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From: "Rick Dempster - Serials"
Date: Thu, 23 Jul 1998 15:24:19 -1000
Subject: (Fwd) Re: Whistling and Harptone

- ------- Forwarded Message Follows -------
From: Self
To: Majordo~oo.garply.com
Subject: Re: Whistling and Harptone
Reply-to: RICKD
Date: Thu, 23 Jul 1998 13:12:01 -1000

Some years ago, while studying the technique of the wonderful Gwen
Foster (of the 'Carolina Tarheels') I discovered that one of his many
techniques included one identical to that used to obtain what I would
call a 'harmonic warble' when whistling. (For an excellent
description of this effect, read the first few pages of Mark Twain's
novel 'Tom Sawyer') The result is exactly the same:when playing a
blow-bend, the tone oscillates between the two extremes rather than
sliding up and/or down. Foster uses this, a rapidly alternating
toungue-block, and a gurgle (on the draw) to sustain an ornamental
effect that sounds like a mallet instrument, keyboard or
cross-picking on a string instrument. He also uses the whistle/tongue
flutter on a draw six bend, I think, although, depending on the pitch
of the harp, this can be achieved by the epiglotus alone.

However, I thus formulated the opinion that Foster was probably a
hell of a whistler, and, on a trip to the Nashvile Country Music Hall
of Fame archive in 1980, I expressed just this opinion to British
music-historian, Tony Russell. Tony, barely hesitating, withdrew from
the archives collection a 78RPM disc of 'The Foster Twins'-namely
Gwen and Garley Foster, both of whom played in the Carolina Tarheels
and whose styles were somewhat similar in a few areas. (The two
Fosters are said to be un-related, something which I find hard to
accept) All this I alredy knew as fact. However, to my amazement, my
hypothesis was proven correct immediately. The track Russell played
to me was called 'I Want My Black Baby Back', and featured these two
fine harp players singing and whistling, using this same
tongue-flutter technique that had led me to my hypothesis. Garley
Foster, incidentally, on account of his whistling prowess, was billed
professionally as 'TheHuman Bird'.
(Incidentally, the technique is simply to repeat the letter 'L' while
bending, and works best on blow bends)


Obviously there are other precedents for associating whistling and
harp-playing. Toots Thieleman is an obvious one. Less obvious is my
fellow countryman P.C.(Percy)Spouse, who, in a recording and
vaudeville career combined his flawless diatonic playing with
whistling novelties, imitations etc.

Lastly, I shall humbly add that I am both a harmonica player and an
habitual whistler. I think that any kind of oral or lingual skill can
only help your playing.

Cheers,
Rick Dempster.
Rick Dempster
RMIT Libraries
E-mail: ric~ib.library.rmit.edu.au