Eh? OH! hellloo all 
yah - I bin rummaging round my agient’s “Blurt” folder while he’s away .. just hapened on this one under the general heading “cloud of unknowing” whateva that means .. bored .. you might be interested.
Heheh - it’s part of a letter he was writing to some new whistle player who does Morris dancing?? - you work that out!??
Blurt starts here:
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So to whistle-playing .. the thing about whistles that makes them such a wonderful instrument is that they are inexact – they are nothing like recorders for instance where the note is almost as exact as if you press a piano key .. not whistles - they can be blown flat or sharp and because there’s no on/off key, you can slide notes by how much you cover the hole. Very organic .. easy to start, but a lot more technique is needed than, say, a concert-flute. The result, of course, is a whole new world of musical expression – and that’s why whistles have such charm .. like the pied piper, one can reach expressive figures that overwhelm the listener and take them to new emotional scenery.
To begin – each note on a whistle has its own unique character – get to know them and you will begin to learn how all these characters “talk’ to each other in a tune .. it’s like painting a crowd-scene where all the people are involved in some drama. Sliding one note to another is like an agreement between two notes .. an emotional link, popping the note makes him shout or assert himself like he’s the most important guy there. Etc – each tune allows the player to find the emotional story the author put in it .. not all players agree with the author and find other dramas in it or develop the story a bit.
Here’s the basic techniques of the whistle:
Legato/staccato: Legato on a whistle simply means that you do not interrupt the note one to the next .. sometimes a slide is effective (usually with contiguous notes). The breath does not stop.
With staccato there are a whole bunch of techniques to get the interruption between notes. The most obvious is tongueing – you simply use tuh, duh, guh or huh -so, for instance you can go tuh-dah for 2 notes, tuh-guh-dah for 3, tittle-tattle for 4 etc.. it’s considered bad taste to over-use these figures. Instead, more character, rhythm and finesse are gotten using the finger techniques – cuts, taps, rolls and crans.
A cut is used to cut one note into 2 without stopping the breath. It is gotten by lifting a finger above the note very, very briefly – on a whistle we use the left-hand third finger for all notes below A, and we use the left hand forefinger to cut A and B (there is no cut for C#). We use these fingers to cut because the note produced is dissonant with the cut note – it cancels the note. If the cut is too slow, it produces the dissonant note and is ugly to listen to .. so it must be very very quick. When it is done right, the cut is percussive – it’s like a drum.
Taps are all done by quickly tapping the hole below the note being played. Once again it cuts the note into 2.
A roll cuts the note into 3 – it is a cut followed by a tap.
A cran is a method used to cut a note into 4 or more. It’s a piping technique, whistlers will usually use some tongueing combined with a roll. On a whistle you Can do crans – but it’s usually only done on the bottom D or E – so a 4-note cran on the low d would be done by cutting with the 1st then 2nd then 3rd fingers of the right hand one after the other .. once again, each one done very, very briefly.
To get these takes a lot of practice – just cutting every note in 2 octaves, then tapping every one then rolling every one. Until the cuts and taps are percussives .. not audible notes.
All this makes our fingers into little drummers – the drummers make the people dance. So for you, you would have to think of the percussives of your feet and transcribe them into the fingers. In dancing with the feet, there is the strike-down and the lift-up of each foot. In the technology of music, this transcribes to the terms “drive” and “lift” = when a drummer “drives” he/she is directing the dancer’s foot-strike onto the ground – most heavy rock music is all concerned with this – it is very masculine. “Lift” is where the drummer is directing the peak of the foot’s lift and poise before it is struck down again. It is very feminine. The combination of lift and drive generates excitement (drive) and joy (lift). A good drummer can make the dancer feel they are dancing on clouds. A good whistler can take them on a magical dancing journey to another universe. As did the pied piper 
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HA! - end-blurt!
I gotta find my agent’s “stash!!” (he’s gonna kill me for this!! - if he ever finds out! <<shshh!>>)
No.