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The Essential Guide to Irish Flute and Tin Whistle Grey Larsen

Release: 2003 United States, Language: English, Status: Official
Format: , Tracks: 196, Length: 1:35:13, Barcode: [none]
Release type: Other

Contents

#1
1 Figure 1-1: The Seven So Called Church Modes (Concertina) 0:50
2 Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl) 0:35
3 Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute) 0:17
4 Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina) 0:21
5 Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C) 0:20
6 Figure 1-7: An Example of the Use of Slur Notation (Whistle) 0:09
7 Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle) 0:12
8 Exercise 7-1: Practicing Cuts on Repeated D's (Whistle) 0:17
9 Exercise 7-7: F-Sharp to a Cut G (Flute) 0:30
10 Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St 1:42
11 Exercise 7-12: D to a Cut F-Sharp (Whistle) 0:19
12 Exercise 7-13: D to a Cut G (Whistle) 0:19
13 Exercise 7-14: D to a Cut A (Whistle) 0:19
14 Exercise 7-15: D to a Cut B (Whistle) 0:19
15 Exercise 7-22: G Down to a Cut F-Sharp (Flute) 0:28
16 Exercise 7-27: F-Sharp Down to a Cut D (Flute) 0:19
17 Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever 2:17
18 Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons 0:10
19 Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi 0:10
20 Exercise 8-1: Practicing Repeated Strikes on G (Flute) 0:25
21 Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute) 0:24
22 Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A 1:10
23 Exercise 18-13: Practising Strikes on E When Descending From G (Whistle) 0:24
24 Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle) 1:23
25 Figure 9-1: Sliding Up From E to F-Sharp (Flute) 0:08
26 Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural 0:12
27 Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute) 0:12
28 Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol 0:11
29 Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle) 0:11
30 Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute) 0:09
31 Exercise 10-1: Practicing Long Rolls on G (Flute) 0:24
32 Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle) 0:54
33 Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle) 0:52
34 Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute) 0:09
35 Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute) 0:08
36 Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg 0:09
37 Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The 0:08
38 Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni 0:08
39 Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long 0:11
40 Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle) 0:08
41 Exercise 11-1: Practicing Short Rolls on G (Whistle) 0:14
42 Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute) 0:45
43 Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu) 0:50
44 Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho 0:09
45 Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle) 0:09
46 Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) 0:09
47 Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) 0:08
48 Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute) 0:17
49 Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute) 0:11
50 Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle) 0:06
51 Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle) 0:20
52 Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle) 0:08
53 Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle) 0:08
54 Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle) 0:18
55 Exercise 12-1: Practicing Condensed Long Rolls on G (Flute) 0:19
56 Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E () 0:52
57 Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A 0:48
58 Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi) 0:11
59 Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle) 0:13
60 Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E 0:53
61 Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp 0:51
62 Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute) 0:24
63 Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E 1:03
64 Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle) 0:19
65 Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And 1:09
66 Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute) 0:19
67 Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp 1:03
68 Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle) 0:18
69 Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F 1:06
70 Exercise 16-1: Practicing Long Cranns on D (Whistle) 0:24
71 Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E () 1:27
72 Exercise 16-3: Practicing Short Cranns on Low D (Whistle) 0:19
73 Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle) 0:51
74 Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D () 0:08
75 Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran 0:08
76 Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon 0:09
77 Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran 0:09
78 Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann 0:08
79 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
80 Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough 0:12
81 Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D () 0:09
82 Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho 0:09
83 Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E () 0:10
84 Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O 0:10
85 Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat 0:10
86 Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E 0:11
87 Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I) 0:09
88 Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute) 0:07
89 Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F 0:17
90 Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle) 0:09
91 Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari 0:09
92 Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute) 0:07
93 Figure 19-6: The First Two Bars of the Jig 'Scotsman Over the Border' (Flute) 0:08
94 Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist) 0:07
95 Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis) 0:07
96 Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl 0:51
97 Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas 0:28
98 Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa 0:50
#2
1 Figure 19-16: The Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man 0:16
2 Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O 0:16
3 Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The 0:17
4 Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double 0:35
5 Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute) 0:08
6 Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T 0:45
7 Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle) 0:30
8 Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist) 0:43
9 Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis) 0:43
10 Figure 21-2: The First Two Bars of the Reel 'The Drunken Landlady' (Whistle) 0:08
11 Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat 0:08
12 Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br 0:08
13 Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip 0:08
14 Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The 0:08
15 Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls 0:21
16 Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse () 0:21
17 Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls 0:21
18 Study 4: A Variety of Cuts on Repeated Notes in a Jig (Whistle) 0:37
19 Study 5: Cuts in a Reel on Ascending Notes That Fall on the Secondarypulse (Flute) 0:25
20 Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute) 0:25
21 Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle) 0:21
22 Study 8: Adding a Few More Cuts on Leap Wise Ascending Notes (Whistle) 0:21
23 Study 9: Adding Still More Cuts on Leap Wise Ascending Notes (Whistle) 0:21
24 Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute) 0:30
25 Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse 0:30
26 Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse 0:30
27 Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute) 0:21
28 Study 14: A Variety of Cuts in a Reel, Including Mid-Note Cuts (Flute) 0:41
29 Study 15: A Larger Variety of Cuts in a Reel (Whistle) 0:40
30 Study 16: A Variety of Cuts in a Jig, Including Mid-Note Cuts (Flute) 0:21
31 Study 17: A Larger Variety of Cuts in a Jig (Flute) 0:21
32 Study 18: Strikes on Repeated Notes in a Jig (Whistle) 0:37
33 Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle) 0:30
34 Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle) 0:30
35 Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle) 0:21
36 Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute) 0:51
37 Study 23: Stepwise Simple Slides (Whistle) 0:20
38 Study 24: Simple Slides That Ascend by a Third (Whistle) 0:15
39 Study 25: Simple Slides That Ascending by a Fourth (Whistle) 0:15
40 Study 26: Simple Slides That Ascend by a Fifth (Whistle) 0:15
41 Study 27: Stepwise Added-Finger Slides (Flute) 0:18
42 Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute) 0:15
43 Study 29: Added-Finger Slides on Notes That Descend by a Fourth (Flute) 0:16
44 Study 30: Added-Finger Slides on Notes That Descend by a Fifth (Flute) 0:16
45 Study 31: Simple and Added-Finger Slides in a Jig (Whistle) 0:21
46 Study 32: More Simple and Added-Finger Slides in a Jig (Whistle) 0:21
47 Study 33: In a Jig, Long Rolls That Begin on the Pulse (Flute) 0:22
48 Study 34: In a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute) 0:22
49 Study 35: In a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute) 0:22
50 Study 36: In a Reel, Long Rolls That Begin on the Primary Pulse (Whistle) 0:15
51 Study 37: In a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle) 0:15
52 Study 38: In a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle) 0:17
53 Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle) 0:17
54 Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl) 0:37
55 Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P 0:25
56 Study 42: Stepwise Ascending Short Rolls in a Jig (Flute) 0:22
57 Study 43: Stepwise Descending Short Rolls in a Jig (Flute) 0:22
58 Study 44: Leap Wise Descending Short Rolls in a Reel (Flute) 0:21
59 Study 45: Stepwise Ascending Short Rolls in a Reel (Whistle) 0:25
60 Study 46: Stepwise Descending Short Rolls in a Reel (Whistle) 0:25
61 Study 47: Leap Wise Descending Short Rolls in a Reel (Whistle) 0:25
62 Study 48: A Jig Containing a Variety of Short Rolls (Flute) 0:38
63 Study 49: A Reel Containing a Variety of Short Rolls (Whistle) 0:25
64 The Battering Ram (Whistle) 0:57
65 The Blarney Pilgrim (Whistle) 0:58
66 The Cliffs of Moher (Whistle) 0:39
67 Tom Billy's Jig (Flute) 0:47
68 The Frost Is All Over (Flute) 0:46
69 The Humours of Ballyloughlin (Flute) 1:26
70 Jimmy Ward's Jig (Whistle) 0:41
71 The Monaghan Jig (Whistle) 1:13
72 Old Joe's Jig (Whistle) 0:39
73 The Rose in the Heather (Flute) 0:44
74 Scotsman Over the Border (Flute) 0:42
75 Tripping Up the Stairs (Flute) 0:42
76 Whelan's Jig (Whistle) 0:39
77 Willie Coleman's Jig (Whistle) 0:39
78 The Star Above the Garter (Whistle) 0:39
79 A Fig for a Kiss (Flute) 0:33
80 Hardiman the Fiddler (Flute) 0:32
81 The Whinny Hills of Leitrim (Flute) 0:35
82 Christmas Eve (Whistle) 1:09
83 The Banshee (Whistle) 0:48
84 The Boys of Ballisodare (Whistle) 0:36
85 Roaring Mary (Flute) 0:49
86 The Drunken Landlady (Flute) 0:48
87 The Glen Allen Reel (Flute) 0:48
88 The Gravel Walk (Whistle) 0:58
89 John Stenson's Reel (Whistle) 0:50
90 Lad O'Beirne's Reel (Whistle) 0:52
91 Lady on the Island (Flute) 0:26
92 The Mountain Road (Flute) 0:30
93 The Shaskeen (Flute) 0:46
94 Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle) 0:59
95 The Home Ruler (Whistle) 1:01
96 The Rights of Man (Whistle) 0:59
97 Maids of Ardagh (Flute) 0:37
98 Lord Mayo (Flute) And Give Me Your Hand (Flute) 2:02

Other Releases in Group (1)

Official

  1. The Essential Guide to Irish Flute and Tin Whistle, (2002), (English)