Grey Larsen Songtexte

Disc 1

1. Figure 1-1: The Seven So Called Church Modes (Concertina)
2. Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl)
3. Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute)
4. Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina)
5. Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C)
6. Figure 1-7: An Example of the Use of Slur Notation (Whistle)
7. Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle)
8. Exercise 7-1: Practicing Cuts on Repeated D'S (Whistle)
9. Exercise 7-7: F-Sharp to a Cut G (Flute)
10. Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St
11. Exercise 7-12: D to a Cut F-Sharp (Whistle)
12. Exercise 7-13: D to a Cut G (Whistle)
13. Exercise 7-14: D to a Cut A (Whistle)
14. Exercise 7-15: D to a Cut B (Whistle)
15. Exercise 7-22: G Down to a Cut F-Sharp (Flute)
16. Exercise 7-27: F-Sharp Down to a Cut D (Flute)
17. Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever
18. Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons
19. Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi
20. Exercise 8-1: Practicing Repeated Strikes on G (Flute)
21. Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute)
22. Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A
23. Exercise 18-13: Practising Strikes on E When Descending From G (Whistle)
24. Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle)
25. Figure 9-1: Sliding Up From E to F-Sharp (Flute)
26. Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural
27. Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute)
28. Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol
29. Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle)
30. Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute)
31. Exercise 10-1: Practicing Long Rolls on G (Flute)
32. Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle)
33. Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle)
34. Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute)
35. Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute)
36. Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg
37. Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The
38. Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni
39. Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long
40. Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle)
41. Exercise 11-1: Practicing Short Rolls on G (Whistle)
42. Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute)
43. Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu)
44. Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho
45. Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle)
46. Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)
47. Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)
48. Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute)
49. Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute)
50. Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle)
51. Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle)
52. Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle)
53. Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle)
54. Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle)
55. Exercise 12-1: Practicing Condensed Long Rolls on G (Flute)
56. Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E ()
57. Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A
58. Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi)
59. Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle)
60. Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E
61. Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp
62. Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute)
63. Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E
64. Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle)
65. Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And
66. Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute)
67. Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp
68. Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle)
69. Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F
70. Exercise 16-1: Practicing Long Cranns on D (Whistle)
71. Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E ()
72. Exercise 16-3: Practicing Short Cranns on Low D (Whistle)
73. Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle)
74. Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D ()
75. Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran
76. Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon
77. Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran
78. Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann
79. Figure 16-22: The First Two Bars of the Second Part of 'Old Joe's Jig' With a Short Crann on D (Whi)
80. Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough
81. Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D ()
82. Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho
83. Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E ()
84. Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O
85. Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat
86. Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E
87. Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I)
88. Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute)
89. Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F
90. Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle)
91. Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari
92. Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute)
93. Figure 19-6: The First Two Bars of the Jig 'Scotsman Over the Border' (Flute)
94. Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist)
95. Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis)
96. Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl
97. Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas
98. Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'the Gravel Wa

Disc 2

1. Figure 19-16: The beginning of a basic version of the first part of the hornpipe 'The Rights of Man
2. Figure 19-19: The first part of 'Jimmy Ward's Jig', with tasteful melodic ornaments that make use o
3. Figure 19-20: The first part of 'Jimmy Ward's Jig', with melodic ornaments that interfere with the
4. Figure 20-1: The first two parts of the reel 'The Gravel Walk', showing possible single and double
5. Figure 20-2: Slurs are feasible on some intervals that ascend across the register break (Flute)
6. Figure 20-3: A rendition of the jug 'The Sporting Pitchfork' showing possible single, double, and t
7. Figure 20-4: Two settings of the second part of the jig 'The Banks of Lough Gowana' (Whistle)
8. Figure 21-1: (staff two) The second of three settings of the jig 'The Banks of Lough Gowana' (Whist
9. Figure 21-1: (staff three) The third of three settings of the jug 'TheBanks of Lough Gowana' (Whis
10. Figure 21-2: The first two bars of the reel 'The Drunken Landlady' (Whistle)
11. Figure 21-3: The firs two bars of the reel 'The Drunken Landlady' showing an example of inarticulat
12. Figure 21-5: The first two bars of the reel 'The Trip to Durrow' withan example of inarticulate br
13. Figure 21-6: An example of an articulate breathing spot in the first two bars of the reel 'The Trip
14. Figure 21-7: Another example of an articulate breathing spot in the first two bars of the reel 'The
15. Study 1: Cuts in a jig on repeated notes that fall on the first and second subdivisions of the puls
16. Study 2: Cuts in a jig on repeated notes that fall mostly on the third subdivisions of the pulse (
17. Study 3: Cuts in a jig on repeated notes that fall on the first and second subdivisions of the puls
18. Study 4: A variety of cuts on repeated notes in a jig (Whistle)
19. Study 5: Cuts in a reel on ascending notes that fall on the secondarypulse (Flute)
20. Study 6: Cuts in a reel on ascending notes that fall on the primary and secondary pulse (Flute)
21. Study 7: Cuts in a jig on leap wise ascending notes (Whistle)
22. Study 8: Adding a few more cuts on leap wise ascending notes (Whistle)
23. Study 9: Adding still more cuts on leap wise ascending notes (Whistle)
24. Study 10: Cuts in a reel on stepwise descending notes that fall on the secondary pulse (Flute)
25. Study 11: Cuts in a reel on stepwise descending notes that fall on the primary and secondary pulse
26. Study 12: A few more cuts on stepwise descending notes that fall on the primary and secondary pulse
27. Study 13: Cuts in a jig on leap wise descending notes (Flute)
28. Study 14: A variety of cuts in a reel, including mid-note cuts (Flute)
29. Study 15: A larger variety of cuts in a reel (Whistle)
30. Study 16: A variety of cuts in a jig, including mid-note cuts (Flute)
31. Study 17: A larger variety of cuts in a jig (Flute)
32. Study 18: Strikes on repeated notes in a jig (Whistle)
33. Study 19: Strikes in a reel on stepwise descending notes (Whistle)
34. Study 20: More strikes in a reel on stepwise descending notes (Whistle)
35. Study 21: Strikes on leap wise descending notes in a jig (Whistle)
36. Study 22: Strikes in a jig on ascending notes that cross the registerbreak (Flute)
37. Study 23: Stepwise simple slides (Whistle)
38. Study 24: Simple slides that ascend by a third (Whistle)
39. Study 25: Simple slides that ascending by a fourth (Whistle)
40. Study 26: Simple slides that ascend by a fifth (Whistle)
41. Study 27: Stepwise added-finger slides (Flute)
42. Study 28: Added-finger slides on notes that descend by a third (Flute)
43. Study 29: Added-finger slides on notes that descend by a fourth (Flute)
44. Study 30: Added-finger slides on notes that descend by a fifth (Flute)
45. Study 31: Simple and added-finger slides in a jig (Whistle)
46. Study 32: More simple and added-finger slides in a jig (Whistle)
47. Study 33: In a jig, long rolls that begin on the pulse (Flute)
48. Study 34: In a jig, long rolls that begin on the second subdivision of the pulse (Flute)
49. Study 35: In a jig, long rolls that begin on the third subdivision ofthe pulse (Flute)
50. Study 36: In a reel, long rolls that begin on the primary pulse (Whistle)
51. Study 37: In a reel, long rolls that begin on the second subdivision of the primary pulse (Whistle)
52. Study 38: In a reel, long rolls that begin on the third subdivision of the primary pulse (Whistle)
53. Study 39: In a reel, long rolls that begin on the fourth subdivision of the primary pulse (Whistle)
54. Study 40: A jig containing long rolls that begin on each of the threesubdivisions of the pulse (Fl
55. Study 41: A reel containing long rolls that begin on each of the foursubdivisions of the primary p
56. Study 42: Stepwise ascending short rolls in a jig (Flute)
57. Study 43: Stepwise descending short rolls in a jig (Flute)
58. Study 44: Leap wise descending short rolls in a reel (Flute)
59. Study 45: Stepwise ascending short rolls in a reel (Whistle)
60. Study 46: Stepwise descending short rolls in a reel (Whistle)
61. Study 47: Leap wise descending short rolls in a reel (Whistle)
62. Study 48: A jig containing a variety of short rolls (Flute)
63. Study 49: A reel containing a variety of short rolls (Whistle)
64. The Battering Ram (Whistle)
65. The Blarney Pilgrim (Whistle)
66. The Cliffs of Moher (Whistle)
67. Tom Billy's Jig (Flute)
68. The Frost Is All Over (Flute)
69. The Humours of Ballyloughlin (Flute)
70. Jimmy Ward's Jig (Whistle)
71. The Monaghan Jig (Whistle)
72. Old Joe's Jig (Whistle)
73. The Rose in the Heather (Flute)
74. Scotsman Over the Border (Flute)
75. Tripping Up the Stairs (Flute)
76. Whelan's Jig (Whistle)
77. Willie Coleman's Jig (Whistle)
78. The Star Above the Garter (Whistle)
79. A Fig for a Kiss (Flute)
80. Hardiman the Fiddler (Flute)
81. The Whinny Hills of Leitrim (Flute)
82. Christmas Eve (Whistle)
83. The Banshee (Whistle)
84. The Boys of Ballisodare (Whistle)
85. Roaring Mary (Flute)
86. The Drunken Landlady (Flute)
87. The Glen Allen Reel (Flute)
88. The Gravel Walk (Whistle)
89. John Stenson's Reel (Whistle)
90. Lad O'Beirne's Reel (Whistle)
91. Lady on the Island (Flute)
92. The Mountain Road (Flute)
93. The Shaskeen (Flute)
94. Tuttle's Reel, notated in E Dorian sounding in D Dorian playing on a whistle in C (Whistle)
95. The Home Ruler (Whistle)
96. The Rights of Man (Whistle)
97. Maids of Ardagh (Flute)
98. Lord Mayo (Flute) and Give Me Your Hand (Flute)

1. The Gathering
2. Hovering Hawks
3. The South Shore
4. Big Sky
5. Night in Quebec
6. Oldenfjord
7. The Dovetail Jigs
8. The Frozen Beach
9. Sleepy Creek

1. Exercise 1: Moving just one finger at a time
2. Exercise 2: Moving one finger and groups of two fingers
3. Exercise 3: Again, moving one finger and groups of two fingers
4. Exercise 4: Moving one finger and groups of two and three fingers
5. Exercise 5: Moving groups of two and three fingers
6. Exercise 6: Moving one finger and groups of two, three, and four fingers
7. Exercise 7: Moving groups of two, three, and four fingers
8. Exercise 8: Moving groups of three and four fingers
9. Exercise 9: Moving one finger and groups of two, three, four, and five fingers
10. Exercise 10: Moving groups of two, three, four, and five fingers
11. Exercise 11: Moving groups of three, four, and five fingers
12. Exercise 12: Moving groups of four and five fingers
13. Exercise 13: Moving one finger and groups of two, three, four, five, and six fingers
14. Exercise 14: Moving groups of two, three, four, five, and six fingers
15. Exercise 15: Moving groups of three, four, five, and six fingers
16. Exercise 16: Moving groups of four, five, and six fingers
17. Exercise 17: Moving groups of five and six fingers
18. Figure 1: The D Mixolydian mode
19. Exercise 18: Playing the cross-fingered low C-natural in a variety of melodic contexts
20. Exercise 19: Moving between low and high D
21. Exercise 20: Moving between low and high E
22. Exercise 21: Moving between low and high F#
23. Exercise 22: Moving between low and high G
24. Exercise 23: Moving between low and high A
25. Exercise 24: Moving between low and high B
26. Exercise 25: Moving one finger and groups of two, three, and four fingers
27. Exercise 26: Moving groups of two, three, and four fingers
28. Exercise 27: Moving one finger and groups of two, three, four, and five fingers
29. Exercise 28: Moving groups of two, three, four, and five fingers
30. Exercise 29: Moving groups of three, four, and five fingers
31. Exercise 30: Moving one finger and groups of two, three, four, five, and six fingers
32. Exercise 31: Moving groups of two, three, four, five, and six fingers
33. Exercise 32: Moving groups of three, four, five, and six fingers
34. Exercise 33: Moving groups of four, five, and six fingers
35. Exercise 34: Moving one finger and groups of two, three, four, five, and six fingers
36. Exercise 35: Moving groups of two, three, four, five, and six fingers
37. Exercise 36: Moving groups of three, four, five, and six fingers
38. Exercise 37: Moving groups of four, five, and six fingers
39. Exercise 38: Moving groups of five and six fingers

1. Blarney Pilgrim
2. Cliffs of Moher
3. Frost Is All Over
4. Monaghan Jig
5. Old Joe's Jig
6. Rose in the Heather
7. Tom Billy's
8. Tripping Up the Stairs
9. Whelan's Jig
10. Willie Coleman's
11. Star Above the Garter
12. Hardiman the Fiddler
13. Banshee
14. Drunken Landlady
15. Gravel Walk
16. Lad O'Beirne's
17. Roaring Mary
18. Tuttle's in Dm