A GDE hidden inside a cut doubling is easier to play once you stop thinking of it as 'a doubling on a short note.' I think of the cut note as carrying a G gracenote, the short note that follows as carrying a D gracenote, and the note after that as carrying an E — that reframing is what keeps the short-short-long strathspey rhythm even instead of crushed.
For a stubborn grip or taorluath, I deliberately practice it with an oversized gracenote. Making the gracenote bigger than it needs to be guarantees I won't miss it and forces my hand to stay loose, and it naturally compresses back down on its own once I'm playing the tune at full speed.
A birl from B and the piobaireachd high G both come down to using a finger position most pipers have never needed before. The birl from B needs my little finger touching the chanter above the hole at the exact instant my ring finger plays low A; the piobaireachd high G swaps the usual three-finger lift for a single middle-finger drop.
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Get the Pipes Out! — June 17, 2025
1h 2m · Full class available to Inner Circle members
16:39reframed doubling in GDE cut as time, The strathspey a🔒
22:03and a runs, signature time mid-line Arpeggios, change🔒
26:42grace hidden and Leumluaths note grips: the B🔒
31:21note an exaggerated, loose with grace Practicing🔒
35:00and a from Taorluaths C B from B, one to rare🔒
38:26and The fingerings high G, piobaireachd other alternate🔒
40:41Strike two and strikes the D combinations,🔒
45:10bottom hand from and birls D throws the🔒
52:04'he-her' piobaireachd The ornament🔒
57:59private Wrap-up: and next feedback what's video🔒
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