 He used the regulators (three keyed pipes lying under the heel of the hand) not to keep the rhythm, but to emphasise the broader structure of the piece.He combined legato passages with "tight" (staccato) ornaments—runs, triplets and backstitching—as well as crans, all executed with the highest proficiency.However, he did not employ certain ornaments in common use today, such as raising the chanter off the knee to swell a note's volume and intensity.