Pomona, CA

The Essential Guide to Irish Flute and Tin Whistle

Release date 2002

Tracklist

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
99
Figure 19-16: The Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man
0:16
100
Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O
0:16
101
Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The
0:17
102
Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double
0:35
103
Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute)
0:08
104
Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T
0:45
105
Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle)
0:30
106
Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist)
0:43
107
Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis)
0:43
108
Figure 21-2: The First Two Bars of the Reel 'The Drunken Landlady' (Whistle)
0:08
109
Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat
0:08
110
Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br
0:08
111
Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip
0:08
112
Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The
0:08
113
Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
0:21
114
Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse ()
0:21
115
Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls
0:21
116
Study 4: A Variety of Cuts on Repeated Notes in a Jig (Whistle)
0:37
117
Study 5: Cuts in a Reel on Ascending Notes That Fall on the Secondarypulse (Flute)
0:25
118
Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute)
0:25
119
Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle)
0:21
120
Study 8: Adding a Few More Cuts on Leap Wise Ascending Notes (Whistle)
0:21
121
Study 9: Adding Still More Cuts on Leap Wise Ascending Notes (Whistle)
0:21
122
Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute)
0:30
123
Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
0:30
124
Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse
0:30
125
Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute)
0:21
126
Study 14: A Variety of Cuts in a Reel, Including Mid-Note Cuts (Flute)
0:41
127
Study 15: A Larger Variety of Cuts in a Reel (Whistle)
0:40
128
Study 16: A Variety of Cuts in a Jig, Including Mid-Note Cuts (Flute)
0:21
129
Study 17: A Larger Variety of Cuts in a Jig (Flute)
0:21
130
Study 18: Strikes on Repeated Notes in a Jig (Whistle)
0:37
131
Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle)
0:30
132
Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle)
0:30
133
Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle)
0:21
134
Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute)
0:51
135
Study 23: Stepwise Simple Slides (Whistle)
0:20
136
Study 24: Simple Slides That Ascend by a Third (Whistle)
0:15
137
Study 25: Simple Slides That Ascending by a Fourth (Whistle)
0:15
138
Study 26: Simple Slides That Ascend by a Fifth (Whistle)
0:15
139
Study 27: Stepwise Added-Finger Slides (Flute)
0:18
140
Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute)
0:15
141
Study 29: Added-Finger Slides on Notes That Descend by a Fourth (Flute)
0:16
142
Study 30: Added-Finger Slides on Notes That Descend by a Fifth (Flute)
0:16
143
Study 31: Simple and Added-Finger Slides in a Jig (Whistle)
0:21
144
Study 32: More Simple and Added-Finger Slides in a Jig (Whistle)
0:21
145
Study 33: In a Jig, Long Rolls That Begin on the Pulse (Flute)
0:22
146
Study 34: In a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute)
0:22
147
Study 35: In a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute)
0:22
148
Study 36: In a Reel, Long Rolls That Begin on the Primary Pulse (Whistle)
0:15
149
Study 37: In a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle)
0:15
150
Study 38: In a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle)
0:17
151
Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle)
0:17
152
Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl)
0:37
153
Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P
0:25
154
Study 42: Stepwise Ascending Short Rolls in a Jig (Flute)
0:22
155
Study 43: Stepwise Descending Short Rolls in a Jig (Flute)
0:22
156
Study 44: Leap Wise Descending Short Rolls in a Reel (Flute)
0:21
157
Study 45: Stepwise Ascending Short Rolls in a Reel (Whistle)
0:25
158
Study 46: Stepwise Descending Short Rolls in a Reel (Whistle)
0:25
159
Study 47: Leap Wise Descending Short Rolls in a Reel (Whistle)
0:25
160
Study 48: A Jig Containing a Variety of Short Rolls (Flute)
0:38
161
Study 49: A Reel Containing a Variety of Short Rolls (Whistle)
0:25
162
The Battering Ram (Whistle)
0:57
163
The Blarney Pilgrim (Whistle)
0:58
164
The Cliffs of Moher (Whistle)
0:39
165
Tom Billy's Jig (Flute)
0:47
166
The Frost Is All Over (Flute)
0:46
167
The Humours of Ballyloughlin (Flute)
1:26
168
Jimmy Ward's Jig (Whistle)
0:41
169
The Monaghan Jig (Whistle)
1:13
170
Old Joe's Jig (Whistle)
0:39
171
The Rose in the Heather (Flute)
0:44
172
Scotsman Over the Border (Flute)
0:42
173
Tripping Up the Stairs (Flute)
0:42
174
Whelan's Jig (Whistle)
0:39
175
Willie Coleman's Jig (Whistle)
0:39
176
The Star Above the Garter (Whistle)
0:39
177
A Fig for a Kiss (Flute)
0:33
178
Hardiman the Fiddler (Flute)
0:32
179
The Whinny Hills of Leitrim (Flute)
0:35
180
Christmas Eve (Whistle)
1:09
181
The Banshee (Whistle)
0:48
182
The Boys of Ballisodare (Whistle)
0:36
183
Roaring Mary (Flute)
0:49
184
The Drunken Landlady (Flute)
0:48
185
The Glen Allen Reel (Flute)
0:48
186
The Gravel Walk (Whistle)
0:58
187
John Stenson's Reel (Whistle)
0:50
188
Lad O'Beirne's Reel (Whistle)
0:52
189
Lady on the Island (Flute)
0:26
190
The Mountain Road (Flute)
0:30
191
The Shaskeen (Flute)
0:46
192
Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle)
0:59
193
The Home Ruler (Whistle)
1:01
194
The Rights of Man (Whistle)
0:59
195
Maids of Ardagh (Flute)
0:37
196
Lord Mayo (Flute) And Give Me Your Hand (Flute)
2:02

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