With some simple traffic-tracking tools, I can see what Google searches are leading people to my website. Most times, to my satisfaction, their search brings them to highly relevant content on my site. Other times I know they are not finding quite what they are looking for. So I’d like to address a selection of the searches that have brought people here unsuccessfully lately, and hopefully future searchers will find what they are after.

Recent search: Lord of the Rings tinwhistle

I get lots of searches for this, or for variations thereof including terms like “pennywhistle,” “sheet music,” etc. I assume that most searchers are looking for the “Concerning Hobbits” theme from the movie soundtrack.

It’s a simple tune, and a good place to start learning to use your ears to figure out a melody! Here are a few notes to get you started. Start on the low D (six fingers) of your D whistle:

D E F# A F# E D F# A B D’ C# A F# G F# E

Recent search: bassoon low a fingering

This could possibly be what you mean:

But if you’re looking for an A lower than that, it will require a little special preparation. The instrument’s lowest real note is a B-flat, but the A can sometimes be played by inserting a tube extension into the bassoon bell. There are commercial solutions available, though many bassoonists make their own extension out of PVC pipe or rolled-up paper or cardboard. It will need to fit securely into the bell, and cut to length with some experimentation to get an in-tune A on your instrument. Finger a low B-flat with the tube inserted to get a low A.

The low A appears in a number of important orchestral and chamber works, so serious bassoonists will likely run into it at some point. It may take some planning and pencil marks to get the tube in and out of the bell at the right times. Remember that with the tube in, you can’t play a low B-flat.

Recent search: what do all woodwinds have in common

Good question. It depends on what you want to include as “woodwinds.”

• If you start from something like “mouthblown wind instruments, with an enclosed air column set in motion by air applied to a mechanical structure (such as a reed or blowing edge),” then you manage to include a wide variety of woodwinds, while excluding brasses (air is applied to an anatomical structure—the player’s lips), free reeds such as harmonica, and non-mouthblown instruments like pipe organs, accordions, and various bagpipes.
• If you add to the previous definition something like “producing different pitches by opening and closing toneholes,” you eliminate panflutes, slide whistles, and a few other oddities.
• If you specify woodwinds in the Western tradition, the field narrows considerably; more so if you indicate that you wish to consider only instruments of the “classical” or “art music” traditions, only “modern” instruments, and so forth. By that point I think we have essentially worked our way down to the accepted basic five woodwinds: flute, oboe, clarinet, bassoon, and saxophone, though there may be a few others (such as recorder) that possibly still qualify.
• It should be noted that “made of wood” typically does not figure into our modern definition of “woodwinds.” The term is dated and misleading, but seems to be here to stay.

It is possible that the searcher was looking for something more like commonalities in the respective playing techniques of the woodwind instruments. I tend to shy away from making broad generalities about this, since each instrument has its own rich, nuanced, and highly specialized tradition. But a few things that I think apply more or less across the board:

• Proper breath support is essential for good intonation, tone, and response.
• Ditto for correct voicing (position of the back of the tongue, defining the size of the oral cavity). Some woodwind players feel that it is important to keep this constant, while others advocate a flexible, mobile voicing. In any case, if the tongue is improperly situated in the mouth, good tone production is compromised.
• Articulation is achieved by bringing the tip of the tongue into contact with a certain point, which varies by instrument and may be a mechanical or anatomical structure. The commonality is that the tongue contacts this point only very slightly and very briefly, for clear and precise articulation.
• Fingers must move swiftly and in perfect synchronization for note changes; once the fingers are in place for the new note, they should exert only the bare minimum pressure to keep keys or toneholes closed, thus avoiding undue tension.

I’ll keep an eye on the Google stats and answer questions that strike my fancy in the future. Questions by email are also welcome!

Happy Snow Day.

1. Pennywhistles by Susato.

There are two schools of thought as far as what kind of pennywhistles are best. Some players swear by inexpensive whistles (of which Generation whistles are the quintessential example), because of their traditional, breathy sound. The disadvantage of these is inconsistency—you may have to play quite a few before you find one that plays in tune and responds well throughout its range. The advantage of these is that they are cheap, often under $10.

The other school of thought favors expensive, handmade whistles. These tend to play well in tune, respond well, and otherwise behave like a fine musical instrument should. They are also available in a wide variety of materials and styles to suit your taste. My favorites are the brass whistles by Michael Burke. But, of course, such craftsmanship comes at a price, from maybe $100-$400, or more for some rare and desirable whistles that aren’t in production anymore.

The plastic whistles by Susato are an excellent compromise for the serious musician on a budget. Here’s what I like about them:

• They have a pleasing tone, though some players complain that their sound is too “recordery”—a little more complex than some whistles.
• They play dead-on in tune, and are available in either tunable or non-tunable versions. The non-tunable are perfect if you know you’re going to play at A=440; personally I choose the tunable “Kildare” models.
• They are available in any key you want. This is huge overkill for Irish traditional music, but a real lifesaver for the woodwind doubler who might be asked to play something very non-traditional. Some keys are also available in more than one bore diameter, with the narrower bores giving a sweeter tone and the wider bores having a little more power.
• They are reasonably loud, which some trad players dislike but which suits most woodwind doubling situations.
• They’re quite inexpensively priced, between $30-$80 for the tunable versions and less for the non-tunable.

While I maintain collections of both “cheap” and “expensive” whistles, the Susatos are ideal for the situation when you need a whistle in an odd key, need it to play reliably in tune, and need it quickly without a large outlay of cash.

If you’re buying your first whistle, get one in “D.” I would suggest the Kildare small bore. Second and third whistles, probably one in C, then one in low D.

2. Recorders by Aulos or Yamaha.

While the recorder isn’t really an “ethnic” instrument, it should be at the center of every ethnic-woodwind player’s collection. The smaller recorders (soprano/descant and sopranino) work very well for evoking a medieval or Renaissance sound, and the alto/treble is a major voice of the Baroque period. Since they are fully chromatic instruments, they can also serve in a pinch when you don’t have a pennywhistle in the right key, or otherwise need a generic ethnic-sounding instrument that can do what a chromatic instrument does.

The finest recorders are handmade from expensive woods, and might cost several thousand dollars. But there are plastic instruments that give all but the most expensive recorders a run for their money, at a tiny fraction of the price. My personal favorites are by Aulos, and are replicas of Baroque instruments by Richard Haka. I recommend the slightly more expensive versions with the faux woodgrain, which dramatically improves their appearance but also adds a slight texture that makes them easier to hold. The soprano can be had for under $40, and the alto for under $60. I like the Aulos instruments for their complex, reedy tone which works well for solo playing, especially if you’re interested in tackling some authentic Baroque solo repertoire. The comparably-priced 300-series recorders by Yamaha are, to my ears, more pure-toned, and maybe a better choice for ensemble playing.

3. Flutes by Doug Tipple.

I’m a big fan of these transverse flutes made by Doug Tipple. They are made from regular hardware-store variety PVC pipe, but they are seriously playable instruments, and have even been used in Broadway productions of “Tarzan” and “The Lion King.” In a blind test, I think these can easily pass for wooden or bamboo flutes, with the advantages of tunability, stable pitch, and consistent response.

The “Tipple-Fajardo wedge” is a nice touch, and for a few extra dollars makes a nice improvement to pitch in the second octave (which is otherwise a problem with cylindrical flutes). Mr. Tipple also makes available an optional lip plate, which apparently makes the tone more like a thicker-walled wooden flute; personally I skip this option since I’ve got wooden flutes and I like the Tipple flutes for their slightly more rustic sound. Additional options are to have the flute made with a joint between the left and right hands and to have the bell end extended (the “eight-hole” flute). These are only necessary if you prefer the ability to adjust the hand position for comfort or like the balance of a longer flute.

The Tipple flutes are available in almost every key (no B flute—maybe if you asked nicely?) at prices ranging from $55-$85. Start with a low D model if you don’t already have bamboo or wooden flutes.

Happy holidays!