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Grey Larsen Songtexte
The Whinny Hills of Leitrim (Flute)

Geboren 1955

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Songtexte

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

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