Grey Larsen (1955 - )

Male Person - United States

Recordings by (254)

1. The Walls of Liscarroll / Maguire's Kick / The Lark on the Strand 4:53 (20 Aug 2002)
2. Figure 1-1: The Seven So Called Church Modes (Concertina) 0:50 (2002)
3. Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl) 0:35 (2002)
4. Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute) 0:17 (2002)
5. Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina) 0:21 (2002)
6. Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C) 0:20 (2002)
7. Figure 1-7: An Example of the Use of Slur Notation (Whistle) 0:09 (2002)
8. Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle) 0:12 (2002)
9. Exercise 7-1: Practicing Cuts on Repeated D's (Whistle) 0:17 (2002)
10. Exercise 7-7: F-Sharp to a Cut G (Flute) 0:30 (2002)
11. Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St 1:42 (2002)
12. Exercise 7-12: D to a Cut F-Sharp (Whistle) 0:19 (2002)
13. Exercise 7-13: D to a Cut G (Whistle) 0:19 (2002)
14. Exercise 7-14: D to a Cut A (Whistle) 0:19 (2002)
15. Exercise 7-15: D to a Cut B (Whistle) 0:19 (2002)
16. Exercise 7-22: G Down to a Cut F-Sharp (Flute) 0:28 (2002)
17. Exercise 7-27: F-Sharp Down to a Cut D (Flute) 0:19 (2002)
18. Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever 2:17 (2002)
19. Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons 0:10 (2002)
20. Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi 0:10 (2002)
21. Exercise 8-1: Practicing Repeated Strikes on G (Flute) 0:25 (2002)
22. Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute) 0:24 (2002)
23. Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A 1:10 (2002)
24. Exercise 18-13: Practising Strikes on E When Descending From G (Whistle) 0:24 (2002)
25. Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle) 1:23 (2002)
26. Figure 9-1: Sliding Up From E to F-Sharp (Flute) 0:08 (2002)
27. Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural 0:12 (2002)
28. Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute) 0:12 (2002)
29. Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol 0:11 (2002)
30. Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle) 0:11 (2002)
31. Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute) 0:09 (2002)
32. Exercise 10-1: Practicing Long Rolls on G (Flute) 0:24 (2002)
33. Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle) 0:54 (2002)
34. Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle) 0:52 (2002)
35. Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute) 0:09 (2002)
36. Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute) 0:08 (2002)
37. Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg 0:09 (2002)
38. Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The 0:08 (2002)
39. Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni 0:08 (2002)
40. Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long 0:11 (2002)
41. Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle) 0:08 (2002)
42. Exercise 11-1: Practicing Short Rolls on G (Whistle) 0:14 (2002)
43. Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute) 0:45 (2002)
44. Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu) 0:50 (2002)
45. Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho 0:09 (2002)
46. Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle) 0:09 (2002)
47. Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) 0:09 (2002)
48. Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) 0:08 (2002)
49. Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute) 0:17 (2002)
50. Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute) 0:11 (2002)
51. Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle) 0:06 (2002)
52. Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle) 0:20 (2002)
53. Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle) 0:08 (2002)
54. Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle) 0:08 (2002)
55. Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle) 0:18 (2002)
56. Exercise 12-1: Practicing Condensed Long Rolls on G (Flute) 0:19 (2002)
57. Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E () 0:52 (2002)
58. Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A 0:48 (2002)
59. Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi) 0:11 (2002)
60. Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle) 0:13 (2002)
61. Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E 0:53 (2002)
62. Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp 0:51 (2002)
63. Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute) 0:24 (2002)
64. Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E 1:03 (2002)
65. Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle) 0:19 (2002)
66. Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And 1:09 (2002)
67. Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute) 0:19 (2002)
68. Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp 1:03 (2002)
69. Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle) 0:18 (2002)
70. Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F 1:06 (2002)
71. Exercise 16-1: Practicing Long Cranns on D (Whistle) 0:24 (2002)
72. Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E () 1:27 (2002)
73. Exercise 16-3: Practicing Short Cranns on Low D (Whistle) 0:19 (2002)
74. Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle) 0:51 (2002)
75. Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D () 0:08 (2002)
76. Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran 0:08 (2002)
77. Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon 0:09 (2002)
78. Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran 0:09 (2002)
79. Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann 0:08 (2002)
80. Figure 16-22: The First Two Bars of the Second Part of 'Old Joe's Jig' With a Short Crann on D (Whi) 0:09 (2002)
81. Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough 0:12 (2002)
82. Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D () 0:09 (2002)
83. Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho 0:09 (2002)
84. Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E () 0:10 (2002)
85. Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O 0:10 (2002)
86. Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat 0:10 (2002)
87. Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E 0:11 (2002)
88. Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I) 0:09 (2002)
89. Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute) 0:07 (2002)
90. Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F 0:17 (2002)
91. Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle) 0:09 (2002)
92. Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari 0:09 (2002)
93. Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute) 0:07 (2002)
94. Figure 19-6: The First Two Bars of the Jig 'Scotsman Over the Border' (Flute) 0:08 (2002)
95. Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist) 0:07 (2002)
96. Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis) 0:07 (2002)
97. Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl 0:51 (2002)
98. Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas 0:28 (2002)
99. Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa 0:50 (2002)
100. Figure 19-16: The Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man 0:16 (2002)
101. Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O 0:16 (2002)
102. Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The 0:17 (2002)
103. Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double 0:35 (2002)
104. Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute) 0:08 (2002)
105. Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T 0:45 (2002)
106. Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle) 0:30 (2002)
107. Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist) 0:43 (2002)
108. Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis) 0:43 (2002)
109. Figure 21-2: The First Two Bars of the Reel 'The Drunken Landlady' (Whistle) 0:08 (2002)
110. Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat 0:08 (2002)
111. Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br 0:08 (2002)
112. Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip 0:08 (2002)
113. Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The 0:08 (2002)
114. Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls 0:21 (2002)
115. Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse () 0:21 (2002)
116. Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls 0:21 (2002)
117. Study 4: A Variety of Cuts on Repeated Notes in a Jig (Whistle) 0:37 (2002)
118. Study 5: Cuts in a Reel on Ascending Notes That Fall on the Secondarypulse (Flute) 0:25 (2002)
119. Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute) 0:25 (2002)
120. Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle) 0:21 (2002)
121. Study 8: Adding a Few More Cuts on Leap Wise Ascending Notes (Whistle) 0:21 (2002)
122. Study 9: Adding Still More Cuts on Leap Wise Ascending Notes (Whistle) 0:21 (2002)
123. Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute) 0:30 (2002)
124. Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse 0:30 (2002)
125. Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse 0:30 (2002)
126. Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute) 0:21 (2002)
127. Study 14: A Variety of Cuts in a Reel, Including Mid-Note Cuts (Flute) 0:41 (2002)
128. Study 15: A Larger Variety of Cuts in a Reel (Whistle) 0:40 (2002)
129. Study 16: A Variety of Cuts in a Jig, Including Mid-Note Cuts (Flute) 0:21 (2002)
130. Study 17: A Larger Variety of Cuts in a Jig (Flute) 0:21 (2002)
131. Study 18: Strikes on Repeated Notes in a Jig (Whistle) 0:37 (2002)
132. Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle) 0:30 (2002)
133. Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle) 0:30 (2002)
134. Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle) 0:21 (2002)
135. Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute) 0:51 (2002)
136. Study 23: Stepwise Simple Slides (Whistle) 0:20 (2002)
137. Study 24: Simple Slides That Ascend by a Third (Whistle) 0:15 (2002)
138. Study 25: Simple Slides That Ascending by a Fourth (Whistle) 0:15 (2002)
139. Study 26: Simple Slides That Ascend by a Fifth (Whistle) 0:15 (2002)
140. Study 27: Stepwise Added-Finger Slides (Flute) 0:18 (2002)
141. Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute) 0:15 (2002)
142. Study 29: Added-Finger Slides on Notes That Descend by a Fourth (Flute) 0:16 (2002)
143. Study 30: Added-Finger Slides on Notes That Descend by a Fifth (Flute) 0:16 (2002)
144. Study 31: Simple and Added-Finger Slides in a Jig (Whistle) 0:21 (2002)
145. Study 32: More Simple and Added-Finger Slides in a Jig (Whistle) 0:21 (2002)
146. Study 33: In a Jig, Long Rolls That Begin on the Pulse (Flute) 0:22 (2002)
147. Study 34: In a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute) 0:22 (2002)
148. Study 35: In a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute) 0:22 (2002)
149. Study 36: In a Reel, Long Rolls That Begin on the Primary Pulse (Whistle) 0:15 (2002)
150. Study 37: In a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle) 0:15 (2002)
151. Study 38: In a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle) 0:17 (2002)
152. Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle) 0:17 (2002)
153. Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl) 0:37 (2002)
154. Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P 0:25 (2002)
155. Study 42: Stepwise Ascending Short Rolls in a Jig (Flute) 0:22 (2002)
156. Study 43: Stepwise Descending Short Rolls in a Jig (Flute) 0:22 (2002)
157. Study 44: Leap Wise Descending Short Rolls in a Reel (Flute) 0:21 (2002)
158. Study 45: Stepwise Ascending Short Rolls in a Reel (Whistle) 0:25 (2002)
159. Study 46: Stepwise Descending Short Rolls in a Reel (Whistle) 0:25 (2002)
160. Study 47: Leap Wise Descending Short Rolls in a Reel (Whistle) 0:25 (2002)
161. Study 48: A Jig Containing a Variety of Short Rolls (Flute) 0:38 (2002)
162. Study 49: A Reel Containing a Variety of Short Rolls (Whistle) 0:25 (2002)
163. The Battering Ram (Whistle) 0:57 (2002)
164. The Blarney Pilgrim (Whistle) 0:58 (2002)
165. The Cliffs of Moher (Whistle) 0:39 (2002)
166. Tom Billy's Jig (Flute) 0:47 (2002)
167. The Frost Is All Over (Flute) 0:46 (2002)
168. The Humours of Ballyloughlin (Flute) 1:26 (2002)
169. Jimmy Ward's Jig (Whistle) 0:41 (2002)
170. The Monaghan Jig (Whistle) 1:13 (2002)
171. Old Joe's Jig (Whistle) 0:39 (2002)
172. The Rose in the Heather (Flute) 0:44 (2002)
173. Scotsman Over the Border (Flute) 0:42 (2002)
174. Tripping Up the Stairs (Flute) 0:42 (2002)
175. Whelan's Jig (Whistle) 0:39 (2002)
176. Willie Coleman's Jig (Whistle) 0:39 (2002)
177. The Star Above the Garter (Whistle) 0:39 (2002)
178. A Fig for a Kiss (Flute) 0:33 (2002)
179. Hardiman the Fiddler (Flute) 0:32 (2002)
180. The Whinny Hills of Leitrim (Flute) 0:35 (2002)
181. Christmas Eve (Whistle) 1:09 (2002)
182. The Banshee (Whistle) 0:48 (2002)
183. The Boys of Ballisodare (Whistle) 0:36 (2002)
184. Roaring Mary (Flute) 0:49 (2002)
185. The Drunken Landlady (Flute) 0:48 (2002)
186. The Glen Allen Reel (Flute) 0:48 (2002)
187. The Gravel Walk (Whistle) 0:58 (2002)
188. John Stenson's Reel (Whistle) 0:50 (2002)
189. Lad O'Beirne's Reel (Whistle) 0:52 (2002)
190. Lady on the Island (Flute) 0:26 (2002)
191. The Mountain Road (Flute) 0:30 (2002)
192. The Shaskeen (Flute) 0:46 (2002)
193. Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle) 0:59 (2002)
194. The Home Ruler (Whistle) 1:01 (2002)
195. The Rights of Man (Whistle) 0:59 (2002)
196. Maids of Ardagh (Flute) 0:37 (2002)
197. Lord Mayo (Flute) And Give Me Your Hand (Flute) 2:02 (2002)
198. Blarney Pilgrim 0:53 (2004)
199. Cliffs of Moher 0:35 (2004)
200. Frost Is All Over 0:36 (2004)
201. Monaghan Jig 1:09 (2004)
202. Old Joe's Jig 0:37 (2004)
203. Rose in the Heather 0:37 (2004)
204. Tom Billy's 0:37 (2004)
205. Tripping Up the Stairs 0:37 (2004)
206. Whelan's Jig 0:36 (2004)
207. Willie Coleman's 0:35 (2004)
208. Star Above the Garter 0:36 (2004)
209. Hardiman the Fiddler 0:29 (2004)
210. Banshee 0:43 (2004)
211. Drunken Landlady 0:48 (2004)
212. Gravel Walk 0:57 (2004)
213. Lad O'Beirne's 0:44 (2004)
214. Roaring Mary 0:45 (2004)
215. Tuttle's in Dm 0:55 (2004)
216. Exercise 1: Moving Just One Finger at a Time 0:20 (2004)
217. Exercise 2: Moving One Finger and Groups of Two Fingers 0:37 (2004)
218. Exercise 3: Again, Moving One Finger and Groups of Two Fingers 0:45 (2004)
219. Exercise 4: Moving One Finger and Groups of Two and Three Fingers 1:00 (2004)
220. Exercise 5: Moving Groups of Two and Three Fingers 0:40 (2004)
221. Exercise 6: Moving One Finger and Groups of Two, Three, and Four Fingers 1:49 (2004)
222. Exercise 7: Moving Groups of Two, Three, and Four Fingers 1:00 (2004)
223. Exercise 8: Moving Groups of Three and Four Fingers 0:45 (2004)
224. Exercise 9: Moving One Finger and Groups of Two, Three, Four, and Five Fingers 1:38 (2004)
225. Exercise 10: Moving Groups of Two, Three, Four, and Five Fingers 1:09 (2004)
226. Exercise 11: Moving Groups of Three, Four, and Five Fingers 0:52 (2004)
227. Exercise 12: Moving Groups of Four and Five Fingers 0:29 (2004)
228. Exercise 13: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers 1:00 (2004)
229. Exercise 14: Moving Groups of Two, Three, Four, Five, and Six Fingers 0:53 (2004)
230. Exercise 15: Moving Groups of Three, Four, Five, and Six Fingers 0:53 (2004)
231. Exercise 16: Moving Groups of Four, Five, and Six Fingers 0:36 (2004)
232. Exercise 17: Moving Groups of Five and Six Fingers 0:30 (2004)
233. Figure 1: The D Mixolydian Mode 0:10 (2004)
234. Exercise 18: Playing the Cross-Fingered Low C-Natural in a Variety of Melodic Contexts 1:00 (2004)
235. Exercise 19: Moving Between Low and High D 0:23 (2004)
236. Exercise 20: Moving Between Low and High E 0:23 (2004)
237. Exercise 21: Moving Between Low and High F# 0:22 (2004)
238. Exercise 22: Moving Between Low and High G 0:22 (2004)
239. Exercise 23: Moving Between Low and High A 0:23 (2004)
240. Exercise 24: Moving Between Low and High B 0:22 (2004)
241. Exercise 25: Moving One Finger and Groups of Two, Three, and Four Fingers 1:00 (2004)
242. Exercise 26: Moving Groups of Two, Three, and Four Fingers 0:39 (2004)
243. Exercise 27: Moving One Finger and Groups of Two, Three, Four, and Five Fingers 1:47 (2004)
244. Exercise 28: Moving Groups of Two, Three, Four, and Five Fingers 1:00 (2004)
245. Exercise 29: Moving Groups of Three, Four, and Five Fingers 0:45 (2004)
246. Exercise 30: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers 1:38 (2004)
247. Exercise 31: Moving Groups of Two, Three, Four, Five, and Six Fingers 1:09 (2004)
248. Exercise 32: Moving Groups of Three, Four, Five, and Six Fingers 0:53 (2004)
249. Exercise 33: Moving Groups of Four, Five, and Six Fingers 0:28 (2004)
250. Exercise 34: Moving One Finger and Groups of Two, Three, Four, Five, and Six Fingers 1:00 (2004)
251. Exercise 35: Moving Groups of Two, Three, Four, Five, and Six Fingers 0:52 (2004)
252. Exercise 36: Moving Groups of Three, Four, Five, and Six Fingers 0:52 (2004)
253. Exercise 37: Moving Groups of Four, Five, and Six Fingers 0:36 (2004)
254. Exercise 38: Moving Groups of Five and Six Fingers 0:20 (2004)