The Essential Guide to Irish Flute and Tin Whistle
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Album tracks
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Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl)
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Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St
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Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever
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Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons
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Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi
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Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A
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Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle)
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Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural
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Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute)
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Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol
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Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle)
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Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle)
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Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle)
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Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute)
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Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg
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Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The
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Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni
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Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long
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Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle)
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Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute)
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Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu)
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Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho
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Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute)
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Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle)
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Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle)
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Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle)
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Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E ()
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Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A
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Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi)
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Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E
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Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp
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Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E
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Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And
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Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp
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Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F
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Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E ()
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Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle)
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Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D ()
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Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran
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Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon
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Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran
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Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann
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Figure 16-22: The First Two Bars of the Second Part of 'Old Joe's Jig' With a Short Crann on D (Whi)
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Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough
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Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D ()
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Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho
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Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E ()
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Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O
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Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat
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Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E
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Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I)
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Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F
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Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle)
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Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari
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Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute)
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Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist)
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Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis)
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Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl
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Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas
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Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa
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Figure 19-16: The Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man
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Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O
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Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The
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Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double
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Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute)
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Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T
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Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle)
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Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist)
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Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis)
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Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat
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Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br
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Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip
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Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The
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Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
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Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse ()
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Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
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Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute)
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Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute)
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Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
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Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
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Study 34: In a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute)
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Study 35: In a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute)
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Study 37: In a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle)
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Study 38: In a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle)
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Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle)
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Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl)
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Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P
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Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle)