Songtexte
- Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle)
- Study 37: In a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle)
- Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle)
- Frost Is All Over
- Figure 16-22: The First Two Bars of the Second Part of 'Old Joe's Jig' With a Short Crann on D (Whi)
- Exercise 15: Moving Groups of Three, Four, Five, and Six Fingers
- Exercise 7: Moving Groups of Two, Three, and Four Fingers
- Study 5: Cuts in a Reel on Ascending Notes That Fall on the Secondarypulse (Flute)
- Willie Coleman's Jig (Whistle)
- Study 25: Simple Slides That Ascending by a Fourth (Whistle)
- Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E ()
- Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St
- Lady on the Island (Flute)
- Old Joe's Jig
- Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons
- Whelan's Jig (Whistle)
- Exercise 16-3: Practicing Short Cranns on Low D (Whistle)
- Rose in the Heather
- Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute)
- Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A
- Study 48: A Jig Containing a Variety of Short Rolls (Flute)
- The Home Ruler (Whistle)
- Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp
- Exercise 18: Playing the Cross-Fingered Low C-Natural in a Variety of Melodic Contexts
- Willie Coleman's
- Exercise 7-7: F-Sharp to a Cut G (Flute)
- John Stenson's Reel (Whistle)
- Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle)
- Exercise 22: Moving Between Low and High G
- Exercise 32: Moving Groups of Three, Four, Five, and Six Fingers
- Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle)
- Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute)
- Exercise 9: Moving One Finger and Groups of Two, Three, Four, and Five Fingers
- Exercise 14: Moving Groups of Two, Three, Four, Five, and Six Fingers
- Figure 1-1: The Seven So Called Church Modes (Concertina)
- Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle)
- Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute)
- Exercise 34: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers
- Exercise 16: Moving Groups of Four, Five, and Six Fingers
- Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute)
- Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle)
- Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute)
- The Frost Is All Over (Flute)
- Exercise 11: Moving Groups of Three, Four, and Five Fingers
- Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle)
- Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D ()
- Lord Mayo (Flute) And Give Me Your Hand (Flute)
- Exercise 16-1: Practicing Long Cranns on D (Whistle)
- Exercise 1: Moving Just One Finger at a Time
- Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle)
- Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And
- Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl)
- Blarney Pilgrim
- Exercise 8: Moving Groups of Three and Four Fingers
- Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi)
- Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
- Study 4: A Variety of Cuts on Repeated Notes in a Jig (Whistle)
- Exercise 6: Moving One Finger and Groups of Two, Three, and Four Fingers
- Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni
- Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl)
- Exercise 33: Moving Groups of Four, Five, and Six Fingers
- Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi
- Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute)
- Exercise 19: Moving Between Low and High D
- Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute)
- Study 33: In a Jig, Long Rolls That Begin on the Pulse (Flute)
- Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute)
- Study 43: Stepwise Descending Short Rolls in a Jig (Flute)
- Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D ()
- Exercise 4: Moving One Finger and Groups of Two and Three Fingers
- Exercise 7-14: D to a Cut A (Whistle)
- The Banshee (Whistle)
- The Cliffs of Moher (Whistle)
- Exercise 24: Moving Between Low and High B
- Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann
- Tuttle's in Dm
- Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle)
- Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P
- Drunken Landlady
- Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough
- Exercise 35: Moving Groups of Two, Three, Four, Five, and Six Fingers
- Tom Billy's
- Study 8: Adding a Few More Cuts on Leap Wise Ascending Notes (Whistle)
- Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
- Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle)
- Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle)
- Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E ()
- Figure 21-2: The First Two Bars of the Reel 'The Drunken Landlady' (Whistle)
- The Rights of Man (Whistle)
- Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br
- Study 16: A Variety of Cuts in a Jig, Including Mid-Note Cuts (Flute)
- Gravel Walk
- Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute)
- Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute)
- Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The
- Lad O'Beirne's
- Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)
- Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O
- Scotsman Over the Border (Flute)
- Exercise 11-1: Practicing Short Rolls on G (Whistle)
- Study 38: In a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle)
- Study 30: Added-Finger Slides on Notes That Descend by a Fifth (Flute)
- Study 34: In a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute)
- Figure 1: The D Mixolydian Mode
- Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle)
- Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa
- The Star Above the Garter (Whistle)
- Study 47: Leap Wise Descending Short Rolls in a Reel (Whistle)
- Exercise 2: Moving One Finger and Groups of Two Fingers
- Study 14: A Variety of Cuts in a Reel, Including Mid-Note Cuts (Flute)
- Exercise 5: Moving Groups of Two and Three Fingers
- Cliffs of Moher
- Study 31: Simple and Added-Finger Slides in a Jig (Whistle)
- Exercise 29: Moving Groups of Three, Four, and Five Fingers
- Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle)
- Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever
- Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol
- Exercise 7-15: D to a Cut B (Whistle)
- Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist)
- Study 26: Simple Slides That Ascend by a Fifth (Whistle)
- Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute)
- Tripping Up the Stairs
- Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp
- Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute)
- A Fig for a Kiss (Flute)
- Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon
- Exercise 10: Moving Groups of Two, Three, Four, and Five Fingers
- Exercise 36: Moving Groups of Three, Four, Five, and Six Fingers
- Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F
- Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O
- Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle)
- Study 35: In a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute)
- Maids of Ardagh (Flute)
- Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle)
- Exercise 21: Moving Between Low and High F#
- Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A
- Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho
- Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle)
- Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
- Whelan's Jig
- The Monaghan Jig (Whistle)
- Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle)
- Tripping Up the Stairs (Flute)
- Figure 1-7: An Example of the Use of Slur Notation (Whistle)
- Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina)
- Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F
- Exercise 17: Moving Groups of Five and Six Fingers
- The Battering Ram (Whistle)
- Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas
- The Drunken Landlady (Flute)
- Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E
- Exercise 7-27: F-Sharp Down to a Cut D (Flute)
- Study 32: More Simple and Added-Finger Slides in a Jig (Whistle)
- The Glen Allen Reel (Flute)
- Study 36: In a Reel, Long Rolls That Begin on the Primary Pulse (Whistle)
- Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat
- Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle)
- Monaghan Jig
- Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist)
- Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle)
- Exercise 7-1: Practicing Cuts on Repeated D's (Whistle)
- Exercise 26: Moving Groups of Two, Three, and Four Fingers
- Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle)
- Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double
- Exercise 13: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers
- Figure 9-1: Sliding Up From E to F-Sharp (Flute)
- Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute)
- Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis)
- Study 46: Stepwise Descending Short Rolls in a Reel (Whistle)
- Christmas Eve (Whistle)
- Exercise 7-13: D to a Cut G (Whistle)
- Exercise 23: Moving Between Low and High A
- Hardiman the Fiddler (Flute)
- Exercise 30: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers
- Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari
- Study 29: Added-Finger Slides on Notes That Descend by a Fourth (Flute)
- Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute)
- Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho
- The Whinny Hills of Leitrim (Flute)
- Exercise 12: Moving Groups of Four and Five Fingers
- Study 45: Stepwise Ascending Short Rolls in a Reel (Whistle)
- Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis)
- Study 15: A Larger Variety of Cuts in a Reel (Whistle)
- Old Joe's Jig (Whistle)
- Exercise 27: Moving One Finger and Groups of Two, Three, Four, and Five Fingers
- The Shaskeen (Flute)
- Lad O'Beirne's Reel (Whistle)
- Exercise 25: Moving One Finger and Groups of Two, Three, and Four Fingers
- Exercise 10-1: Practicing Long Rolls on G (Flute)
- Exercise 38: Moving Groups of Five and Six Fingers
- Study 23: Stepwise Simple Slides (Whistle)
- Exercise 20: Moving Between Low and High E
- Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl
- Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse ()
- Star Above the Garter
- Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The
- Figure 19-6: The First Two Bars of the Jig 'Scotsman Over the Border' (Flute)
- Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long
- Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural
- Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T
- Jimmy Ward's Jig (Whistle)
- Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu)
- Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle)
- Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat
- The Rose in the Heather (Flute)
- Study 17: A Larger Variety of Cuts in a Jig (Flute)
- Exercise 7-12: D to a Cut F-Sharp (Whistle)
- Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle)
- Study 18: Strikes on Repeated Notes in a Jig (Whistle)
- Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The
- The Humours of Ballyloughlin (Flute)
- The Gravel Walk (Whistle)
- Study 44: Leap Wise Descending Short Rolls in a Reel (Flute)
- Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C)
- Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle)
- Study 42: Stepwise Ascending Short Rolls in a Jig (Flute)
- Figure 19-16: The Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man
- The Boys of Ballisodare (Whistle)
- Study 49: A Reel Containing a Variety of Short Rolls (Whistle)
- Exercise 28: Moving Groups of Two, Three, Four, and Five Fingers
- Roaring Mary (Flute)
- Exercise 12-1: Practicing Condensed Long Rolls on G (Flute)
- Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg
- Study 24: Simple Slides That Ascend by a Third (Whistle)
- Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute)
- Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute)
- Tom Billy's Jig (Flute)
- Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
- Exercise 37: Moving Groups of Four, Five, and Six Fingers
- Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran
- Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)
- Exercise 18-13: Practising Strikes on E When Descending From G (Whistle)
- Exercise 8-1: Practicing Repeated Strikes on G (Flute)
- Exercise 7-22: G Down to a Cut F-Sharp (Flute)
- Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E ()
- Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip
- Exercise 3: Again, Moving One Finger and Groups of Two Fingers
- Hardiman the Fiddler
- Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute)
- The Mountain Road (Flute)
- Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute)
- Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle)
- Study 9: Adding Still More Cuts on Leap Wise Ascending Notes (Whistle)
- Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran
- Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E
- Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E
- The Blarney Pilgrim (Whistle)
- Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute)
- Banshee
- Roaring Mary
- Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I)
- Exercise 31: Moving Groups of Two, Three, Four, Five, and Six Fingers
- Study 27: Stepwise Added-Finger Slides (Flute)
