It’s good to know that somehow I intuited the “best” or recommended way to hold my new Olwell bamboo flute; I seem to have done what he suggests without going through the “20-step” program. Although I don’t have much patience for that section, I did go through it and I guess it’s nice to have to go back to if necessary. Sort of like a pitcher who is in a bad streak and has to go back over his basic mechanics from time to time.
Anyway, now that the painting is done around here, I picked up the book again and read the beginnings of the ornaments section at around midnight. His clarity and logic in explaining these things are so refreshing and bring reaffirmation to everything. I’m finding it really interesting and helpful especially conceptually. It really does help to know exactly what cuts are and how they should and can be used even if if you’ve been doing them pretty well (or think you have).
This seems like a pretty terrific work and I enjoy picking it up every so often; you don’t have to read straight through to the end, although in order is smart. He also seems so far to really tie his written words to the most important thing, the music.
I’m enjoying this and hope you guys are too.
This is the third book that I’ve found extremely helpful and enriching, in different ways, in learning and enjoying this music: Bill Ochs’ The Clarke Tin Whistle and cassettes (although he sure is even better in person of course) and Cathall McConnell’s Irish PennyWhistle and cassettes are the other two.
PhilO