longer than idea here when I demonstrate this. But we want to find that sweet spot and try to do this swaying I told you about like call it consistently and then sway of it. And you do that for all nodes in the first Octane. All right, so let's continue with talking about different thin vessels and the tuning. So it is important to know that there are differences in the material, the bore size, so the width of the tube in the mouth piece and febrile, how big the whole solar and space to port and all of these aspects contribute to the differences in how each tin whistle response. So even if you have this d whistle here, and let's say if I grab my other brand D with soul. So this is wild whistle and this is a totally Dixon whistle. And this is made of brass. As you can see. It is different in Bohr size is different material, different mouthpiece. So even though I blow the same amount where it can be a bit different in tiny differences in how much in each blow and how each nodes reacts. So it may take a while to learn your particular tin whistle and how it responds. That's why I recommend you to stick to one brand, preferably high-quality brand that you can actually choose like this and stick to that until you really learn it. So you want to learn your team whistle on one tin whistle, a key and brand, and also regarding tuners. So I recommend that you actually always practice with the tuner at least for the first couple of months. Why? Well, because not everyone has perfect pitch. I certainly don't. And if you don't play to, let's say your piano accompaniment or something like that. It's hard to know if you're a bit flatter bit sharp on each note. So I recommend that when you do scale exercises, interval changes, practice, whatever you want to practice routine was a startup your tuner. Make sure we are in tune first with the bell notes tuning. Then when you practice your scales and intervals, check that you are looking at it while you play. Eventually you will develop your ear and really hear the when you are in tune for each node, especially if you play along the backing track or something you will institute here and adjust. So if you hear that your next node comes into bit flat, you will immediately, almost automatically when you learn this, just adjust by blowing a bit harder. And that will be like a natural transition into the node, the tuning of that note. I also recommend that you try to mask the first octave offers because it's really difficult to adjust for the air pressure and the higher second octet because you need to blow so much harder. So I recommend you play the scale, the first octave up and down as one of your daily exercises like this, and check the tune. So dy a yes to replace one row at a time. And then you go up until you have all holes open. Remember you can use your pinky is here to stabilize it. And there you see you need to blow quite a bit harder to get up to that higher node and get that in tune. And then finish off with a high D. So covering all the holes except the upper hole here. And then walk down again. And I want you to make sure that, you know that you don't have to have everything dead center on syndrome that you enter as long as you are within minus 10 and minus plus 10. That's okay. That's just natural human express expression of each node. But you want to remain somewhere in the range of minus 10 to plus 10 on each node. And practice playing the scale going up and down on the first octane plus the added Heidi. So from low D to D In the second alternative and down again. And what you want to do is focus on learning how to get the consistent tone and every node. What I mean by this is a consistent app pressure, no vibrato, no swaying. When you practice scales just like this. Try to have that meter to achieve honor. Be as consistent to the CRO as you can not see much swaying going on. Not being I this. You want to keep that consistent tone. You want to really train yourself how to hold a static long tome. And I recommend that you do this on very long tones so you actually practice your breath control at the same time. And then you do that for every note going up the scale and going down the scale. And finally, hey, once you, or sick of playing scales, and you will be, but I promise you that it is worth the time. I want you to practice the same thing, long consistent notes, but with a random intervals. Because when you go one note at a time, the range of air pressure for each node is very slight. But when you go with big intervals and random intervals, it is much harder. So something like let's go from D Up to be. So here or him, I mean, going down to, let's say e lo e to a bacterial OD. Yes, random whatever you want. But stick to the first octave in these exercises as well. And all of these aspects regarding breath control, the tuning of the instrument itself, and the tuning per note, depending on your air pressure, your breath control, and train yourself the whole those static long notes and how each node response to the air pressure, how hard you blow into it. It will all make a huge difference. You want to train your muscle memory or rights, but this is about the, your train your muscle memory with your breath control, if that makes sense, you want to get a feeling for the tuning of each note, the sweet spot of each node at, and how you can apply the breath, the air pressure to affect the tuning in this way. So practice these exercises in the first Octane on your tin whistle and always make sure to use a tuner either on your phone as a smartphone app. If you haven't music production software like ID, or if you have an external like real tuner device, you can use that. So good luck and have fun practicing with breath control and tuning on your tin whistle. 7. Tonguing Techniques: Hello again, my friends. Now it is time for you to learn. One of the most important aspects of adding variation and expression into your performance is when you play your tin whistle. So what is it? Well, it's called tagging techniques. And basically what this is, is how you shape the attack port of each note. So let me go through the various types of tonguing an accent variations you can use. So the first variation is what I call a strong accent. So imagine pronouncing to or do. Now for all these variations, be aware of where your tongue is within your mouth. So when you say two or do, your tile is closer to the back of your teeth to do, to do really feel that to do. You can even do it in front of your palm like this, your hand very close and I feel that 2222 Two, 222. And you feel that initial rush of air at the start of the note, that is the x and, and that is what you do, but your shape for the attack part of each note with your timing. You can practice these, just playing, let's say a G here, upper three holes and just pronounce to hold off the e, and then do. So that initial hard consonant sound is what pronounces the strong X and type of tonguing. And this is great for real pronouncing. So playing only to do 2D. We'll get very more. Note for each node you do that on. The next operation is what I call a medium exons. So imagine pronouncing GPU or CPU. Now, your tongue inside your mouth, really be aware of what you do. It's not here at the back of your teeth, but is more at the upper part of your mouth, but further back. Really feel good. Cuckoo, cuckoo. Somewhere back there, your tongue is moving up in your mouth. And that is a medium Axin. So playing it again on, let's say a G note. And you can try it again. Doo, Doo, Doo, Doo, Doo, Doo, Doo Doo coup. So as you can feel here, du is less a bit softer and q is a bit stronger, but still both or more medium accents. And then finally it's soft accent is, for example, who or who feel the tongue inside the mouth. Again, it doesn't really make contact with your upper part or the from's or at the back. It's just lies there. Static. And who, who? It's a very soft Jackson. Who, who? Who? You don't feel that initial attack port. So play pen G naught with who you go to a variable rate subtypes. And finally it, another type of technique is called the Goto. And this is the transition between two notes. So if you do the softest accent, you can go from. And then you've got another node whose. So let's go from G to a like this, WHO and you get a soft x. And because you are actually breaking the air stream just briefly before the next pronounciation, hoo, woo hoo. But imagine not breaking the air stream at all. You just continue to hold the vowel, so HM, and then continue just moving your fingers covering or releasing holes. That is what called the goat or no attack at all. It's this smoothest transition you can do between two notes. So let's play that. Let's start on the, let's say the low D, do stuff taxon and then just play, release one hole at a time. And you'll go to. So hold out. Who else can hear very, very smooth because you don't break the error screen, it just continues. Now finally, I wanted to show you when you play fast and really make ports, I find it easier to actually do variations of the exons. You can't because let's say you had access to. The hardest accent to do, to do a bit harder than do. So 2, 2, 2, 2, 2, 2. Let's do the keynote again. But once you get up to a very fast speed, I find it's easier to vary between two consonant sounds. So to-do, to-do, to do. And they all get slight variation in each node that way as well as a bonus. Or it can vary between hoard accent and medium x and so is, again back. Your tongue is more focused back in your mouth. And two prompts. So that is the hardest section. And then vary between them in a phrase. Let's go from G to a and between all the barriers between two and Q to, to, to, to, to create something like that. So now for your practice routines in order for you to really learn and master tagging techniques on your tin whistle because this is so important to add more variation and expression into your performances. The first is to practice each tonguing technique individually. You can do this for a couple of minutes, just focusing on first the horde accents. So to do, just play something like this. Pronounce each note, each transitions. So Nova go through every note with two or two. Once you done that for a couple of minutes, practice routine. Continue with only focusing on medium and accents. So you remember the media maxims were when your Chinese move focus back at the upper part, upper back of your mouth. So good. Could you feed your Chinese, moving up in the back of your mouth? Only play those notes. Every note is pronounced with Google could do that for a couple minutes and then continue individually with the next type of hanging. Next type of accent, which is very soft. Excellent. So the tongue is not making contact area your mouth in your upper port 0 at the prompt, it's who do, who do something like that. So Evernote, pronounce with you. And finally, do focus on the Lego to translation. So of course, the first note will always have some type of accents, so immersed Rome. But let's go with the softmax and on the lowest D here, lo d, and then just go up with a goal to up the scale on the back again. So who was an then hold out the report. Right. So to take a deep breath so you can play the scale up and down with the goto. Alright, so that is practicing each tiny technique. Attack the x and port individually when you feel ready and this is the whole port, but the owners of the firm port. You should try to vary, practice, phrase variation in the time techniques they attacked port. So go between a strong accent and minimax and the softmax and some go-tos. So you can play more expressive and get that variation in the notes, in the attack ports of the nodes and the translation, something like this for example. And so on. Practice between various X and type strong, medium, soft and we go to and have fun with, it might seem tedious work, just like playing scales and you can use to cover each hold to get the notes. But it is so worth the time and practice to do is on a daily basis just a couple of minutes practicing turning techniques and how you shape the tech part of each note in your performance is so good luck, and I'll see you in the next video. 8. Octave Training: Hello again, my tin whistle friends. So today we are going to do oak table training on your train whistle. This is a big struggle for beginners on tin whistle. But you really want to develop a kind of muscle memory so you automatically quickly and easily can go in-between the notes of the first, second op tape like this. So the way 18 we still works as you already learned, is that lower notes require a less breadth, less pressure in the airflow. And the higher you go, the harder note the more air pressure. So going from the first Octane on any node to the second, OK, save. That is where you find a transition point. Every note has a transition point where you blow enough air, enough pressure that it forces into the next octave. So this is the first exercise in your AUC take training, learn the octane transition point. So this is how you do it. Start with the lowest note, a, d, a d tin whistle, and then just blow very gently. So you get that week note, continue building air pressure so you hear the sweet spot. You can also check it when you with a tuner and then just continue erasing and blowing more air. And then the notes taught to become more fragile again. And then you reach the transition point and you hear it go into the second octet. Let's do this on the low D, starting very soft and building there, it broke into the second octave. And of course, the lowest note will require the least air pressure to go into the second oxide, and then it's simply become the range goes up for each node. The range, I mean, how soft you can blow to still get a note and how hard you can go before it goes into second TO say, so go through every node, D, then E, and then you continue up the scale, F-sharp. Now you started to feel you have to blow order to force it into the second octave, that transition point. And then you go through all notes and even see show up up here. And if you want to go really hard, do the dy. So this orange, now playing the d from the low D, and you can play it all the way up to this third octet if you want to. So that is super piercing. You will rarely be either. Go in the first octet, all the notes, and just build air pressure until you hear that transition point. You want to develop a feeling for the C, It's not something you really memorize. It will be automatic whiter. Okay, So now when you have practiced that going up all the scale notes here to learn the transition point. Then the next exercise is what I call an octave jump on each node. So what I mean by this, okay, jump. When you play a D, you hold every hole like this, cover every hole, and then just play one note in the blogging software to get the low D. And then note building up pressure like you did before. But actually play the note and then play another to another note. And the second two, you blow harder to get into. The second octet is to jump from low to high like this. Again. So you get two distinct nodes, 1 and the lower obtain 1 second, okay? And then you do that, an octave jump upwards for each node. So the next, first, blow softly to the next note, you blow harder to get the second octet. Okay? And then you go through Evernote like you did before. Not building but actually is playing two notes, distinct nodes. One, Low Rock, take 1 second. Okay? The third exercise is the opposite. Switches around. And this might become a bit harder now because now you want to play the second octave first as the first note, and the lower oxygen as the second node. And if you remember, if you want to play the second octet D, It's recommended that you release the upper hole. You can play it like this, cover every hole. But if you if you just uncovered the top hole, that is easier. Now put the first obtain. I recommend that you do the two to get that x and which is an easier way to get to the second. Okay, so play the second octet first and then the lower octave. So cover. A poll again for the low rope table D, Again, higher and then lower. Moving on to the E, F-sharp. And then you go up for all the scale nose into this jumping downward. So starting the first node two should be on the upper, the second octet. And the play. Blow a software to get through to the first octave again. That is the third exercise. The fourth exercise and you obtain training is a classic scale your walk. So I recommend that you now start to go to Phu octaves, meaning just walking up and down the scale to really build that muscle memory and in green it into your mind how to play. How much air you need to blow to get between the nodes in both the octaves. So like this, I will pay pretty fast now. And if you wanted to finish with the third octet Heidi, you can do that. Otherwise, you just continue downwards again. And so on and so forth. So up and down the scale. You heard I even Fay who won load there the higher octane you really need to learn that you must blow lot Hall Room, the high your notes in the second OK, to save. It really builds up that range. So that is the fourth exercise. And finally, the fifth exercise in your training is what I call practice the uptake turn. What, what do I mean by this? Well, basically, the hardest point of noise notes the range of nodes, which is which you will struggle with the most is in-between the nodes in-between the octave, so just above and below. So meaning when you play a low like this, a and then C, C sharp. And then going up to the D in the second octave. Octave turn is no playing full scale works, but just focusing on that middle position between the first, second octave. So, so from, I recommend from a and then to E, like this in the second derivative. So a in the first octave, B, C sharp, D in the second octet, B in the second octave, and then back again. So let me show you this slowly. A in the first octet. Be in the first octave, c sharp, still first octave. Then you get up to the second octave, D, and then E. And then just back again. That way you practice this transition point between the first, second octave, you're really focusing on that. So practice that. And you can go through all of these exercises, these practice routines to really build up your uptake in memory and muscle memory of how much breath you need to create a noted, then you can, if you want to really go hard to practice intervals in between random intervals in between the oak table. So going from was a G in the first octave up to, let's say E in the second octet, Back again. And produce a, perhaps a, an a in the first octet, to an F sharp in the second octet. And so warm, you can do whatever exercises you won't, but stick to a routine, practice routine to really build up your octane mastery home to your tin whistle. So good luck and have fun with this. And you will master the octaves, OpenNotes of the two octaves. Pretty soon. I'll see you in the next video. My friends. 9. Interval Training: Welcome back my friends. Today we are going to do interval training on your tin whistle. So first, what is an interval? Well, it's basically the distance in between two nodes. You can have a very short interval, the soldiers being from one hole to the next. So from low D2, low E, which is the ECS interval to play the shore to the interval, the less the distance will be in-breath range just increasing, slightly or decreasing if you go down from, let's say G to F sharp. And also there's less finger changes going on, at least in the same octave. Now the reason for why you need to practice intervals is twofold. First, to develop muscle memory for the fingerings. And second to develop muscle memory for your breath control how hard you need to blow for each note. So I have developed some exercises for you to practice interval training. The first one is what I call bell tone interval. So this means the bell tone is the lowest note on your tinnitus also own a D with so that is the low D. Now, practicing every interval here is basically jumping from the bill tone through the first note above the belt home and then back to the belt zone, and then to the second, like there is so low d high to low, E, back to low, d high to low, if short. Back to Lori than to G. So jumping back down. So my role was no, It will always be little d and then you just go upwards, right? As. And the further you get these notes support, meaning the bigger the interval, the more your breath, air pressure needs to change between the nodes. So once you get up to, let's say, high the second octet here and then going back again. Then you need to really adjust your air pressure range from very hard to super soft to get that low. Again. Okay, so practice this, and I recommend that you start by practicing the first octave only. So going from low D high to low, loaded date, F-sharp, up to the high D, second activity. And then back. And then you can go up and down like this for every interval, for every note. The next exercise I call whole skipping scale MOOC. So instead of doing the classic scale walks, just going up one hole at a time like this. Practice skipping one whole so you get a leap for every, every interval here. So loaded. Then the next note in the scale is low E, but skip that note, replaying the low F sharp like this. Released two fingers. So release two fingers together. Two fingers. And you can do this with three fingers if you aren't just keeping the holes going upwards and downwards as a scale walk. And you will develop more technique for jumping in weeps, note only one note of the scale at a time. Okay, So the next exercise I call 1, 2, 3, note turn scale woke again. So every of these, these exercises is based on scales because you want to practice the things. Aspects on the lower range, on the mid-range and on the high range. That's why going up and down the scale really works well. So 1, 2, 3, what do I mean by this? If you play the low D? Let's say we call that node one and then just go up the scale. So 1, 2, 3, 2 is 8, 3 is absorbed. And then you can go down to the E. So you play 123. And then E. And then F sharp from F sharp is one. So this is how it will sound like. And so on. Or you can go up two octaves if you want, and then down again. The reason for this is you want to practice not only going straight up and down or scale, but actually go sway back and forth. So you need to adjust to breath and fingerings. But most importantly, your breath from not only increasing in air pressure, but going like this that are paired up but that bad at peptide and so on. The next exercise, I call 1321 term. Okay, so again, we number the nodes from the low D1, the first node. Then you remember the second node and third node 3. So instead of going 123 and then moving up 123 and going up, you play it directly to number 3, often the first node, so D and the third node was extra up. So you go D, F sharp, then E, and then down to wanting n. And then you continue with the next note and call that 11. Okay, So E is now one. And then you skip to get to third note. So in this case g. And then 22, which is absorbed from an E. So it will sound like this when you practice these going up and down the scale as well. And then I have another one which is practicing more bigger leaps. And this is an interesting scale books. Practices, jumps and scale run it a scalar walks at the same time. So start with one which is low d. And then go to all the way up to the uptake. And then you go down to the one again, like this. Low d, high ED. And then going down the scale, c-sharp 76, old way delta wall, like this. And then you play one again, and the oak tree from the d and then down to scale. And then F sharp is number one and you jumped the octave up and then down, and so on. They can do this for every node as well. And finally, playing random intervals as an exercise, but just jump around SUSE faithfully, it's, it gives you the most creative freedom and perhaps is not as boring as K walks and different practice routines. But Avery, each one of these practice exercises is very important because building muscle memory, both in your mind for the breath control and you fingerings is super-important. So random intervals can be anything just like this. Don't think about it just to jump around between notes, both in the first, second octet. So good luck and have fun practicing and developing muscle memory and breath control for all the intervals you can use in music on your team whistle. 10. Rhythm Training: Hello again. Now it is time for you to learn how you can master playing rhythms on your tin whistle. I have developed a couple of practice routines that I will share with you. But first, I want to give a couple of different aspects that you should really be aware of and focus on when you do these exercises. The first is what I call breath focus. So be aware of the rhythm of your airstream. So, so don't think about what notes are playing. All the, the rhythm of your breath. I recommend that you only use OneNote, for example, low a, and then practice on that node, practice all these different exercises over rhythm on one single load for example, like this. The next aspect is timing focus. And by this I mean the timing of your fingers changes and your breath. So for example, if you go from G to a like this, you want to really practice the timing of your finger chains and when you start a note with your breath control with your air. So if you do it too slow, too fast compared to the fingering, then you hear that it's lagging or rushing here. And you don't get that distinct start of the next node. So you can start by practicing with long pauses between the nodes. So you really make sure don't start the note too early or too late. And then you can speed it up and it will be harder and harder to really time the changes. And I recommend going in the beginning only between two nodes, for example, g to a like this. So practice the timing between your fingering, the changes you do on the nodes here, and your breath, your airstream. And third, the third aspect is what I call beat focus. And that means to actually focus on playing in time to the beat. And I recommend that you always, always use a metronome when you do rhythmic exercises on your tin whistle. All right, so now let's move on to the exercises for rhythm I have created for you. Number 1. And this might be all, but I want you to get place your team. So on a table, leave it for now. And what you're going to do first for your first practice routine is actually to practice tapping your foot to the beat. If you're not already used. This, this is, will be the first thing you want to really develop a muscle memory for. So if you have a metronome app, I recommend that you download one for your smartphone. Start at a very low tempo, let's say 80 BPM. I guess you here, we have the first beat. One is centered and you hear all four beats for, for 80 BPM. Then same with practice tapping your foot left to right, whichever you feel like and then just tap it. I don't know if you can hear my foot tapping here. We want to keep the time. Because when you get used to this in the future, you may, you will not need a metronome. You can keep the beat with your foot like that, like with tapping. So that is the first exercise. So it makes sure to download a metronome app and start tapping your foot to the beat, you can increase the tempo. Let's say go to 100 bpm. Tab one tab for everybody. I guess. One, 23, go. Okay, So that is how you really develop that muscle memory for, for the rhythm to keep on the beat. Exercise number 2, you practice straight notes. Okay? Again, have your metronome ready. Decrease the tempo again to, let's say 80 on your metronome, the metronome app, graduate and whistle. Blow out the conversation every time you want to start something new. So cover the mouthpiece whole. Ok, straight notes. It can be, for example, a one, full note, half note, quarter note, eighth note, 16th notes, and so on. If you just start here, these are four beats in every measure. So 1, 2, 3, Gore. Stop playing and practice. Again, as I told you in the beginning, start with only one note, a. Focus on the rhythm. So let's say low a. So start with half notes, which means you're going to hold it for two beats, I guess. So here that 1, 2, and another three years to play the next note, then you continue with quarter notes, meaning you play one note per beat like this. And I want you to also play with the metronome, but also tap your foot to all these exercises. Okay? Then you can continue with eight nodes, which means two notes for every beat. And when you really feel ready for it, you can go all the way up to 16th notes, which mean for notes 1234123412341234 for a little bit. Okay, that is practicing straight nose. And of course, you can reduce the tempo if it's too hard and increase the tempo here on the metronome. If you think you're ready for that. Exercise number 3 on rhythms on your team muscle is triplet note, triplet nodes or actually like decorations with read them on your performance as your phrases. And it can be a bit tricky because we are so used to that straight beat keeping in time with you, your feet or your clapping. So trip footnotes or basically in-between straight notes. So let's say if you have a quarter note that is one forth, so four beats. So as you can hear here, 1, 2, 3, 4, if you played the next shorter, next straight note, an eighth note, that means two notes per beat. But in between 1 fourth eighth notes, you have a triplet. So you can get six notes during this four or sequence, or you can go faster. Triplet would mean like three notes per beat. So let's try that instead of one note per beat so you can, with the low am. So quarter-note, straight, like this. Okay? Eighth notes here, or triplets, eighths, triplets, three notes per beat. Let's try that. Like that. Then a little more advanced is practicing going between straight nodes and triplet note. So if you start the metronome here again, we have four bits for four. Saw playing eighth straight nodes in the beginning, I would say the first two beats. So like this, a low a, again, that was eight notes. So two nodes for lead 12 then do a contract. But so three nodes on the third beat, I'd say go back to 1 eighth note straight on the final beat. So something like this. Starting 34. So that was straight eighth notes, two notes on first beats, second, two 2-nodes, third beat, three notes. So an eighth note triplet. And finally, the final fourth beat was straight eight notes. And you can try different variations of this. So start with, for example, tourists beat, triplet, eighth notes, second beat. So let's say you just play one long quarter note and do variations of this. So, so long between straight notes and triplets like that can be a really nice exercise. Then exercise number 4 is to use a scale walks to a metronome. And this is really to get used to playing in time to the beat. Meaning every ever beat here is one note and then just go up and down the scale. So we start on the loading like this. And you can even go higher up to the second oscillator if you want to just play one note per beat here, walking up and down the scale. And that will develop your muscle memory for the nodes, but also the rhythmic timing to the BT are. And finally, the fifth exercise is, what I think is most fun is random rhythmic phrases with timing or tagging variation. Again, you can start this practice routine with only one note. Play rhythms on the a, so it's not metronome and then just go random. You can create to any tonguing variation and rhythmic variation between half notes, quarter notes, triplets, anything like this, for example. And so on. Great. And so now you have all the rhythmic exercises that should add to your daily practice routine on your tin whistle. Practice all these exercises. And as I said in the beginning, but be aware of the breath focus, the rhythmic mode of breath, the timing, focus. The timing between your fingering changes and your breath. And the beat focus, meaning playing in time, use a metronome. Always tap to the beat. But for every exercise you do with the rhythm, have fun and good luck practicing rhythm on your tin whistle. 11. 10 Common Beginner Issues: Welcome back once again, my friends. So this will be quite a different type of Western because I will go through the 10 most common beginner issues that I personally struggled with when I learned how to play the tin whistle and that hydrazine. Many people all skip out in Facebook groups on this instrument, YouTube comments and silver coin. And I will also share some advice on how you can solve these issues. So let's get straight into it. Issue number one is leaking holes. So this is something you will experience in the early beginning. So it means that some air is leaking from a corner of one or more of the holes giving you the screech, she squeaky type of sounds. Okay, so how do you solve this? Well, really focus on playing with your finger pads. Note your fingertips. So I personally try to go in quite a bit. Oh, my finger pads. So in the lower part of this top part of the finger. And then just press down and make sure you feel that connection to the instrument every hole. That is issue number one. Issue number two is to overblow a note. So every note annotating whistle will have its own sweet spot when you get the best tuning and the most balanced sound. So let's say you are going to play a G note here. If you blow to hoard, it will sound like this. You heard it sounds very fragile. It almost wants to go up into the higher octane in this case. And it will also be too short if you check the tuning and play to the backing track or recording. So the way you solve this is to try to relax more because I felt that I was overblown. Very often. Felt nervous or no stressed or just relax a bit and then find the sweet spot again. And also you can try to overblow on purpose and then dial back and feel how your relax. So overblow. And then I will play it decreased air pressure to find the sweet spot. So that is issue number 2, overblow wing. So issue number three is the opposite of overflowing, which of course is under blowing. So let's take the same node, the G note here. If you play too softly, you will get a week and very fragile and flat note. So let's do the G to soulfully. Let's compare it with overblow wing again. And then try to find the sweet spot. Consistent, balanced and intuitive note, which is between overflowing and under blowing. So each number 3 is under blowing. And the way to solve this is to be more confident in your playing. Because often when I felt I was under blowing is when I was not really sure. Is this the correct note I am going to play next was also a bit nervous for like if people or hearing this in my girlfriend in the other room, am I disturbing the neighbors? And and you try to play at a lower volume, which you can't, you can't really control that as much. Only say instruments. So be confident and relax and don't be nervous. And you can play any note in a more balanced way. So note overflowing. Not undergoing, but a balanced Intune and confident note. So that is issue number 3, undergoing. Issue number four is what I call unstable blowing. And that means that the breath, your air pressure when playing the note is swaying up and down like this in an uncontrolled and chaotic way, which can sound like this. So the way you solve these is to really practice your breath control. You won't be able to play low notes that are perfectly linear, balanced, not decreasing or increasing in volume and pitch. So just picking out, let's say g, and then try to practice consistency like this. Played the long note. Take a deep breath and then just And do that for every note. And this will take a long time to develop your breath control. At least if you haven't played a wind instrument before, but I promise it will be worth the effort. So that is issue number 4, unstable bullying, so practice consistency. Issue number five is timing mistakes. And I know talking about timing to the tempo beat of the song. But actual timing mistake between your fingering changes to create an ounce and your breath. Because if you play an adult, you cannot just change your fingerings. You need to make the note with your breath. And when you're timing is bad, you might go from, let's say if you go from a and b like this to this, if you time it badly, you might get this. Instead of having the perfect timing. Listen to the difference badly. So the way to solve this, and it will obviously take time and lots of practice is to do finger breath synchronization exercises. So I recommend that you do these with short rhythmic notes. So just to, to, to, to, to really get a strong x until each note and have that gap in-between. And then just go through three note phrase is something like this. And if you time it badly, you hear that US, I started my breadth Just a hint early compared to my fingering here. So just doing finger breath synchronization exercises, short rhythmic notes to two to two, and just go through two or three notes to really focusing on that synchronization so that these issue number 5, timing mistake, issue number six is steep playing at least is something that every beginner will experience. Basically when you play, it will sound stiff, boring, and without emotion. So for example, like this. And so, well, the reason why it sounds so stay fees because you haven't really learned how to add that expression and emotion yet. You're so focused to playing the correct notes and so on. So the way you solve this in time, this will require the most practice is to add variation and expression. So for example, one thing that makes it sound very stiff is when you have pauses in between each note. So when you play, mostly go to, for example, which means that you don't break their stream not to two, but two and then just change the fingering. Then it will sound smoother. Instead of adding the Goto. And you can also add variation to your tonguing, meaning how you access the store to each node, two goods sold, some loads or legato, some old so hold x and get that variation. And eventually what you will be able to add expression with, for example, by boat show, sliding, slug, and so on. But Steve playing is something you will struggle with a lot in the beginning. Just be aware of these issues and try to improve them in your practice routines when you advance on the tin whistle, issue number seven is what I call a failed octane, meaning that you want to play, for example, something like this. And then go up to the F-sharp in the second, okay, but you get the first Octane if short pins that like you fail that uptake and vice versa, you playing in the second octet and want to play note in the first octet. But you still get the second octave, something like this. But you wanted to play. Now, the way you solve this is to be really aware of the way your tongue each note. Because when you use hold x and tongue like to do here in front and you feel that air stream to a plosive sound. That is the way it is best to use for the second octet because you force the second octave. So let's say you play a high g, just add the two. Compare that to if you play who compared to two. I immediately get to the second obtained by applying that hard accent and vice versa. So if you're going to play from the second octave into the first sec to obtain play to two. And then added group old who is softer x and into the tagging fino tongue, feel the air pressure. It's not as hard as an accident in the start of the note as to or do. So going from the high Arctic to the low where you can play to two and then who? So that is the seventh issue, failed octave. So be aware of your tangling beginner. He number 8, failed big intervals. And an interval is basically the distance between two notes. So for example, the lowest D here on the D whistle to the next, if you would just open hole. That is a very short interval. And the bigger the interval, the more the difference will be in air requirements to hit that note, meaning that you need to adjust your breath pressure. So the way you solve these failed interval. So for example, if you want to play the lowest three notes and then go up or way too high a. Often you will pay like this. Because you haven't learned to adjust your breath pressure to that big of a leap. And that is why you need to practice practices because the lowest note requires so minimal air pressure, you should think of it as blowing a feather out of your hand. While the highest note, let's say C sharp in the second, okay? It's almost like blowing into a balloon where the bigger the balloon gets, the more you need to push that air. So the way you practice this is just play the three lowest notes up and down. And then jump immediately up to the second octave and play, let's say from the hygiene up to the high b and tau. And then you need to really push hard, adjusts air pressure and add that hold x and Tangun to break into the second octet like this. Back down again to the lowest notes. And then he do this exercise for a couple of minutes. You will get better in time, but fail big intervals is the common beginner issue, own the tin whistle. Beginner issue number 9, condensation. And they just basically humid air from your mouth building up conversation. Moisture inside the mouthpiece. Nose will start to sound weak, fragile, and basically fail it. You can really hear the Syfy tried to play the lowest note on your whistle and it starts to sound fragile, weak, and really failed note. Well, the way to solve it is to very often in the beginning of every practice session, when you all go to start a new exercise, play a tune. Just cover these mouthpiece, this whole completely and bow hard. And you would blow up the moisture authentic install playing again. And finally, number 10 of these most common beginner issues is playing a role notes. So for example, let's say you want to play something like this. But you start to play and you get the wrong note there. So there's no easy way around this. This will require the exercises of practicing scales and phrases and turns and also practicing real tunes. And eventually you will develop like some sort of muscle membrane feeling for what you play so you don't even have to think about it. I promise this will come naturally if you just practice every day. And really focus on focused practice scales praises students and so warm. So all of a sudden was thought be able to play, let's say. And you know, pad, then you will find it. I played what I write because I didn't think to think about the fingering, this will come automatically. So that is something you can think about when you struggle in the beginning, when all these beginner issues. Now, let's continue this course and you will get so many practice routines, exercises, tips, and techniques to develop your whistle playing. But know that everyone will struggle in the beginning and you will get there eventually. 12. Playing any Minor Key Song: Hello again, my friends. Now you're going to learn how to play any tune that is using the minor scale. Even though all teen weasels or made in the May your scale. So for example, the D whistle is the D-major scale. You can in fact play the minor scale very easily on any key tin whistle. And I will show you how. So the first lesson here is that all made your keys in music, The relative minor key that is using the exact same notes. Let me demonstrate this for you. So if you play the C major scale on piano like this, and then hope to see you again. You see that you are only using all the white keys on the piano keyboard. Now if you play the a minor scale starting from a, going up to a Bobbitt. You can see that you are also using all the white keys, meaning that the C major scale and a minor scale, or using the exact same notes, the difference is which note is the root, the harmonic foundation of the track. So in the C major scale, that is the lowest note, the Sea Route on the scale. And A-Minor has a, so they are relative to each other. Meaning that if you take a tin whistle in C major, you can play the a minor by starting on the AV node, the second hole from the top, let me show you. So this is a tin whistle in C, and as always holds in any key, if you start on the bottom note and go up, you are playing the major scale of that key. So in this case, C major. And as he ordered and learn your first lesson is that all major keys have a relative minor key. So for this case, C major, that relative key, as you already learned, is a minor because they share the exact same notes. They just use a different root node. So if you just buy here C, D, E, F, G, a. That was the root note for the relative minor. So this takes us to the second lesson, which is method one. Playing a minor key on a major key whistle is to start on the root note on this hole, the top hole, you cover the top hole on any whistle and play that going upwards and you are playing the minor, relative minors. So in this case on a C, we saw this note is a. If you are using a standard DIE with, so say you're playing the D-major scale. This note here, the top note is B. So let's go back to this figure so you can play the C major scale or a miner's to stop on this note and then just play every note going upwards. That is now the a minor scale played on a C major whistle. So that is method number one for playing a minor scale. Use the top note as the root node for that. Kill. Your next lesson is that there is actually another way of playing a minor key on your whistle that is more often used and better in most cases, in my opinion. And that is to use the second note from the bottom as the root for the minor scale on a D whistle, you play that these major scale about starting from the bottom node. But if you start on the second note, try playing that. That is almost the E minor scale. You have to just do one cross fingering on the top now before the op tape to make a true natural minor scale, which means that if you start on the second note here and then go upwards, instead of playing the C sharp note here on the US. So like this, you use a cross fingering. You cover these two holes, the second, third hole to play a C natural on the whistle. So the seventh note of the scale, you lowered by a half step like this. So you play like this. That is the E minor scale on a D with so, and you can do this, both of these methods on any key with so either stored on the top note, method number 1 is the relative minor. And then you don't have to use any cross fingerings, your using the exact same notes. Or the better method is to play the minor scale with the second lowest note as the root for the minor scale and do just for the top note. The cross fingering like this, number 23 from the top, you cover those and you play that note instead of all the open holes. Now let me show you a practical example of playing a minor key tune on your tin whistle. So let's take the David Jones theme from Pirates of the Caribbean. It goes something like this. Right? So those, or the notes from the D minor scale. So let's say this tune is in D minor. Now let me show you how to play it using both these methods. So first, you need to figure out what the relative major key is. Minor key song. And you do this by playing the root note of the minor key. In this case, D minor was the key used. So that is D. And then you just go upwards three half-steps. So 1.523 step is simple. This shortest interval you can play jazz playing basically three keys. So di means 1, 2, 3. Then F major is the relative major key to D minor. You can do this for any song. So let's say a minor to find the relative major key, 1, 2, 3, C major. And you already learned that. So now it is correct. D minor, 1, 2, 3, F major. All right, so if you know the minor key, the cuny want to play is in D minor. In this case, you can always count up 3.5 steps to get to the relative major key, which is F-major in this case, then you know, you can use the F whistle. So this is quite a low key whistle, but the if major whistle is the relative key to the D minor. And then you can use the top pole. The method one is to use the top hole. It because that's just the relative minor. So D here, if whistle and I have actually created a new team wasn't charged one using method 1, the topo as the minor route. And the second one is using the other methods. So let's start with this one. If I just play now, David Jones own and if whistle stopping, ohm, this note here as the relative key. Okay, So that is method number 1, playing the relative major key of the children. So if you're tune is in D minor, choose an if whistle. Now, the second method here is to use as you learned the bottom hole. So the example here is actually I created a chart for that as well. Then you are going to use, in this case, a C whistle material was in D minor. But since you are going to use the second hole as the root, and you see we sold goes C, D. So now that is in D minor. However, you need to use these cross fingering for the top note. They swell instead of spring, all you need to play these notes instead. Let me play this acidic salt as well. And finally, the best part of playing minor key songs on a team we saw is that unless you are going to play alone to the backing track, to the real song, or in a recording or in a band. You can actually transpose the song to any key, just like you can own the major case, which I showed you with the logo rings or D whistle. You can play the same note pattern, the fingering pattern for any key, or D flat. It will just be higher or lower. And you can do this if you know the fingers show the pattern how to play the song on any key, even if it's in a minor key. So let's say it is David Jones theme. You can just transpose it on. Heidi was always we saw like this. And so on. And the IC, the B flat. And so long, you can go on lower and lower in pitch here, just transposing. So unless you're going to place your backing track, you can do that. So you really only need one QI team was so, so let's say the Heidi to play basically any song that exists. So here is the summary of the seven lessons you learned in this video recording playing any minor key song on your tin whistle. So go ahead and practice this, and then I'll see you in the next video. My friends. 13. Learning Tunes on your Tin Whistle: Congratulations my friends. You have now learned all the fundamental aspects of playing a tin whistle. So now let's talk about how you learn to play any tune on your tin whistle. So number one is how you read 18 whistled tab. Of course, if you read music notes, you prefer that you can, of course use that. I personally prefer 18 whistle tab. And I'll put up a chart here on the screen to show you how you read the notes on the tab. So the black dots represent a whole is fully covered. So lowest note here, all the six holes or covered. And the top hole is at the top in the chart, the bottom hole is at the bottom. So imagine holding a team was like this. So that was all the seven notes of the first octane. Then you get into the second octane. And here we can see the first note, you just release the top note. It's y to dope there. That's the second octet d. And then it contains playing. And you can see the note names or in lowercase D, E, and so on in the first octane and uppercase letters characters, and the second octane, and you also see a little plus sign. So you can continue reading here, d, that is the second octave notes. So now you have learned how to play all the nodes in the first, second octave. And if the children has a third octave, you will see the letter names with two plus ion. So 1 plus sign means second octane. Two plus signs in the chart means third octave, which is super rare. So the first Octavius second, okay, but then when you advance your skills, only tin whistle, you can start to play cross fingerings and have holes. But basically, instead of playing, let's say g here, you play a G sharp. So g is all the three top holes. But if you start to release only slightly the third finger here, that is G-sharp. Now, I really recommend that you avoid half holds fortunes in the beginning because you really need to learn these advanced techniques before you start to try playing tunes that use half holds. So basically, you should avoid tunes and tin whistle tabs that use half holes in the short. But if they use these, the most common cross fingering, the C cross fingering on a, D, We're so the final note you can see there in short, that is complete okay, as a beginner. So now you know how to read these charts, these teeny muscle tabs. And that is the most important starting point for learning a new tune. The second aspect of learning any new tune on your tin whistle east to choose tilings that you like. So instead of starting with the boring beginner, classic stuff like you will be so bored and you will not play and practice enough. If you do that, instead, choose to choose you like to play because that will make it more fun to practice. So for example, many students stops tunes like The Lord of the Rings concerning hobbits. So choosing tunes you like, we'll make the practice sessions so much more fun. As pick number three is use a metronome, a tuner, and your foot. So basically, I recommend that you start by installing a tuner app and a metronome app. So the tuner app is to make sure that your team is include and that you really check those every node that you have the right amount of breath, air pressure to get that each node in tune. But also the metronome. We'll make sure that you stick to a tempo. And well, once you have a bead store to tap your foot along and you will get into the tempo of the flow, the pulse of the song when you practice, which takes us to an aspect number 4, and that is to practice extremely slow for so if you take, let's say 60 BPM at 44. Then it will be much easier. In fact, I just set it at 50 BPM and then I will start the metronome, tap my foot, and then play the same song, super slow when you learn it's like this, 23, and so on. And that is how you should begin every song super slowly at first, but still with a metronome and your foot to keep the pulse of the music in time. All right, So aspect number five is to start with the essentials, meaning focus only on the fingerings and the notes, the actual notes. And it may sound super steep in the beginning, but that's okay. It should be like that when you learn a new tune, start with the most essential things about that to you, and then you will advance later. As we come for seeks is to practice in phrases. So we'd phrase this, I mean, instead of playing being touched, you start with this one. Stop there, and then you can repeat that phrase until you feel that you have it down and remember it. Then you can continue to the next one. Or you can even break them down even further to like only three or four notes. Doing these phrases as soon as a catchphrase that you have more difficulty in learning, stop on that phrase and repeat it until you've really nail it. But only the essentials, the fundamentals don't try to add an emotion expression, decorations or anything like that. Just the notes themselves. You don't even have to try to stick to the exact rhythmic aspects of each note, just play the notes first. Aspect, number seven, is to gradually increase the tempo. So if you start with 50 BPM, once you can play the entire tune at 50 BPM, then you can increase it, for example, 60 or something like that to 70 until you get up to the temple where it's actually sounding like the original song. And finally, number eight is to finally add that expression and emotion, meaning you can try to add the golf though like and change your tagging and decorations. And if I brought slide in, slide out, all that more advanced stuff, which you will learn more about in the advanced module of this course. But anyway, that's the final step for learning at Uni setting that expression and emotion. So that is how you learn YouTube's own your tin whistle. Here is the summary of what you learned in this lesson. And I recommend that you just start by practicing playing all the notes in the first OK tapes, second octane, and also these final cross fingering, this c here, c natural on a t with soul. Because when you learn those notes and those notes, you can play pretty much any tool on your team whistle, regardless of key. 14. Let's Play some Tunes: So now that you have learned all the essentials of how to play 18 whistle, it is finally time to play some actual tunes. But first, I recommend that you develop your own warm up routine before every practice session and whenever you want to play a new tune. And here's one way to do it. First, choose which key tin whistle you won't want to use. So let's say you use a standard Heidi whistle. Then prepare your whistle, meaning warming it up like this, blowing out the colon station. And then Q unit with a tuner so it is in tune. And then you must prepare your body and mind for playing music. So make sure that you all relaxed and not stressed boldly and in your mind. And then get into the tune. You can start harming the chin and then just warming up with simple scale exercises. Yes, something quick like that. Get your whistle ready, your body ready in your mind, ready. Now, next you need either the notes or if you can play by ear, or as I recommend and prefer tin whistle tabs for the tune. So I have prepared some for you, and it's not the complete songs, but rather the main melody and theme, so you get the essentials of it. So what I recommend you to do is I will play this first. We'll not talk while I play, so you can see the tabs and as I play, and then you can stop and watched the tin whistle tabs in these videos and try to practice to tune until you get it and good enough. So remember what you've learned already over how to learn a new tune. You know the basics like starting slow, focusing on the basics and so on. And then learn them phrase by phrase until you the, you can play them completely. And then you can move on to the next tune. So we are going to do a couple of tunes now, starting with the Lord of the Rings concerning hobbits. Hi. Now grab your tin whistle and go ahead and practice these tools. Following the tin whistle tab, it's just pause the video and watch the tabs and play. But if you do not enjoy any of these tunes, or if you simply want to learn more, go ahead and go to Google and search for wherever the song name is, and then tin whistle tabs. And there are plenty of one's own line that you can use for learning. 15. Introduction to Advanced Performance Techniques: Congratulations once again for having learned all the essentials on playing your tin whistle. Now I will teach you the more advanced performance techniques you can use to add emotion that expression into your performances. However, I want to remind you that mastering the essentials is the most important thing. So make sure that you feel comfortable with all the basics, playing your tin whistle before you dive any deeper. How long it will take you before we can move forward into using these advanced techniques depends on how much time, energy, and focused daily practice put into your learning journey. However, when you feel ready, this is where the true farm begins. Because the incredible variation, expression, emotion and Soul you can put into your tin whistle performances with these advanced techniques is simply amazing. So if you feel that you already to learn the advanced performance techniques on your tin whistle, let's begin right now. 16. Your Zero to Hero Journey: Now I want to give you some motivation to continue your learning journey in mastering this instrument. Because you really can, if you just stick to practicing every single day and having fun along the way, and I promise you, you will achieve great results. So the team is actually way more expressive than you may think, especially if you are a beginner. You can do so much to add expression into your performances. You have already learned some of the basic techniques like playing the notes, legato to make them flow smoother like this. Or adding some tiny variations to shape the attack of each note to do good. And so on. But there are also advanced techniques like finger vibrato, breadth of the go-to. You can do slides, slide out as well. You can do taps and cuts. You can do half holes. And so much more. But I also want you to remember your journey, so forth, because this is a CRO to hero's journey, your adventure in mastering this instrument. Remember when you were at level 1, when you picked up this instrument and had troubles achieving any good sound, would any note squeaking, screeching, not covering the two holes, placing the fingers Rome, and so on. You might have gone a little too when you started the plane, Bruner's stiff, then you might overlook the blue. Then you started to be more comfortable in your breadth, but still have that very static in boring performance. But you started to have some go-to and telling you variation. That is basically the level you should be at before beginning this advanced technique module of this course. Now the true phone stores because you're going to learn and continue your Zero to Hero journey into the heroic levels of playing this instrument. In the end, you will be able to play with all these expressive and emotional performance techniques to make something from stuff like this to playing with super much emotional expression and produce so into the performance, something like this for example. So I hope you feel motivated, inspire you to continue your learning adventure. You'll see a rule to hero journey, mastering the tin whistle. So let's continue in the next video, my friends. 17. Playing Low Whistles: In this video, we are going to focus on playing the low whistles, meaning the low range keys of whistles. So the first aspect you need to learn is that the lower the key of the whistle, the bigger the instrument will be. So here we have a high ED with solved the classic standard whistle key. Now, let me show you the contrast between a low F. You can see how much bigger this in length and that bore with the size here of the tube. And if you continue bringing the low d here, so you can see all three, it is even bigger, it's longer and it's thicker here, the bore size. And that is simply a matter of how sound is created. The physics of sound creation, meaning you'll meet needed bigger instrumental, bigger error column, more air to get a lower sound. And that's like you need a bigger speaker to produce the lowest bass frequencies. Okay, so that is aspects number one. Number two is regarding the sound. So a higher whistle has this very upbeat sharpie kind of sound. Whereas the lower you go, the deeper it will sound in pitch, it will also become more warm and soft in character. So here's an F, low EF. And of course, if you go to low, d high and even deeper and even warmer and software zone. Okay, So deeper, warmer and software which you might want sometimes, and sometimes you want that fast rhythmic, uplifting sound, or the higher soprano range whistles. And of course you can go in-between. A compromise is to go for the range which is not the lowest solos and not the soprano high vessels, such as the B flat, for example. It has a warmer, deeper sound, then this high whistles, but not that really deep sound of a low whistle. Now, let's get into actually playing these low instruments. So the bigger the instrument is set a bit lower The key is, the wider the stretch will be. If we just compare the low, Let's do the low compared to the Heidi. And I can just put saw that the first hole is at the same height. Now you can see how much further each hole is spaced apart and also the hole sizes or the vagus total here on the Heidi is this hole here that is pretty much the size of the top hole here, while the biggest holes down here or so much bigger. And that means in that you can do more expressive slides. Half holding is much easier on the lower waste. So the bigger the hole wall holes are basically, the more you can do expression on shading the holes in various variations. Ok, So you need a wider stretch and the holes are bigger. So the same finger pad. It's easier to cover a very small hole like this one. Now, that takes us to aspect number four, which is that you need another form of grip to play it. If you compare it to a traditional grip here, you are not playing with your fingertips, never with your tapes but your pads, but these patches it upper pad of your fingers. Now, the US play all the holes on a high whistle like this. And pretty much in most cases you will be able to do the same on a old two-way soul, meaning you play it the same way. And that is one of the advantages of the altar range. You can play it with an ordinary grip, but still get warmer and deeper tone. Now, what you do on a lower whistle is what we call a pipers grip. So don't focus on the name, focus on what you do. So the difference is instead of having all the pads on all the holes, you basically angle your fingers because you will not really be able to stretch like this. And even if you do, you will not be able to play anything. So what you do is you angle your fingers by first placing the lowest hole in the right-hand like this with your pad, just like your highway sold. The same own, the lowest hole here. And then you angle your fingers inwards and you see it is much easier than, than this way. So you are actually playing the, the top of it, three bottom holes for four in here on your fingers. And then a bit further up on the next hole. Like this. And the same with the lips and the same with the other hand. So you can see now that this top finger and this top finger, or basically playing almost all the way down here on the third section of your finger. And this will get some time Unilever and you will need some time to get used to this. But when you do, it's basically the same. You play the same finger patterns, the fingers sharks, same way to play the notes as on a higher or all the whistle. And you get this much deeper and warmer tone. And either aspect is how you hold it. So in most cases on the high whistle, most people are always either like this, downwards or a bit like this. Sometimes a bit of an angle. You need to find a way that feels comfortable. Because you will, you should never have your wrists or arms or fingers aching, then you're playing it wrong. So what I like to do is angle it to the side, not completely to the side like a transverse flute to classic food. And not forward like this, but at an angle, perhaps 45 degrees or so because then I feel my hand gets to a better position. And now, if you cannot play the lowest key, whistle, even with piper scripts, some people have small hands that cannot stretch your fingers. So if you go up a couple of keys like to this low f for example, which is a really nice key. Then you might be able to, if you have a good stretch, to play the upper three holes with normal grip and your lower hand with pipers grid like this. It all depends what feels most comfortable to you, to your hands and your playing style. Bumps it. I mean, if you learn the pipers great. You'll be able to switch to the next low whistle and do the same technique. Plates with angled fingers further DOM of the top pole on the first year. The second hole, a bit more forward or up worse on your finger. And the same when your lower hand. In almost all cases you need real good pipers, grape pear, meaning loss of angle and lopes. Long reach here down on your first finger with your right hand on the lower three holes. Whereas you can be a bit more lighter pipers, great, perhaps on the upper three holes, or even sometimes with your pets. Now, the fifth aspect here of playing lower whistles. I mean, you really need to practice the pipers grip. It takes a lot of practice, but it takes more air. So the lower the whistle because the column of air, It's more air. You need to produce the notes that is good and bad. The good thing is that when you play the lowest note, it, you don't need to blow as soft as you do a high D. We're so it doesn't overblow as easily. And you get more dynamic range. You can do better vibrato. Building crescendo with Dynamics. Do some vibrato with your breath. But the downside is that since you need to push all these ads through these big tube, when you get up to the second octane, you will run out of breath very quickly. I mean, I literally took a deep breath and all my air is now a novel leftmost my lungs because I needed to hold those long notes in the upper octave. So that is a disadvantage. You really need to be able to find spaces to breathe and take a deep breath between the phrases. But once you master the lower range, and it might be so that you cannot, you will never be able to play the low was keys like the low C or low D. Well, choose a low whistle a bit higher in key like a low If, for example. And then you will at least be able to get that warm, deep, and soft sound without having to struggle with too much with the pipers grape and being able to stretch your fingers because even with pipers grip, as you can see from the holes here, it's a big difference. Even between the low F and little d like this. And if we get you, I actually have low Seebeck here and compare that. It is even bigger. Now we can see the little f here. Lowest total here is basically wealthy. This fifth holier is from the top or the second one bottom. It's a huge difference going down to low C. Some people will never be able to get down to this range. So this course is not focused on playing lower whistles, basically more focused on the classic higher whistle range. And that, those techniques you can use very easily and very similar with the old the whistle range. But when you feel ready to start practicing on your papers grape and really want that deep, warm, soft sound. I really recommend you to at least talk. We had, for example, a low EF whistle and see if you can manage with the piper script. And then continue to the low D, which is the most common low whistle. So if you decide to get a low whistle, I wish you good luck with your practice. The pipers grape and your breath control, and your finger agility to be able to play it. It is so much fun and you will really expand your options as a whistle player. 18. Cross Fingerings: Welcome back my friends. In this video, you're going to learn about cross fingerings on your tin whistle. So let's dive in. First. What does cross fingering mean? I am not talking about crossing your fingers like this. I am talking about playing others shapes on your team was so with your fingers to access more than the seven natural notes of any key tin whistle. So on a tin whistle in d, the standard tin whistle, when you play from the bottom and going up, you are playing the D major scale, seven notes, but they're all 12 nodes within music. The seven nodes, your playing all the notes from within the scale. With the cross fingerings, you can access more nodes that are outside of the scale to play chromatic notes and add some spice into your treatments, or even access other keys and scales on your tin whistle. So number 2, regarding the tone and the tuning of these cross fingerings, it all depends on your tin whistle, some table salt, for example, Play you see natural, very easy like this and I will explain this further later about some orbits sharp, you might want to add a whole, and also some whistles. Some of these cross fingerings will have a very weak and faint tone. So it all depends on your whistle, but I really encourage you to try them all out. Now, there are actually three Coleman cross fingerings that you can use. So I will go through them all. The first one is the absolute most used cross fingering, which is only d We sold to access the C natural instead of the C Sharp. So this means you are flattening the seventh note, or you could say you're sharpening the sixth note of the scale. So in this case, your flattening in 87, meaning that if you play the scale going upwards, that is the C-sharp with all holes open. Now, the first cross fingering is the C-natural on a D whistle, so flat seventh. The most common way to play this is playing it with these two holes closed, so the second, third from the top. Now there is an optional way to players. There are actually several options, but the most common option is just to add this fourth hole as well with your right-hand index finger. And that will flatten the node. The more holes you cover going below this fingering, the more you will flatten the note. And if I release a whole like this, you're sharpening the node. That could be cool thing to keep in mind because you will need to make adjustments. So the C national, the most common cross fingering is this one. The next most common. The second most common cross fingering is G sharp on AD with soap, which means your flattening in the faith or sharpening the fourth, It all depends. So if we take here the g, you can see you're playing the 1, 2, 3 closed. That is G only D whistle. Now, if you go to the next node, which is a, if you wanted play the note in-between those notes. You can cover every hole. This hole here. So basically you are leaving one hole open here in the middle, and that is the g. Now you're playing a G sharp. So you can go from G to G sharp to a, G sharp. A. Again. Okay. And the third most common cross fingering is an a sharp on it, the whistle. So playing in a here on a D whistle, you play it like this. The first, second hole closed. Then you get up to B. But if you want to play the note in between, which is a, an a sharp, in this case, the flat six or sharp fifth. So then you have the top hole covered. You skip this one, and then you cover all the rest. So the only open hole is this. And now you're playing an, a sharp on a D whistle. Okay, so that means that the three common cross fingerings will give you access to three more notes. So seven notes in the key of your whistle plus three, which means 10 notes out of 12, which opens up a whole lot more tunes you can play now. Now before you store to play and use all these cross fingerings on your tin whistle, I highly recommend that you test them all out regarding the tone and tuning. So go through the mole, the first one, the C natural on a D whistle. Try the first fingering the second, third row, and uses tuner app on your smartphone or your computer. Very often this is a bit too sharp. So now you can show your store to adjust, make adjustments here to the note. Adding a whole like this will flatten it a bit. You might want to try adding another node, this one, or that bottom one. Something like that. And when you're happy with the tuning, go through to the next one. Let's do that one, G-sharp. So this one. Now, since there are no holes lift to caliber below that note, you cannot flatten it, but you can sharpen it. If it's a bit too flat, you can release this bottom hole. Either the normal way, sharpen it a bit. And you also hear the tone changes a bit. And finally, the third of the Coleman cross fingerings the Asia upon it he was so. So this one, again, you cannot actually add any more holes here to flatten it. You can always sharpen it by releasing the whole like this. In most cases, this is the one that will work. So now I want you to play the role of these in the scale, so you know how to play scale up and down. The national scale has seven notes of the major key, major scale on a D that is D major. So playing up only the scale of the Seminoles. But now play it by adding in those cross fingerings. So you're playing the bottom notes, don't have any real cross fingerings to you. So these ones or as they, or once you get up to the middle note here, the g. Now the cross fingering is also G. G sharp, a, a sharp to B, to C, natural, or this one. And up to C, and then to D. Now let me play that in sequence. And I want you to practices as well. Or you can play it going up and down as many times I need to really get used to using them. And then started practice phrases that you come up with, melodic phrases that actually use one or more of these cross fingerings. And you will see how much more dimension you open up all your team with slope by being able to play ten notes with cross fingering techniques instead of the seven notes of the major scale and key of your tin whistle. So good luck and have fun practicing and playing and using cross fingerings in your tin whistle performances. 19. Half Holing: Now my friends, you're going to learn an advanced playing technique on tin whistle, which is called half holding. So number 1.5, whole wing will give you access to all the 12 notes of music. So you already learned that the team, which is a diatonic instrument, meaning that it is built to play naturally the seven notes of the key it is in. So in this case, D major seven nodes, or the d-major, D, E, F-sharp, G, a, B, C-sharp, and then the Octavia. Okay, So you have also learned three Coleman cross fingerings you can use to access three more nodes. But it is even more exact when you use the half holding to get to those notes. And with half holding, you can play those two final notes to get access to all the 12 nodes. The second aspect you need to learn is that even though it is cobe have holing and it is often represented by a half hole in fingering shorts, tin whistle tabs. It is not technically exactly half. When you cover the holes. Basically have holding could be called gradient holding, which means, Let's say you have the node a, so these two upper holes covered and then be a porthole. If you want to access that note in between, the way half WHO in works is not that you cover exactly half the whole, but rather shade a bit with your finger to release some of the air from this hole and how much you need to release. So how much you need to cover depends on your team. We're so which note? From bottom to the top here you have WHO and basically how much air you blow into the note. So that's why you should always practice with a tuner. Now, if I just unleash some of the air had released here, you hear how it is rising in pitch and that is how you access that node in between the a, a sharp is half polling and then the b like this. Okay, so the next aspect you need to learn is that half whole wing is most often easier, only upper holes. And that depends on the physics of how a sound is created. So the lost bottom hole is especially on the higher whistles, very tricky to get a clean note when you have holy. It's awesome thing was, oh, it is practically impossible to have hole with the lowest note. But you can't do it if you go very softly. But it's most Open ECS on the top pole here. So getting from B to C natural then releasing HUC shot like this. The second hole is often very easy as well. So when you practice have owing, I recommend that you start with half holding those top two holes first and then when you feel comfortable, you can go down and start to practice half holding the lower notes. Now. So one reason is how sound is produced. So the upper holes or easier by default, but also the bigger the hole is, the more grade, hence UK, you can shape by half holding so it's easier on bigger holes. And that is the reason why it is easier on low were key whistle. The lower the key, the bigger the holes and the size of the tube will be, which means you have more control over shading than on-site and so on this way. So you can say this is a low EF. And you can see how much of a difference. I mean, you can practically get all these notes holds here, comfort inside one of these bigger holes here. Which means here on this particular vessel where the lowest WHO is very big, it's actually pretty easy to have. Oh, okay, So now regarding which nodes you need to have, whole two axis denotes in between. So the major scale between the third, fourth. Note, you actually have a half-step already, so you don't need to have whole and between the seventh and the octane. Let me show you what this means in practice. You, you need to have whole to get between this D and E, You need to have all the lost the job. And then E. And then from E. The next note here too, if you need to have all this second lowest node. Okay? So the lowest node D, E, and then the third to the fourth is F-sharp to G In owner tin whistle. And this is the same for all tin whistle. So from this hole, the lowest two or open here, and then you unleash, release that finger that is already a half step, that is the lowest, the minimal distance between two nodes. So you never need to have hold this note right here. Under the whistle, meaning from Epsilon up to the G here. And you can check these only a piano keyboard. So you actually see that there is no reason to, to have hold this? No, because it's already the closest distance between the F sharp and G, unless you want to do some bending and doing some expression this way. But we will get to that later in this course. So between epsilon or the, these two bottom holes uncovered, this note, the third from the bottom, you'd ever need to have 0. And then here from C shops, all holes open to the Octane. The, that is also the closest distance which C-sharp to D. You can check it only a piano keyboard. So you never need to have all that. Okay, so those are the exceptions. The third note from the bottom and the holes open to the octane. Now, there are actually two versions you can use for half hoeing depending on which technique you prefer. So one way, if I showed this is version wise to roll your finger up or down, meaning you roll with upwards or downwards like this. Okay, To unleash really summer. And it can sound like this. Let's say I roll it downwards. It depends on where your hole you uncover, how it feels comfortable to you. And you can see how I roll it. I can also throw it upwards. It doesn't matter because the point is to shade the whole. So you release some of the air instead of being fully closed. However, in most cases, I personally prefer version 2, which is 2, angle outwards. So angle your fingers so you have your finger when you close your whole if you look to the side of this, if you just angle your finger a bit upwards, I don't know if you can see this, then you are releasing. So here if I angle here, the air stream is released to be from the hole in that direction. So if I do that, and one reason why I prefer this is because it's much easier when you have your finger pads. No playing with the tips but a bit down on the finger pads. It feels more natural to do it. When you do more hand-holding and when you go into the half hole, no. Let's say you're playing here and then you are going to just place your finger, but not like this, but an upwards angle like this. So OK. I find that it is harder to find a good spot for the fingers to fall with the rolling version up or down. But it can be a good way when you are already on that note and only want to roll it a bit up or down. So going from this node two, denote the half-step above it. Okay, so those are the two versions. Roll up your finger up or down and the whole, and place your fingers so it is a bit angled outwards from the tin whistle. So the next thing I already mentioned these, but you should always practice with a tuner when you learn that the Hindu. So when it's especially important when you want to do this half holding because how, how the tuning is when you have WHO will shade the whole like this is really important to get to that sweet spot in between two nodes. So from a HB, for example, if you shade too much or released too much, it will be too sharp if you shade it too little so you know, angle enough your finger to release enough air. It is too flat. So I always recommend practice with a tuner when you, when you try out all of these have holes. Then, now your exercises for this lesson is first, you should practice by going from fully closed to a half hole. Very, very slowly. So that means an especially focus on these upper two holes in the beginning. But basically if you have a denotes a like this, just hold it. Blow a constant air stream event slowly, for example, version to angle out your fingers slowly, slow. See here that air. The pH is rising a bit like this. And you do it for the entire notes. Finally, you get to the B does contain u angle, angling up your finger pad like that, or rolling up or down until your finger is below. So you're actually releasing all there from the second hole. And that means you go to the B. So you really want to not only train your ears in this, but your fingers, how much air you need to release to get to the node in-between and the full gradient from a to B note, so you feel that it is all about this gradient in between the nodes. There's no, no perfect half hole here. You need to train your muscle memory and your E hard to find that sweet spot automatically. Because sometimes when you play, you are hitting the node a bit too sharp. And then you just adjust your finger, your half holding here and we're shading until you hear the correct pitch in your performance. Now that is the first exercise slowly practiced from fully closed half hole and then continue until you have the whole fully uncovered. Now, the final exercise is what I call an advanced exercise. And that's when you start to practice, half falling every note. Except of course, Let's note from F sharp to G and from C sharp to D. So you can play the fool chromatic state scale, meaning all the 12 notes of music up and down the scale, not the seven diatonic notes or your whistle. You key D major in this case, but every node like this. So starting with the lowest note, all holes covered, D shade, half hole, the lowest whole. So you get D sharp. Release the full bottom hall. So you get e. Then have all this second lowest whole. So you get f from E to F. Release this. You have the two bottom holes uncovered, so you get a shop. Then this one, you don't have to have whole as you learn F sharp to G, He's holder the closest interval, 0.5, the G Here hold so you get to the 41st D and then D top released it. So you get to a next one, a shop. Then B. Then C. Also uncovered a seashell and then the octave D. And then when you practice this, do it very slowly. Supers Lord, just for every hole you do this half hauling shading with your finger pads, either rolling up and down or angling our course. Your finger pad until you can hit all the nodes, check with the tuner. It doesn't have to be perfect. I mean, you can literally go almost minus 15, $0.15 of a note. And it will still some okay, Try to get into to the minus 10 to plus 10 range if you can. So have fun practicing and playing half-halt to access all the 12 and also music and all the shades and gradients in between. 20. Slides: So now you have learned about half holding, which is about accessing the five extra notes on top of the seven notes of the major scale in the key of your tin whistle. Now, in this video we are going to focus on another technique which is called slides. So instead of just accessing the extra note slides is about creating a very smooth transition between the nodes, which is very beautiful. You have already learned that you can do a LIGO two, which is a smooth transition by just keeping your airflow instead of x sending each node. So instead of 22, you extent the first note and then just continue the SDM like this too. And then just play the next note. So if you add x and both notes you get. But if you continue the Astrium and just play the next nodes like this. That is legato with your tagging technique just holding out the vowel. Now, we'll slides you can create an even smoother transition. So let's compare the half holding versus the slides. So half, whole wing, if you take the top note and just shade it a bit, you can access the note in-between. This is b. And you already learned about how we can do this, either rolling or angling out. Now that is heating the note in between. But with the slides you can actually do, slide into the note or slide out of the node to sliding and slide out. So for example, let's go from C sharp and then to these, first TO covered. So no holes covered is C-sharp into the B because slide your fingers slowly covering the node instead of placing it like this. Slide it in like so. That is a sliding and you can do this on any note. You hear that the gradient of the page, she slowly, in this case lowering the pitch. And the opposite is his slide out, where you slowest slide out. So you can do this like I did, slide in, slide out backwards. But I prefer this technique if you look carefully instead of sliding out the same way. So you're sliding like this. I find it's easy to slide out by continuing the finger movement in this direction, but angling its way slowly from the whistle, like this. Looking at slide in, slide out, Continue. And then you can even slide in that way if you want to. You don't like this. Alright, so that is the difference between a slide. In the slide, I will slide into a note. We're slide out. Both perform the same smooth beautiful transition, the gradient where it changes pitch from one node to the next. Okay, So that is how we perform a slide on one hole. You can in fact do a multi note slides. So multiple sliding on multiple holes at the same time. Two is, works quite easy, sometimes even three like this. So let's say you have a G like this. Normal slide, enroll slide out. We'll be adding a whole sliding like this. Slide out. But if you slide all these three fingers, or let's start with to get to the B from the G. Like this, these two fingers now will slide out. Because light in. Compare that to just releasing them immediately upwards like this, where there will be no smooth slide. Compare that to some audio. Let's try these two notes here. So the e to the g, just angling upwards and outwards from the whistle, then inwards to sliding like that. And finally, you can also do the half whole slide, which is instead of getting in between covering the whole and covering it all, which means Open. Let's say you want to get to this. This is not a if you have hold the a, it will be an age-old. So you can actually start from, let's say B and then go to a sharp eye sliding in but then stopping all that. Oem but half No, I guess I would again, comparing that to a fool slide covering that a pool hall, which means you get from B to a. So we can just angry downwards and then find the sweet spot for the tuning. Or going the full way. Again, always practice with a tuner when you try out this half holding and when you slide into the half hole like this. But I really recommend that you focus on doing the slides, especially the upper three holes, which are in most cases easier. But you can't slide on any holes or sliding to slide out into, let's say from the lowest day. Just be very gentle with your breath on the lower notes. Continue was into this model. Next one. Just do it on every hole like this. And then prac is going up and dome the full-scale here. All new routine was so slightly. So now we're going back down. We're going do is sliding very slowly, as slow as a cancer you, he, that gradient when you need to decrease your breath pressure when you go down the scale. So as you can see with the slides, you can perform beautiful smooth transition between nodes. Between several nodes. We mount an old slides and even sliding into and out from a half note. So good luck and practice this until you really can't perform them. Very gradual and beautiful. To add smooth transitions in your tin whistle performances. 21. Bends: Welcome back my friends. So you have learned how to perform half holes on your tin whistle to access the notes in-between, for example, from C-natural, they all open holes. Going to be. Now the note in-between is a half hole on the top hole. So it can go like this. Now we have also learned how to perform slides, which is sliding into an old out from an old. Even doing sliding at multiple notes or sliding into a half old. Now, you are going to learn something called bins. And bins is basically a way of adding expression. We pitch bend. Think of it as when you use a synthesizer and you have the pitch bend wheel, but you can drag up or down to pitch bend the note. And that adds expression, some variation. So it is very similar to slide. You'd use the same shading technique with your finger. So let's say from this b to the half-halt, you're lifting slowly or rolling your finger to shade the whole. But the difference is that with a bend, it's more focused on adding expression, not sliding into from a node to another node. So you can either bend into a note. And this is a really cool way to add some groove into a performance. So let's say I go from G, a and then to be. But let's say I want to bend into that note. Well, instead of hitting the note, read the full, whole covered, stored the note that a bit of a shade doesn't have to be a complete tackled. But as it actually just shading in a bit. And then you close the hole so shade it a bit. Opening up, releasing some airline like you do when they're half hole. And then close it so you can place like this, start with D and a. And then when you hit this note, used stolen denote with a bit of shading on that tuple and then you close it. So instead of you could do it like this. And you can perform the bend into the note, however fast or slow or with a curve you own so or faster. Superfast. Yes. Shading in a bit, not you don't have to go to the full half holds with an old in-between. You can just do a little bit of pitch bend there. Now that is bending into a note, which is quite difficult to do. What is more common and super fun is bending, doing a note. So let me show you how you can do this. So let's say we go from, let's say G here to the a. And it can't do its light. Then once you hold this note, shaded debate, meaning release, like you do when you have old, you can go all the way to the half hole if you want to do the Knowlton between a shop where you can just go a little bit of pitch bending here with a bend. And then you can go up and down only once, like this. You feel that groove that you add into. Instead of just so starting on the notes with a full coastal, then releasing it through curate crates, sort of pitch bend and then back and close again. Either start with the shades as you learned bend internal or Ben during that hour, which means you stalled the note with the whole coast and then you bend up and down. And you can do it very slight. So just releasing a hint of air from the whole all go all the way to the full, half-full. So as you can see, it's similar to a slide, but it's more focused on adding the groove with bending the patient only note. And so I really recommend that you practice days mainly on the upper holes first, as it's always easy to do, slides have holes and everything. Cosine expression owned the holes themselves on the top poles. And then you can start to practice doing both bent, bent into notes, starting with a bit of a shade. Then bend urinal. And bending. You can do like almost like a pulse and stuff like that. To add so much expression and groove into your team was of performance is way more than most people think you can do. So with half following slides and bends, you axes, all those amazing gradient Xin between the notes and pitches over your instrument. So practice creating bends into note during an even multiple pausing. Ben's like I showed in the later part here. You can even do bends with two fingers if you all do. So, good luck and have fun practicing and then using and playing bends in your team and whistles performance is to add expression, variation, and groove in your music. 22. Cuts: So you have already learned how to do a tap decoration in your team whistle performances. Now the opposite of this, which is equally powerful, is a cut. So a tap is basically decoration or grace note below the note you play. A cut is the opposite. A grace note above, meaning you raised the page quickly as a decoration. So the first type is the same hole cut. So it's similar to when you do a tab. So let's say you hold in a and you tap the whole below it. Now, the difference with cat instead, it is a declaration going up. So as you know, when you release fingers going upwards, you're going upwards in pitch. So if you put an a and then quickly just released a finger and put it down again, again very, very quickly. That is a cat decoration. And this is the same hole because it is the same hole as to note your holdings on a quick release it to be, but you don't let the listener really hear that be. It's just a decoration, a grace note like this. Can do the material, the g to the a. So that is the same hole cout, hold the note, you release the lowest finger, which is the actual note you're playing, and then quickly plays its own the whole again. And you do it very, very quickly. So the same hole cut is the main, the standard way to do pickup. And you can do is own at any note, just released a finger from the lowest told that you all are covering, which is the note you're playing. And that quickly place it on again. The next type is called a, I call it a high hole kept. So let's say you or holding an IP shall practice for holes covered, right? Instead of the same hole, the oldest fingernail, same hole cut. You cut any note, the budget, any hole above it. So for example, this node here. And you will get, Let's compare it. That is the same hookup but cut here and it will be more pronounced. This one. Here, it will be slight difference in the pitch of the grace note over the decoration depending on which hole we uncover and do a tap or a couple. Basically kept to release EV very rapidly from that hole. That is a high-level hole cut. The next variation is a multi hold count. And you can do this in two ways. So the high hole cut, Let's do that. But let's open both of these upper holes. That is a multi hole. Cut. This doodle, all three above the note or holding. But you can do it in combination. So the same hole cut but multiple holes. So let's play F-sharp and release the whole plus another one above like this. And the more holes you doing this multi-fold kept expression, the more pronounced it will be. Can do it at least a bit old, super-quick. So that is a multi hole cut which you can use using the same hole plus more or only. The higher it holds above it. Multiple holes. Then bounce cat to your learn the bounce tap. Think of it as you fingered bouncing, but you do hear with a cupped instead of the whole holes blue. So let's play, let's play these F-sharp, just tap it or cut very quickly, and then bounds the fingers. So this is the same hole cut. Do it quickly as a bounce. Do it here on the a. And finally, something I am very fond of is combination of this bounds. But you are, instead of holding the a for example here and then do the bounce, bounce cut, you bounds into the node. So for example, let's say your melody goes from G like this, to be like this. And you want to go to this note the a instead of you Baum's own days a into the node like this. Again, you do the bounce when you go into the note. Compare that to playing it like this. Your bouncing or doing the cut when you're actually started playing the note. That is the usual, usual way. But I recommend you to also practice doing the bounds directly when you go to the node. So do it. Do it like I did here is from a G to the B than a, then you do the cut or several times, even more like a bounce. So those are the variations you can use with the cuts as decorations to add expression and variation into your team. Was the performances similar to taps. They are mainly grace note fast declarations, but they can add so much expression when you add the mean deliberately. Every once in a while in your tin whistle performances. So good luck and have fun practicing and playing. Cuts on your routine. Whistle. 23. Taps: Now you are going to learn an expressive decoration you can add into your team whistle performance is cold tests. So what is taps about? Well, think of it as when to tap your fingers fast like this. But you do it on the hose, on your team whistle. So a tap is basically a week grace note or decoration in pitch below the actual note that you are holding. So let's take the note a as an example. The two top holes covered. The first type, main type of tab is a single hold tap on the whole below. So the, in this case G. Okay, so if you just hold the a and then quickly just tap on this note very, very quickly. You hear that very quick grace note or decoration. So a single whole tab is any notes you hold and you just tap quickly on the whole below it. Like that. The second variation of taps is called a Model-T whole tab. So instead of just tapping the whole bot, you can actually tap two holes. The two holes go like this, or even three holes. And the more holes you tap, the more difficult it will be to synchronize your fingers to do that exact timing and quick decoration. But it will also be more pronounced because the quickly changing the pitch of that declaration compared to just 11 is the main way. It's always the foundation to attack multiple tap, not next, you can actually do what I find very cool is a half whole tab. So instead of tapping by completely covering the whole below, you cover only half of it like you do when you have holding a note. So you just tap with a bent angle on your finger. So you're tapping the half hole, in this case an a sharp instead of an a if you cover the full whole. So a full WHO single tab. But half older. Doesn't have that pronounced an attack in the note. It just a quick, super-quick bend the basically, okay. Then you can do something that I call a bounce tap, which is instead of doing it once like this. So let's do it on the G here, or ordered F sharp here. So come in three tuples here. And then single tab is like this just once. But if you just let your finger bones, like when you drop a rubber ball, it's bouncing a couple of times. You can think of it as that. But on using your finger on the whole, in most cases you will basically double tap. Instead. You do it twice, like in bones or three times. So that is a bone step. Finally, you can actually go very advanced and do tap combinations. So for example, you can do a multi whole bones. You can do a multi half hole. So you have holding all the nodes below instead. Oh, well let's do these three. Do it like this. So you're angling oil fingers with the tap that have holes, all of them. This is very tricky to do, but as you can here we get that very quick band and it is more pronounced when you do it on a more holes like a mouth, the half hole tab. And of course you can do a multi whole bounds. And as you see you have various combinations that you can use of these. So single hole tap, played out, hold the air stream and quickly tap your finger on the whole low. Multi-homing is tapping quickly on two or more holes. Blow. More pronounced, half, whole, tap. Your fingers and tap like this. You can do it on the whole below or more so a mouth the whole half hauling tech. And you have the bounce. Bounce, in most cases double, but you can't anymore. And all the combinations of these. So I really recommend that you practice all the main ways now single hold, tap, multi whole, half, whole and bounced tab. So you can start to include them, Everyone's and then as decorations in your tin whistle performances, good luck with practicing and playing the tap decoration on your tin whistle. 24. Rolls: Now you are going to learn about more advanced and difficult decoration on your tin whistle cooled roles. So rules or basically a quick turn decoration. So starting on OneNote and then doing a quick turn and coming back to that note, roles are actually a combination of taps and cats. And there are two versions of this. You already learned that attack is when you have a note. And you can quickly tap on the note below, just as a quick declaration. And a cut is quickly releasing the notes, either this one or any one hole above. To denote. Now, the combination is to use a cat, then the tap, or eight-step than a cut. So let's say we start on the note G, these three holes covered. A rule can either be Version 1 to cut the, the G note here quickly, like this once. Then do follow that very rapidly with a tap on the if sharpen up the whole blue. So you start on the note, stopped that note, really quick cut of that note. And then follow with a tap. And then if you do a new sequence rapidly, it will be a roll like this. So that is version one, cat and then tap, and then your back on the node, wouldn't do it slow, is it really here? And when you do it as a quick roll. And you can do on another note like a here or on the lower. So this is really advanced because you really need to practice to improve your agility and dexterity and timing of your fingers on the holes. So you can install to practice very slowly, kept and then deals to increase the speed. So that is version of bone cuts. Then tap, you can do the opposite. Just switches around stalled with a tap, then do the count. So let's start on the G naught again here, three tupples covered. Then you begin with a tap on the note below. Well, the hole here. And then all of the detector, you do the cup to only G hole here. So tapped. Thank up. So just the opposite old version. Well, to then cupped. So I really recommend that you practice these very slowly in the beginning because it's an advanced decoration, but it's very fun to use. And can I add a bit of energy into your tin whistle performances? So good luck practicing roles. Both versions, catapults, SAP and tap plus cut. 25. Runs: Now you are going to learn an energy lifting expressive decoration on your tin whistle called runs. So a round is basically a quick note sequence between two nodes. So for example, if you have a note like a here and want to go to F-sharp, instead of just playing a and an F sharp. If you use this G in between, just rapidly, just quickly going between a and F sharp. But adding that G, that is a short run. And a Reimann can either go up or down. So for example, if we take this F sharp and go up once again to a, adding that G between again is around going upwards and out. So there are also two variations on Brahms. One is what I just played here, which I call a single note, run. Basically. The shortest distance then you can add between two nodes is one hole in between. So a single note in between, meaning that if you go from this note a to F sharp, that is only the G in between. So a single node run. It's the same here. If you go from B to G, the only note in between here is a. So instead of going directly at that quick running between the single note this a here, all going upwards. And the next version is a multi node run. So you can actually go more than one node. So let's say we go from all the way from b down to, let's say E, then a rapid succession or sequence of the nodes in betweens all the holes, and you need to really play them one after another. This is the trick and the difficult part about doing runs is do you really need to time finger placement of the holes in between? So again, do these very slowly at first. So let me show you slowly. And then just increasing speed. And now you have a ROM, a multi-channel drum going from, let's say G down to the deep. And of course you can do a molten old wrong going upwards as well, like you count with a single load rounds. So let's say going from E to a. But I have to tell you, it feels more natural to go around going down on a team was so just because you are basically just rolling down your hands and fingers like this. So for most people, at least for me, I felt that doing iran going down is way easier because it is a more natural movement, just letting your hands and fingers fall into place rather than going upwards. You need to lift your fingers in sequence, in rapid sequence like that, It's tricky. It's more doable on short single node runs. But on a multi-channel drum. Just be aware of that fact, of course, do the same thing. Practice super slowly at first. Let's say a single node runs up and down first until you master them. They are easier to do than multi node runs up and down and do them slowly and gradually increasing speed. So good luck practicing and adding these energy lifting rungs on your team was so performances. 26. Flutter Tongue: Now you're going to learn an advanced expressive technique on your tin whistle that I consider more of a special effect. It's not used very often, but it has its use cases. It's called flutter attorney. So a flutter is basically a rapid variation in pitch or in air put you've been a signal and that is what you are creating by breaking the airstream rhythmically with your time. Okay, so prototyping means a rhythmic airstream basically. And the way you create it, to use a rolling or so, that is how you create a, you can feed it. It's not as pronounced as a plosive, but it creates a kind of rhythmic pulse of the air stream. And it sounds like this. So let me start by playing straight notes, a, G, and then on this multi F sharp, I will use the flutter tonguing the rolling or so your S, you can hear. It has that very chaotic, intense special effect type sound. So it's not used often as I said, but you can definitely use it for more pages or folk type music styles on your tin whistle. And there is also a variation of a rolling or so instead of start with a horde accent, so we're, so let me compare rolling or with a tutor and you can hear that you get even more intense thought of that rolling flutter, tongue rolling on. And starting with an accent. Then you hear it breaks into the second octet very rapidly and then goes to that chaotic, rhythmic as dream. So very interesting rhythmic texture on your timber. So I recommend that you practice this stopping at the higher your nose because the lower nodes will break more into the second octet. And it's very hard unless you are looking for that type of effect. Starting with the top node. And then going back and forth between a clean note and a flutter tongue is also a good practice. So headphone using flutter time only or tin whistle. 27. Finger Vibrato: Welcome back once again. Now you're going to learn the main way to add expressive vibrato to your tin whistle performances. This is one of the best ways to add that emotion and soul into the notes. And the main way is called finger vibrato because you're actually using your fingers to create the pulsing vibrato. So if finger vibrato is basically expressive pulsing pitch because you are not altering the volume and dynamics of the note, but only focus on the pitch. So you can do this the first way is to use a single finger vibrato. So you're focusing on one hole. And let's say you play a G like this, three notes covered. Well, as you know, you can have whole any note below, like so. All right. But instead of him holding that helpful if you just pulse basically your finger towards that have folding and you don't know, you do not have to go all the way to the half hole, but just shade it slightly. So practice by holding the note and then slowly angling your finger in for the shading and you will hear the pitch drop gradually like this. Okay? Now, once you find a good spot here with your angle on your fingers, start to pulse it rhythmically towards that shade. Yes. Hold a consistent air stream. And then with one finger on the whole below, you do these pulsing shading movement. Now, this is single thing we brought a but you do not have to be owned the whole below. If you are on the whole blow, you need to make sure that you only do the shading pulse. No thick f2 whole. Because that becomes basically a trill. And now you can go to a sick the second hole below. Because the further you are from the actual notes you're playing, the less effect in pitch it will have, if you do one finger, single thing, we brought her here on lowest. It will have a very, very minute, tiny difference in pitch. Do it on this one, it will increase and Newton now, if you skip a whole, you can definitely do the pulsing only hold itself, not shading but actual foothold. Okay, so that is single thing even be brought to. I usually recommend and use the whole just below and shade it just slightly and then it pulls the finger towards it by bouncing it like this. Okay, then you can do multi-finger vibrato. So let's say, let's do another node, Let's do eight. So two fingers up to the top holes covered. Okay, So now instead of focusing on one finger, I recommend skipping the whole below and then do all the holes below it. And because the more holes you cover here, the more it will change the pitch. Well, let me just show you the lowest whole, the least amount of pitch operation. Adding this one, you will get here more with adding this one. And it will have even more pitch variation. And now, since you're skipping a note, you can either choose to cover all of them for that more rhythmic pulse. Or you can shade every hole like this. So basically half holding in a pulse on all the holes, except the hole just below the note you're playing like this. Or if you want to, you can even do all the holes below with a shading technique. So the whole just below the note plus this. But I recommend in most cases either single finger, hold the note, just blow, or multi-finger. Fingers skip to the note TO and then use every. In other colon. So those are the two main ways over finger vibrato, the single finger and the multi-finger brought it. I also developed another candle vibrato, which I call a slide shade vibrato. I haven't seen many whisper use this, but I came up with it because it's basically, if you bend the note, just slightly, release your fingers to let out some air from lowest hole here that you're playing. So this G here. And then close again, that's basically a bend up and down. But if you do it's rhythmic way, you will basically create a kind of vibrato to the difference. And this is important to know is that when you are using the single thing that we brought up, or multi-finger vibrato. Your pausing between the note and a lower pitch, because the more holes you close, the lower the pitch will be where you do the slideshow we brought to you or pulsing between the node and it's slightly higher pitch. So let me show this ONE. Yeah, let's do the G here. Just opened up slightly close it and do it rhythmically. Let me show you. Let's do a dome, the USA, the job. So just bending into bit upwards. So you release just some notes to the half note, but always likely. You can even do these more fingers we won't do, let's say all these three. Just really slightly like this. Bend it up and Lindow. So that's so slide. Shade me bro sooo or bend shape vibrato if you won't record that. Finally, I want to also explain about vibrato speed and variation. So if you hold a note, Let's say DA here, so tools covered. And then you perform any stock of vibrato single thing you brought up multi-finger or slight shape vibrato. You can add even more emotion and expression by adding variation to either the speed that is the main way to change the vibrato here, or also variation in how much you change the pitch. So for example, if you do all these holes here, except this one and do the multi-finger vibrato. You can start at a lower speed and then increase the speed of the vibrato like this. Okay, So starting slow. And then you increase the bomb seen as here, the speed of your bones towards those shading in those holes with multi-finger vibrato. That is speed variation. You can also do variation in the amount you change the dish. And this you can do by, for example, shading slightly first and then changing the angle so that it flows more of the holes here. In this case, if you do the same type here, that will change the pitch more because if you just do it with a shade or taste, it isn't as much of a pitch variation as if you close the host completely. So we can go from, for example, slow wave, not as deep over we brought over this with angle. And then you angle slightly inwards to increase the depth and the speed with the bones like that. And then you continue you phrase to the next note in your performance when you're playing material. And that is how we can add changes in the broader speed and variation in both speed and depth. So I really recommend that he practiced is, I will recommend that you start ONE, just holding two nodes consistent. Nope, for example, a is a good note to start with. And then go through a single thing, even Bravo. Multi-finger vibrato slides sharing vibrato. And finally, once you feel you can really perform these well is variations. That is when you practice adding expression, a motion to ring them abroad, it's changing it when we brought a variation in speed and depth. So good luck and have fun practicing adding expression and emotion with finger vibrato on your tin whistle. 28. Air Flow Vibrato: No, my friends, you are going to learn the most emotional and expressive technique you can use when playing your tin whistle, which is reflow vibrato. So you already learned about finger vibrato. The difference is that airflow vibrato is an emotional pulse in pH and in volume. So the dynamics of the note. So a finger vibrato is only vibrating, pulsing the pitch. Now with airflow vibrato, since you are actually decreasing the dynamics, making notes slightly weaker and slightly stronger, pulsing in up and down for the sweet spot of an old. So if you just put your consistent though like G here, and you get that too perfect shooting. What you're doing when you're increasing the airflow, breath pressure, you get the note slightly higher in pitch and volume. Listen from sweet spot to up until you get to that breaking point where it wants to go to the second. Okay? And when you decrease your airflow, it will lower in pitch and in volume from sweet spot to lowered until it's told to get too faint and weak. And if you do this in the second octet, it will break down to the first. Okay? So that means that you can actually shape the emotional poles in pitch and volume. Now let's talk about the brothel depth. So you can do this very light medium all the way to strong vibrato. Let me show you the difference. Let's do it on, let's say the a here. Now, if you increase, it, started with a consistent sweet spot, you do it with the tuners, so you get that perfect consistent tone in pitch for these a. Once you get that nail down a consistent now, you can start with a very light, meaning minimal that we brought to suggest increasing. You add pressure slightly and then decreasing because you're basically blowing air and then blowing slightly stroller and then reducing the air pressure. So you really should practice first to go from the consistent note, consistent airstream to slightly higher. That is going from the node above and then back to the note and then practice going below. So consistent. The sweet spot pitch and volume for the note. And then decreasing your breath pressure flow. And think back to the sweet spot. Then practice in changing the depth. So going from a lifeboat means you just go slightly. Not really recommend that you practice with a tuner because then you can actually see the vibration in pitch going up and down like that. And of course, you ultimately get that be brought to dynamic variation in volume. So just doing it very likely and practice slowly firsts like this. It's a very slow poems. And then you can practice increasing the depth, meaning you go very strong to very weak on the stream, on that note from the sweet spot first, you really want to memorize. Build this into your muscle memory for how, how much of a range you have for the air stream on every single node. Every node will have a sweet spot when it's Intune and has the best tone. And then AV node has its own range for how hard you can go and how so you can blow and still get that note. We will fluctuate in pitch and volume. So you can go from life vibrato to very strongly brought him, meaning bigger range variation in the pulse of your air stream. So that is the first aspect The brought with depth, lights too strong, then speed, meaning the speed of the pulse. So you can go from very slow to medium all the way to very fast. So slow that I recommend that you practice slow first. So very slow. And then you can start to practice faster and faster vibrato. And I will now build up speed so you can really heal duck pose becoming faster and faster. Until you get to the air stream. You can really feel it. We're you, or actually pulsing the air stream with your breath. Okay, so you have the vibrato depth, meaning how much range with the vibrato ease in pitch and volume, and the speed, meaning the speed of the pulses. Now, you can actually add vibrato variation. And as you can, as you learn on the finger vibrato, you can go from slow to fast. And you can also just stick with the angle here, going with your fingers from minimal angle and from angrily don't. But you can do this with your S3 most wills. So going variation to do Dick and the speed. So let's say you stoke slowly and then increase this PDL to enroll to end the depth like this. So let me just play a few notes. You can hear it in practice. So adding vibrato variation during the note as whole new dimension to your vibrato. And finally, it is actually very common that you stored an old with no vibrato and then you dial in deliberative Google know VB wrote a two vibrato. So let's say in a, in a sequence from it. So pulling up to eight, then you just pretty consistent note and then add the vibrato in after a short while. You can also change the depth and speed over the vibrato. So no vibrato to slight light, depth and slow speed and an increasing speed and strength. And that way you shape the curve, the note and the emotional sold over it. And really all of these aspects take quite a while to master. It's more difficult on the lower notes. The easily break into the second octave when you vibrate that airstream, airflow. As you can hear there. And the higher up it gets easier because you can add more air pressure to the note. And it's also easier on actually all through NLU with so since they get a bit more dynamic range from the EHR requirements. So in fact, it is easier to do finger vibrato on higher whistles and easy to do a float vibrato own lower and also whistles. But I really recommend that you really practice all these aspects of vibrato depth lie to strong spread abroad variation go from no vibrato, vibrato, but take things very slowly. Start with only playing. A consistent note. I recommend you practice on a or B in the rope. They'd start to get that consistent tone practice how much range you have until you break it into the second octet, and how much you can decreased airflow to get to a two week failed node. And then you start to practice. We very likely brought to a very slow vibrato first increasing and then try to finally add expression to the virus. Variation over time for the note and go from no vibrato. Vibrato is changing the depth and speed of the for the duration of that note. So good luck and have fun adding these amazing emotional and expressive aspect to your tin whistle performances. 29. Tremble Vibrato: So in this video, you are going to learn a special effect type of vibrato that I call Trimble vibrato. So Trimble vibrato, I would compare it to a tremolo on, for example, bowed strings like a violin, bow rapidly back and forth on the string. But instead, you do it with the air stream on your wind instrument, in this case, your tin whistle. So Trimble vibrato is basically a tremolo. Now, imagine that you are freezing cold. Then you make a sound like this, and you are basically stuttering. And that is what you do on your esteem. You are stuck during the air stream with who eluded to do that kind of sound? Own the air stream itself. So let me show you how it sounds in action. Let's play the G here. The top three holes covered the natural load clean and note without vibrato. As a clean, consistent note without vibrato now stutter the air stream to create his friend Boo vibrato. Like this. It creates a very unique texture to the beat of Chios in the Bronx Zoo. So what I want you to do now is to practice just holding that stuttering Trimble we brought to airstream on long notes to practice doing it. And then just hold one note and then continue the stuttering airstream and release, remove some fingers or the ad here to play other nodes just continuing this tremble be brought to airstream like this compared to queen. So practice long tremble vibrato first on one note, I recommend doing, for example G a, B. You will always get calles into the stator. But that's the unique thing about these tremble vibrato. Then I want you to practice going back and forth between note vibrato and tremble vibrato and using it only for example, on one node, for example, like this. So some notes to add that tremble we brought her own. You can also go back and forth. Practice going back and forth between clean and tremble with row 2 on the same note like this. So you go Queen Trumbull vibrato clean. But just adding it every once in a while or note can have a really interesting effect like I did here on the ID. So you will not use it often. It's a very special type of expressive emotional technique to use on your team with so, so I really recommend that you practice it. Use the low notes first going back and forth and stored to just age one, survival on OneNote, especially on the higher notes. As it works better there. Just to add that little extra rhythmic stuttering vibrato texture that I call trembled vibrato or femoral. 30. Congratulations - Now Explore the World of Music: Congratulations my friends. You have now learned all the foundations and essential techniques for playing the Irish tin whistle, plus the advanced decorations and expressive techniques to add emotion into your performances. So are you ready now to play some tunes on your tin whistle? There are so many tin whistle tabs you can find online by simply searching for the song name plus tin whistle tabs. But I will provide you with some tabs as a good starting point. Since these are tabs and note sheet music, you can choose any key of tin whistle to play them on. I recommend starting on the Heidi and then go to the altar range and low whistles from there. It was you'd want to do is pick and choose the tunes you want to learn, then practice them until you can play them well, the essential way then start to add the expression and emotion with the advanced decoration and expressive techniques. And finally, I just want to wish you good luck and great fun as you continue your journey on this amazing instrument, I can promise you it will bring you many years of joy. So go explore the world of music on your instrument and keep on playing. My friends.