About
Welcome to the all new www.fullbodyburn.com!
Completely redesigned. Completely rethought. Completely regurgitated. Diced, battered, and deep fried until crispy and golden brown… it’s Full¥Body¥Burn Productions!!!!!!!!!
First of all, there’s a lot of stuff here. You can find the Stuff (TM) using the navigation menu at right. It’s divided conveniently by subjects that will lead you to the major pages. There are also posts — pages that don’t quite qualify as major pages and so aren’t on the navigation menu. New material is announced in a post, and is usually also linked in a page. So, look at the “what’s new” boxes underneath the navigation menu to see what’s new. If you’re not really all that interested in what’s new… well… don’t, I suppose.
Longtime fans of the Tinwhistle Fingering Research Center and Full¥Body¥Burn Productions will notice a few changes around the website. First of all, management of the website has been completely turned over to Telford, an agreeable rapscallion of a hand puppet and President and CEO of Telford Holdings, Inc., the parent company of Evil Goblin Music & Weapons Systems. Telford has expanded fullbodyburn.com to not only be the premier Internet resource for free tinwhistle fingering information and a repository for a sizable and ever-growing collection of free sheet music of questionable worth and taste, but also to include information on some of his favorite fields of study: fairy tales, puppetry, ventriloquism, and bacon.
Those interested in keeping up with the site — when changes are made, when new songs or stories are added, when additional resources are posted, and when Telford makes any exciting discovery in the realm of bacon eatology — can do so by connecting with Telford on Facebook. (Please note: Tinwhistle fans, you will also see posts about puppetry. Puppetry fans, you will also see posts about tinwhistles. I won’t say anything at all specifically to the bacon fans, because everybody is a fan of bacon. However, Telford rarely posts more than once in any given twenty-four hour period, so no one has to worry too much about their feed being inundated with things that aren’t very interesting. Unless you think everything that a hard-working monster has to say is not very interesting. In which case, just bookmark the site and check back from time to time. Sheesh.)
If you’ve got thoughts to share, comments to make, bridges to burn, or axes to grind, you can contact Telford directly at webmaster@fullbodyburn.com.
Enjoy!
Trying to get a fingering chart for C penny whistle. It seems a long journey and have arrived here, hoping for some luck this time.
Many thanks
Marian
Yep; you’ll find it here. (http://fullbodyburn.com/?attachment_id=134)
However, I really, really mean it when I say you’ll most likely probably be a lot better off in the long run if you learn the “D” fingerings and transpose for the C whistle. Probably. And I mean that unequivocally.
But, do whatever you like. After all, the only reason to play tinwhistle is because it makes you happy. Well, that and it’s good for world peace.
–T
hey my name is Sean i am a big fan of the Muppet are you ?
Yes. Yes, I am.
–T
I have an antique piccolo with 6 holes and 6 keys. Modern flute gave me fingerings for 2 octaves but I was wondering (and he refered me to you) if there were fingerings for the upper octave.
Thanks, Patty
The short answer is this: almost certainly yes.
However, what those fingerings are exactly depend on the manufacturer of the flute and what the particular keys are designed to do. There’s not really a complete standardization here, especially on antique instruments. I am going to assume you tried the standard third-octave fingerings as in the chart already. You should also try the alternative fingerings that Andrew Olmsted sent in. Look for them on the Alternative Fingerings page (http://fullbodyburn.com/?page_id=163) about halfway down.
Ultimately, you’re probably going to have to experiment some. Get yourself a good tuner and a place far away from cats and other nervous animals and try the third-octave fingerings, then add in the key nearest to your last covered hole and see if that makes it better or worse. You ought to be able to pick up a pattern pretty quick. Usually, a six-hole instrument with added keys, the keys are on there so that the accidentals will be more in tune than they would be through cross-fingering. Usually, that works pretty good but sometimes you’re still better off with cross-fingering the six main holes and ignoring the keys — especially at the extreme end of the range.
I hope that helps some; good luck, and let me know how it works out for you.
–T