Chiff and Fipple Forums

Steady Blowing is a Fundamental Skill In recent times, tutors seem to be focusing on fingering and tune structure to the detriment of bag control skills. Obvious by all the frog cheeks and hyperventilating into the blow pipe. When I was first introduced to my piping ...

... second-best at blowing steady.) Most tutors I have seen in recent time do not teach bag control as a necessary skill and seem to focus mostly on fingering the chanter. Sadly around here it seems that more and more teachers aren't being strict on crossing noises. For me Job One is being able to ...

If you're really trying to minimize the number of keys, my opinion is to skip Bb. On the flutes I have, cross-fingering Bb works pretty well. I would say F, D# and G# are the most useful. Not specifically for Irish music, but just in general. Long F is good specifically when you ...

... the easy option is a hard reed. Most tutors I have seen in recent time do not teach bag control as a necessary skill and seem to focus mostly on fingering the chanter. It is very common to hear the critique “good fingers – poor phrasing and tone”. This is because the piper is not steady and the ...

... meant jumping about a lot, but it allowed me to get to grips with the fingering first and then focus on the breath. I also tried the trick I used as a kid wen I was supposed to be asleep, where you put the beak of the whistle under your lower lip and blow air down across the blade – you only ...

... is all about lipping. The embouchure needs to be small but VERY flexible. Pancelt's advice about rolling the flute is good, as is the alternate fingering from Fintano. After years of playing, I do all the adjustment of the attack angle by directing the airstream rather than moving the flute. ...

In Janice Dockendorff Boland's book, she cites Quantz as recommending the F# fingering x x x | o x x K Right, that's the sharper Baroque F# fingering. They were into all that enharmonic stuff then. I didn't go into that because the OP was talking about using a ...

In Janice Dockendorff Boland's book, she cites Quantz as recommending the F# fingering x x x | o x x K for use in the key of A because x x x | x o o K is too flat relative to G#. Quantz seems to have been very sensitive to such issues. I guess the point is that ...

Evening all, I just purchased an Aulos Stanesby flute, and I'm having difficulty fingering the f natural and f sharp to make the difference in pitch noticeable, whichever fingering I use, there is minimal difference between the two notes. I have played all sorts ...

Evening all, I just purchased an Aulos Stanesby flute, and I'm having difficulty fingering the f natural and f sharp to make the difference in pitch noticeable, whichever fingering I use, there is minimal difference between the two notes. I have played all sorts ...

... head if there is only one finger movement to play the note. G# is probably my next most used key. Cnat is an odd one for me. I much prefer cross-fingering the Cnat for the slightly sharper "Piper's C" pitch, and it's fast to cross-finger at dance tempos. I only use the Cnat key for ...

... is much easier with a long F, and this is quite common. Likewise for the long C; I don't think a C key would change my usual habit of cross-fingering the C anyway, but maybe it adds the possibility of ornaments on the C? Do you use the C key often? I use the C nat key whenever I can, and ...

... the other one sits there taking up space and maintenance time? Likewise for the long C; I don't think a C key would change my usual habit of cross-fingering the C anyway, but maybe it adds the possibility of ornaments on the C? Do you use the C key often? The D# key I know is mostly useless in ...

... thing cost over $400. Very few people are interested in buying a high whistle that expensive. Ah ha! So it's exactly the same thing as I've just ... The tricky section starts at 1:01, and the part I gave lists of fingerings for is 1:06 to 1:09. The speed you can play that at dictates how ...

... right for next time, but it's mostly instinctive. Nearly every young whistle player I've talked to at sessions thinks my Morneaux's system is ... not to pitch, but to the row height]. My design would provide easier fingering, reduced stretch, easier learning, dead easy transposing, and it ...