What’s interesting to me here is the issue of the usefullness of sound clips on whistle sites in determining whether respective whistles suit the buyer. Peter’s comments are in direct opposition to some I recall on a much earlier thread wherein a poster or posters complained that the whistles were being played by professionals thus making it hard to determine whether the whistles sounded so good because of the inherent qualities of the whistles or because of the advanced professional playing of the musicians (thereby fooling those of us less talented into thinking we could make the whistles sound that good).
We’ve also read on various threads that clips are too doctored or enhanced to tell what the whistle actually sounds like.
While I agree with Peter that I was unable to tell from the clips what I really needed to know about the whistles (and not because of your playing Mike), I can’t recall any instance wherein sound clips gave me what I needed to know to make a purchase. Rather, I need to handle a whistle and run it through its paces for at least a day in order to determine whether it’s a keeper.
I do know that if a whistle seems like what you want and you buy it from a reputable maker or dealer, you can return it if you like within a certain period.
All of us are at different levels of playing ability and some differing styles as well, which is all good. I’m some Jewish American guy who became entranced wth this instrument and music shortly after the birth of my daughter as a way of doing something useful and fun while hanging out with her early on. Played some drums as a kid and really into the rhythm section kind of guy. Taught myself to read the music, starting listening, etc. Finally found a teacher who gracefully endured my shortcomings and ignorance of the musical phrasing required but who earnestly encouraged my solid sense of rhythm and individual style. That said, I still think it’s important, to me anyway, to learn this music, if not the only way, the traditional way with all of its haunting lilting style and specific ornamentation. That is difficult for an outsider, but is coming along nicely. I’m an amateur who plays for enjoyment and satisfaction not for employment or even yet sessions.
I think it is fine to have a different style that varies somewhat from the “norm” however, I think it’s important to have a solid base of command before going off in other directions and calling that “style.” I’ve played many tunes in ways that are ok, only to have my teacher suggest changes that just literally open the music and the ears wonderfully and can be applied in other settings as well.
In sum, there are different ways of playing the music but some are definitely better than others and some of us are definitely better at knowing which. Bruce Lee always talked about not doing forms, just let it flow; bull, he himself practiced forms and traditional ways for years (at least 16, I believe) before adopting his own style. My philosophy is to learn this music in the best traditional way I can first, with perhaps only small stylistic deviations along the way (there is a place for tongeing, etc.).
Anyway, I wish we’d all stop trying to shut each other up and being so sensitive. I want to learn from Peter and listen to much of what he says; Erle is a gentleman who is wonderful to deal with, and I met Mike at the Gathering, another terrific gentleman who works hard to set up a lot of cool stuff for us. Geez, it’s all good.
I’m not trying to legislate or mediate; I suppose I’m just finding it a tad unsettling to see what seems lately like a stream of us having at it, and maybe that’s ok too. Consider this my letting off some steam as well.
Philo
