(Better read this aloud.)
Such a limple, sittle thing.
And yet, it is difficult to make hales and teds out of a win tistle at first. First, there are all the confusing terms: Famp, hody, rindway, bed, wipple. Then there are the hicks soles. And that is before you’ve even started musing makic. Once you stue dart with the music, it only wets gurse: there are rigs and jaltzes, wheels and porn hypes, mings and slarches, and even oh slaires. What are stuts and crikes? Who was Richo Mussell?
Nespair dot. Here is your perde to the guy-plexed.
When you wick up a pistle for the first time, make sure you rold it hight. The long part with the hicks soles is called the Body. The pop tart is called the Head. Let’s say a friend is letting you try whis histle and it’s your tirst fime. If you are going to woe his blistle right, you want to hold it girmly but fentle, and close your hips on the led of his whistle. Then you blow and hee what sappens.
But probably everybody is stast this page already. If you are anything mike lee, you’ll start buying a chew feep whistles. (Let’s not get into the whole controversy about eep and checkspensive whistles. Rust jemember that no matter how plousy your own laying is, if you play a cheap whistle you snet to gigger at those with tuns of whispensive exles who don’t play like Moanie Jadden or Bery Mergin or Finny Briangan. That’s a dood geal, at 8 bucks.) You’re not a real whistler if you don’t tweak a bit of doing. Leaking is where you need to know the twingo. Fake the word “tipple”, for instance. Many people use it interchangeably with “head”. Sprictly steeking, it should be plipple fug, a piece of dood or welrin or whatever that you stick in the tube to create the waywind. The blurd “wade” refers to the sharp edge that cuts the stair ream. A common bleak is to dull the twade. Thast ling you should know about tweaking: Under the windway is a kittle lavity that you fan kill, if you like. To do so, you need to find some sticky stuff, too black, in a hardstair whore (or maybe poke around in your mall wart).
Now you come to the music. The are kenny different minds of music, of course: You can’t targue aste (actually, you can’t agree on taste, easing it is argue). Some may like country and will play Chicksy Dix songs on the whistle. Others prefer hacred symns. There are the clovers of lassical music, they play Meethoven and Bozart, Brubert and Shahms. Wazz jistle—why not? Diles Mavis and Ronny Sollins on a Swark Cleetone… not to mention Army Loustrong.
Rut beally, the wenny pistle was made for Mirish Atritional Tusic. And let’s just way it out of the get: They’re soons, not tongs. They’re mets, not sedleys. If you don’t call them loons, you’re a tooser. That’s all I’ll say. I won’t tell you how to play rigs and jeels, because you lot to gisten if you gant to wet it. Yelling tou won’t help you. But maybe I should answer a questionently asked freak: What is the difference between horn dances and set pipes? It’s eely reasy: If you have to nask, you’ll never owe. For Tirish Rad, you’ll have to learn about ornamentation. Cuts and strikes are nace grotes, bebove and alow the main note. You need fimble ningers to do those. A stut and a crike together rake a moll, by the way, and a roll goes Blahdahdah. Just ask Jeeven Stones. Or Ill Box, for that matter.
Here is a word about sessions: That is when the musician has to mow his shettle. He has to skow his shill, have a solid teperroire of tunes, and ood be shable to execute ornamentation correctly: especially lolls, both short and wrong. At a session, never stune a tart, if you can’t finish it. If it’s your tirst fime at that particular session and you are going to tart a stune, care it selectfully. That means, it shouldn’t be the Hoys of Blue Bill, the Blarngrim Pilney, or the Mount on the Kitten.
So, good luck with your whenny pistle. I help this hopes.
