The Essential Guide to Irish Flute and Tin Whistle Malcolm Dalglish & Grey Larsen

The most used Key signature in this album is G. with major being the most reccurent mode.

Harmonic Profile The Essential Guide to Irish Flute and Tin Whistle

Album has 19 different key signatures, divided as follows:
(Try refreshing the page chart is incomplete)

62 songs are major (out of 98).

major

Tracklist The Essential Guide to Irish Flute and Tin Whistle

Figure 1-1: The Seven So Called Church Modes (Concertina)

0'50

Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl)

0'35

Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute)

0'17

Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina)

0'21

Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C)

0'20

Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St

1'42

Exercise 7-12: D to a Cut F-Sharp (Whistle)

0'19

Key of C♯m

Exercise 7-13: D to a Cut G (Whistle)

0'19

Key of C♯

Exercise 7-14: D to a Cut A (Whistle)

0'19

Exercise 7-15: D to a Cut B (Whistle)

0'19

Key of D♯m

Exercise 7-22: G Down to a Cut F-Sharp (Flute)

0'28

Key of A

Exercise 7-27: F-Sharp Down to a Cut D (Flute)

0'19

Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever

2'17

Key of G

Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons

0'10

Key of G

Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi

0'10

Key of D

Exercise 8-1: Practicing Repeated Strikes on G (Flute)

0'25

Key of G

Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute)

0'24

Key of D

Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A

1'10

Key of D

Exercise 18-13: Practising Strikes on E When Descending From G (Whistle)

0'24

Key of D

Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle)

1'23

Key of G♯

Figure 9-1: Sliding Up From E to F-Sharp (Flute)

0'08

Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural

0'12

Key of F

12d

Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute)

0'12

Key of G

Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol

0'11

Key of B

Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle)

0'11

Key of A

Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute)

0'09

Key of D

Exercise 10-1: Practicing Long Rolls on G (Flute)

0'24

Key of Gm

11m

Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle)

0'54

Key of A

Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle)

0'52

Key of F♯m

Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute)

0'09

Key of Fm

Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute)

0'08

Key of D

Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg

0'09

Key of G

Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The

0'08

Key of G

Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni

0'08

Key of Dm

12m

Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long

0'11

Key of Em

Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle)

0'08

Key of F♯m

Exercise 11-1: Practicing Short Rolls on G (Whistle)

0'14

Key of G

Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute)

0'45

Key of G

Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu)

0'50

Key of G

Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho

0'09

Key of Fm

Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle)

0'09

Key of Fm

Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)

0'09

Key of F♯m

Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)

0'08

Key of D

Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute)

0'17

Key of C♯

Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute)

0'11

Key of D

Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle)

0'06

Key of C♯

Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle)

0'20

Key of C♯

Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle)

0'08

Key of F♯m

Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle)

0'08

Key of G

Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle)

0'18

Key of G

Exercise 12-1: Practicing Condensed Long Rolls on G (Flute)

0'19

Key of F♯m

Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E ()

0'52

Key of Bm

Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A

0'48

Key of Dm

12m

Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi)

0'11

Key of D

Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle)

0'13

Key of G

Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E

0'53

Key of C♯

Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp

0'51

Key of B

Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute)

0'24

Key of D

Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E

1'03

Key of Fm

Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle)

0'19

Key of A♯

11d

Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And

1'09

Key of Fm

Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute)

0'19

Key of D

Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp

1'03

Key of Fm

Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle)

0'18

Key of F♯

Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F

1'06

Key of F♯m

Exercise 16-1: Practicing Long Cranns on D (Whistle)

0'24

Key of G

Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E ()

1'27

Key of D

Exercise 16-3: Practicing Short Cranns on Low D (Whistle)

0'19

Key of A♯

11d

Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle)

0'51

Key of C♯

Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D ()

0'08

Key of Bm

Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran

0'08

Key of A♯

11d

Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon

0'09

Key of C♯

Figure 16-18: A Variant on the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran

0'09

Key of F♯

Figure 16-20: The First Two Bars of the Third Part of the Jig 'The Battering Ram' With a Long Crann

0'08

Key of A

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

Key of D

Figure 16-24: The Ending of the First, Third and Fourth Parts of the Jig 'The Humours of Ballylough

0'12

Key of C♯

Figure 16-30: A Variant on the First Two Bars of 'the Home Ruler' With Condensed Long Cranns on D ()

0'09

Key of G

Figure 16-32: A Variant on the First Two Bars of the Jig 'The Blarneypilgrim' With a Condensed Sho

0'09

Key of A♯

11d

Figure 18-6: An Expert From the Second Part of the Hornpipe 'Bantry Bay' With a Single Troll on E ()

0'10

Key of A♯

11d

Figure 18-8: The First Two Bars of the Slip Jig 'The Whinny Hills of Leitrim' With a Single Troll O

0'10

Key of E

Figure 18-10: The First Two Bars of the Slip Jig 'The Whinny Hills Ofleitrim' With a More Elaborat

0'10

Key of C♯

Figure 18-12: An Excerpt From the Second Part of Mary Bergin's Version of 'Old Joe's Jig' With an E

0'11

Key of G♯

Figure 18-17: The Most Common Notes for a Tight Triplet (Played in Both of the Variants Described I)

0'09

Key of G

Figure 18-18: Another Note Sequence Which Can Be Played as a Tight Triplet (Flute)

0'07

Key of F♯

Figure 18-19: A Setting of the First Part of the Jig 'Garrett Barry' With a Quadruplet in Measure F

0'17

Key of G

Figure 19-1: A Typical Way of Playing the First Two Bars of 'The Glenallen Reel' (Whistle)

0'09

Key of C♯m

Figure 19-2: Another Way to Play the First Two Bars of 'The Glen Allen Reel' Using the Melodic Vari

0'09

Key of C♯

Figure 19-5: A Melodic Alternative to a Long Crann on D (A long Crannis Played First) (Flute)

0'07

Key of B

Figure 19-6: The First Two Bars of the Jig 'Scotsman Over the Border' (Flute)

0'08

Key of D

Figure 19-8: A Melodic Alternative to a Short Crann on Low D (A Shortcrann Is Played First) (Whist)

0'07

Key of Gm

11m

Figure 19-9: A Melodic Alternative to a Short Crann on High D (A short Crann Is Played First) (Whis)

0'07

Key of C♯

Figure 19-10: A Setting of the Jig 'Garrett Barry' Showing How Melodic Variants Can Be Used to Repl

0'51

Key of F

12d

Figure 19-11: Four Melodic Variants on the Long G Roll Found in the First Bar of the Reel 'The Shas

0'28

Key of B

Figure 19-13: Three Melodic Variants of the Beginning of the Fourth Part of the Reel 'The Gravel Wa

0'50

Key of Gm

11m

Recent albums by Malcolm Dalglish & Grey Larsen

The Toolbox: Tune Collection

2004

The Toolbox: Exercises for Finger Coordination

2004

The Gathering

1986

Thunderhead

1982

The First of Autumn

1978

Banish Misfortune

1977

The Essential Guide to Irish Flute and Tin Whistle Malcolm Dalglish & Grey Larsen

The Essential Guide to Irish Flute and Tin Whistle

Harmonic Profile The Essential Guide to Irish Flute and Tin Whistle

Tracklist The Essential Guide to Irish Flute and Tin Whistle

Figure 1-1: The Seven So Called Church Modes (Concertina)

Figure 1-2: Comparison Between the Ionian and Mixolydian Modes and Theaeolian and Dorian Modes (Fl)

Figure 1-4: Examples of the Two Pentatonic Modes Found in Irish Music (Flute)

Figure 1-5: The First Part of 'Turtle's Reel' In D Dorian (Concertina)

Figure 1-6: The First Part of 'Turtle's Reel' Transposed Up to E Dorian (Whistle in C)

Figure 1-7: An Example of the Use of Slur Notation (Whistle)

Figure 1-10: The Opening Bars of the March 'Lord Mayo' (Whistle)

Exercise 7-1: Practicing Cuts on Repeated D's (Whistle)

Exercise 7-7: F-Sharp to a Cut G (Flute)

Figure 7-15: A Version of 'The Lonesome Jig', Which Makes Use of Cuts Only on Repeated Notes and St

Exercise 7-12: D to a Cut F-Sharp (Whistle)

Exercise 7-13: D to a Cut G (Whistle)

Exercise 7-14: D to a Cut A (Whistle)

Exercise 7-15: D to a Cut B (Whistle)

Exercise 7-22: G Down to a Cut F-Sharp (Flute)

Exercise 7-27: F-Sharp Down to a Cut D (Flute)

Figure 7-16: A Version of the Slip Jog 'the Boys of Ballisodare' Thatmakes Use of Examples of Ever

Figure 7-17: The First Two Bars of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Ons

Figure 7-19: The First Two Parts of the Slip Jig 'Hardiman the Fiddler' With a Cut Placed at the Mi

Exercise 8-1: Practicing Repeated Strikes on G (Flute)

Exercise 8-8: Practicing Strikes on F-Sharp When Descending From G (Flute)

Figure 8-15: A Version of the Hornpipe 'Bantry Bay' Using Cuts and Strikes Only on Repeated Notes A

Exercise 18-13: Practising Strikes on E When Descending From G (Whistle)

Figure 8-16: A Version of the Hornpipe 'Bantry Bay' Using Cuts and a Variety of Strikes (Whistle)

Figure 9-1: Sliding Up From E to F-Sharp (Flute)

Figure 9-6: The Opening Bars From 'The Blarney Pilgrim' With a Simpleslides From B Up to C-Natural

Figure 9-8: An Excerpt From a Variation on the Beginning of the Jig 'The Cliffs of Moher' (Flute)

Figure 9-9a: The Opening Bars of 'The Star Above the Garter' With an Added-Finger Slide Up to G Fol

Figure 9-9b: Played Again, This Time Using a Struck Slide as Described in the Text (Whistle)

Figure 9-10: The Opening Bars of 'Willie Coleman's Jig' (Flute)

Exercise 10-1: Practicing Long Rolls on G (Flute)

Figure 10-5: The Jig 'The Sporting Pitchfork' With Long Rolls on G, F-Sharp and E (Whistle)

Figure 10-6: The Jig 'The Sporting Pitchfork' With Long Rolls on B, a, G, F-Sharp and E (Whistle)

Figure 10-16: The First Two Bars of the Reel 'The Banshee' With Long Rolls on G (Flute)

Figure 10-18: The First Two Bars of 'Whelan's Jig' With Long Roll on E (Flute)

Figure 10-20: The First Two Bars of the Reel 'The Drunken Landlady' With Long Rolls on E, Which Beg

Figure 10-22: The First Two Bars of the Reel 'The Gravel Walk' With Along a Roll Beginning on The

Figure 10-24: The First Two Bars of a Variation on 'The Monaghan Jig'With a Long Roll on E Beginni

Figure 10-26: The First Four Bars of the B Part of 'the Rose in the Heather', Which Includes a Long

Figure 10-30: Sliding Into Long Rolls on the Start of the Reel 'Roaring Mary' (Whistle)

Exercise 11-1: Practicing Short Rolls on G (Whistle)

Figure 11-6: A Setting of 'The Sporting Pitchfork' Using Short Rolls on G, F-Sharp and E (Flute)

Figure 11-7: A Setting of 'The Sporting Pitchfork' Using Short Rolls on B, a, G, F-Sharp and E (Flu)

Figure 11-18: A Variant on the Start of 'Lad O'Beirne's Reel' Demonstrating an Awkward-Sounding Sho

Figure 11-19: A More Musical Variant on the Start of 'Lad O'Beirne's Reel' (Whistle)

Figure 11-10: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)

Figure 11-11: A Short Roll in the Second Bar of 'The Lonesome Jig' (Flute)

Figure 11-12: Short Rolls in the Opening Bar of the Jig 'Tripping Up the Stairs' (Flute)

Figure 11-14: A Variant on the Opening Bars of the Jig 'The Frost Is All Over' (Flute)

Figure 11-15: An Example of a Short Roll Preceded by an Eighth Note of the Same Pitch (Whistle)

Figure 11-19: The First Part of the Reel 'The Drunken Landlady' (Whistle)

Figure 11-20: The Opening Bars of 'Old Joe's Jig' Beginning With a Long Roll (Whistle)

Figure 11-21: The Opening Bars of 'Old Joe's Jig' Beginning With an Ascending Roll (Whistle)

Figure 12-4: Four Different Ways to Play the Beginning of 'The Glen Allen Reel' (Whistle)

Exercise 12-1: Practicing Condensed Long Rolls on G (Flute)

Figure 12-7: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on G, F-Sharp and E ()

Figure 12-8: A Setting of 'The Sporting Pitchfork' Using Condensed Long Rolls on B, a, G, F-Sharp A

Figure 13-6: A Condensed Short Roll on F-Sharp in the Third Bar of the Polka 'Maids of Ardagh' (Whi)

Exercise 13-1: Practicing Condensed Short Rolls on G (Whistle)

Figure 13-9: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on G, F-Sharp and E

Figure 13-10: A Setting of 'The Sporting Pitchfork' Using Condensed Short Rolls on B, a, G, F-Sharp

Exercise 15-1: Practicing Long Double-Cut Rolls on G (Flute)

Figure 15-4: A Setting of the Reel 'The Skylark' Using Long Double-Cut Rolls on a, G, F-Sharp and E

Exercise 15-5: Practicing Short Double-Cut Rolls on G (Whistle)

Figure 15-9: A Setting of the Reel 'The Skylark' Using Short Double-Cut Rolls on a, G, F-Sharp And

Exercise 15-9: Practicing Condensed Long Double-Cut Rolls on G (Flute)

Figure 15-13: A Setting of the Reel 'The Skylark' Using Condensed Long Double Cut Rolls on F-Sharp

Exercise 15-13: Practicing Condensed Short Double-Cut Rolls on G (Whistle)

Figure 15-17: A Setting of the Reel 'The Skylark' Using Condensed Short Double-Cut Rolls on a, G, F

Exercise 16-1: Practicing Long Cranns on D (Whistle)

Figure 16-6: A Setting of the Reel 'The Trip to Durrow' Which Makes Use of Long Cranns on D and E ()

Exercise 16-3: Practicing Short Cranns on Low D (Whistle)

Figure 16-11: A Setting of the Jig 'Garret Barry' Which Short and Long Cranns on D (Whistle)

Figure 16-13: The First Two Bars of the Jig 'The Humours of Ballyloughlin' With a Long Crann on D ()

Figure 16-14: A Variant of the First Two Bars of the Reel 'The Lady on the Island' With a Long Cran

Figure 16-16: The First Two Bars of the Third Part of the Reel 'The Boys of Ballisodare' With a Lon