THE ART OF WHISTLING
METHODS OF A FAMOUS SIFFLEUR
THERE is no form of drawing-room entertainment which, when well done, is
more interesting than whistling, with pianoforte accompaniment.
Below are embodied the views and methods of Mr. Charles Capper, the
famous English siffleur, regarding this unique and attractive means of
entertainment.
The great part of humanity knows nothing of that ability of piping and
whistling so natural and melodious in the blackbird and thrush. Most of
us have at some time or other put by a little of our bread-and-butter
earnings in order to take a few lessons in learning to sing or to play
the pianoforte or some stringed instrument. But there are comparatively
few who turn to whistling as a means of livelihood or as an
accomplishment. It is fortunate that this is the case, for, unless one
possesses considerable natural talent, it is mere waste of money, time,
and endeavor.
Whistling cannot be hammered into being. It is only where real ability
is possessed that the student may set himself to work and overcome its
many difficulties, and hope to achieve his best.
Another gift equally essential is that of a good natural ear--an ear
that instantly distinguishes and corrects the note which is a shade
flatter or sharper than it should be.
It is a fact worthy of note that, while an unusually high roof to the
mouth is a disadvantage to the singer, it is--so some medical
specialists assert--a great gain to the whistler, and perhaps this is
the reason why it is so rare to meet skilled exponents of the art.
However, it is common enough to hear in almost every grade of life the
whistling that has never been cultivated. For example, in the early
morning, a few shrill tuneless notes float up to one’s bedchamber from
the area steps, as a dairyman hands in the allowance of milk; but this
annoys rather than delights, although it speaks eloquently of the human
soul of the whistler.
When the boy whistles, his mother knows he is well--in a good temper,
and contented with the whole universe. The merchant, stepping into his
office, may trill a few bars of “Tommy, make room for your uncle,” and
the sound conveys volumes to the sharp-eared clerks, who foresee a day
of unusual calm and peace; because a man suffering from spleen, liver,
gout, or toothache never so far forgets his agony as to whistle.
Whistling invariably shows a light heart, and perhaps the reason why the
birds indulge in this pastime so freely is because they know nothing of
the burdens that beset mankind.
BREATHING AND TONE
The most important qualities to be observed in whistling are production
and control of breathing, modulation, purity and roundness of tone.
The method of breathing in whistling is exactly similar to that used in
vocalization, and can be taught by any good teacher of singing. Scales
and exercises should be daily practiced with infinite care,--to keep the
notes clear and of even pitch.
Slurring or stumbling in a quick passage can be easily
perceived--perhaps more so in the whistler than in the singer. Scales
and runs should be undertaken, slowly at first, gradually increasing
speed and tone until perfect flexibility is attained.
Many a whistler capable of faultless execution fails to charm, through
monotony of tone. This is a fault as common as it is serious. Whistling,
with practice and thought, can be modulated in a far greater degree than
either the flute or the piccolo, and with much greater effect.
It is not enough to whistle a song correctly. The student should first
study and memorize the words, so that he may express the tender pathos
expressed in the song.
The whistler should pay as much attention to artistic rendition as the
vocalist--if possible, even more--because he cannot voice the words with
which to appeal to the hearts of his hearers. He is obliged to convey
the sorrow, or humor, as the case may be, without the utterances we
recognize as the insignia of distress, joy, or love; and his heart must
be behind his notes, and enter into them, to win the spirits of the
audience to comprehension and sympathy.
SUITABLE SOLOS
Whistling may be divided into two classes:--
(1) _The florid._--necessary in such solos as Arditi’s “Il Bacio,” which
seems at first to the beginner to teem with insurmountable difficulties,
but which a little earnest practice will soon overcome.
(2) _The sentimental._--In this category are Bishop’s early English
songs, such as “Bid me discourse,” “Tell me, my heart,” “Should he
upbraid,” “Lo, hear the gentle lark,” “Love has eyes,” Clay’s “I’ll sing
thee songs of Araby,” &c. All these songs make excellent whistling
solos, and are delightful when rendered with artistic sympathy and
meaning.
All songs must be memorized. The whistler cannot give necessary control
to his breathing and production if he holds the music in his hand. In
practicing, it should be placed on a music-stand, and, in performing,
must be note perfect. His whistling must be so faultless in its
conception that the audience must almost hear the words coming from his
lips.
Most of the solos forming the whistler’s repertoire are well known and
popular, and the verses of such songs as “My mother bids me bind my
hair” are familiar wherever the English language is spoken, so that all
audiences are capable of interpreting the meaning of the sweet lilting
notes. When we listen to “The Lost Chord,” played on the organ, we seem
to hear the throbbing rhythm of the words just as if some spirit were
singing them, and so it should be in the whistling of Spohr’s “Rose
softly blooming,” and many another song which will doubtless occur to
the student.
Care should be taken not to whistle in too high a key, as this spoils
the quality of the tone, rendering it thin and shrill. The middle
register contains better notes than the higher.
The piccolo is pitched one octave higher than the flute, whilst the
whistler’s notes are said to be two octaves above the flute. Although
the notes whistled are apparently very high, when judged by the ear, or
compared with the pianoforte accompaniment, they are not so, in reality.
It is rare to find the extremely high or the extremely low whistler.
Except in a very few cases, all whistle in about the same pitch. The
most usual key is F or G.
In spite of the old dogmatic assertion about the “whistling woman and
the crowing hen,” there are more young lady performers in this
profession than young men, and very charming whistlers some of them
are.
It is a remarkable fact that not infrequently an individual, whose
tonation is faultless in singing, cannot whistle such a simple melody as
the national anthem without coming to grief.
Here are two useful points always observed by Mr. Capper.
The first is never to laugh when performing. The veriest novice knows
that his risibilities must be well under control before he can whistle a
single note, so that it is essential for him--no matter what funny
incident is noticed and appeals to him--to hold tight to his gravity.
The second is that lip-salves should be strictly avoided, as they render
the lips susceptible to cracks and cold; besides, they make a film which
sticks and prevents clear whistling.