Whistle musical instrument. Irish folk musical instruments - Wind of Water - folk-rock band, live music of pagan Rus' and medieval Europe. History of Robert Clark

Irish Flute Low Whistle.
Key: G major (G).
Length: 43 cm.
Material: rosewood (rosewood), copper rings.
Design features: composite adjustable,
whistle manufacturing technology - "tube in tube".

The sound of such a flute is soft, deep and confident.

Sergey Klevensky is the best professional flutist in Russia
officially represents our whistles.

Sergey Klevensky is a multi-instrumentalist who has mastered more
ten of the most exotic wind instruments. He's easy
fits into any musical culture, from acoustic fusion,
to heavy electronic rock. With his virtuoso playing, he adorned
an endless number of projects. Among them: Ivan Smirnov Quartet,
Farlanders, Myllarite, Volga, Moscow Grooves Institute, Maleriya,
Art Ceilidh. According to critics, Sergei Klevensky can be called
one of the most powerful musicians of the modern ethnic scene in Russia.

The whistle is a folk longitudinal flute, widespread in Ireland, Scotland and England. Literally translated as "whistle, pipe." Until the middle of the 19th century, it was traditionally made of wood, later of brass tin. In modern times, flutes made of wood are gaining popularity again, due to a more powerful and beautiful sound. The whistle has 6 playing holes, the traditional tuning is D major (D). The flute sounds high, collected, and great for playing fast tunes!

How to play:

Take the flute in your hands. With the fingers of your left hand, close the top three playing holes (those that are closer to the whistle): index, middle, nameless. Further, the fingers of the right hand - index, middle, ring close the three remaining lower holes. Fingers lie on the playing holes tightly, but at the same time, not tense. When opening the holes while playing, the thumbs of both hands and the little finger of the right hand hold the flute. Put the flute to your lips and blow evenly into the whistle slot on the end of the flute, gradually changing the force of blowing until you get an even sound. After receiving a stable sound with all the holes closed, go on to search for the sound of one open hole from below, and so, gradually mastering the sounds of all the holes in sequential order, go on to simple melodies that the flute will tell you.

Beautiful melodies and joy to you when mastering the magic flute Whistle!

Buy a whistle from your local music store or online. Tin flutes are sold in all possible keys. The most common whistle in "D" plays the octaves "D" and "G major". The second most common whistle in C plays the octaves C and F major. The lowest note of the whistle, when you cover all the holes with your fingers, is called the key - on the whistle "D" the key is the note "D".

'''Hold your whistle properly.''" The whistle should be pointing down at a 45 degree angle. Your dominant hand should be down, and the second hand on top. The little fingers are not used in the game, but serve as a supporting role or are used in the game on the largest (and low octave whistles). Large fingers support the whistle from below Cover the holes of the whistle with your fingertips Place the tip of the whistle between your lips - not your teeth!

'''Learn to play different notes.''' The standard whistle takes two octaves. In the case of the D whistle, this covers the notes from the second D above middle C to the fourth D above middle C. Theoretically, by blowing out a special strong air flow, it is possible to hit the notes higher, but in practice the sound is too loud and out of tune. As a rule, each raised finger and open hole on the whistle produces a sound one note higher. Take a look at the D-whistle tablature below. White circles indicate an open hole, black circles indicate a closed one. The + sign below the tablature means the second octave.

'''Play notes at a low octave. Take a whistle and close all the holes with your fingers. (You don't have to press your fingers hard, just make sure your fingertips completely cover the hole.) Blow into the whistle, keeping your tongue in position, as if you were saying "whoo". The resulting sound is the “tonality” (that is, the note “re” on the “d” whistle). If you blow too lightly, the note will come out too "diluted"; if you blow too hard, the whistle will play in the second octave or produce a sharp whistling sound. Learn to blow a steady stream of air to produce a nice low sound of the right note. Remove finger after finger, thus going through all the notes in the scale, until you get to the note at which all the holes on the whistle are open (C-sharp). To support the whistle with all holes open, use the little finger of the dominant hand.

Play the notes of the second octave. Close all holes again with your fingers and blow into the whistle with redoubled force. If you're having trouble hitting a second octave note, try opening the first hole (closest to your mouth) a little bit - this tactic will help you with all the notes in the second octave. As in the first lesson, one by one, open all the holes on the whistle, playing the scale in the second octave to the highest note (C-sharp). The higher the note, the harder you will have to blow.

Learn to play the tune! If you don't already know how, learn to play sheet music from sheet music.

More practice! Practice the purity of notes and smooth transitions between them, as well as special gadgets for your playing:

• Cut - Before playing a note, play a note higher for a fraction of a second. Quickly remove your finger from the hole and put it back so that the listening ear does not even have time to register the tone.
• Strike - The same as "cut", but instead of a higher note, you take a lower note.
• Slide Between Notes - Let your finger slide off the hole to smoothly transition to the next note.
• The Vibrato effect is achieved by varying the air flow. The faster you blow the higher the tone, the slower the lower the tone, and changing the intensity will allow you to produce a vibrating sound. Don't blow too hard or you risk going into the second octave. Vibrato can also be made by opening and closing the second hole from the mouth. For example, when playing the note A, quickly raise and lower your finger from the second upper hole to produce a vibrating sound.

whistle whistle

History

The history of the instrument is lost in the centuries, since such flutes originate from prehistoric times and are found in almost every people on Earth.

Actually "tin" - that is, tin, whistle appeared in 1843 in England. Poor farmer Robert Clarke had a wooden whistle and wanted to make a similar one, but from a new material tinplate(tinned tin), which then only appeared. The new instrument was so successful that Clark decided to start his own business. Together with his son, he traveled around England, carrying his tools and materials with him in a handcart. Stopping in cities and villages, especially in markets, Clark rolled tin whistles from a sheet of tin in front of the eyes of the population, resulting in a conical tube, which was then closed at one end with a wooden cork - a whistle was obtained, then holes were cut in the tube. Clark immediately demonstrated the instrument, playing melodies on it for the audience. The pipe cost one penny, hence another of its names - penny-whistle. Occasionally, Clarke's pipes were bought by Irish sailors and other people from the Green Isle who brought them home. So tin whistle came to Ireland.

In Ireland, the pipe fell in love with everyone, as it was very well suited to the performance of Irish folk music. Production of Robert Clark has survived to this day, brand whistles Clarke enjoy constant popularity around the world, especially as an instrument for beginners.

Subsequently, tin whistles began to be made from various materials, from metal tubes, brass, aluminum, etc. Various types of plastic and other materials.

Tin whistle became widespread around the world in the 60s and 70s of the XX century in the wake of the revival of interest in folk music in Ireland and beyond. Almost all famous folk groups used tin whistle in their activities. New firms and master tin-whistle makers appeared.

Application

Despite the seeming primitiveness of the device, tin whistle - in the context of Irish folk music - is a rather sophisticated instrument that has much more possibilities than it seems at first glance. The technique of performance on it, most likely, developed under the influence of the technique of playing the Irish bagpipe uilleann pipes, which has a long tradition and is quite complex. Many Irish musicians became famous precisely because of their mastery of the whistle, for example Mary Bergin, who recorded two albums in the late 70s under the name Feadoga Stain 1 & 2 (Tin Whistles 1 & 2), which have had and continue to have a significant impact on whistlers around the world.

Notable whistlers:

Modern whistles

There are many different types of tin whistles these days. These are the tin conical whistles that have survived to this day Clarke, and common brass with a plastic whistle generation, available plastic whistles Dixon and Susato and wooden whistles of professional manufacturers.

The most popular manufacturers:

The whistle is one of the most common instruments in the world, largely due to its affordability: an entry-level pipe, quite acceptable in quality, can cost $5, professional-level instruments cost from $100 to $700, but some professionals prefer cheap whistles. The most expensive, as a rule, are wooden artisan whistles.

Low whistle

low whistle- low-whistle - a low variety of tin-whistle. It features a lower setting and larger size, as well as greater demands on breathing and less mobility. It has a deeper and thicker timbre. Therefore, the low whistle is often used to play slow melodies. Made from metal, plastic or wood.

The most common key is D (D of the first octave, an octave below the usual tinwistle). It is produced in most keys from G (salt of the first octave) to G (small salt). The lowest tonalities are very rare and are sometimes called "bass".

History

It is likely that longitudinal flutes like the low whistle existed as early as the 16th century, this fact remains debatable.

The inventor of the low whistle in its modern form is an English jazz musician and instrument maker. Bernard Overton, who in 1971 made a low whistle for a famous Irish musician Finbara Fury (Finbar Furey), who lost his bamboo whistle while on tour. Having made the first two low whistles, which Fury actively used in his performances, Overton began to receive commissions from other musicians.

The beginning of the mass popularity of the low whistle fell on the 90s of the XX century after the famous dance show Riverdance in which the musician Davy Spillane played this instrument.

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Wooden Copper Keyboards Details

An excerpt characterizing Whistle

- Oui, madame, [Yes, ma'am,] - he answered, looking around.
- Have you seen my husband?
- Non, madam. [No, ma'am.] - He smiled quite inappropriately.
- You seem to have recently been in Paris? I think it's very interesting.
- Very interesting..
The countess exchanged glances with Anna Mikhailovna. Anna Mikhaylovna realized that she was being asked to keep this young man busy, and, sitting down beside him, she began to talk about her father; but, like the countess, he answered her only in monosyllables. The guests were all busy with each other. Les Razoumovsky… ca a ete charmant… Vous etes bien bonne… La comtesse Apraksine… [The Razumovskys… It was delightful… You are very kind… Countess Apraksina…] was heard from all sides. The Countess got up and went into the hall.
— Marya Dmitrievna? – I heard her voice from the hall.
“She’s the best,” a rough female voice was heard in response, and after that Marya Dmitrievna entered the room.
All the young ladies and even the ladies, except for the oldest ones, stood up. Marya Dmitrievna stopped at the door and, from the height of her corpulent body, holding high her fifty-year-old head with gray curls, looked around the guests and, as if rolling up, unhurriedly straightened the wide sleeves of her dress. Marya Dmitrievna always spoke Russian.
“Dear birthday girl with children,” she said in her loud, thick voice that overwhelms all other sounds. “Are you an old sinner,” she turned to the count, who was kissing her hand, “do you miss tea in Moscow?” Where to run the dogs? But what, father, to do, this is how these birds will grow up ... - She pointed to the girls. - Whether you like it or not, you need to look for suitors.
- Well, what, my Cossack? (Marya Dmitrievna called Natasha a Cossack) - she said, caressing Natasha with her hand, who approached her hand without fear and cheerfully. - I know that the potion is a girl, but I love it.
She took out pear-shaped yakhon earrings from her huge reticule and, giving them to Natasha, who was beaming and flushed with a birthday, immediately turned away from her and turned to Pierre.
– Eh, eh! kind! come here,” she said in a mockingly quiet and thin voice. - Come on, my dear...
And she rolled up her sleeves menacingly even higher.
Pierre came up, naively looking at her through his glasses.
"Come, come, dear!" I told your father the truth alone, when he happened to be, and then God commands you.
She paused. Everyone was silent, waiting for what was to come, and feeling that there was only a preface.
- Okay, nothing to say! good boy! ... The father lies on the bed, and he amuses himself, he puts the quarter on a bear on horseback. Shame on you, dad, shame on you! Better to go to war.
She turned away and offered her hand to the count, who could hardly help laughing.
- Well, well, to the table, I have tea, is it time? said Marya Dmitrievna.
The count went ahead with Marya Dmitrievna; then the countess, who was led by a hussar colonel, the right person with whom Nikolai was supposed to catch up with the regiment. Anna Mikhailovna is with Shinshin. Berg offered his hand to Vera. Smiling Julie Karagina went with Nikolai to the table. Behind them came other couples, stretching across the hall, and behind them all alone, children, tutors and governesses. The waiters stirred, chairs rattled, music played in the choir stalls, and the guests settled in. The sounds of the count's home music were replaced by the sounds of knives and forks, the voices of guests, the quiet footsteps of waiters.
At one end of the table, the countess sat at the head. On the right is Marya Dmitrievna, on the left is Anna Mikhailovna and other guests. At the other end sat a count, on the left a hussar colonel, on the right Shinshin and other male guests. On one side of the long table, older youth: Vera next to Berg, Pierre next to Boris; on the other hand, children, tutors and governesses. From behind the crystal, bottles and vases of fruit, the count glanced at his wife and her high cap with blue ribbons and diligently poured wine to his neighbors, not forgetting himself. The Countess, also, because of the pineapples, not forgetting her duties as a hostess, threw significant glances at her husband, whose bald head and face, it seemed to her, were sharply distinguished by their redness from gray hair. There was a regular babble at the ladies' end; voices were heard louder and louder on the male, especially the hussar colonel, who ate and drank so much, blushing more and more that the count already set him as an example to other guests. Berg, with a gentle smile, spoke to Vera about the fact that love is a feeling not earthly, but heavenly. Boris called his new friend Pierre the guests who were at the table and exchanged glances with Natasha, who was sitting opposite him. Pierre spoke little, looked at new faces and ate a lot. Starting from two soups, from which he chose a la tortue, [tortoise,] and kulebyaki, and up to grouse, he did not miss a single dish and not a single wine, which the butler in a bottle wrapped in a napkin mysteriously stuck out from behind his neighbor’s shoulder, saying or “drey Madeira, or Hungarian, or Rhine wine. He substituted the first of the four crystal glasses with the count's monogram, which stood in front of each device, and drank with pleasure, looking more and more pleasantly at the guests. Natasha, who was sitting opposite him, looked at Boris, as girls of thirteen look at the boy with whom they had just kissed for the first time and with whom they are in love. This same look of hers sometimes turned to Pierre, and under the look of this funny, lively girl he wanted to laugh himself, not knowing why.
Nikolai was sitting far away from Sonya, next to Julie Karagina, and again, with the same involuntary smile, he spoke something to her. Sonya smiled grandly, but apparently she was tormented by jealousy: she turned pale, then blushed, and with all her might listened to what Nikolai and Julie were saying to each other. The governess looked around uneasily, as if preparing herself for a rebuff, if anyone thought of offending the children. The German tutor tried to memorize the categories of foods, desserts and wines in order to describe everything in detail in a letter to his family in Germany, and was very offended by the fact that the butler, with a bottle wrapped in a napkin, surrounded him. The German frowned, tried to show that he did not want to receive this wine, but was offended because no one wanted to understand that he needed wine not to quench his thirst, not out of greed, but out of conscientious curiosity.

At the male end of the table the conversation became more and more lively. The colonel said that the manifesto declaring war had already been published in Petersburg, and that the copy, which he himself had seen, had now been delivered by courier to the commander-in-chief.
- And why is it difficult for us to fight with Bonaparte? Shinshin said. - II a deja rabattu le caquet a l "Autriche. Je crains, que cette fois ce ne soit notre tour. [He has already knocked down arrogance from Austria. I'm afraid our turn would not come now.]
The colonel was a stout, tall and sanguine German, obviously a campaigner and a patriot. He was offended by Shinshin's words.

An instrument now known among Irish musicians as , , or tinflute , has a long pedigree in the historical annals of folk music.

For the first time such pipes were known in China, about 5000 years ago. Their design came to Europe around the 11th century. The oldest surviving specimens are 12th-century bone whistles recently uncovered in High Street excavations in Dublin's old Norman quarter.

Various types of whistle flutes, which were the progenitors of the modern tinwhistle, are often mentioned in the stories and in the laws that governed ancient Irish society. There is a story that Aileen, leader of the magical tribe Tuatha de Danann, uses feedan to wake up the inhabitants of the High King's palace Tara so that he can carry out his "Revenge On November Eve", held annually (I can only guess what this event is).

Players on feedan also mentioned in the story of the King of Ireland found in the Judicial Laws dating from the third century AD.

A 12th century poem mentions cuisleannach (performers) on cuisle or pipes) often present at fairs even in the pre-Christian period. However, the poet himself describes them rather disapprovingly. (maybe due to personal dislike, or still because of their game).

A more positive attitude towards cuisle spoken by a 12th century translator in Acallam na Senorach comparing this instrument with the timbre and sound of the girl's voice.

One of the most interesting references comes from a poem found in the ancient city Teach Miodhchuarta. It contains descriptions of royal banquets at Tara; cuisleannach assigned to the same division as blacksmiths, armor makers, jugglers, shoemakers, fishermen (in short, common people, artisans), and are named their social compatriots.

Through the research of 19th century scholars, some understanding of what these various "musical pipes" were that flourished at that time was possible.

Both instrument names are feedan (also called feed dog ) and cuisle (cuiseach ), refer to "pipe, trumpet, artery, vein", which were made from arched stems of plants such as reeds and other herbs, (subsidiary meaning feedan - "hollow stick").

Manufacturer uilleann pipes (of Irish bagpipes) Patrick Ennelly of Chicago recalled that as a boy at Mayo, he often made musical instruments from the straw of mature oats, simply removing the core of the stalk, and then shaping the whistle and finger holes with a penknife.

Most likely, the basic principles of the device of such instruments were discovered quite early by many people. Later, when processing technology advanced, more durable materials such as wood and bone began to be used, as well as various whistle designs, reeds and reeds were invented to extract sound in instruments.

Stone carvings from the 9th to 11th centuries show these flutes as straight, or sometimes slightly curved at the base. They had a narrow conical channel that flared out at the base and were about 14 or 24 inches long.

Whistles currently being made in the key of Bb (B flat) (two steps below the "standard" key of D) are 14.3/4 inches long, this is an estimated but not perfectly accurate tuning of the then feed dog or cuisle .

Harmonic and possibly "overblowed", i.e. "over-inflated" notes were used, as with similar types of simple flutes throughout the world.

Longitudinal members of the flute family, found first in medieval Brittany and Ireland, were later also discovered in Somerset and Mounttootshire, England. Two pipes made of deer bone had five upper holes; one had two lower thumbholes, while the other had only one. One pipe had a range of one and a half octaves, the second - two and a half octaves. These instruments have been restored to working order and found to produce a diatonic scale (as do modern ). This indicates that in those days it was possible to play simple melodies on such instruments.

Modern belongs to a variety of musical instruments called (in the Western tradition) flageolets - harmonics, a famous example of which is the recorder. To distinguish these instruments by device from other flutes, the term “whistle flute” or “ fipple-flute". I would like to point out that now flageolet'om called a whistle flute, having four upper and two lower holes, one of which is an octave.

Fipple (whistle, fipple) - a device formed by a small block, usually of wood, closing the flute channel from the upper end and forming an air channel through which air enters the whistle blade; in some cases this wooden block is not made separately, but is an integral part of the whistle.

Fipples in medieval bone flutes were made of clay. A narrow space was created in the form of a gap between the fipple and the inner wall of the instrument.

The airflow generated by the performer is directed by this system to the sharp edge of the pipe just behind the fipple, thus producing sound. This type of ducted flute became known in Europe in the 11th century and, according to musicologists, exists today in various forms throughout the world.

Early 19th century English finally took shape as an instrument with six playing holes. Some still had a traditional thumb hole, but the blowing technique made it possible to successfully do without it.

History of Robert Clark

Robert Clark lived and worked on a farm in the small village of Coney Weston, in England, as a simple laborer. He was a talented musician, and at every opportunity he played the wooden whistle well. Maybe because of this, or maybe for another reason, but in 1843 the owner of the farm accused him of dishonesty, and fired the poor fellow.

Robert had to look for a way to earn his own bread, and even support his family.

Then he became interested in the possibility of making a metal whistle, similar to the wooden one he had. Why metal? And ask modern wooden whistle makers why they are so expensive? :) Robert learned about the existence of a new material - "tinplate", that is, tinplate. So called steel sheets coated with tin. Tin prevented the corrosion of steel, and generally improved the aesthetic properties of the material.

Clark went to a blacksmith he knew and asked if he could get plate, and how to make a pipe out of tin "... like this one, wooden"? Seeing no difficulty in this, the blacksmith helped (And when did the guys not help?), and Robert turned out to be a good tool. Moreover, so good that he decided to start a business for the manufacture !

His native village was not a place where one could open a real business. Therefore, Clark, having collected tools and other belongings, loaded it all into a cart, and, together with his son (by the way, also Robert) went to Lancashire, where, as he was told, "there is where to turn around."

So they went, pushing the cart in front of them from Coney Weston all the way to Manchester.

When along the way they met villages and towns where there was a market, Clark stopped there and made tin whistles to sell right there. In front of everyone, he made his pipes and immediately played them. They say that the buzzing market stopped and listened to our hero play his favorite tune " Danny Boy«.

Sometimes he met Irish laborers who built railways and canals, and he sold whistles to them - after all, Robert asked for a little, and almost everyone could buy this unpretentious musical instrument for themselves. So tin whistles came to Ireland, and soon became the most beloved Irish folk instrument.

Upon reaching Manchester, Robert Clark set up a factory and soon became a prosperous manufacturer. Later he built a new, real factory, two

at home, and even a church in the nearby village of New Moston. By that time he was already quite a rich man ...

Still The Clarke Tinwhistle Company produces whistles, and they are still available to almost everyone. Whistle is perhaps one of the most inexpensive and simple musical instruments. Clarke called his first whistles "Meg", the Victorian word for a half-penny coin - it was for this amount that you could buy an instrument from Robert.

The current model "Meg" is produced in memory of those days, and now it is the cheapest (but not the worst) whistle in the world.

You can buy yourself this, or even the original version - Clarke Original, and touch the history of Robert Clark - a man who made instruments for the people ...

A little about

The tool now called (literally: low whistle) is a very close relative of the usual whistle (I will not use the expression , which is sometimes used for a clearer semantic distinction between these instruments). Wide popularity among traditional musicians of our time makes us take a closer look at this relatively young instrument. A richer, more complex, deeper and more thoughtful sound allows you to make interesting arrangements of works not only in the traditional folk genre, but also in styles derived from it.

Origin consents no, there are three main versions of the origin of the "low whistle".

Low whistle as a 17th century instrument

The low whistle was first called the "vertical flute" because of its shape. It is a descendant of recorders developed during the 16th century. First had a conical channel and six playing holes, borrowed from early transverse flutes. They were made of wood and were not customizable. At the end of the 17th century, when metalworking reached the desired level, low whistles began to be made from brass and nickel. To do this, as a rule, the metal was rolled into a tube and soldered, like a conical whistle Clark. Some of the instruments already had a customization slide. These whistles were used throughout the 18th century and have been found in Ireland, Great Britain, Canada and the United States. It is said that the reappearance of vertical metal flutes in Irish music occurred in the 1970s thanks to the musician Finbar Furey. It is also believed that it was he who introduced the term " «.

Low whistle as a 20th century instrument

The low whistle is a recent invention (probably no more than 30 years old); and, moreover, adopted into the Irish tradition even more recently. The use of low whistle in the show Riverdance contributed to the recognition and popularization of the instrument, however, few musicians found this novelty usable instead of the traditional flute or the usual . Generally speaking, most often used as a tool for "special effects" on several individual tunes. Although there are some performers who play exclusively on low whistles. It seems to many that a low whistle allows you to get a sound like a flute, while without the technical effort that a flute requires. This opinion is not entirely true, since the flute still sounds unique, and not always as easy to play as . It can be said with the assumption that - something between a whistle (in terms of ease of playing) and a flute (in terms of richness of sound). But this is purely my opinion, let's move on to the third, most common theory.

Low whistle as an invention of Bernard Overton

In the late sixties, one of the most famous musicians who set the tone for the English folk scene were the brothers Eddie and Finbar Fury. The main phenomenon was Finbar's composition called "The Lone Boatman". Finbar himself played in this group on the Indian bamboo flute in A-flat. In the end, this tool, due to physical wear and tear, cracked, and lasted its last days only thanks to adhesive tape and chewing gum. One night, Finbar accidentally sat on his unfortunate flute, finishing it off completely.

The need for a new instrument forced Finbar to order from an English master named Bernard Overton. At that time he was engaged in the manufacture of transverse flutes. Bernard took on the creation of a prototype in the key of G... When the instrument was ready, Finbar liked it so much that he asked Bernard to make another one for him, in the key of D (below exactly an octave). This was the birth of a dynasty Overton…

The popularity of Finbar Fury was high, and at concerts many people asked him where he got this new instrument. So Bernard Overton began to receive his first orders, and soon he left all other work, fully engaged in the manufacture of low whistles. Currently low whistles Overton are made in more than 20 different keys, and special models are also produced (with additional playing holes and non-standard characteristics).

Many manufacturers have begun to make , to a greater or lesser extent copying the models Overton. However, few people have managed to get close to the sound of the "space drainpipe", as this brand of low whistles is sometimes called for its recognizable sound.

A few years ago, Bernard Overton decided to leave whistle making, a decision that could destroy the fragile market for artisan whistles. Bernard sold whistle rights Overton two people - Colin Goldie and Phil Hardy.
Colin Goldie is completely handmade and makes whistles exactly like Bernard Overton made them. His instruments are highly respected and sought after for their impeccable and consistent sound quality. Unfortunately, in 2008, Bernard passed away, and, since August 2009, at the request of Bernard Overton's family, Colin Goldie no longer names his whistles. Overton. Now he uses his own last name - Goldie while maintaining the highest quality and unique sound of the instruments. Phil Hardy took a more commercial path. Quite quickly he developed a new series of whistles based on the design Overton, but factory, not hand-made. Now these whistles are produced under the brand name "Chieftain", and, thanks to mass production and a good price / quality ratio, steels are very common. Phil Hardy, however, produces more expensive low whistles entirely handmade under the brand name "KerryPro".
“Here’s PR again!”, You say, but there’s nothing you can do about it ... For many years, the terms “ " and " Overton ” were almost synonymous, and I don’t know of another story that could more adequately tell about the birth of this new instrument, one of the youngest instruments in the world. A beautiful instrument - a beautiful story, that's the way it is with us ... :)

Article taken from tinwhistle.breqwas.net

Irish pipe (whistle, literally - a whistle, which is generally correct if you blow harder) - one stick and nine holes. Six working holes allow you to play seven notes of natural major. The second and the beginning of the third octave are played by blowing. Special combinations allow you to take flats. They are made in many keys - A, Bb (bagpipe system), C, D, Eb F, G (this affects the size); the rest - by order. They mainly use C and D - respectively for songs in C / Dm and D / Em.

Vistulas are of two main types - cylindrical and conical. Cylindrical are a metal tube (made of bronze or nickel) with drilled holes and a plastic mouthpiece. They have a bright sound. Main brands: Generation, Feadog, Waltons.

Professional cylindrical vislas are made entirely of aluminum. The original strong sound, which is no longer whistling, but still not a flute. Brands: Howard, Chieftain.

Conical whistles (known as Pennywhistle - they got their name because some nimble citizens, playing on these same whistles in public places, managed to earn a little of these same pennies) - as you can see in the photo - a tin sheet rolled into a cone, soldered along the seam with reverse side, with a wooden insert in the mouthpiece. A characteristic rather soft "hissing" sound. Also available an octave lower (low whistle). When played with other instruments, it creates a sense of "depth of sound". Brands: Clark, Shaw

Scottish bagpipe (Great Highland Bagpipe) full size (full size) kills everything living within a radius of 3 meters from the piper. Attempts to play it in small halls such as Magnifique end in complete paralysis of the audience. It actually consists of a bag "a (i.e. a bag), a mouthpiece, several drones (drones - emitting a characteristic sound of a constant tone, usually 1 bass, 2 tenors) and a chanter (chanter), usually in Bb, on which, in fact, a melody is played.

Speaking of melody. If someone does not know, we explain: besides the fact that this is a show, it is also music, and if you are not able to remember the melody, this does not mean that the piper does not remember it.

In order to prevent people from dying at concerts and home sessions, a small bagpipe (smallpipe). Its main difference from the big one is the quite acceptable power of the already ambiguous sound perception (I am delighted with it ... the first 10 minutes). In addition, it is much easier to blow into it, so it is better to learn the wisdom of the game on it.

Speaking of training. Along with training the lungs, at first it is recommended to use practice chanter(the same chanter as in the bagpipe, but with a mouthpiece), which is easier to blow, and there are not so many worries - inflate, press, play ... and all at once!

Guess what it is?

You hardly guessed it , or, in Russian speaking, an electronic training chanter that imitates the Scottish bagpipes. On the right side there is a headphone jack. Supports natural C and D sounds. Available with a black or transparent body (apparently by analogy with slots on Hi-End equipment for observing the magical glow of lamps and other coolness). If you seriously plan to train in inappropriate places for this (on the way to work / from work / to your girlfriend / or when she has just fallen asleep, and even more so if "she" is not her, but, say, mother-in-law!) Perhaps this device will help you.

For big fans to smoke a pipe during a concert, another tricky thing was invented - Uilleann (Elbow) Pipe (Irish bagpipe). As you may have guessed, you don't need to blow into it. Air is pumped using bellows. The standard action is D, but any action is made to order.

The UP has gone as far from the Scottish bagpipes as the Boehm flute from the whistle: the chanter allows you to take semitones, so that the system becomes unprincipled. In addition, the reed allows you to play an octave higher by blowing. With the help of additional regulators on drones, it becomes possible to do all sorts of interesting things like playing chords.

In addition to the complete set, UPs come in half - without additional regulators, and student - without drones.

A traditional Irish percussion instrument, usually a wooden frame covered with genuine leather. They hold it with their left hand, resting on the belly; they hit with the right, holding a stick in it in the manner of a fountain pen so that with sliding blows up and down, both ends of the stick hit the skin (basic technique).

Sticks (stick), in addition to the standard form, are fanciful and even more fanciful with a displaced center of gravity.

The nature of the sound varies considerably depending on the angle at which the blow occurs and on the position of the left hand on the inner surface of the skin. There are tuneable (tuneable) and non-tunable models with a diameter of 14-22 inches.

Mandolin family except for the usual small mandolin (mandolin) includes big sister mandola (mandola), mother mandocelo (mandocello) and dad mandobass (mandobass)- put a smile!. Once a little mandolin was seduced by a tomboy banjo. The fruit of their young love, which appeared after the allotted time, was called mandobanjo (mandobanjo). Such a turn of events could not but affect the next of kin. uncle sitar so upset that instead of ADADA he began to sound like ADGAD, and sometimes even like DGDAD, and aunt bouzouki (bouzouki)- Well, these Greeks have names! - even acquired an additional pair of strings, so as not to stand out from the slender rows of the mandolin family. Meanwhile, the excesses of the banjo pervert did not end there. Attracted by classical forms, he dishonored the venerable guitar, leaving his daughter as a memory of his ardent African lover. guitarbanjo (guitar banjo). Fearing revenge from the outraged public, the banjo made a feeble attempt to make up - he got a 5th string (5 sizes smaller - apparently he took it from some child) and changed the tuning to GDGBD. But this did not help him to avoid the answer: caught by an angry mob, he was cassed ... well, they tore off his frets and pulled nylon strings onto the neck.

The mandolin is built in the same way as the violin - GDAE. In addition to the classic Italian form with a pear-shaped body (round back), a model with a flat body (flat back - for example, a mandala) is more often used in folk music. And no wonder. You can confidently hold an instrument in your hands, the back of which is an elongated hemisphere, and even varnished, only in a sober state, sitting in the classic “foot to foot” position. Such demands on the musician, as you understand, did not lead to the strengthening of a sober lifestyle, but to the appearance of an instrument that stands firmly between the legs. The new design was called "Celtic".

The tenor mandola (tenor mandola) is built in the same way as the alto - CGDA and outwardly resembles a grown mandolin. True, in Irish music, the octave mandola (octave mandola, the Americans call it octave mandolin) is more often used, tuned as GDAE an octave below the mandolin.

The mandocello is built an octave below the CGDA tenor mandala. It looks like an octave more.

Mandobass is being built by EADG. Looks, hmm... respectively.

The sitar (sittern) recently, like other instruments of the mandolin family, has changed its design to a flat back, so the main difference is the presence of 10 paired strings, which are built as it comes into your head, and a shorter and wider neck (on in fact, there can be more or less strings - from 8 to ...). There are ADADA, ADGAD, DGDAD tuning options, plus a capo is often used.

The bouzouki is the Greek version of the lute. Traditional Greek are built by CFAD. In fact, they used to be made with six double strings (DAD), but now the Greek masters make mainly eight-string CFADs with a pear-shaped body (round back).

Irish musicians, in their desire to rebuild all such instruments in the GDAE, did not ignore the bouzouki, at the same time bringing the design to a common denominator. The appearance of flat back models made bouzouki very similar to the octave mandala, only the neck of the bouzouki is longer. Such an adaptation led to the fact that the line between the "Irish" bouzouki (irish bouzouki) and the octave mandala lay somewhere in the region of the 58th centimeter neck scale, so that anything shorter is a mandola, anything longer is a bouzouki. The sound of the "Irish" variety is more open and bright than that of the Greek, and it is more comfortable to hold it.

The tenor banjo is widely used not only in traditional Irish music, but also in traditional jazz. It has a smaller scale than the G banjo and has four CGDA-tuned strings, but virtually all Irish players tune down the GDAE, an octave below the mandolin and violin. Instruments with a shortened scale (17 frets instead of 19) are more popular, since their fingering corresponds to that of a violin.

The 5-string banjo is commonly used in bluegrass and country music, but in order to diversify it is used as an accompaniment in songs of various musical genres. Among the customization options, gDGBD and gCGDB are the most common. It is distinguished by the presence of the 5th string, slapped on the side-pripe on the fifth fret from the side of the bass strings. The fretless banjo, usually with nylon strings, was previously used with the violin due to its more consistent sound.

Mandobanjo or banjolin (mandobanjo or banjolin), as the name implies, is the result of an incorrect liquidation of a pogrom in a music store: a resonator from a banjo, a neck from a mandolin, a sound - well, this must be heard.

Guitar banjo (guitar banjo) - the perfect outlet for the guitarist when you want to extract the sounds of the banjo, but too lazy to learn. Actually, a guitar neck, 6 strings, the same chords, but the sound...

What is called in Italy violin, and in Russia a violin, in the hands of an Irish musician turns into fiddle. So if on stage someone calls someone Fiedler, this is not a competition for young Jewish talents, but a concert of Irish music.

According to the group's website Sid Host (Slua Si)