The Snafu Recovery Ornament Theory

Emrys · Post by **Emrys** » Thu Jul 01, 2004 9:01 pm

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.

BillChin · Post by **BillChin** » Thu Jul 01, 2004 9:40 pm

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

BrassBlower · Post by **BrassBlower** » Fri Jul 02, 2004 8:17 am

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:

1. It helps you internalize the rhythm of the tune.
2. It warms up the whistle, and
3. It knocks out any condensation.

Also, when it comes to ornamentation as error recovery, I'm an expert!

emmline · Post by **emmline** » Fri Jul 02, 2004 9:32 am

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.

anniemcu · Post by **anniemcu** » Fri Jul 02, 2004 10:54 am

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.

jhonan · Post by **jhonan** » Fri Jul 02, 2004 11:12 am

Do unintentional 5-note rolls fall into this category?

E = Fb · Post by **E = Fb** » Fri Jul 02, 2004 11:31 am

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.

OutOfBreath · Post by **OutOfBreath** » Fri Jul 02, 2004 12:07 pm

emmline wrote:Personally, I'm all for concealed error recovery as my fingers will never catch up with my brain.

Slow fingers? Or fast brain?

Post by **Nanohedron** » Fri Jul 02, 2004 12:09 pm

emmline wrote: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.

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.

Post by **Nanohedron** » Fri Jul 02, 2004 12:13 pm

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.

lonewhistler · Post by **lonewhistler** » Fri Jul 02, 2004 12:24 pm

...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??

Post by **Nanohedron** » Fri Jul 02, 2004 12:30 pm

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")

lonewhistler · Post by **lonewhistler** » Fri Jul 02, 2004 12:43 pm

...I couldn't agree with you more!!!

lonewhistler · Post by **lonewhistler** » Fri Jul 02, 2004 12:48 pm

...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.

Flyingcursor · Post by **Flyingcursor** » Fri Jul 02, 2004 2:11 pm

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.