WILLIAM S. HAYNES, founder of the Haynes Flute Company. He and his company established a level of excellence in crafting fine handmade flutes that set the standard well into the 20th century. I own a Haynes flute.

THE HISTORY OF THE WILLIAM S. HAYNES FLUTE COMPANY OF BOSTON

 HAYNES, HAYNES, and More HAYNES
by Susan Berdahl
The Woodwind Quarterly

The history of the establishment of the William S. Haynes Co. can not be discussed without telling the story of three people having the identical surname of Haynes: William Haynes, his brother George Haynes, and John C. Haynes (no relation to the brothers).

William S. Haynes
The single efforts and various interactions of these three Haynes men led to the foundation of the Boehm flute making company that very early on influenced others. Already, by the 1920s, William S. Haynes Co. of Boston was considered to be the principal flute maker in the United States. He was in a class by himself and his instruments were of fine quality and were being sent to all parts of the world. (1) America’s leading flute expert and collector, Dayton Miller, aptly described Haynes’ rising stature:

It was Mr. William Haynes who made the flutes for the John C. Haynes Company for the short time that they were in this particular line of work. I think it was largely on account of Mr. Haynes’ influence that flute making has developed so largely. It is quite certain that he is the most prominent maker in this country at the present time and I think it is correct to say that perhaps he is the most eminent flute maker in the world. I would make only one possible exception to the statement that relates to a London maker, but the London makers are apparently losing in standing while Haynes has been gaining. (2)

More than thirty years before, the two Haynes brothers, as a team, innocently ventured into flute making as a passionate pastime, developing skills and knowledge gradually as they went along. Though they both became excellent craftsmen, by nature, they were complimentary counterparts – George was the musician and creative genius, and William, on the other hand, had a head for business. Even though John C. Haynes never made a flute, he had a great deal to do with Boehm flute making in the United States. He was largely responsible for establishing William S. Haynes as a flute maker. Besides adding a dimension of destiny, the coincidence of identical surname has no doubt served to reinforce indelibly the name Haynes in the flute world.

I. EARLY HAYNES BROTHERS
Experiments in Providence 1883-1886
The Haynes brothers were born just two years apart (William was born in 1864 and George in 1866) to a Virginia school teacher and a New England sea captain.(3) They grew up together in East Providence, Rhode Island. Younger brother George was the only flute player of the family. He had lessons on the old system flute with R. H. Fairman(4) and was accomplished enough to play in theatres and with the Reeves American Band as a boy(5). Once when ushering at concerts for spending money, George Haynes met with the flute section of the Boston Symphony Orchestra and was extremely fascinated with their modern Boehm system instruments.

Early factory days at Haynes
The Boston flute players, impressed with George’s keen interest, loaned the Haynes brothers a wood Boehm flute to copy. They worked together on this first rough copy, completing it after one year’s work. The finished instrument was beautifully made with pewter keys, but it played poorly and out of tune. By the time the Haynes brothers started this first important project, both had already acquired some skills essential for flute making. At the age of sixteen (1882), William had apprenticed at the famed Gorham Silver Manufacturing Co., as a silversmith. George followed him there, where he learned to be a jeweler and toolmaker. The next time the Boston players visited Providence, they brought a fine piece of grenadilla wood and a copy of Boehm’s Schema. The brothers, George and William, made this piece of wood into their second flute. This one played so well that George himself played it for many years professionally. He and William may have made several other flutes in East Providence, before being persuaded by Edward Heindl, principal flutist of the Boston Symphony, to move to Boston in 1886. (6)

II. The George W. Haynes Co., Established, 1886
George Haynes began in Boston with a repair and flute making shop at 147 Tremont. Here, he alone produced the “first Boehm flute made in Boston.”

About one year later, in 1888, his brother William joined him in this business. Therefore, the year 1888 officially marks the beginning of the professional flute making of William S. Haynes and as such it has been cited in William S. Haynes Co. advertising over the years. This can be a somewhat confusing claim, since the flute making business itself was actually named “George S. Haynes.”For about one year(1889) the brothers were joined by a third party, Eustache Strasser, well-known flute professor at the New England Conservatory. That year the firm was known as “Strasser & Haynes, Musical Instruments,” and it was still located at the Tremont address. It is not known precisely what the business relationship of these three men was, but it is known that Strasser purchased some of the first flutes George and William Haynes made, as did Boston symphony players Edward M. Heindl and Charles Mole. (7) The next year the business name reverted to “George W. Haynes, Musical Instruments” and the shop moved to 22 Chapman.

The two brothers worked together for about six years from 1888 to at least 1894. The only information on flutes made during this partnership is found on a metal shipping plate dated 1890. The plate, now the property of the William S. Haynes Co., is stamped with prices of instruments, showing that flutes and piccolos were made in both wood and silver, the wood flute sold for $130.00, the silver for $165, the wood piccolo for $55.00 and the silver piccolo for $65.00.

III. Flute-making at John C. Haynes and Company, 1894-1900
John C. Haynes was born in Brighton, Suffolk County, Massachusetts, in 1830. After attending the public schools of Boston, he began his life-long association with Oliver Ditson as a fifteen-year old office boy earning $1.50 per week. In 1852, he received an interest in the business and in 1857 became a co-partner. In 1861, Oliver Ditson and Company established its branch for instrument manufacturing and repair under the name of John C. Haynes & Co., with John Haynes as manager. After Oliver Ditson died on 21 December 1888, the parent firm dissolved, whereupon a corporation called the “Oliver Ditson Company” was formed with John C. Haynes as president and general manager. (8) The adjunct division bearing his own name then received a new manager, Charles Williams, and continued in existence until approximately 1904, when it was absorbed back under the Ditson name. By this time the instrumental division was no longer involved in manufacturing , but was primarily a retail store for the sale of pianos and orchestral instruments. After John C. Haynes’ death on 3 May 1907, Charles Healy Ditson, Oliver Ditson’s eldest son, assumed the presidency of the company. Charles Ditson died in 1929, and the Oliver Ditson Company was purchased by Theodore Presser of Philadelphia in 1931. (9)

As a publisher, John C. Haynes was known for his progressive spirit, and he helped to institute the financially magnanimous policies for which Ditson became known. For example, Haynes influenced Ditson to issue the first American editions of Mendelssohn’s Songs Without Words and the Beethoven Piano Sonatas. He also enjoyed helping young struggling composers. (10) He was responsible for publishing Richardson’s New Method for the Piano. Richardson was poor, young, and unknown at the time and died soon after the publication of his book, but it netted his widow over $100,000 in royalties. (11) When he became president of the firm, John C. Haynes raised the level of and improved the quality of the Ditson publications, at the same time eliminating titles which were inferior. He saw to it that standard works were edited by authorities and re-engraved. Two notable series were also begun: the Music Student’s Library (1891) of more than forty textbooks, and the Musician’s Library (1903), which grew to more than one hundred volumes of song and piano masterpieces. (12) It was with this same zeal and vision that he led the instrument manufacturing division. In 1894 he established the Boehm flute factory of John C. Haynes & Co. – an operation which, however short-lived, had a very considerable impact on that industry in the United States.

In June 1894, William Haynes left his brother’s business to become superintendent of the new Boehm flute manufacturing branch at John C. Haynes and Co. Not long after this, John C. Haynes and Co. announced publicly that they had bought out George W. Haynes:

We beg to announce that we have purchased the stock, fixtures, tools and good will of George W. Haynes, of 40 Sudbury St., Boston, manufacturer of the celebrated Haynes Boehm System Flutes and Piccolos.

Our “Bay State” Flute department remains in charge of Mr. William S. Haynes, but arrangements have been made with his brother, George W. Haynes. By which we secure the combined experience and skill of these two excellent flute makers. (13)

It is not entirely clear whether or not George Haynes actually worked for John C. Haynes, or whether he merely sold his equipment to the company. Apparently, George Haynes continued his own business at 40 Sudbury for one or two years after his brother left, but also had some connection to J.C. Haynes & Co. (at 42 Stanhope) with his brother William, for about one year. At J.C. Haynes & Co., the Haynes brothers made flutes not using their own names, but under the “Bay State” label with the name and/or trademark “J.C. Haynes.”

For six years (1894-1900) William Haynes was superintendent of flute making at John C. Haynes and Company. It should be noted that not all flutes emanating from J.C. Haynes & Co. were handmade in Boston by a man named Haynes. A great number were imports. The company imported all grades of flutes from boxwood simple system instruments to handmade Boehm flutes. Some were stamped with the J.C. Haynes name, but quality instruments were generally not so stenciled. William Haynes concentrated solely on the manufacture of the Boehm system instrument. He worked in German silver, which did not satisfy him since he later declared a preference for Sterling silver. During this period, he was responsible for the first 18-karat gold flute made in America. Through the processes involved in the making of this historic work of art, Haynes inadvertently discovered how to produce the seamless tube. In addition, Haynes gained experience in making all styles and sizes of Boehm flutes and piccolos in use in America at that time. His instruments, sold under the Bay State label, were in demand and praised by the leading professionals in the country, thereby initiating the leadership of this American industry over its foreign competitors.

Two William Haynes instruments made during this six-year period are part of the world renowned Dayton C. Miller Flute Collection, housed at the Library of Congress in Washington D.C. A cylinder bore blackwood piccolo extending to low C, marked “Bay State/J.C. Haynes & Co./ Boston, Mass./ U.S.A./77” was made in 1897. Miller noted that it was made for Frank Wadsworth, piccolo soloist in Sousa’s band. Sousa’s piccolo parts sometimes called for low C. The piccolo to low C was well known and was not William Haynes’ invention. This piccolo was atypical of his work, as his later piccolos extended only to the traditional low D. The second early Haynes instrument in the Miller Collection was made in 1896 and is a silver plated E-flat flute pitched a minor third above the concert flute. It is engraved without the Bay State mark on the barrel: “THE LITTLE HAYNES TERZ FLUTE/W.S.HAYNES/BOSTON.” Another interesting example surviving from this period is a J.C. Haynes piccolo in D-flat which also has the cylindrical bore. It is marked “Bay State/J.C.HAYNES & CO.BOSTON, MASS./2**8 (number unclear)/L.P.” This piccolo descends to the traditional low D and is owned privately.


Early factory 1916
Knowledge of other flutes made by William Haynes while he was employed by Ditson’s “J.C.Hayness & Co.” is found in company advertisements and brochures. In 1896, the Bay State Factory, as it was known, reported the famous 18-karat gold flute. In addition to this historically significant flute, there were at least ten others referred to in the brochure which had been made in the year 1896 under the supervision of William S. Haynes. (14) This is corroborated by a later account of production of the first three years after 1894:

Two new wooden flutes and sterling silver keys and trimmings were made during the first year, one which was sold to Mr. Paul Fox, then a flutist with the Boston Symphony Orchestra. The other became the property of Wm. R. Gibbs, sole agent for the Rudall Carte flutes of London. The second, ten flutes made their appearance and twenty-five the year following. (15)

As mentioned, the E-flat flute made in 1896 was a silver-plated instrument. Haynes later claimed that he never used silver-plate for flutes after he started business under his own name, preferring the more expensive sterling. The existence of the E-flat flute, the evidence of the gold flute, and the metal shipping plate of 1890 with its prices for metal flutes and piccolos substantiate the fact that William S. Haynes was an experienced manufacturer of metal instruments prior to the time when he established his own company.

The Haynes brothers, William and George, had terminated their business relationship before 1897, ostensibly so that George, who had invented a motor-boat engine, could pursue its manufacture. (16) He may have worked on the boat engine in the East, but by 1898 he was living in Los Angeles where he stayed for about nine years, where he, not surprisingly, ended up making both wood and silver flutes under his own name and repairing instruments. The California climate was considered beneficial to his health, which had been poor during the 1890s.

In 1900, William Haynes left J. C. Haynes and Company and began manufacturing independently under his own name, thereby establishing the present William S. Haynes Company.

IV. THE WILLIAM S. HAYNES COMPANY, FOUNDED 1900
The first shop was located at 180-186 Washington Street, Boston. Production figures on Haynes flutes are confusing since it is not known for sure if William Haynes used his own name on any of the flutes he made during the two early business associations he had prior to establishing his own enterprise. It is not known how the flutes were marked which were made while William S. Haynes was in business with his brother George from 1888-1894, or if flutes were marked consistently with the same labeling system. They may have used the marking “THE HAYNES FLUTE” since an instrument with that marking survives with the serial number 245. Though most J.C. Haynes and Co. instruments had the Bay State trademark, William S. Haynes may have used his own name occasionally on special flutes made from 1894 to 1900; the E-flat flute of 1896, for example was marked “THE LITTLE HAYNES TERZ FLUTE” and had no Bay State mark. Once Haynes began his own company in 1900 the flutes were consistently marked “Wm S. Haynes.” (16)

Early factory 1922
The William S. Haynes Company currently reports that at the outset of the company in 1900, serial numbers on flutes and piccolos began at number 507. It is assumed that William S. Haynes had made 506 instruments by 1900, but as already discussed, it is not known when the numbering actually began since surviving John C. Haynes & Company instruments tend not to have serial numbers.

While Carl Wehner, first flutist with the Metropolitan Opera Company Orchestra, was touring in Boston he had occasion to use one of William Haynes’ early flutes made while he was still with J.C. Haynes and Co. in 1898. Wehner liked the flute so much that he purchased it for one hundred dollars and subsequently was responsible for the sale of six more Haynes flutes to his friends and colleagues. Because Wehner was considered the greatest flutist in the country at the time, his recommendation of the Haynes instruments established Haynes’s reputation as a fine maker. (17) Leading professionals subsequently “followed suit” and purchased William Haynes flutes during the Company’s early years. The Haynes Co. publication, A Word to Music Lovers (1902) cites eleven noteworthy flutists as having purchased instruments in 1901 or 1902:

Andre Maquarre, first flutist, Boston Symphony
Otto Stoekert, first flutist, Metropolitan Opera, and former first flutist with Anton Seidl
T. Milton Dillaway, solo flutist, John Lund’s Concert Orchestra in Buffalo, New York
Paul Fox, Boston Symphony
Edwin Timmons, first flutist, Cincinnati Symphony
Alice E. Ball, first flutist, Fadette Orchestra
Edwin Franklin, first flutist, Boston Festival Orchestra and Boston Municipal Band
Charles North, former first flutist with Emil Mollenhaur
and former member Boston Symphony, and tour soloist with Melba
Eugene C. Rose, first flutist and former piccoloist with Damrosch, and flutist for Sousa
Caroline Kimberly, Auburndale, Massachusetts
Robert E. Seel, first flutist U.S. Marine Band, Washington

The most significant single development in American flute history during the early decades of the William S. Haynes Company is the increasing rise in popularity of the silver flute. Haynes was able and willing to capitalize on this change and this fact alone, practically guaranteed his success. In 1913 Haynes began production of a new model of silver flute. In connection with this, he obtained patents in several parts of the world for a method of drawing the tone holes flanges from the substance of the tube itself. Prior to the invention of the drawn tone hole, these tone hole flanges where made from separate material and a complicated procedure was required to form and secure the flanges of the tube. (18) The basic idea used when drawing the tone hole originated with the art of drawing metals on cooking utensils. Drawing the tone holes was quicker and less costly, thereby increasing production and lowering the cost of the instrument at the same time. Since the tone hole was not soldered, it could not leak or work loose due to the disintegration of the naturally soft solder which was sometimes eaten away by acids in the player’s saliva or hands. Haynes wrote that there was an additional advantage in tone quality:

…there is a decided improvement in the tones which are produced on the finished instrument and in the case of blowing as compared with the metal or wooden instruments which have been made up to the present time in which the flanges re-soldered on to the tube and have to be necessarily, in order to make a practical piece of work, of greater thickness than the body portion of the tube. For instance, the flanges in practice, which are soldered to the tube are made of metal five times as thick as the metal forming the body portion of the tube. (19)

Haynes failed to mention that in order to draw tone holes at all, one must use a considerably thicker tube than is required for the soldered application of the flanges. He used 0.018 inch tubing for drawn holes, and 0.013 inch for the soldered, unless otherwise ordered. In fact, Haynes discovered his method for drawing tone holes when trying to find a solder to put tone holes on aluminum tubes. Failing to find a solder, he figured out a way to extrude the tone holes from the tube itself, making special tools for this process.

Though the drawn tone hole was a definite advantage to the manufacturer, some players believed that there were several minor disadvantages. The thicker tubing necessary for the drawn tone hole was thought to be less responsive. It was also said that the stress put on the tube from stretching the metal and the thinning out of the tube toward the tone hole edges caused the tube to vibrate less freely.

Haynes obtained the British patent No. 24.483 (23 October 1913) and the German patent No. 279,921 (1 November 1913). On 12 September 1913 he applied for the United States patent and it was finally granted as No. 1,119,954 on 8 December 1914 (appendix A). This patent also includes protection for the aluminum tube for musical instruments.

Despite the zeal with which William Haynes approached the manufacture of silver flutes, it turned out that the patents were proved to be worthless. William Haynes’s own brother George had made several flutes with drawn tone holes while working in California in the 1890’s! The existence of these flutes nullified the patents. Information on George’s work was never properly relayed to William Haynes who proceeded independently to perfect and patent the process! Once again the Haynes brothers were linked in flute making history. This time, the entire instrument making industry was affected. As William Haynes later remarked, it probably was for the best the procedure was not restricted by patents since it proved to be such a valuable thing on all instruments. Of course, it is now in general use everywhere on all kinds of metal woodwinds. (20) One can only wonder if the Haynes brothers would have contributed so much had they continued their partnership!

(DCM is used in the following citations as the abbreviation for the Dayton C. Miller Collection housed at the Library of Congress in Washington D.C.)
1. Dayton C. Miller, Letter to Macaulay Fitzgibbon, 22 March 1928, DCM.
2. Dayton Miller, Letter to Christine Merrick Ayars, 23 February 1932, DCM.
3. William Sherman Haynes was born in East Providence, Rhode Island, on Juky 27, 1864 and died in Winter Park, Florida January 28, 1939. George Winfield Haynes was born in East Providence, Rhode Island in 1866 and died in Los Angeles, on July 10, 1947.
4. H. & A. Selmer, Inc., The Dream that Came True, George Haynes Forty Years Ago and Now: The Master Flute (New York, 1921)
5. William S. Haynes Company, The Flute: Boehm Flutes and Piccolos of Modern Construction (Boston, 1923) p.1
6. William S. Haynes Company, Improved Boehm System Flutes and Piccolos (Boston, 1945) p.5
7. William S. Haynes Company, The Flute: Boehm Flutes and Piccolos of Modern Construction (Boston, 1923), pp. 1-2
8. “J. C. Haynes,” A Hundred Years of Music in America, ed. W.S.B. Matthews (Chicago: G.L. Howe, 1889), pp.356-57.
9. William Arms Fischer, One Hundred and Fifty Years of Music Publishing in the United States: 1783-1933 (Boston: Oliver Ditson, 1933), p.86.
10. “J. C. Haynes,” A Hundred Years of Music in America, ed. W.S. B. Matthews (Chicago: G.L. Howe, 1889), p. 357
11. “J. C. Haynes,” A Hundred Years of Music in America, ed. W.S. B. Matthews (Chicago: G.L. Howe, 1889), p. 357
12. William Arms Fischer, One Hundred and Fifty Years of Music Publishing in the United States: 1783-1933 (Boston: Oliver Ditson, 1933), p.80.
13. J.C. Haynes and Company, “Of Interest to Flute Players,” advertising flyer (Boston post 1894)), DCM
14. John C. Haynes and Co., Another American Industry Surpasses Foreign Competition: A Notable Achievement in Flute-Making at the ‘Bay State’ Factory As Told in the Musical Record (Boston, (1897)).
15. William S. Haynes Company, Improved Boehm System Flutes and Piccolos (Boston, 1945) p.6
16. William S. Haynes Company, Improved Boehm System Flutes and Piccolos (Boston, 1945) p.6
17. Christine Merrick Ayars, Contributions to the Art of Music in America by the Music Industries in Boston, 1640 to 1936 (New York: H.W. Wilson Co., (1937), p.215
18. Each soldered tone hole is formed individually, one at a time. The workman positions and wires the first flange against the tube and then solders it in place. A hole is then cut through the tube of the instrument inside the flange, and its edges are carefully rounded, maintaining a uniform curve. The flange for the next tone hole is then cut and positioned by measuring it in relation to the first, and so on, each tone hole is formed in the same manner.
19. United States Patent No. 1,119,154 (8 December 1914)
20. William S. Haynes, Letter to Dayton Miller, 21 October 1926, DCM
HAYNES Bibliography
Ayars, Christine Merrick. Contributions to the Art of Music in America by the Music Industries in Boston, 1640 to 1936 (New York: H.W. Wilson Co., (1937), p.215 – 218, 266, 301.
Baasch, Robert J. “Modern Flutes and Their Predecessors.” Ed. D. diss., Columbia Teacher’s College, 1952, pp. 114-36, 141, 153-154, 179
______. “The Flute: Yesterday and Today.” Woodwind Magazine, No 1 (1954), 7; No.2 (1954), 4-5; No.3 (1954), 6-7; No.4 (19154), 6,9,10; No.5 (1955), 6-7; No. 6 (1955), 6-7, 9-10
“Barrere Gives Recital.” New York Times, 21 November 1935.
Bate, Philip. The Flute. New York: W. W. Norton & Company, Inc. 1969, p.210
Berdahl, Susan. “The First Hundred Years of the Boehm Flute in the United States, 1845-1945” Ph.D. diss., University of Minnesotaa, 1986.
Berdahl, Susan. “ A Little-known Episode of Flute Making at the Oliver Ditson Company’s Bay State Factory.” Sacra/Profana. Ed. By Audrey and Clifford Davidson. Minnesota Monograph in Music, No.1. Minneapolis: Friends of Minnesota Music, 1985, pp. 119-137
“Clarinets and Flutes in Silver Warmed by Thermos Bottle Plan.” Christian Science Monitor, Vol. 18, No. 129 (Wednesday, 28 April 1926), 1
Cook, Scott Douglas. “Part of What a Judgement Is.” Ph.D. diss., Massachusetts Institute of Technology, 1982.
_______. “A Report on the William S. Haynes Company.” Ms., 1978
Durgin, Cyrus. “Ring of Flutemakers Talk About Art and Craft.” Boston Sunday Globe, 22 May 1960, p. 68
Falkenburg, Barth J. “Finely Crafted Flutes – Worth a Four-Year Wait.” Christina Science Monitor, Tuesday, 11 February 1975, p.5A.
Gallese, Liz Roman. “Serious Flute Players Insist Two Companies Are Most Noteworthy.”Wall Street Journal, 1 February 1977, Vol. 57, No. 78, pp1,12
Goodman, Marsha. Haynes and Powell: The Facts and Figures. Santa Monica, CA.
Cal: Rosewood Press, 1984.Rpt. of “The Economics of Flute Production: an In-depth Survey of the William S. Haynes and Verne Q. Powell Flute Companies.” M.A. thesis, University of Southern California, 1983.
Katz, Tonnie. Boston: Flute Making Capital of the World.” Boston Evening Globe, 16 July 1976, p30.
Krivin, Martin. “A Century of Wind Instrumetn Manufacturing in the United States: 1860-1960.” Ph.D. Diss., University of Iowa, 1961, pp. 104-09.
Medicus, Emil. “The Flutist: the Aluminum Flute.” Jacobs’ Orchestra Monthly, 5, No.1 (January 1914), 68-69.








     
Verne Q. Powell and his "Spoon Flute"

 VERNE Q. POWELL

The Legend of the Spoon Flute
Verne Q. Powell was born on April 7, 1879 in Danville, Indiana. Interested in the construction of flutes from an early age, Powell made a fife at the age of seven, followed at age fourteen by a six-key piccolo from the brass pipe of an old chandelier. As a teenager, Powell worked for his older brothers in Fort Scott, Kansas in their jewelry business, where they trained him to become an expert engraver. He later went on to start his own jewelry business. But Powell was also a flutist, and performed regularly with Fort Scott, Kansas bands, eventually attaining the post of first flutist in the Kansas City Symphony.

After hearing George Barrere perform on a silver Louis Lot flute – called a “tin-whistle” at the time – in the summer of 1910, Powell gathered three silver watch cases, seven silver teaspoons and a handful of plugged silver half dollars and set about creating a flute, working at a watchmaker’s lathe. His son Edward helped him roll out the silver for this flute and the resulting instrument became known as the “spoon flute,” and was never numbered. Having learned of Powell’s homemade silver flute, William S. Haynes sent for Powell’s flute to examine it and was sufficiently impressed to hire the young Powell to make silver flutes for him in Boston.

And that was the beginning of a long, historic career for Mr. Powell

Verne Powell with his Spoon Flute!!

Company Director Stuart McCallum is a founder of McCallum Bagpipes. With a keen interest in machine technology and a strong engineering background, Stuart operates on the workshop floor focusing primarily on the design and manufacturing aspects of the bagpipe making process.
Stuart himself is an experienced piper. He has won major championships with ScottishPower Pipe Band and Strathclyde Police Pipe Band.

FLUTES AND BAGPIPES

BAGPIPES OF PORTUGAL

BAGPIPES OF PORTUGAL

BAGPIPES OF PORTUGAL

FLUTES, FLAGOLETS

KOKOPELLI ON THE ROCK

A variety of flutes

ANOTHER KOKOPELLI

SILVER FLUTE IN CASE

FLUTES, JAMES GALWAY

ALBUM OF THE GREAT WILLIAM KINCAID

SAINT PATRICK'S PIPE BAND, MARCH 13, 2010, HARTFORD, CT

WOODEN WHISTLE FLUTE

NATIVE AMERICAN-STYLE TRIPLE OR DRONE FLUTE

NATIVE AMERICAN-STYLE COURTING FLUTE

NATIVE AMERICAN-STYLE CONTRA-BASS FLUTE

NATIVE AMERICAN-STYLE DOUBLE OR DRONE FLUTE

IRISH PENNYWHISTLES AND TIN WHISTLES

1906, the William S. Haynes Flute Company, the factory. Haynes started in NYC, but quickly went to Boston where they are today. In the first half of the 20th century (and maybe 20 years after) in the United States, Haynes flutes and Powell flutes (Powell apprenticed with Haynes) were the professional flutes. Today, many fine makers of flutes.

1920, the William S. Haynes flute company factory

PATENT OFFICE DRAWING FOR HAYNES FLUTE

GEORGE BARRERE BUST from Haynes Flute Company entrance.

OLD WOODEN FLUTE

OLD WOODEN PICCOLO

FAMILY MUSIC, COUNTY CORK 1904 (ULLIANN PIPES, WHISTLES)

FATHER PLAYING UILLIAN PIPES (IRISH LAP PIPES, BELLOWS PIPES)

BASS RECORDERS

HAYNES FLUTE IN ROSE GOLD

PRE-MODERN PICCOLO

WHISTLE HANDMADE BY SANDY JASPER (WEST COAST FLUTES)

BLACK PICCOLO

POWELL FLUTES

GOLD FLUTE

WEST COAST WHISTLES

IRON FLUTE PLAYER

ULLIANN PIPES

JEAN-PIERRE RAMPAL COMMENT ON HAYNES FLUTES. I OWN A HAYNES

HAYNES FLUTE IN GOLD

ALTO RECORDERS IN VARIOUS WOODS

HAYNES FLUTE IN GOLD

IVORY FLUTE, EARLY 19TH CENTURY

HAYNES FLUTE IN GOLD

EBONY FLUTE, PRE-MODERN

POWELL PICCOLO

WEST COAST WHISTLES, I OWN THREE

SILVER HAYNES FLUTE

FLUTE WITH ALS RIBBON

WOOD PENNYWHISTLES

THE GREAT HIGHLAND BAGPIPES

DAVID MACHELL

MY NEW MCCALLUM PIPES

DAVID MACHELL

A HAIRY BAGPIPER, NOT ME!

HENDERSON BAGPIPERS

DAVID MACHELL WITH PROF. DAVID SMITH, WCSU

MCCALLUM ENGRAVED BAGPIPES, LIKE MINE

SAINT PATICK'S PIPE BAND

DAVID MACHELL

DAVID MACHELL

SILVER/GOLD FLUTE

SILVER FLUTE

SILVER/GOLD FLUTE

ALS PICCOLO

Tin Whistle
From Wikipedia, the free encyclopedia

The tin whistle, also called the penny whistle,[1] English Flageolet, Scottish penny whistle, Tin Flageolet, Irish whistle and Clarke London Flageolet[2] is a simple six-holed woodwind instrument. It is an end blown fipple flute, putting it in the same category as the recorder, American Indian flute, and other woodwind instruments. A tin whistle player is called a tin whistler or whistler. The tin whistle is closely associated with Celtic music. Regarding learning the tin whistle there are 8 basic grade, that of which many pupils in schools learn(within Ireland,England,Scotland&Wales), there are also college standard grades available - grade 8-10 in many music schools around Britain and Ireland (Waltons.Co have been the leading trainers of whistle players in Co.Dublin, giving students the chance to reach a college grade of performance and understanding).

The tin whistle in its modern form is from a wider family of fipple flutes which have been seen in many forms and cultures throughout the world. In Europe such instruments have a long and distinguished history and take various forms; most widely known of these are the recorder, tin whistle, Flabiol, Txistu and tabor pipe. Almost all primitive cultures had a type of fipple flute and is most likely the first pitched flute-type instrument in existence.[3] A possible Neanderthal fipple flute from Slovenia dates from 81,000-53,000 B.C.,[2][4][5] a German flute from 35,000 years ago, and flute made from sheep's bone in West Yorkshire dating to the Iron Age.[6] Written sources that describe a fipple-type flute include the Roman and Greek aulos and tibia. In the early Middle Ages peoples of northern Europe were playing the instrument as seen in 3rd-century British bone flutes,[7] and Irish Brehon Law describes flute like instrument. By the 12th century Italian flutes came in a variety of sizes,[8][9] and fragments of 12th-century Norman bone whistles have been found in Ireland, and an intact 14 cm Tusculum clay whistle from the 14th century in Scotland. In the 17th century whistles were called flageolets; a term to describe a whistle with a French made fipple headpiece (common to the modern penny whistle) and such instruments are linked to the development of the English flageolet, French flageolet and recorders of the renaissance and baroque period.[10] The term flageolet is still preferred by some modern tin whistle makers who feel this better describes the instrument, as this characterises a wide variety of fipple flutes, including penny whistles.[11][12]

The modern penny whistle is indigenous to the British Isles[11] particularly England[11] when factory-made "tin whistles" were produced by Robert Clarke from (1840–1882) in Manchester and later New Moston, England. Down to 1900, they were also marketed as "Clarke London Flageolets" or "Clarke Flageolets".[13] The whistle's fingering system is similar to that of the six hole, "simple system English flutes" ("simple" in comparison to Boehm system flutes). The six hole, diatonic system is also used on baroque flutes, and was of course well known before Robert Clarke began producing his tin whistles c. 1843. Clarke's first whistle, the Meg, was pitched in high A and was later made in other keys suitable for Victorian parlour music. The company showed the whistles in The Great Exhibition of 1851.[14] The Clark tin whistle is voiced somewhat on an organ-pipe with a flattened tube forming the lip of the fipple mouthpiece[15] and is usually made from rolled tin sheet or brass. Manufactured tin whistles became available no earlier than 1840, and were mass produced and widespread due to their relative affordability.

As the penny whistle was generally considered a toy[2] it has been suggested that children or street musicians were paid a penny by those who heard them playing the whistle. However in reality the instrument was so-called when it could be purchased for a penny.[2] Clarke whistles were sold for a nominal fee (a British penny[2]) and the acquired names of penny and tin whistle have endured to modern times. The name "tin-whistle" was also coined as early as 1825.[16] but neither tin whistle or penny whistle name seems to have been common until the 20th century.[17] The instrument became popular in several musical traditions namely; English,[4] American,[4] Scottish [2] and Irish traditional music.[4] The tin whistle due to its relative cheapness was a popular household instrument and was as ubiquitous as the harmonica.[2] In the second half of the 19th century, some flute manufacturers such as Barnett Samuel and Joseph Wallis also sold whistles. These had a cylindrical brass tube. Like many old whistles, they had lead fipple plugs, and since lead is poisonous, caution should be exercised before playing an old whistle.

The Generation whistle was introduced in the first half of the 20th century, and also featured a brass tube with a lead fipple plug. The design was updated somewhat over the years, most notably the substitution of a plastic fipple for the lead plug design. While whistles have most often been produced in higher pitches, the "low" whistle is not unknown historically. The Museum of Fine Arts, Boston has in its collection an example of a 19th-century low whistle from the famous Galpin collection.[18] During the 1960s revival of traditional Irish music the low whistle was "recreated" by Bernard Overton at the request of Finbar Furey.[19]

Sample of music played on key of D metal tin whistle with plastic fipple. Problems listening to these files? See media help. The most common whistles today are made of brass tubing, or nickel plated brass tubing, with a plastic fipple (mouthpiece). Generation, Feadóg, Oak, Acorn, Soodlum's (now Walton's), and other brands fall in this category. The next most common form is the conical sheet metal whistle with a wooden stop in the wide end to form the fipple, the Clarke's brand being the most prevalent. Other less common variants are the all-metal whistle, the PVC whistle, the Flanna square holed whistle, and the wooden whistle.

Gaining popularity as a folk instrument in the early 19th century in the Celtic music revivals, penny whistles now play an integral part of several folk traditions. Whistles are a prevalent starting instrument in English traditional music, Scottish traditional music and Irish traditional music, since they are often cheap (under US$10), relatively easy to start with (no tricky embouchure such as found with the flute), and the fingerings are nearly identical to those on the traditional six holed flute (Irish flute, baroque flute). The tin whistle is a good starting instrument to learn the uilleann pipes, which has identical finger technique, notes and music. The tin whistle is the most popular instrument in Irish traditional music today.[20]

In recent years a number of instrument builders have started lines of "high-end," hand-made whistles, which can cost hundreds of dollars US each — expensive in comparison to cheap whistles, but nevertheless cheaper than most other instruments. These companies are typically either a single individual or a very small group of craftsmen who work closely together. The instruments are distinguished from the inexpensive whistles in that each whistle is individually manufactured and "voiced" by a skilled person rather than made in a factory.

Whistle keys
The whistle is tuned diatonically, which allows it to be used to easily play music in two major keys and their corresponding minor keys and modes. The whistle is identified by its lowest note, which is the tonic of the lowest major key. Note that this method of determining the key of the instrument is different from the method used to determine the key of a chromatic instrument, which is based on the relationship between notes on a score and sounded pitch. Whistles are available in a wide variety of different keys.[21]

The most common whistles can easily play notes in the keys of D and G major. Since the D major key is lower these whistles are identified as D whistles. The next most common whistle tuning is a C whistle, which can easily play notes in the keys of C and F major. The D whistle is the most common choice for Irish and Scottish music. Although the whistle is essentially a diatonic instrument, it is possible to get notes outside the principal major key of the whistle, either by half-holing (partially covering the highest open finger hole) or by cross-fingering (covering some holes while leaving some higher ones open). However, half-holing is somewhat more difficult to do correctly, and whistles are available in many keys, so for other keys a whistler will typically use a different whistle instead, reserving half-holing for accidentals. Some whistle designs allow a single fipple, or mouthpiece, to be used on differently keyed bodies.

Low whistle
There are larger whistles, which by virtue of being longer and wider produce tones an octave (or in rare cases two octaves) lower. Whistles in this category are likely to be made of metal or plastic tubing, with a tuning-slide head, and are almost always referred to as low whistles but sometimes called concert whistles. The low whistle operates on identical principles to the standard whistles, but musicians in the tradition may consider it a separate instrument. The term soprano whistle is sometimes used for the higher-pitched whistles when it is necessary to distinguish them from low whistles.

Fingering and range
The notes are selected by opening or closing holes with the fingers. With all the holes closed, the whistle generates its lowest note, the tonic of a major scale. Successively opening holes from the bottom upward produces the rest of the notes of the scale in sequence: with the lowest hole open it generates the second, with the lowest two holes open, it produces the third and so on. With all six holes open, it produces the seventh.

As with a number of woodwind instruments, the tin whistle's second and higher registers are achieved by increasing the air velocity into the ducted flue windway. [22] On a transverse flute this is generally done by narrowing the lip/embouchure.[23] Since the size and direction of the tin whistle's windway is fixed, like that of the Recorder or fipple flute, it is necessary to increase the velocity of the air stream. (See overblowing). Fingering in the second register is generally the same as in the first/fundamental, though alternate fingerings are sometimes employed in the higher end of the registers to correct a flattening effect caused by higher aircolumn velocity.[24] Also, the tonic note of the second register is usually played with the top hole of the whistle partially uncovered instead of covering all holes as with the tonic note of the first register; this makes it harder to accidentally drop into the first register and helps to correct pitch. Recorders perform this by "pinching" open the dorsal thumb hole.

Various other notes (relatively flat or sharp with respect to those of the major scale) can be accessed by cross fingering techniques, and all the notes (except the lowest of each octave/register) can be flattened by half holing. Perhaps the most effective and most used cross fingering is that which produces a flattened form of the seventh note (B flat instead of B on a C whistle, for example, or C natural instead of C sharp on a D whistle). This makes available another major scale (F on a C whistle, G on a D whistle).


The standard range of the whistle is two octaves. For a D whistle, this includes notes from the second D above middle C to the fourth D above middle C. It is possible to make sounds above this range, by blowing with sufficient force, but, in most musical contexts, the result will be loud and out of tune due to a cylindrical bore.

Ornamentation
Traditional Irish whistle playing uses a number of ornaments to embellish the music, including cuts, strikes and rolls. Most playing is legato with ornaments to create breaks between notes, rather than tongued. The Irish traditional music concept of the word "ornamentation" differs somewhat from that of European classical music in that ornaments are more commonly changes in how a note is articulated rather than the addition of separately-perceived notes to the piece.[25] Common ornaments and articulations include: Cuts.

Cuts are very briefly lifting a finger above the note being sounded without interrupting airflow into the whistle. For example, a player playing a low D on a D whistle can cut the note by very briefly lifting the first finger of his or her lower hand. This causes the pitch to briefly shift upward. The cut can be performed either at the very start of the note or after the note has begun to sound; some people call the latter a "double cut" or a "mid-note cut."

Strikes
Strikes or taps are similar to cuts except that a finger below the sounded note is briefly lowered to the whistle. For example, if a player is playing a low E on a D whistle the player could tap by quickly lowering and raising his or her bottom finger. Both cuts and taps are essentially instantaneous; the listener should not perceive them as separate notes.

Rolls
A roll is a note with first a cut and then a strike. Alternatively, a roll can be considered as a group of notes of identical pitch and duration with different articulations.[25] There are two common types of rolls: The long roll is a group of three slurred notes of equal pitch and duration, the first sounded without a cut or strike, the second sounded with a cut, and the third sounded with a strike. The short roll is a group of two slurred notes of equal pitch and duration, the first sounded with a cut and the second sounded with a strike.

Cranns
Cranns (or crans) are ornaments borrowed from the Uilleann piping tradition. They are similar to rolls except that only cuts are used, not taps or strikes. On the tin whistle they are generally only used for notes where a roll is impossible, such as the lowest note of the instrument.

Slides
Slides are similar to portamentos in classical music; a note below or above (usually below) the intended note is fingered, and then the fingering is gradually shifted in order to smoothly raise or lower the pitch to the intended note. The slide is generally a longer duration ornament than, for example, the cut or the tap and the listener should perceive the pitch changing.

Tonguing
Tonguing is used sparingly as a means of emphasizing certain notes, such as the first note in a tune. Tin whistle players usually do not tongue most notes. To tongue a note a player briefly touches their tongue to the front of the roof of the mouth at the start of the note (as if articulating a 't'), creating a percussive attack.

Vibrato
Vibrato can be achieved on most notes by opening and closing one of the open holes, or by variation of breath pressure. Of the two, fingered vibrato is much more common than diaphragmatic (breath) vibrato, except on notes like the lowest note on the whistle where fingered vibrato is much more difficult.

Leading Tone
Leading Tones are the seventh just before the tonic, so named because melodic styling often uses the seventh to lead into the tonic at the end of a phrase. On most tin whistles the leading tone to the lowest tonic can be played by using the little finger of the lower hand to partially cover the very end opening of the whistle, while keeping all other holes covered as usual for the tonic.

Tone
The tone of the tin whistle is largely determined by its manufacturing. Clarke style rolled metal whistles tend to have an airy "impure" sound, while Generation style cylindrical instruments tend to have clear or "pure" whistle sounds. Inexpensive rolled metal whistles, such as those from Cooperman Fife and Drum (which also produces high-end instruments) may be very airy in sound, and may be difficult to play in the upper register (second octave). Often placing a piece of tape over one edge of the fipple slot (just below the mouthpiece) to narrow the fipple will improve the instrument's tone and playability significantly.

Scales
While, as mentioned under Fingering, a player will usually play a given instrument only in its tonic key and possibly in the key beginning on the fourth (e.g. G on a D whistle), nearly any key is possible, becoming progressively more difficult to keep in tune as the player moves away from the whistle's tonic, according to the circle of fifths. Thus a D whistle is fairly apt for playing both G and A, and a C instrument can be used fairly easily.
Traditional music from Ireland and Scotland is by far the most common music to play on the tin whistle, and comprises the vast majority of published scores suitable for whistle players. Musicians who play Irish and Scottish music on the tin whistle perform as members of bands. While the tin whistle is very common in Irish music to the point that it could be called characteristic of the genre and fairly common in Scottish music, it is not a "required" instrument in either one.

Kwela
Kwela is a genre of music created in South Africa in the 1950s, and characterised by an upbeat, jazzy tin whistle lead. Among all genres of music featuring the tin whistle, kwela is distinctive as the only one which is totally dominated by the instrument; the genre was created around the sound of the whistle. The low cost of the tin whistle made it an attractive instrument in the impoverished, apartheid-era townships; the Hohner tin whistle was especially popular in this genre. The kwela craze accounted for the sale of over a million tin whistles, sometimes known as 'jive flutes'.[26]
Kwela was mostly superseded in South Africa by the mbaqanga genre in the late fifties, and with it the saxophone largely supplanted the tin whistle as the lead instrument for music from the townships. However, kwela master Aaron "Big Voice Jack" Lerole continued to perform into the 1990s and a few kwela bands, such as London's The Positively Testcard continue to record kwela music today. Kwela musical scores are rarely published and many of the recordings of founding kwela artists are out of print and hard to find. A representative compilation can be found on the following recording: South African Jazz and Jive (2000) Rhino records, (© Gallo Record Company) [1]

Other music
The tin whistle is used in many other types of music, though not to the extent that it could be called characteristic as with Irish music and kwela. In some Irish music composed for symphonic ensembles, it is often replaced with piccolo. It is not unusual to hear the tin whistle used in praise music and film soundtracks, and published scores suitable for tin whistle performance are available in both of these genres. The tin whistle also appears in "crossover" genres like world music, folk rock and folk metal.

Tin whistle music collections are generally notated in one of three different formats.

Standard musical notation It is common to score music for the whistle using standard musical notation. The tin whistle is not a transposing instrument - for example, music for the D tin whistle is written in concert pitch, not transposed down a tone as would be normal for transposing instruments. Nevertheless, there is no real consensus on how tin whistle music should be written, or on how reading music onto the whistle should be taught. However, when music is scored for a soprano whistle it will be written an octave lower than it sounds, so avoiding use of ledger lines and making it much easier to read.

The traditional music of Ireland and Scotland constitutes the majority of published scores for the whistle.[27] Since the majority of that music is written in D major, G major, or one of the corresponding musical modes, use of the D major or G major key signatures is a de facto standard. For example, the "C whistle" edition of Bill Ochs's popular The Clarke Tin Whistle Handbook is scored in D and differs from the D edition only in that the accompanying audio CD is played on a C whistle.[28] Reading directly onto the C whistle is popular for the obvious reason that its home key or name key is the all-natural major key (C major). Some musicians are encouraged to learn to read directly onto one whistle, while others are taught to read directly onto another. The whistle player who wants music to read on to all whistles will need to learn the mechanics of written transposition, taking music with one key signature and rewriting it with another. Tablature notation for the tin whistle is a graphical representation of which tone holes the player should cover. The most common format is a vertical column of six circles, with holes to be covered for a given note shown filled with black, and a plus sign (+) at the top for notes in the second octave. Tablature is most commonly found in tutorial books for beginners.

Tonic solfa
The tonic solfa is found in Ireland and possibly Wales, especially in schools. Many schools have printed sheets with tunes notated in tonic solfa, although in Ireland more have teaching by rote. With the availability of good standard notation tutor books, teaching is possibly moving in this direction.[original research?] Since the majority of popular tin whistle music is traditional and out of copyright, it is common to share tune collections on the Internet.[29] Abc notation is the most common means of electronic exchange of tunes. It is also designed to be easy to read by people, and many musicians learn to read it directly instead of using a computer program to transform it into a standard musical notation score.

In Irish traditional music
See also: List of All-Ireland Champions
In 1973, Paddy Moloney (of The Chieftains) and Sean Potts released Tin Whistles, which helped to popularise the tin whistle in particular, and Irish music in general. Mary Bergin's Feadóga Stáin (1979) and Feadóga Stáin 2 (1993) were similarly influential. Other notable players include Carmel Gunning, Micho Russell, Joanie Madden, Brian Finnegan, and Seán Ryan. Many traditional pipers and flute players also play the whistle to a high standard. James Galway, the classical flautist, is also an outstanding whistler.

In Scottish traditional music
Award winning singer and musician Julie Fowlis recorded several tracks on the tin whistle, both in her solo work and with the band Dòchas. Aaron "Big Voice Jack" Lerole and his band recorded a single called "Tom Hark", which sold five million copies worldwide, and which Associated Television used as the theme song for the 1958 television series The Killing Stones. But the most famous star of the kwela era was Spokes Mashiyane.[26] Paul Simon's 1986 album Graceland draws heavily on South African music, and includes pennywhistle solos in the traditional style, played by Morris Goldberg.

In popular music
As a traditional Irish musical instrument, the Irish rock bands The Cranberries and The Pogues (with Spider Stacy as whistler) incorporate the tin whistle in some of their songs, as do such American Celtic punk bands as The Tossers, Dropkick Murphys, and Flogging Molly (in which Bridget Regan plays the instrument). Andrea Corr of Irish folk rock band The Corrs also plays the tin whistle. Saxophonist LeRoi Moore, founding member of the American jam band Dave Matthews Band, plays the tin whistle in a few of the band's songs. Bob Hallett of the Canadian folk rock group Great Big Sea is also a renowned performer of the tin whistle, playing it in arrangements of both traditional and original material. Icelandic post rock band Sigur Rós concludes their song "Hafsól" with a tin whistle solo. Barry Privett of the American Celtic rock band Carbon Leaf performs several songs using the tin whistle. The Unicorns use the tin whistle in the song "Sea Ghost".

In jazz
Steve Buckley, a British jazz musician is known to have used the penny whistle as a serious instrument. His whistle playing can be heard on recordings with Loose Tubes, Django Bates and his album with Chris Batchelor Life As We Know It. Les Lieber is a celebrated American Jazz Tinwhistle player. Lieber has played with Paul Whiteman's Band and also with the Benny Goodman Sextet. Lieber made a record with Django Reinhardt in the AFN Studios in Paris in the post Second World War era and started an event called "Jazz at Noon" every Friday in a New York restaurant playing with a nucleus of advertising men, doctors, lawyers, and business executives who had been or could have been jazz musicians. Howard Johnson has also been known to play this instrument.

In movie music
Howard Shore called for a tin whistle in D for a passage in his "Concerning Hobbits" from "The Lord of the Rings"-trilogy. The tin whistle symbolizes the Shire, together with other instruments such as the guitar, the double bass and the bodhrán. The tin whistle also plays a passage in the main theme in the same trilogy. The tin whistle is also heard (most notably during the introduction) in the song "My Heart Will Go On" by Celine Dion in the movie Titanic.

Footnotes
^ Oxford English Dictionary
^ a b c d e f g The Clarke Tin Whistle By Bill Ochs
^ The tin whistle tutor Edition: 3 - 1991 By Michael Raven
^ a b c d The Essential Guide to Irish Flute and Tin Whistle By Grey Larsen
^ The Neanderthal Flute, Crosscurrents #183 1997 Greenwich Publishing Canada
^ The Malham Iron-Age Pipe, by A. Raistrick, Professor Spaul and Eric Todd © 1952
^ English Medieval Bone Flutes c.450 - c.1550 AD. By Helen Leaf
^ The Cambridge Companion to the Recorder John Mansfield, Thomson et al, 1995 Cambridge
^ Performance practice: a dictionary-guide for musicians By Roland John Jackson
^ Whistler's Pocket Companion By Dona Gilliam, Mizzy McCaskill
^ a b c Mel Bays Complete Irish Tin Whistle Book By Mizzy McCaskill, Dona Gilliam
^ The tin whistle tutor the best - 1991 By Michael Raven
^ Dannatt ^ Dannatt, Norman. "Antique Clarke whistle collection". Retrieved 10 July 2006.
^ The Oxford companion to musical instruments By Anthony Baines
^ Oxford English Dictionary online edition
^ The words "tin whistle" and "pennywhistle" in any compound form do not generally appear in early-20th-century dictionaries, encyclopedias, or thesauri.
^ "Duct flute". Leslie Lindsey Mason Collection, Ex. coll. Francis W. Galpin. Retrieved 16 January 2006.
^ Hannigan and Ledsam
^ Vallely et al., p. 397
^ Wisely
^ Benade, Arthur H. (1990). Fundamentals of Musical Acoustics. New York: Dover. p. 492.
^ Wolfe
^ Gross
^ a b Larsen
^ a b Schaldach
^ See, for example, the Open Directory's Tin whistle tune collections or the books published by online stores catering to tin whistle players.
^ Ochs
^ Open Directory

References
Dannatt, Norman (1993). The Penny Whistle. The Clarke Tinwhistle Co.
Dannatt, Norman (2005) The History of the Tinwhistle. The Clarke Tinwhistle Co. ISBN 0-9549693-2-4
Gatherer, Nigel. "History". The Scottish Whistle. Retrieved 30 January 2006.
Gross, Richard. "Tinwhistle fingering chart". Tinwhistle Fingering
Research Center. Retrieved 16 January 2006.
Hannigan, Steáfán; Ledsam, David (2000). "Whistory: A Low Whistle History". The Low Whistle Book. Sin É Publications. ISBN 0-9525305-1-1.
Larsen, Grey. "A Guide to Grey Larsen's Notation System for Irish Ornamentation" (PDF). Retrieved 24 January 2006.
McCullough, L.E. (1976). "Historical Notes on the Tinwhistle". The Complete Irish Tin Whistle Tutor. Oak Publications. ISBN 0-8256-0340-4.
Ochs, Bill (2001). The Clarke Tin Whistle: Deluxe Edition. The Pennywhistler's Press.
"Tin Whistle Tune Collections". Open Directory. Retrieved 25 January 2006.
Wisely, Dale (2000). "Deciphering Whistle Keys". Chiff and Fipple. Retrieved 22 March 2006.
Wolfe, Joe. "Introduction to flute acoustics". UNSW Music Acoustics. Retrieved 16 January 2006.
Vallely, Fintan (ed.), ed (1999). The Companion to Irish Traditional Music. New York, NY: New York University Press. ISBN 0-8147-8802-5.

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