Thunderhead
- Boys of Ballisodare / Stolen Apples
- Air Born
- Booth Shot Lincoln / Haning's Farewell
- La Valse pour Les Petites Juenes Filles
- Five Bourées / La Berceuse De Muffe
- Briar Picker Brown / Highlander's Farewell
- The Stormy Night / Glen Helen
- Springwater at Jerry's Run
- The Heather Breeze / Michael Kennedy's Reel
- Morning / Boland's Favorite / Cat in the Hopper / St Basil's Hymn
- Thunderhead
Banish Misfortune
- Banish Misfortune (jig)
- Pigeon on the Gate / Musical Priest / Drowsy Maggie (reels)
- Sir John Fenwick's The Flower Among Them All / Noble Squire Dacre (airs)
- The Road to Lisdoonvarna / Trip to Sligo (jigs) / Dennis Murphy's Slide / O'Keefe's Slide
- Midnight Mountain Road
- O'Connell's Lamentation (air)
- The Three Little Drummers / Kate Caulfield's Jig / Paddy in London (jigs)
- Growling Old Man and Cackling Old Woman / The Nine Points of Roguery (reels)
- March of the King Laois / Brian Boru's March
- The First of May / Drunkard's Path / An Comhra Donn (hornpipes)
- Tar Hollow (air) / Dog in the Mustard (hornpipe) / Kid on the Mountain, Two-part Version / Kid on the Mountain, Four-part Version / Drops of Brandy / Foxhunter's Jig / The Rocky Road to Dublin (slip jigs)
- #1 (gan ainm) / Maggie McGee's Schottische / Johnny, Will You Marry Me? (schottisches)
- Christ Child's Lullaby (air)
The Essential Guide to Irish Flute and Tin Whistle
- Figure 1-1: The Seven So Called Church Modes (Concertina) (von Grey Larsen)
- Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl) (von Grey Larsen)
- Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute) (von Grey Larsen)
- Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina) (von Grey Larsen)
- Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C) (von Grey Larsen)
- Figure 1-7: An Example of the Use of Slur Notation (Whistle) (von Grey Larsen)
- Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle) (von Grey Larsen)
- Exercise 7-1: Practicing Cuts on Repeated D's (Whistle) (von Grey Larsen)
- Exercise 7-7: F-Sharp to a Cut G (Flute) (von Grey Larsen)
- Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St (von Grey Larsen)
- Exercise 7-12: D to a Cut F-Sharp (Whistle) (von Grey Larsen)
- Exercise 7-13: D to a Cut G (Whistle) (von Grey Larsen)
- Exercise 7-14: D to a Cut A (Whistle) (von Grey Larsen)
- Exercise 7-15: D to a Cut B (Whistle) (von Grey Larsen)
- Exercise 7-22: G Down to a Cut F-Sharp (Flute) (von Grey Larsen)
- Exercise 7-27: F-Sharp Down to a Cut D (Flute) (von Grey Larsen)
- Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever (von Grey Larsen)
- Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons (von Grey Larsen)
- Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi (von Grey Larsen)
- Exercise 8-1: Practicing Repeated Strikes on G (Flute) (von Grey Larsen)
- Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute) (von Grey Larsen)
- Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A (von Grey Larsen)
- Exercise 18-13: Practising Strikes on E When Descending From G (Whistle) (von Grey Larsen)
- Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle) (von Grey Larsen)
- Figure 9-1: Sliding Up From E to F-Sharp (Flute) (von Grey Larsen)
- Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural (von Grey Larsen)
- Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute) (von Grey Larsen)
- Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol (von Grey Larsen)
- Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle) (von Grey Larsen)
- Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute) (von Grey Larsen)
- Exercise 10-1: Practicing Long Rolls on G (Flute) (von Grey Larsen)
- Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle) (von Grey Larsen)
- Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle) (von Grey Larsen)
- Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute) (von Grey Larsen)
- Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute) (von Grey Larsen)
- Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg (von Grey Larsen)
- Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The (von Grey Larsen)
- Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni (von Grey Larsen)
- Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long (von Grey Larsen)
- Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle) (von Grey Larsen)
- Exercise 11-1: Practicing Short Rolls on G (Whistle) (von Grey Larsen)
- Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute) (von Grey Larsen)
- Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu) (von Grey Larsen)
- Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho (von Grey Larsen)
- Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle) (von Grey Larsen)
- Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) (von Grey Larsen)
- Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute) (von Grey Larsen)
- Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute) (von Grey Larsen)
- Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute) (von Grey Larsen)
- Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle) (von Grey Larsen)
- Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle) (von Grey Larsen)
- Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle) (von Grey Larsen)
- Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle) (von Grey Larsen)
- Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle) (von Grey Larsen)
- Exercise 12-1: Practicing Condensed Long Rolls on G (Flute) (von Grey Larsen)
- Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E () (von Grey Larsen)
- Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A (von Grey Larsen)
- Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi) (von Grey Larsen)
- Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle) (von Grey Larsen)
- Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E (von Grey Larsen)
- Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp (von Grey Larsen)
- Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute) (von Grey Larsen)
- Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E (von Grey Larsen)
- Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle) (von Grey Larsen)
- Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And (von Grey Larsen)
- Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute) (von Grey Larsen)
- Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp (von Grey Larsen)
- Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle) (von Grey Larsen)
- Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F (von Grey Larsen)
- Exercise 16-1: Practicing Long Cranns on D (Whistle) (von Grey Larsen)
- Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E () (von Grey Larsen)
- Exercise 16-3: Practicing Short Cranns on Low D (Whistle) (von Grey Larsen)
- Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle) (von Grey Larsen)
- Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D () (von Grey Larsen)
- Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran (von Grey Larsen)
- Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon (von Grey Larsen)
- Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran (von Grey Larsen)
- Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann (von Grey Larsen)
- Figure 16-22: The First Two Bars of the Second Part of 'Old Joe's Jig' With a Short Crann on D (Whi) (von Grey Larsen)
- Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough (von Grey Larsen)
- Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D () (von Grey Larsen)
- Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho (von Grey Larsen)
- Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E () (von Grey Larsen)
- Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O (von Grey Larsen)
- Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat (von Grey Larsen)
- Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E (von Grey Larsen)
- Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I) (von Grey Larsen)
- Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute) (von Grey Larsen)
- Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F (von Grey Larsen)
- Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle) (von Grey Larsen)
- Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari (von Grey Larsen)
- Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute) (von Grey Larsen)
- Figure 19-6: The First Two Bars of the Jig 'Scotsman Over the Border' (Flute) (von Grey Larsen)
- Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist) (von Grey Larsen)
- Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis) (von Grey Larsen)
- Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl (von Grey Larsen)
- Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas (von Grey Larsen)
- Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa (von Grey Larsen)
- Figure 19-16: The Beginning of a Basic Version of the First Part of the Hornpipe 'The Rights of Man (von Grey Larsen)
- Figure 19-19: The First Part of 'Jimmy Ward's Jig', With Tasteful Melodic Ornaments That Make Use O (von Grey Larsen)
- Figure 19-20: The First Part of 'Jimmy Ward's Jig', With Melodic Ornaments That Interfere With The (von Grey Larsen)
- Figure 20-1: The First Two Parts of the Reel 'the Gravel Walk', Showing Possible Single and Double (von Grey Larsen)
- Figure 20-2: Slurs Are Feasible on Some Intervals That Ascend Across the Register Break (Flute) (von Grey Larsen)
- Figure 20-3: A Rendition of the Jug 'the Sporting Pitchfork' Showing Possible Single, Double, and T (von Grey Larsen)
- Figure 20-4: Two Settings of the Second Part of the Jig 'The Banks of Lough Gowana' (Whistle) (von Grey Larsen)
- Figure 21-1 (Staff Two) The Second of Three Settings of the Jig 'The Banks of Lough Gowana' (Whist) (von Grey Larsen)
- Figure 21-1 (Staff Three) The Third of Three Settings of the Jug 'Thebanks of Lough Gowana' (Whis) (von Grey Larsen)
- Figure 21-2: The First Two Bars of the Reel 'The Drunken Landlady' (Whistle) (von Grey Larsen)
- Figure 21-3: The Firs Two Bars of the Reel 'The Drunken Landlady' Showing an Example of Inarticulat (von Grey Larsen)
- Figure 21-5: The First Two Bars of the Reel 'The Trip to Durrow' Withan Example of Inarticulate Br (von Grey Larsen)
- Figure 21-6: An Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The Trip (von Grey Larsen)
- Figure 21-7: Another Example of an Articulate Breathing Spot in the First Two Bars of the Reel 'The (von Grey Larsen)
- Study 1: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls (von Grey Larsen)
- Study 2: Cuts in a Jig on Repeated Notes That Fall Mostly on the Third Subdivisions of the Pulse () (von Grey Larsen)
- Study 3: Cuts in a Jig on Repeated Notes That Fall on the First and Second Subdivisions of the Puls (von Grey Larsen)
- Study 4: A Variety of Cuts on Repeated Notes in a Jig (Whistle) (von Grey Larsen)
- Study 5: Cuts in a Reel on Ascending Notes That Fall on the Secondarypulse (Flute) (von Grey Larsen)
- Study 6: Cuts in a Reel on Ascending Notes That Fall on the Primary and Secondary Pulse (Flute) (von Grey Larsen)
- Study 7: Cuts in a Jig on Leap Wise Ascending Notes (Whistle) (von Grey Larsen)
- Study 8: Adding a Few More Cuts on Leap Wise Ascending Notes (Whistle) (von Grey Larsen)
- Study 9: Adding Still More Cuts on Leap Wise Ascending Notes (Whistle) (von Grey Larsen)
- Study 10: Cuts in a Reel on Stepwise Descending Notes That Fall on the Secondary Pulse (Flute) (von Grey Larsen)
- Study 11: Cuts in a Reel on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse (von Grey Larsen)
- Study 12: A Few More Cuts on Stepwise Descending Notes That Fall on the Primary and Secondary Pulse (von Grey Larsen)
- Study 13: Cuts in a Jig on Leap Wise Descending Notes (Flute) (von Grey Larsen)
- Study 14: A Variety of Cuts in a Reel, Including Mid-Note Cuts (Flute) (von Grey Larsen)
- Study 15: A Larger Variety of Cuts in a Reel (Whistle) (von Grey Larsen)
- Study 16: A Variety of Cuts in a Jig, Including Mid-Note Cuts (Flute) (von Grey Larsen)
- Study 17: A Larger Variety of Cuts in a Jig (Flute) (von Grey Larsen)
- Study 18: Strikes on Repeated Notes in a Jig (Whistle) (von Grey Larsen)
- Study 19: Strikes in a Reel on Stepwise Descending Notes (Whistle) (von Grey Larsen)
- Study 20: More Strikes in a Reel on Stepwise Descending Notes (Whistle) (von Grey Larsen)
- Study 21: Strikes on Leap Wise Descending Notes in a Jig (Whistle) (von Grey Larsen)
- Study 22: Strikes in a Jig on Ascending Notes That Cross the Registerbreak (Flute) (von Grey Larsen)
- Study 23: Stepwise Simple Slides (Whistle) (von Grey Larsen)
- Study 24: Simple Slides That Ascend by a Third (Whistle) (von Grey Larsen)
- Study 25: Simple Slides That Ascending by a Fourth (Whistle) (von Grey Larsen)
- Study 26: Simple Slides That Ascend by a Fifth (Whistle) (von Grey Larsen)
- Study 27: Stepwise Added-Finger Slides (Flute) (von Grey Larsen)
- Study 28: Added-Finger Slides on Notes That Descend by a Third (Flute) (von Grey Larsen)
- Study 29: Added-Finger Slides on Notes That Descend by a Fourth (Flute) (von Grey Larsen)
- Study 30: Added-Finger Slides on Notes That Descend by a Fifth (Flute) (von Grey Larsen)
- Study 31: Simple and Added-Finger Slides in a Jig (Whistle) (von Grey Larsen)
- Study 32: More Simple and Added-Finger Slides in a Jig (Whistle) (von Grey Larsen)
- Study 33: In a Jig, Long Rolls That Begin on the Pulse (Flute) (von Grey Larsen)
- Study 34: In a Jig, Long Rolls That Begin on the Second Subdivision of the Pulse (Flute) (von Grey Larsen)
- Study 35: In a Jig, Long Rolls That Begin on the Third Subdivision Ofthe Pulse (Flute) (von Grey Larsen)
- Study 36: In a Reel, Long Rolls That Begin on the Primary Pulse (Whistle) (von Grey Larsen)
- Study 37: In a Reel, Long Rolls That Begin on the Second Subdivision of the Primary Pulse (Whistle) (von Grey Larsen)
- Study 38: In a Reel, Long Rolls That Begin on the Third Subdivision of the Primary Pulse (Whistle) (von Grey Larsen)
- Study 39: In a Reel, Long Rolls That Begin on the Fourth Subdivision of the Primary Pulse (Whistle) (von Grey Larsen)
- Study 40: A Jig Containing Long Rolls That Begin on Each of the Threesubdivisions of the Pulse (Fl) (von Grey Larsen)
- Study 41: A Reel Containing Long Rolls That Begin on Each of the Foursubdivisions of the Primary P (von Grey Larsen)
- Study 42: Stepwise Ascending Short Rolls in a Jig (Flute) (von Grey Larsen)
- Study 43: Stepwise Descending Short Rolls in a Jig (Flute) (von Grey Larsen)
- Study 44: Leap Wise Descending Short Rolls in a Reel (Flute) (von Grey Larsen)
- Study 45: Stepwise Ascending Short Rolls in a Reel (Whistle) (von Grey Larsen)
- Study 46: Stepwise Descending Short Rolls in a Reel (Whistle) (von Grey Larsen)
- Study 47: Leap Wise Descending Short Rolls in a Reel (Whistle) (von Grey Larsen)
- Study 48: A Jig Containing a Variety of Short Rolls (Flute) (von Grey Larsen)
- Study 49: A Reel Containing a Variety of Short Rolls (Whistle) (von Grey Larsen)
- The Battering Ram (Whistle) (von Grey Larsen)
- The Blarney Pilgrim (Whistle) (von Grey Larsen)
- The Cliffs of Moher (Whistle) (von Grey Larsen)
- Tom Billy's Jig (Flute) (von Grey Larsen)
- The Frost Is All Over (Flute) (von Grey Larsen)
- The Humours of Ballyloughlin (Flute) (von Grey Larsen)
- Jimmy Ward's Jig (Whistle) (von Grey Larsen)
- The Monaghan Jig (Whistle) (von Grey Larsen)
- Old Joe's Jig (Whistle) (von Grey Larsen)
- The Rose in the Heather (Flute) (von Grey Larsen)
- Scotsman Over the Border (Flute) (von Grey Larsen)
- Tripping Up the Stairs (Flute) (von Grey Larsen)
- Whelan's Jig (Whistle) (von Grey Larsen)
- Willie Coleman's Jig (Whistle) (von Grey Larsen)
- The Star Above the Garter (Whistle) (von Grey Larsen)
- A Fig for a Kiss (Flute) (von Grey Larsen)
- Hardiman the Fiddler (Flute) (von Grey Larsen)
- The Whinny Hills of Leitrim (Flute) (von Grey Larsen)
- Christmas Eve (Whistle) (von Grey Larsen)
- The Banshee (Whistle) (von Grey Larsen)
- The Boys of Ballisodare (Whistle) (von Grey Larsen)
- Roaring Mary (Flute) (von Grey Larsen)
- The Drunken Landlady (Flute) (von Grey Larsen)
- The Glen Allen Reel (Flute) (von Grey Larsen)
- The Gravel Walk (Whistle) (von Grey Larsen)
- John Stenson's Reel (Whistle) (von Grey Larsen)
- Lad O'Beirne's Reel (Whistle) (von Grey Larsen)
- Lady on the Island (Flute) (von Grey Larsen)
- The Mountain Road (Flute) (von Grey Larsen)
- The Shaskeen (Flute) (von Grey Larsen)
- Tuttle's Reel, Notated in E Dorian Sounding in D Dorian Playing on a Whistle in C (Whistle) (von Grey Larsen)
- The Home Ruler (Whistle) (von Grey Larsen)
- The Rights of Man (Whistle) (von Grey Larsen)
- Maids of Ardagh (Flute) (von Grey Larsen)
- Lord Mayo (Flute) And Give Me Your Hand (Flute) (von Grey Larsen)
The First of Autumn
- Paddy Concannon's Reel / The Wise Maid
- Langstrom's Pony / The Geese in the Bog
- Fig for a Kiss / The Butterfly
- The Tune That Came Out
- The Plains of Boyle / The Dog in the Sycamore Leaves
- I Don't Work For A Living
- The Honeysuckle / The Farewell Reel
- Lannigan's Ball
- The Mountain Streams / The Bucks of Oranmore / The Indian on the Rock
- Shawnee Town
- Morning of 1845
- Meriweather
- Johnny Cope
- Shake These Bones
- Soup / Banjo Tramp
- F.O.D.
- Cotton Eyed Joe
- The First Of Autumn