How to Learn the Irish Low Whistle?

My Irish Low Whistles - Top: Tony Dixon Fixed Head Low D Whistle, Bottom: Chieftain Thunderbird Fixed Head alloy Low D Whistle

If you are new to Irish or Tin whistles in general and Low or Concert whistles in particular, and you are getting started on your Irish whistle journey, this could be some useful information here for you. Of course, I must mention that I am just an ordinary amateur. And, except for Tabla, I have no formal training in music in general, and Irish Concert or Low whistles in particular. Here is an account of my experience with the 'Tony Dixon Fixed Head' and 'Chieftain Thunderbird Fixed Head' Low D Whistles.

I had tried the smaller ‘High’ Tin or Penny Whistles, which I had bought from the friendly Sam Ash music store in Buffalo Grove, IL, more than 10 years ago and I didn’t go very far in my journey with the Penny Whistles. It was me and not the instrument. I had liked the instrument then, and I still like those elegant and simple tin whistles.

Tony Dixon Low Whistle

Eventually, I got attracted to the sound of, and the idea of learning to play, a Low Whistle. And, it's but natural that a Lean Living Practitioner got attracted to such a simple, sustainable and 'low maintenance' instrument. I found out that the Low Ds were the most popular and mainstream Low Whistles around and available. I bought my first low whistle at the magnificent Chippenham Folk Festival during summertime in 2018. It was a Tony Dixon Fixed Head Low D tapered bore (about 23 inches long) black plastic (ABS Polymer) whistle depicted in the picture above. I really liked this instrument and progressed a bit in teaching myself how to work with it. You may want to take a look at a few videos available here to get an idea about the possibilities and the outcome.

Thunderbird Low Whistle

During November 2018, I bought my second Irish Low Whistle. This was a Chieftain Thunderbird Fixed Head alloy (about 23 inches long) Low D Whistle (2018 New Model) depicted in the picture above. With the arrival of this new instrument, my enthusiasm went up and I started putting in significantly more time and effort every week into my endeavour to learn the instrument. Over the next few months, I worked exclusively with this instrument. I could apply all that I had learnt with the Tony Dixon Low whistle to my practice with the new Chieftain Thunderbird Low whistle. 

Personality of these instruments

Each of these two above mentioned instruments, the Chieftain Thunderbird Low whistle and the Tony Dixon Low whistle, has its own distinct personality. That’s what I experienced. They do sound very different. Which one sounds better depends on the taste and context in question. The Chieftain Thunderbird Low whistle is a very well built whistle with a remarkably comfortable mouthpiece. Because of the great design of its mouthpiece, the Thunderbird Low D whistle clogs a lot less. I believe, that's the case because the narrow windway allows built-up of more air-pressure to push any accumulated condensation etc. away.

The lowest note, D, on the Tony Dixon Low whistle is a delicate one. This one note is slightly trickier to produce and sustain on the Dixon. You have to be very precise and gentle while attempting to produce the low D note on a Tony Dixon Low whistle. Apparently, the sensitivity associated with the low D note on a Tony Dixon Low whistle is part of the design philosophy of that instrument. I believe, it is that very design philosophy that makes this instrument, the Tony Dixon Fixed Head Low D whistle, so easy to play with significantly less air and effort. And, there is no such sensitivity associated with producing and sustaining a low D note on the Chieftain Thunderbird Fixed Head alloy Low D whistle. It’s a bit more tolerant in this matter.

However, in my experience, when it is compared with the Tony Dixon Fixed Head Low D whistle, this tolerance apparently makes switching between the lower octave and the higher octave slightly trickier and takes a little more air and effort on the Chieftain Thunderbird Fixed Head alloy Low D whistle. And, creating and maintaining the notes, particularly in the higher octave, take a little more air and effort on the Chieftain Thunderbird Fixed Head alloy Low D whistle. But, one usually gets used to it really soon. I find the C Sharp note (all holes open) a little harsh(?) on the Tony Dixon Fixed Head Low D whistle; I am not sure, though, if it's me or the instrument!

After working exclusively with the Chieftain Thunderbird Fixed Head alloy Low D whistle for a few months, I moved back to the Tony Dixon Fixed Head Low D whistle and could apply all that I had learnt on the Chieftain Thunderbird. Since then, I have been working exclusively with the Tony Dixon Fixed Head Low D. Now, after working almost exclusively with the Tony Dixon Fixed Head Low D over the past many months, whenever I try to work with the Chieftain Thunderbird, I struggle a bit for some time with the notes in the higher octave ;-). And, of course, I know, it's not the instrument. It's me!

It has been easier to work with the all-plastic Tony Dixon Low whistle even at a lower room temperature. And, the all-metal Chieftain Thunderbird Low whistle has worked better at a higher room temperature. A bit of condensation and dripping or drooling, however, always accompanied all my practice sessions with either of these two instruments. Of course, with so much going into and happening to the instrument, inevitably, a bit more than just the musical notes comes out of the instrument.

These two whistles feel very different. In my experience, I get a slightly better grip with the Tony Dixon Fixed Head Low D. And, of course, the Tony Dixon Fixed Head Low D is much lighter than the Chieftain Thunderbird Fixed Head alloy Low D given that the former is an all-plastic whistle and the latter, an all-metal one.

Fingering and Breathing

No, it’s not about a causal connection between the two. These are two independent elements in the context of playing an Irish low whistle. In my experience, getting the fingering reasonably right was not very difficult. Getting the breathing reasonably right was the trickier bit. Trying to inhale exclusively through the nostrils, while playing the low whistle, before long proved to be a very problematic practice. Unlearning that practice was a real challenge; and to a little extent, still is. Identifying the inherent gaps in the songs and pausing to take air quickly through mouth at those gaps while playing the low whistle was the replacement practice to get rid of the mentioned problematic one. It has been a difficult struggle, though.

It's not the instrument!

The more I manage to practice and learn, the more I understand that it's not really about the instrument in question. It's more about the person behind the instrument breathing life into the instrument. The pursuit of becoming better at the art is much more valuable than the pursuit of finding the 'perfect' instrument to start your journey with. Even though I don't have any formal training in the Irish Whistle and music, I believe that a bit of formal training generally leads to 'a stronger start' and 'getting the basics right' for the rest of the wonderful journey. Just start somewhere, start with something and do your best. Not only the results but the journey also will be remarkably satisfying.