The Toolbox: Tune Collection

• Blarney Pilgrim
• Cliffs of Moher
• Frost Is All Over
• Monaghan Jig
• Old Joe's Jig
• Rose in the Heather
• Tom Billy's
• Tripping Up the Stairs
• Whelan's Jig
• Willie Coleman's
• Star Above the Garter
• Hardiman the Fiddler
• Banshee
• Drunken Landlady
• Gravel Walk
• Lad O'Beirne's
• Roaring Mary
• Tuttle's in Dm

The Toolbox: Exercises for Finger Coordination

• Exercise 1: Moving just one finger at a time
• Exercise 2: Moving one finger and groups of two fingers
• Exercise 3: Again, moving one finger and groups of two fingers
• Exercise 4: Moving one finger and groups of two and three fingers
• Exercise 5: Moving groups of two and three fingers
• Exercise 6: Moving one finger and groups of two, three, and four fingers
• Exercise 7: Moving groups of two, three, and four fingers
• Exercise 8: Moving groups of three and four fingers
• Exercise 9: Moving one finger and groups of two, three, four, and five fingers
• Exercise 10: Moving groups of two, three, four, and five fingers
• Exercise 11: Moving groups of three, four, and five fingers
• Exercise 12: Moving groups of four and five fingers
• Exercise 13: Moving one finger and groups of two, three, four, five, and six fingers
• Exercise 14: Moving groups of two, three, four, five, and six fingers
• Exercise 15: Moving groups of three, four, five, and six fingers
• Exercise 16: Moving groups of four, five, and six fingers
• Exercise 17: Moving groups of five and six fingers
• Figure 1: The D Mixolydian mode
• Exercise 18: Playing the cross-fingered low C-natural in a variety of melodic contexts
• Exercise 19: Moving between low and high D
• Exercise 20: Moving between low and high E
• Exercise 21: Moving between low and high F#
• Exercise 22: Moving between low and high G
• Exercise 23: Moving between low and high A
• Exercise 24: Moving between low and high B
• Exercise 25: Moving one finger and groups of two, three, and four fingers
• Exercise 26: Moving groups of two, three, and four fingers
• Exercise 27: Moving one finger and groups of two, three, four, and five fingers
• Exercise 28: Moving groups of two, three, four, and five fingers
• Exercise 29: Moving groups of three, four, and five fingers
• Exercise 30: Moving one finger and groups of two, three, four, five, and six fingers
• Exercise 31: Moving groups of two, three, four, five, and six fingers
• Exercise 32: Moving groups of three, four, five, and six fingers
• Exercise 33: Moving groups of four, five, and six fingers
• Exercise 34: Moving one finger and groups of two, three, four, five, and six fingers
• Exercise 35: Moving groups of two, three, four, five, and six fingers
• Exercise 36: Moving groups of three, four, five, and six fingers
• Exercise 37: Moving groups of four, five, and six fingers
• Exercise 38: Moving groups of five and six fingers

The Essential Guide to Irish Flute and Tin Whistle (disc 1)

• 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