CHAPTER XVII

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.