It has been well established that the train whistle was one of, if not the very first bluesy sound recorded on the harmonica in America. It is a lonesome, soulful, gritty sound that encapsulates the feel of the rural countryside as well as the big city. The most basic train whistle is found inhaling on holes 3, 4, and 5. Using the hand to create a “Wha Wha” tremolo effect also ads to its lonesomeness. Shoot for long extended, lonesome whistles. They should always be played at the very beginning and very end of any train imitation. We can also add them inside the train rhythm, but must never break the groove or slow down.
Train whistles were in actuality used as a language to communicate to others as it was in motion, like the station ahead and or police/army/security forces behind. If a train was being robbed or needed to take some other emergency action it would signal all on board, and those ahead and down the line a warning or request. Here are a few that were used at one time or another. We can most definitely incorporate these into our train imitation pieces. They are variations of long and short whistle blasts and create a special code everyone working on board could understand.
Train Approaching A Crossing - Long, Long, Short, Long
Train Backing Up- Short, Short, Short
Call For Signals- Short, Short, Short, Short
Call for Flagmen to Protect Rear of Train- Long, Short, Short ,Short
Call for Flagmen to Protect Front of Train- Short, Short, Short, Long
Station Approach- 1 Long
Train has Departed- Long, Long, Long
Train beginning to move- Short, Short
Brakes Sticking- Short, Long
Flagmen Return To Train Immediately- Long, Long ,Long, Long
@davidkachalon thank you for taking the time to do this, I doubt very much that people in the UK are familiar with this coding system, and it was the first I heard of it watching your train tuition vids. I think it’s a wonderful piece of folklore and extremely useful to be able to give my own very standard and somewhat boring train a bit of colour, and also some variation. I don’t really like playing the same thing over and over and I’ve often avoided doing a train for an audience because I’m well aware what I’m playing can be samey. So this will be extremely useful and fun to try.
I am putting much more time into the train workout. You are very well informed about how the whistle is used as a means to communicate. What is the best note pattern you use to simulate the chuffs from start to finish. I know the communication aspect well as was wondering if it was often incorporated into the riff. I usually play a B flat on this riff Its trying to get the rhythm down pat. A good a blow/ draw pattern for the chuffs is giving me a problem, especially when I speed things up. Whistle is no problem. As always any help on this one would be appreciated.
The Old guys used to vary their train horns ( they were telling a story) that’s pretty much harp playing 101 you are enhancing the song to tell a story, Joe Filisko does a superb train that is mind-blowing in its Speed, @davidkachalon does an incredibly fast one too. But you don’t hear that many players doing it these days as like a lot of guitar players they want to jump the “simple” stuff on go on to play SRV or Hendrix not realizing if you set out on a journey it’s not full speed ahead, you start out on a journey to admire the country side and you hope you never get to the end. I’ve been playing 30 years I quit twice one time I lost my best friend the second time I had cancer and had to focus on beating it. There are skills I have simply forgotten which I’m working on as we speak.
The rhythm of the chuffs, especially when changing speed and play the faster portion of the riff. Whistle is ok. I am a train nerd so replicating the chuffs correctly is what is getting the best of me now.