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1 |
# |
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Title |
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Time |
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Info |
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1 |
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Figure 1-1: The Seven So Called Church Modes (Concertina) |
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0:51 |
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2 |
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Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl) |
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0:35 |
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3 |
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Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute) |
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0:17 |
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4 |
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Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina) |
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0:21 |
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5 |
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Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C) |
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0:21 |
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6 |
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Figure 1-7: An Example of the Use of Slur Notation (Whistle) |
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0:10 |
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7 |
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Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle) |
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0:13 |
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8 |
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Exercise 7-1: Practicing Cuts on Repeated D's (Whistle) |
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0:17 |
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9 |
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Exercise 7-7: F-Sharp to a Cut G (Flute) |
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0:30 |
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10 |
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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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1:42 |
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11 |
|
Exercise 7-12: D to a Cut F-Sharp (Whistle) |
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0:19 |
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12 |
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Exercise 7-13: D to a Cut G (Whistle) |
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0:19 |
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13 |
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Exercise 7-14: D to a Cut A (Whistle) |
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0:19 |
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14 |
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Exercise 7-15: D to a Cut B (Whistle) |
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0:19 |
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15 |
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Exercise 7-22: G Down to a Cut F-Sharp (Flute) |
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0:28 |
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16 |
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Exercise 7-27: F-Sharp Down to a Cut D (Flute) |
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0:20 |
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17 |
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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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2:17 |
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18 |
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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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0:11 |
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19 |
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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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0:11 |
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20 |
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Exercise 8-1: Practicing Repeated Strikes on G (Flute) |
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0:26 |
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21 |
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Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute) |
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0:25 |
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22 |
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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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1:10 |
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23 |
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Exercise 18-13: Practising Strikes on E When Descending From G (Whistle) |
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0:24 |
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24 |
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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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1:24 |
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25 |
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Figure 9-1: Sliding Up From E to F-Sharp (Flute) |
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0:09 |
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26 |
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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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0:13 |
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27 |
|
Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute) |
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0:12 |
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28 |
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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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0:12 |
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29 |
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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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0:12 |
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30 |
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Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute) |
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0:09 |
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31 |
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Exercise 10-1: Practicing Long Rolls on G (Flute) |
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0:24 |
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32 |
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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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0:54 |
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33 |
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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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0:52 |
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34 |
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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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0:09 |
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35 |
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Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute) |
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0:09 |
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36 |
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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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0:10 |
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37 |
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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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0:09 |
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38 |
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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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0:08 |
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39 |
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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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0:11 |
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40 |
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Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle) |
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0:09 |
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41 |
|
Exercise 11-1: Practicing Short Rolls on G (Whistle) |
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0:14 |
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42 |
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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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0:46 |
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43 |
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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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0:50 |
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44 |
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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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0:10 |
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45 |
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Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle) |
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0:10 |
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46 |
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Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) |
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0:09 |
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47 |
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Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) |
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0:09 |
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48 |
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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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0:17 |
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49 |
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Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute) |
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0:12 |
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50 |
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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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0:06 |
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51 |
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Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle) |
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0:21 |
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52 |
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Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle) |
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0:08 |
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53 |
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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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0:08 |
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54 |
|
Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle) |
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0:19 |
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55 |
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Exercise 12-1: Practicing Condensed Long Rolls on G (Flute) |
|
0:19 |
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56 |
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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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0:53 |
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57 |
|
Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A |
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0:48 |
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58 |
|
Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi) |
|
0:11 |
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|
59 |
|
Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle) |
|
0:14 |
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60 |
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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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0:54 |
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61 |
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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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0:52 |
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62 |
|
Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute) |
|
0:25 |
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63 |
|
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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1:04 |
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|
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 |
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1:09 |
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|
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 |
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1:04 |
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|
68 |
|
Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle) |
|
0:19 |
|
|
69 |
|
Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F |
|
1:06 |
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|
70 |
|
Exercise 16-1: Practicing Long Cranns on D (Whistle) |
|
0:25 |
|
|
71 |
|
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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1:28 |
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|
72 |
|
Exercise 16-3: Practicing Short Cranns on Low D (Whistle) |
|
0:19 |
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|
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 () |
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0:09 |
|
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75 |
|
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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0:08 |
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|
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 |
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0:09 |
|
|
78 |
|
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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0:09 |
|
|
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 () |
|
0:10 |
|
|
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) |
|
0:10 |
|
|
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) |
|
0:10 |
|
|
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) |
|
0:08 |
|
|
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) |
|
0:08 |
|
|
95 |
|
Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis) |
|
0:08 |
|
|
96 |
|
Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl |
|
0:52 |
|
|
97 |
|
Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas |
|
0:29 |
|
|
98 |
|
Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa |
|
0:51 |
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Total time |
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40:53 |
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2 |
# |
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Title |
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Time |
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Info |
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1 |
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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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0:17 |
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2 |
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Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O |
|
0:17 |
|
|
3 |
|
Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The |
|
0:17 |
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4 |
|
Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double |
|
0:36 |
|
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5 |
|
Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute) |
|
0:08 |
|
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6 |
|
Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T |
|
0:46 |
|
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7 |
|
Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle) |
|
0:31 |
|
|
8 |
|
Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist) |
|
0:44 |
|
|
9 |
|
Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis) |
|
0:44 |
|
|
10 |
|
Figure 21-2: The First Two Bars of the Reel 'The Drunken Landlady' (Whistle) |
|
0:09 |
|
|
11 |
|
Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat |
|
0:09 |
|
|
12 |
|
Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br |
|
0:09 |
|
|
13 |
|
Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip |
|
0:09 |
|
|
14 |
|
Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The |
|
0:09 |
|
|
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 () |
|
0:22 |
|
|
17 |
|
Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls |
|
0:22 |
|
|
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) |
|
0:26 |
|
|
20 |
|
Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute) |
|
0:26 |
|
|
21 |
|
Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle) |
|
0:22 |
|
|
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) |
|
0:31 |
|
|
25 |
|
Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse |
|
0:31 |
|
|
26 |
|
Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse |
|
0:31 |
|
|
27 |
|
Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute) |
|
0:22 |
|
|
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) |
|
0:22 |
|
|
31 |
|
Study 17: A Larger Variety of Cuts in a Jig (Flute) |
|
0:22 |
|
|
32 |
|
Study 18: Strikes on Repeated Notes in a Jig (Whistle) |
|
0:38 |
|
|
33 |
|
Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle) |
|
0:31 |
|
|
34 |
|
Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle) |
|
0:31 |
|
|
35 |
|
Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle) |
|
0:22 |
|
|
36 |
|
Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute) |
|
0:52 |
|
|
37 |
|
Study 23: Stepwise Simple Slides (Whistle) |
|
0:21 |
|
|
38 |
|
Study 24: Simple Slides That Ascend by a Third (Whistle) |
|
0:16 |
|
|
39 |
|
Study 25: Simple Slides That Ascending by a Fourth (Whistle) |
|
0:16 |
|
|
40 |
|
Study 26: Simple Slides That Ascend by a Fifth (Whistle) |
|
0:16 |
|
|
41 |
|
Study 27: Stepwise Added-Finger Slides (Flute) |
|
0:19 |
|
|
42 |
|
Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute) |
|
0:16 |
|
|
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) |
|
0:22 |
|
|
46 |
|
Study 32: More Simple and Added-Finger Slides in a Jig (Whistle) |
|
0:22 |
|
|
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) |
|
0:16 |
|
|
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) |
|
0:18 |
|
|
53 |
|
Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle) |
|
0:18 |
|
|
54 |
|
Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl) |
|
0:38 |
|
|
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) |
|
0:22 |
|
|
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) |
|
0:58 |
|
|
65 |
|
The Blarney Pilgrim (Whistle) |
|
0:58 |
|
|
66 |
|
The Cliffs of Moher (Whistle) |
|
0:40 |
|
|
67 |
|
Tom Billy's Jig (Flute) |
|
0:48 |
|
|
68 |
|
The Frost Is All Over (Flute) |
|
0:46 |
|
|
69 |
|
The Humours of Ballyloughlin (Flute) |
|
1:27 |
|
|
70 |
|
Jimmy Ward's Jig (Whistle) |
|
0:42 |
|
|
71 |
|
The Monaghan Jig (Whistle) |
|
1:14 |
|
|
72 |
|
Old Joe's Jig (Whistle) |
|
0:40 |
|
|
73 |
|
The Rose in the Heather (Flute) |
|
0:44 |
|
|
74 |
|
Scotsman Over the Border (Flute) |
|
0:43 |
|
|
75 |
|
Tripping Up the Stairs (Flute) |
|
0:43 |
|
|
76 |
|
Whelan's Jig (Whistle) |
|
0:40 |
|
|
77 |
|
Willie Coleman's Jig (Whistle) |
|
0:39 |
|
|
78 |
|
The Star Above the Garter (Whistle) |
|
0:40 |
|
|
79 |
|
A Fig for a Kiss (Flute) |
|
0:33 |
|
|
80 |
|
Hardiman the Fiddler (Flute) |
|
0:33 |
|
|
81 |
|
The Whinny Hills of Leitrim (Flute) |
|
0:36 |
|
|
82 |
|
Christmas Eve (Whistle) |
|
1:10 |
|
|
83 |
|
The Banshee (Whistle) |
|
0:48 |
|
|
84 |
|
The Boys of Ballisodare (Whistle) |
|
0:37 |
|
|
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) |
|
0:59 |
|
|
89 |
|
John Stenson's Reel (Whistle) |
|
0:51 |
|
|
90 |
|
Lad O'Beirne's Reel (Whistle) |
|
0:53 |
|
|
91 |
|
Lady on the Island (Flute) |
|
0:27 |
|
|
92 |
|
The Mountain Road (Flute) |
|
0:30 |
|
|
93 |
|
The Shaskeen (Flute) |
|
0:47 |
|
|
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) |
|
0:60 |
|
|
97 |
|
Maids of Ardagh (Flute) |
|
0:37 |
|
|
98 |
|
Lord Mayo (Flute) And Give Me Your Hand (Flute) |
|
2:03 |
|
|
|
|
|
Total time |
|
54:21 |
|
|
|
|
|