Anyone else tried this one? I can’t decide if it’s a great idea or a really stupid one. I’ve been experimenting with a kind of “no such thing as a wrong note” theory… where no matter what (wrong) note I play I turn it into an ornament and use it to get where I’m going (i.e. to the right note). I find that if I do it with conviction and even an extra bit of style, it’s really kind of cool. First of all: snafu morphs into snazzy. Second of all, it sure makes for some original-sounding ornamentation. And, I’ve been noticing that some of the most enthralling players are highly original in their approach to playing ornaments.
I perform original whistle solos, so no one in the audience knows what the right or wrong note is. If I play a “wrong” note, I usually just start improvising for the next phrase or two. Rarely does anyone notice that I am off course. The key is to keep playing, keep smiling. It is attaching danger to the mistake that destroys the performance.
A more distressing problem for me is clogging. That one I haven’t yet smoothly gotten out of, but I am working on a quick and strong inhale with the windway covered and then resuming. I need to remember to do this before starting also, and perhaps zap any condensation that has accumulated.
- Bill
The times I’ve played in public with a group, I’m usually not called in until the second verse of an instrumental tune or the bridge of a song, so until then, I usually smack the palm of my hand with the whistle rhythmically, sort of like clapping with the whistle. This has a triple benefit:
- It helps you internalize the rhythm of the tune.
- It warms up the whistle, and
- It knocks out any condensation.
Also, when it comes to ornamentation as error recovery, I’m an expert! 
I’ve heard this technique promoted by C&Fers who play in public, and I’ve also seen it sniffed at by purists. Personally, I’m all for concealed error recovery as my fingers will never catch up with my brain.
It is my considered opinon that this is the very basis for the original ‘ornamentation’ occuring with the whistle in the far reaches of whistledom.
Very handy, as a matter of fact.
Do unintentional 5-note rolls fall into this category?
Ornamentation is a fine thing, but I have to ask why it’s used so much in Irish/Scottish music, and I have to agree with those who say it has to do with the limitations of both instrument and player.
Slow fingers? Or fast brain? 
The sniffers probably don’t have the knack for it. Yes, I think it’s preferable to have control over what you’re intending, but when you’re performing, you have to keep the tune going, after all.
Nano, heretic purist.
On the other hand, I’ve witnessed some playing that utilises far too much of that sort of thing, and at the end of the day, it’s just plain garbled, and displays a lack of practise, IMO.
…is there anything wrong with very little ornamantation (i.e. cuts and rolls), if anything at all?? I’ve just started throwing in a bit of ornamantation here and there during a tune, but I don’t use it much at all. I can play a solid tune in the correct phrasing, tempo, etc. and without much tonguing, but I don’t use that much cuts or rolls, however I do use slides here and there. Will the purists burn me alive?? 
I’ll give you my opinion, for what it’s worth:
The tune comes first.
Whatever setting you’re using, whatever variations you’re able to muster, whatever ornamentation you’re capable of, the tune comes first. I like ornamentation, but if it starts masking the tune, what’s the point? I say it’s better to play simply and well, and bring out the best you can of what the tune IS.
(edited to retrieve another absconded “t”)
…I couldn’t agree with you more!!!
…Although, honestly I’ve been a little “lazy” when it comes down to the ornamantations. 
I learn the song first, then fiddle around with ornamantation…which usually messes up my playing the tune in the first place. However frustrating it may be, I’ll continue to practice getting the ornamentations down. But, the ability to play the tune the correct way will ALWAYS come first for me. 
Regarding the mistake theory.
I’ve gotten into recording myself because many times the unintentional really sounds good. Last week our guitar player told me he liked “that little thing” I did on the flute. I didn’t know what I had done!!! The only thing I did was hit a little riff about 1/2 beat off. As it turned out that sounded better then the way I had done it before.
Usually my recordings only yield some swearing when I mess up too much.
Regarding tune vs. ornamentation
I concur with all of you. I found out that people like the tune better if it were played well, without ornaments as opposed to muddled and poorly timed with meager attempts at ornamentation.
Average brain. Clumsy finger coordination.
That’s rather like saying that a receiver who falls down while running a route should just fall down again and act like it’s intentional. Those ignorant of the game wouldn’t know, but those who appreciate the skills and training involved would find it ludicrous and laughable. You couldn’t pull it off straight-faced in a strong session.
:roll:
I never make mistakes when playing.
I do ,however, create a lot of spontaneous variations…
Mmmm…
Slan,
D.
:roll: :roll:
I think it’s more like a running back making a 20 yard gain out of a broken play that was supposed to get five yards.
I often make mistakes while learning a tune, and sometime these mistakes lead to discovered ornaments that I incorporate later.
I don’t think our original pster was thinking about playing in a strong session, but I agree with the general consensus - you CAN have too many croutons in your soup, Brother Steve had it right.
That there? That’s a sniff.