Courage (Cindy Kallet & Grey Larsen)
Cross the Water / Little Girl (Cindy Kallet & Grey Larsen)
Fisher's Hornpipe / Old Leather Britches (Cindy Kallet & Grey Larsen)
If You Say Yes (Cindy Kallet & Grey Larsen)
Lull Myself Asleep (Cindy Kallet & Grey Larsen)
October Song (Cindy Kallet & Grey Larsen)
Once (Cindy Kallet & Grey Larsen)
Playing with a Full Deck (Cindy Kallet & Grey Larsen)
The Eighth of January / Black Mountain Rag (Cindy Kallet & Grey Larsen)
The Humours of Trim / the Moons of Jupiter / Mulhaire's Jig (Cindy Kallet & Grey Larsen)
The South Shore (Cindy Kallet & Grey Larsen)
Your Love (Cindy Kallet & Grey Larsen)
Courage (Cindy Kallet, Grey Larsen)
Cross the Water / Little Girl (Cindy Kallet, Grey Larsen)
Fisher's Hornpipe / Old Leather Britches (Cindy Kallet, Grey Larsen)
If You Say Yes (Cindy Kallet, Grey Larsen)
Lull Myself Asleep (Cindy Kallet, Grey Larsen)
October Song (Cindy Kallet, Grey Larsen)
Once (Cindy Kallet, Grey Larsen)
Playing with a Full Deck (Cindy Kallet, Grey Larsen)
The Eight of January / Black Mountain Rag (Cindy Kallet, Grey Larsen)
The Humours of Trim / the Moons of Jupiter / Mulhaire's Jig (Cindy Kallet, Grey Larsen)
The South Shore (Cindy Kallet, Grey Larsen)
Your Love (Cindy Kallet, Grey Larsen)
Banks of the Sacramento (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Boys of the Old Brigade (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Call Me the Whale (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Hello Hawaii (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
I Once Lived in Service (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Londonderry (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Off to California (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Reel De Pondu (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
The Last Summercamp (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Victoria (Debby McClatchy with Malcolm Dalglish , Grey Larsen & Bob Carlin)
Reel à Bouche Acadian (Grey Larsen & Andrè Marchand)
The Orange Tree (Grey Larsen & Andrè Marchand)
A Pack of Lies / Crossing the Saguenay (Grey Larsen & André Marchand)
A Pack of Lies (Grey Larsen & André Marchand)
Acadian Mouth Music (Grey Larsen & André Marchand)
Brandy From Kedgwick (Grey Larsen & André Marchand)
Brandy from Kedgwick (Grey Larsen & André Marchand)
First Snow (Grey Larsen & André Marchand)
Mornings at Bonny Doon / Palm Sunday (Grey Larsen & André Marchand)
Mornings at Bonny Doon (Grey Larsen & André Marchand)
The Orange Tree (Grey Larsen & André Marchand)
The Road to Cashel / the Bunch of Green Rushes / the Queen of May (Grey Larsen & André Marchand)
The Road to Cashel (Grey Larsen & André Marchand)
The Waltz of Time Passing / Plum Creek (Grey Larsen & André Marchand)
The Waltz of Time Passing (Grey Larsen & André Marchand)
The Wife of a Drunken Soldier (Grey Larsen & André Marchand)
Who Will Help Me Through the Woods? (Grey Larsen & André Marchand)
Another Jig Will Do / the Ship Doctor / I'm the Boy for Bewitching Them (Grey Larsen & Paddy League)
Cabbage Night (Grey Larsen & Paddy League)
Child of My Heart / the Star Above the Garter / My Love in the Morning (Grey Larsen & Paddy League)
Dark of the Moon (Grey Larsen & Paddy League)
John Stenson's Reel / Palm Sunday (Grey Larsen & Paddy League)
Lady on the Island/The Humours of Lisadel/The Monaghan Twig (Grey Larsen & Paddy League)
Michael J. Kennedy plays the Cuckoo's Nest (Grey Larsen & Paddy League)
Michael J. Kennedy talks about the Cuckoo's Nest (Grey Larsen & Paddy League)
Michael Kennedy Jigs: Untitled / Untitled / Haste to the Wedding (Grey Larsen & Paddy League)
Old Tipperary/Garret Barry's/Tom Greyhan's Jig (Grey Larsen & Paddy League)
Sweet Iniscara/The Morning Star/Scotch Mary/Music in the Glen (Grey Larsen & Paddy League)
The Blackbird / the Gold Ring (Grey Larsen & Paddy League)
The Cat That Ate the Candle / Petticoat Loop / the Corry Boys (Grey Larsen & Paddy League)
The Cuckoo's Nest/Fitzgerald's Hornpipe/The Indian on the Rock (Grey Larsen & Paddy League)
The Day I Met Tom Moylan / Josie McDermott's / the Collier's Reel (Grey Larsen & Paddy League)
The Day I Met Tom Moylan / Josie Mcdermott's / the Colliers' Reel (Grey Larsen & Paddy League)
The Slopes of Mount Storm / Hurry the Jug / Dark of the Moon (Grey Larsen & Paddy League)
The Slopes of Mt. Storm / Hurry the Jug / Dark of the Moon (Grey Larsen & Paddy League)
The Thrush in the Straw/The Banks of Lough Gowna (Grey Larsen & Paddy League)
The Walls of Liscarroll/Maguire's Kick/The Lark on the Strand (Grey Larsen & Paddy League)
The Wind that Shakes the Barley/Dusk Among the Willows (Grey Larsen & Paddy League)
Very Kind and Gracious (Grey Larsen & Paddy League)
Betty and Beauty / Le Petit Coeur En Chocolat (Grey Larsen, André Marchand)
C'est Par Un Beau Samedi D'été / Bobbing for Apples (Grey Larsen, André Marchand)
Le Rossignol D'été / My Mind Will Never Be Easy (Grey Larsen, André Marchand)
Les Marionnettes (Grey Larsen, André Marchand)
Sweet Dusty Road (Grey Larsen, André Marchand)
The Rocky Road to Dublin / Old Drops of Brandy (Grey Larsen, André Marchand)
Cabbage Night (Grey Larsen, Paddy League)
#1 (Malcolm Dalglish & Grey Larsen)
Air Born (Malcolm Dalglish & Grey Larsen)
An Comhra Donn (Malcolm Dalglish & Grey Larsen)
Banish Misfortune (Malcolm Dalglish & Grey Larsen)
Big Sky (Malcolm Dalglish & Grey Larsen)
Booth Shot Lincoln / Haning's Farewell (Malcolm Dalglish & Grey Larsen)
Boys of Ballisodare / Stolen Apples (Malcolm Dalglish & Grey Larsen)
Briar Picker Brown / Highlander's Farewell (Malcolm Dalglish & Grey Larsen)
Christ Child's Lullaby (Malcolm Dalglish & Grey Larsen)
Cotton Eyed Joe (Malcolm Dalglish & Grey Larsen)
Cotton-Eyed Joe (Malcolm Dalglish & Grey Larsen)
Dennis Murphy's Slide (Malcolm Dalglish & Grey Larsen)
Dog in the Mustard (Malcolm Dalglish & Grey Larsen)
Drops of Brandy (Malcolm Dalglish & Grey Larsen)
Drowsy Maggie (Malcolm Dalglish & Grey Larsen)
Drunkard's Path (Malcolm Dalglish & Grey Larsen)
F.O.D. (Malcolm Dalglish & Grey Larsen)
Fig for a Kiss / the Butterfly (Malcolm Dalglish & Grey Larsen)
Five Bourees / La Berceuse De Muffe (Malcolm Dalglish & Grey Larsen)
Five Bourées / La Berceuse De Muffe (Malcolm Dalglish & Grey Larsen)
Fod (Malcolm Dalglish & Grey Larsen)
Foxhunter's Jig (Malcolm Dalglish & Grey Larsen)
Hovering Hawks (Malcolm Dalglish & Grey Larsen)
I Don't Work For A Living (Malcolm Dalglish & Grey Larsen)
I Don't Work for a Living (Malcolm Dalglish & Grey Larsen)
Johnny Cope (Malcolm Dalglish & Grey Larsen)
Johnny, Will You Marry Me? (Malcolm Dalglish & Grey Larsen)
Kate Caulfield's Jig (Malcolm Dalglish & Grey Larsen)
Kid on the Mountain, Four Part Version (Malcolm Dalglish & Grey Larsen)
Kid on the Mountain, Two Part Version (Malcolm Dalglish & Grey Larsen)
La Valse Pour Les Petites Jeunes Filles (Malcolm Dalglish & Grey Larsen)
La Valse pour Les Petites Juenes Filles (Malcolm Dalglish & Grey Larsen)
Langstrom's Pony / the Geese in the Bog (Malcolm Dalglish & Grey Larsen)
Lannigan's Ball (Malcolm Dalglish & Grey Larsen)
Maggie McGee's Schottische (Malcolm Dalglish & Grey Larsen)
March of the King Laois / Brian Boru's March (Malcolm Dalglish & Grey Larsen)
Meriweather (Malcolm Dalglish & Grey Larsen)
Midnight Mountain Road (Malcolm Dalglish & Grey Larsen)
Morning / Boland's Favorite / Cat in the Hopper / St Basil's Hymn (Malcolm Dalglish & Grey Larsen)
Morning / Boland's Favorite / Cat in the Hopper / St. Basil's Hymn (Malcolm Dalglish & Grey Larsen)
Morning of 1845 (Malcolm Dalglish & Grey Larsen)
Musical Priest (Malcolm Dalglish & Grey Larsen)
Night in Quebec (Malcolm Dalglish & Grey Larsen)
O'Connell's Lamentation (Malcolm Dalglish & Grey Larsen)
O'Keefe's Slide (Malcolm Dalglish & Grey Larsen)
Oldenfjord (Malcolm Dalglish & Grey Larsen)
Paddy Concannon's Reel / the Wise Maid (Malcolm Dalglish & Grey Larsen)
Paddy in London (Malcolm Dalglish & Grey Larsen)
Pigeon on the Gate Medley (Malcolm Dalglish & Grey Larsen)
Pigeon on the Gate (Malcolm Dalglish & Grey Larsen)
Road to Lisdoonvarna Medley (Malcolm Dalglish & Grey Larsen)
Schottisches Medley (Malcolm Dalglish & Grey Larsen)
Shake These Bones (Malcolm Dalglish & Grey Larsen)
Shawnee Town (Malcolm Dalglish & Grey Larsen)
Shawneetown (Malcolm Dalglish & Grey Larsen)
Sir John Fenwick's the Flower Among Them All / Noble Squire Dacre (Malcolm Dalglish & Grey Larsen)
Sir John Fenwick's the Flower Among them All & Noble Squire Dacre (Malcolm Dalglish & Grey Larsen)
Sleepy Creek (Malcolm Dalglish & Grey Larsen)
Soup / Banjo Tramp (Malcolm Dalglish & Grey Larsen)
Springwater at Jerry's Run (Malcolm Dalglish & Grey Larsen)
Tar Hollow Medley (Malcolm Dalglish & Grey Larsen)
Tar Hollow (Malcolm Dalglish & Grey Larsen)
The Dovetail Jigs (Malcolm Dalglish & Grey Larsen)
The First Of Autumn (Malcolm Dalglish & Grey Larsen)
The First of Autumn (Malcolm Dalglish & Grey Larsen)
The First of May Medley (Malcolm Dalglish & Grey Larsen)
The First of May (Malcolm Dalglish & Grey Larsen)
The Frozen Beach (Malcolm Dalglish & Grey Larsen)
The Gathering (Malcolm Dalglish & Grey Larsen)
The Heather Breeze / Michael Kennedy's Reel (Malcolm Dalglish & Grey Larsen)
The Honeysuckle / the Farewell Reel (Malcolm Dalglish & Grey Larsen)
The Plains of Boyle / the Dog in the Sycamore Leaves (Malcolm Dalglish & Grey Larsen)
The Road to Lisdoonvarna (Malcolm Dalglish & Grey Larsen)
The Rocky Road to Dublin (Malcolm Dalglish & Grey Larsen)
The South Shore (Malcolm Dalglish & Grey Larsen)
The Stormy Night / Glen Helen (Malcolm Dalglish & Grey Larsen)
The Three Little Drummers (Malcolm Dalglish & Grey Larsen)
The Tune That Came Out (Malcolm Dalglish & Grey Larsen)
Three Little Drummers Medley (Malcolm Dalglish & Grey Larsen)
Thunderhead (Malcolm Dalglish & Grey Larsen)
Trip to Sligo (Malcolm Dalglish & Grey Larsen)
Monster (Malcolm Dalglish, Grey Larsen & Pete Sutherland)
Banjo Tramp (Ward Jarvis, Dana Loomis, Grey Larsen)
Going Away (Will Brown feat. Cindy Kallet feat. Grey Larsen)
Going Away (Will Brown, Cindy Kallet, Grey Larsen)
Exercise 10-1: Practicing Long Rolls on G (Flute)
Exercise 10: Moving Groups of Two, Three, Four, and Five Fingers
Exercise 11-1: Practicing Short Rolls on G (Whistle)
Exercise 11: Moving Groups of Three, Four, and Five Fingers
Exercise 12-1: Practicing Condensed Long Rolls on G (Flute)
Exercise 12: Moving Groups of Four and Five Fingers
Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle)
Exercise 13: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers
Exercise 14: Moving Groups of Two, Three, Four, Five, and Six Fingers
Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle)
Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute)
Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle)
Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute)
Exercise 15: Moving Groups of Three, Four, Five, and Six Fingers
Exercise 16-1: Practicing Long Cranns on D (Whistle)
Exercise 16-3: Practicing Short Cranns on Low D (Whistle)
Exercise 16: Moving Groups of Four, Five, and Six Fingers
Exercise 17: Moving Groups of Five and Six Fingers
Exercise 18-13: Practising Strikes on E When Descending From G (Whistle)
Exercise 18: Playing the Cross-Fingered Low C-Natural in a Variety of Melodic Contexts
Exercise 19: Moving Between Low and High D
Exercise 1: Moving Just One Finger at a Time
Exercise 20: Moving Between Low and High E
Exercise 21: Moving Between Low and High F#
Exercise 22: Moving Between Low and High G
Exercise 23: Moving Between Low and High A
Exercise 24: Moving Between Low and High B
Exercise 25: Moving One Finger and Groups of Two, Three, and Four Fingers
Exercise 26: Moving Groups of Two, Three, and Four Fingers
Exercise 27: Moving One Finger and Groups of Two, Three, Four, and Five Fingers
Exercise 28: Moving Groups of Two, Three, Four, and Five Fingers
Exercise 29: Moving Groups of Three, Four, and Five Fingers
Exercise 2: Moving One Finger and Groups of Two Fingers
Exercise 30: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers
Exercise 31: Moving Groups of Two, Three, Four, Five, and Six Fingers
Exercise 32: Moving Groups of Three, Four, Five, and Six Fingers
Exercise 33: Moving Groups of Four, Five, and Six Fingers
Exercise 34: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers
Exercise 35: Moving Groups of Two, Three, Four, Five, and Six Fingers
Exercise 36: Moving Groups of Three, Four, Five, and Six Fingers
Exercise 37: Moving Groups of Four, Five, and Six Fingers
Exercise 38: Moving Groups of Five and Six Fingers
Exercise 3: Again, Moving One Finger and Groups of Two Fingers
Exercise 4: Moving One Finger and Groups of Two and Three Fingers
Exercise 5: Moving Groups of Two and Three Fingers
Exercise 6: Moving One Finger and Groups of Two, Three, and Four Fingers
Exercise 7-12: D to a Cut F-Sharp (Whistle)
Exercise 7-13: D to a Cut G (Whistle)
Exercise 7-14: D to a Cut A (Whistle)
Exercise 7-15: D to a Cut B (Whistle)
Exercise 7-1: Practicing Cuts on Repeated D's (Whistle)
Exercise 7-22: G Down to a Cut F-Sharp (Flute)
Exercise 7-27: F-Sharp Down to a Cut D (Flute)
Exercise 7-7: F-Sharp to a Cut G (Flute)
Exercise 7: Moving Groups of Two, Three, and Four Fingers
Exercise 8-1: Practicing Repeated Strikes on G (Flute)
Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute)
Exercise 8: Moving Groups of Three and Four Fingers
Exercise 9: Moving One Finger and Groups of Two, Three, Four, and Five Fingers
Figure 1-10: the Opening Bars of the March 'Lord Mayo' (Whistle)
Figure 1-1: the Seven So Called Church Modes (Concertina)
Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl)
Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute)
Figure 1-5: the First Part of 'Turtle's Reel' in D Dorian (Concertina)
Figure 1-6: the First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C)
Figure 1-7: An Example of the Use of Slur Notation (Whistle)
Figure 10-16: the First Two Bars of the Reel 'The Banshee' with Long Rolls on G (Flute)
Figure 10-18: the First Two Bars of 'Whelan's Jig' with Long Roll on E (Flute)
Figure 10-20: the First Two Bars of the Reel 'The Drunken Landlady' with Long Rolls on E, Which Beg
Figure 10-22: the First Two Bars of the Reel 'The Gravel Walk' with Along a Roll Beginning on The
Figure 10-24: the First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni
Figure 10-26: the First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long
Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle)
Figure 10-5: the Jig 'The Sporting Pitchfork' with Long Rolls on G, F-Sharp and E (Whistle)
Figure 10-6: the Jig 'The Sporting Pitchfork' with Long Rolls on B, a, G, F-Sharp and E (Whistle)
Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)
Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)
Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute)
Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute)
Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle)
Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho
Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle)
Figure 11-19: the First Part of the Reel 'The Drunken Landlady' (Whistle)
Figure 11-20: the Opening Bars of 'Old Joe's Jig' Beginning with a Long Roll (Whistle)
Figure 11-21: the Opening Bars of 'Old Joe's Jig' Beginning with an Ascending Roll (Whistle)
Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute)
Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu)
Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle)
Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E ()
Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A
Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp
Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi)
Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E
Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp
Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F
Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E
Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And
Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle)
Figure 16-13: the First Two Bars of the Jig 'The Humours of Ballyloughlin' with a Long Crann on D ()
Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' with a Long Cran
Figure 16-16: the First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' with a Lon
Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' with a Long Cran
Figure 16-20: the First Two Bars of the Third Part of the Jig 'The Battering Ram' with a Long Crann
Figure 16-22: the First Two Bars of the Second Part of 'Old Joe's Jig' with a Short Crann on D (Whi)
Figure 16-24: the Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough
Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' with Condensed Long Cranns on D ()
Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' with a Condensed Sho
Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E ()
Figure 18-10: the First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' with a More Elaborat
Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' with an E
Figure 18-17: the Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I)
Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute)
Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' with a Quadruplet in Measure F
Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' with a Single Troll on E ()
Figure 18-8: the First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' with a Single Troll O
Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl
Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas
Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa
Figure 19-16: the Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man
Figure 19-19: the First Part of 'Jimmy Ward's Jig', with Tasteful Melodic Ornaments That Make Use O
Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle)
Figure 19-20: the First Part of 'Jimmy Ward's Jig', with Melodic Ornaments That Interfere with The
Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari
Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute)
Figure 19-6: the First Two Bars of the Jig 'Scotsman Over the Border' (Flute)
Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist)
Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis)
Figure 1: the D Mixolydian Mode
Figure 20-1: the First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double
Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute)
Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T
Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle)
Figure 21-1 (Staff Three) the Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis)
Figure 21-1 (Staff Two) the Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist)
Figure 21-2: the First Two Bars of the Reel 'The Drunken Landlady' (Whistle)
Figure 21-3: the Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat
Figure 21-5: the First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br
Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip
Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The
Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St
Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever
Figure 7-17: the First Two Bars of the Slip Jig 'Hardiman the Fiddler' with a Cut Placed at the Ons
Figure 7-19: the First Two Parts of the Slip Jig 'Hardiman the Fiddler' with a Cut Placed at the Mi
Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A
Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle)
Figure 9-10: the Opening Bars of 'Willie Coleman's Jig' (Flute)
Figure 9-1: Sliding Up From E to F-Sharp (Flute)
Figure 9-6: the Opening Bars From 'The Blarney Pilgrim' with a Simpleslides From B Up to C-Natural
Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute)
Figure 9-9a: the Opening Bars of 'The Star Above the Garter' with an Added-Finger Slide Up to G Fol
Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle)
Lord Mayo (Flute) And Give Me Your Hand (Flute)
Scotsman Over the Border (Flute)
Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute)
Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute)
Study 14: A Variety of Cuts in a Reel, Including Mid-Note Cuts (Flute)
Study 15: A Larger Variety of Cuts in a Reel (Whistle)
Study 16: A Variety of Cuts in a Jig, Including Mid-Note Cuts (Flute)
Study 17: A Larger Variety of Cuts in a Jig (Flute)
Study 18: Strikes on Repeated Notes in a Jig (Whistle)
Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle)
Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle)
Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle)
Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute)
Study 23: Stepwise Simple Slides (Whistle)
Study 24: Simple Slides That Ascend by a Third (Whistle)
Study 25: Simple Slides That Ascending by a Fourth (Whistle)
Study 26: Simple Slides That Ascend by a Fifth (Whistle)
Study 27: Stepwise Added-Finger Slides (Flute)
Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute)
Study 29: Added-Finger Slides on Notes That Descend by a Fourth (Flute)
Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse ()
Study 30: Added-Finger Slides on Notes That Descend by a Fifth (Flute)
Study 31: Simple and Added-Finger Slides in a Jig (Whistle)
Study 32: More Simple and Added-Finger Slides in a Jig (Whistle)
Study 33: in a Jig, Long Rolls That Begin on the Pulse (Flute)
Study 34: in a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute)
Study 35: in a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute)
Study 36: in a Reel, Long Rolls That Begin on the Primary Pulse (Whistle)
Study 37: in a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle)
Study 38: in a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle)
Study 39: in a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle)
Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl)
Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P
Study 42: Stepwise Ascending Short Rolls in a Jig (Flute)
Study 43: Stepwise Descending Short Rolls in a Jig (Flute)
Study 44: Leap Wise Descending Short Rolls in a Reel (Flute)
Study 45: Stepwise Ascending Short Rolls in a Reel (Whistle)
Study 46: Stepwise Descending Short Rolls in a Reel (Whistle)
Study 47: Leap Wise Descending Short Rolls in a Reel (Whistle)
Study 48: A Jig Containing a Variety of Short Rolls (Flute)
Study 49: A Reel Containing a Variety of Short Rolls (Whistle)
Study 4: A Variety of Cuts on Repeated Notes in a Jig (Whistle)
Study 5: Cuts in a Reel on Ascending Notes That Fall on the Secondarypulse (Flute)
Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute)
Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle)
Study 8: Adding a Few More Cuts on Leap Wise Ascending Notes (Whistle)
Study 9: Adding Still More Cuts on Leap Wise Ascending Notes (Whistle)
The Boys of Ballisodare (Whistle)
The Humours of Ballyloughlin (Flute)
The Rose in the Heather (Flute)
The Star Above the Garter (Whistle)
The Walls of Liscarroll / Maguire's Kick / the Lark on the Strand
The Whinny Hills of Leitrim (Flute)
Tripping Up the Stairs (Flute)
Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle)