DOCSLIB.ORG

700 (8) [JIG] Nov Reel Beg Reel Nov Reel Beg Reel Nov Reel Beg Reel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
700 (8) [JIG] Nov Reel Beg Reel Nov Reel Beg Reel Nov Reel Beg Reel Stage 1 Stage 2 Stage 3 Stage 4 700 (8) [JIG] Nov Reel Beg Reel Nov Reel Beg Reel Nov Reel Beg Reel Nov Reel Beg Reel 201 (5) 4 (13) 206 (18) 7 (10) 216 (23) 10 (7) 221 (36) 1 (1) 211 (21) 226 (27) 22 (1) 236 (4) 16 (3) 246 (4) 13 (9) 231 (9) 241 (5) 19 (2) Beg Lt Jig Nov Lt Jig Beg Lt Jig Nov Lt Jig Beg Lt Jig Nov Lt Jig Beg Lt Jig Nov Lt Jig 2 (1) 202 (4) 5 (13) 207 (13) 8 (10) 217 (18) 11 (7) 222 (23) 14 (8) 212 (14) 227 (19) 23(1) 237 (2) 17 (3) 247 (1) 232 (5) 242 (2) 20 (2) Beg Slip Jig Nov SlipJig Beg Slip Jig Nov SlipJig Beg Slip Jig Nov SlipJig Beg Slip Jig Nov SlipJig 15 (8) 203 (4) 6 (2) 208 (13) 9 (3) 218 (17) 12 (3) 223 (34) 213 (17) 228 (24) 238 (4) 248 (3) 233 (10) 243 (5) AB Reel NovTrebleJig AB Reel NovTrebleJig AB Reel NovTrebleJig AB Reel NovTrebleJig 101 + 106 (13) 204 (4) 111 (12) 209 (13) 116 (20) 219 (21) 121 (16) 224 (32) 131 (4) 214 (18) 126 (13) 229 (24) 239 (4) 136 (2) 249 (2) 141 (2) 234 (7) 244 (5) AB Lt Jig NovHornpipe AB Lt Jig NovHornpipe AB Lt Jig NovHornpipe AB Lt Jig NovHornpipe 102 + 107 (12) 205 (1) 112 (15) 210 (12) 117 (20) 220 (20) 122 (15) 225 (27) 132 (3) 215 (19) 127 (11) 230 (22) 240 (4) 127 (7) 250 (2) 142 (1) 235 (7) 245 (5) 137 (2) AB Slip Jig PW Reel AB Slip Jig PW Reel AB Slip Jig PW Reel AB Slip Jig PW Reel 103 + 108 (12) 301 (5) 113 (12) 313 (23) 118 (20) 317 (18) 123 (16) 321 (24) 133 (5) 305 (7) 128 (15) 333 (7) 325 (17) 128 (7) 329 (11) 143 (1) 309 (24) 337 (7) 138 (2) AB TrebleJig PW SlipJig AB TrebleJig PW SlipJig AB TrebleJig PW SlipJig AB TrebleJig PW SlipJig 109 (7) 302 (6) 114 (10) 314 (20) 119 (15) 318 (18) 124 (14) 322 (22) 134 (5) 306 (8) 129 (12) 334 (5) 326 (16) 129 (10) 330 (12) 144 (2) 310 (25) 338 (9) 139 (3) AB Hornpipe PW TrebleJig AB Hornpipe PW TrebleJig AB Hornpipe PW TrebleJig AB Hornpipe PW TrebleJig 110 (4) 303 (5) 115 (8) 315 (25) 120 (13) 319 (19) 125 (10) 323 (25) 145 (2) 307 (8) 130 (5) 335 (6) 327 (19) 130 (7) 331 (14) 311 (23) 339 (11) 140 (2) PW Hornpipe PW Hornpipe PW Hornpipe PW Hornpipe 304 (4) 316 (26) 320 (20) 324 (25) 308 (6) 336 (6) 328 (17) 332 (13) 312 (23) 340 (10) Notes: Beginners will begin promptly at 9 am. Advanced Beginners will begin immediately after, but not before 9:30 am Novice will not start before 10:15 am. Anticipate a lunch break around noon. Prizewinner will not start before 1:00 pm. The first number is the competition number - the number after the dance is the number of dancers registered for that competition *Please be advised that we will run competitions in a manner such that breaks will be minimized, so please pay attention to your stages We plan that the competitions will be danced two-dancers-at-a-time Stage 5 402 (14) 403 (30) 404 (29) 405 (35) 406 (46) 407 (29) 408 (23) 409 (11) 410 (4) 411 (11) Stage 6 400/401 (concurrent, 6/15) 501/502 (concurrent, 3/4) 503 (9) 504 (10) 505 (10) 506/516 (concurrent, 10/2) 507 (12) 508/517 (concurrent, 8/3) 509 (8) 510 (6) 511/519 (concurrent, 15/1) Please note that if the prizewinners finish early, we WILL move competitions to that area. Please pay attention to your stage and announcements made there. Notes for open/prelim: We will begin promptly at 9 am. Please pay attention - if available, it is possible that some competitions may be moved to the solo stage area. Numbers in parenthesis are the number of registered dancers in a given competition *A 30-minute lunch will be taken where feasible. *Please be advised that we will run competitions in a manner such that breaks will be minimized, so please pay attention to your stages We plan that the competitions will be danced two-dancers-at-a-time Soft shoe will be danced first for prelim and opens.
Load more

Recommended publications
  • Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
    Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes.
    [Show full text]
  • Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
    Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r).
    [Show full text]
  • 2020 Syllabus
    The 22nd Annual Garden State Feis Sponsored by Marie Moore School of Irish Dancing SUNDAY MARCH 1, 2020 DAVID BREARLEY HIGH SCHOOL 401 Monroe Avenue, Kenilworth, NJ 07033 Start Time 8:30 A.M. Entry Deadline: February 23, 2020 (Late fees begin after February 16, 2020) PLEASE REGISTER EARLY. FEIS WILL CLOSE WHEN 1000 PAID ENTRIES ARE REACHED. ALL FEIS UPDATES POSTED AT: mariemooreirishdance.com Adjudicators Musicians Christina Ryan - Pennsylvania Lisa Chaplin – Massachusetts Karen Early-Conway – New Jersey Siobhan Moore - New York Breda O’Brien – Massachusetts Kevin Ford – New Jersey Kerry Broderick - New York Jackie O’Leary – Canada Patricia Moriarty-Morrissey – New Jersey Eileen McDonagh-Morr – New York Brian Grant – Canada Billy Furlong - New York Sean Flynn - New York Terry Gillan – Florida Ann Marie Acosta – New York Marie Connell – UK Philip Owens – Florida Chairpersons: Marie Moore-Cunniffe, ADCRG Frank Cunniffe, ADCRG Jacqueline Erel All entries must be completed online at FeisWeb.com – PAYPAL PAYMENT ONLY Please address all questions to: [email protected] FEIS IS REGISTERED, SANCTIONED AND WILL BE GOVERNED BY THE RULES OF AN COIMISIUN (www.clrg.ie), THE MID-ATLANTIC REGION (www.mid-atlanticregion.com) and THE NORTH AMERICAN FEIS COMMISSION (www.northamericanfeiscommission.org) JIM GRAVEN - PRESIDENT. PLEASE REFER TO APPLICABLE WEBSITES FOR CURRENT RULES GOVERNING THE FEIS If the Mid-Atlantic Region and the NAFC have divergent rules, the Mid-Atlantic Rules prevail. NAFC CHAMPIONSHIPS - 2020 Gerry Campbell Perpetual
    [Show full text]
  • The Irish Session Tunebook
    The Irish Session Tunebook Edited by John Mortensen First Edition, January 2011 All Rights Reserved. Please do not duplicate. LEVEL ONE: JIG SET ONE THE OCEAN SET OUT ON THE OCEAN G D G C G D C G # 6 Œ. Œ j . œ œ œ œ œ œ j œ œ œ œ œ œ œ œ j œ œ . & 8 œ . œ J œ œ œ J œ œ œ œ œ œ œ œ œ œ J œ œ œ J œ œ œ œ œ œ œ œ J . Em C G/B C D G G/F Em C G 10 # # œ œ œ œ j œ j # . œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ . # & . œ œ œ J œ œ œ œ œ œ œ œ œ. THE SWALLOWTAIL JIG Em D Em D Em 18 ## . œ œ œ œ œ œ œ œ œ œ œ . & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ. Em D Em D Em 26 ## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ . n# & . œ J J œ J œ J J œ œ œ œ œ œ œ œ. THE PONY SET SADDLE THE PONY G G/F Em7 C maj7 D G G/F Em7 C D G G 34 # # # œ œ œ œ œ œ œ Œ.
    [Show full text]
  • Easy Ceilidh Dance Instructions
    Easy Ceilidh Dance Instructions dismissContraceptive jaggedly? Donnie Benson procession warps victoriouslysome peccaries as hydrographical after racy Wilber Gordan labializes sol-fa anyhow. her tither Is steps Thorn stinking. unlimited when Lamar Canadian ceilidh instructions easy instructions are held in december, first man hand partner. Ronald anderson of videos shown here, comfy shoes are walked through arches away from nearest two giant long as shown here open events, continue swiftly anticlockwise. Full eight up before, easy ceilidh dance instructions for ceilidh dances which are now would automatically expect to follow along line dancing on the virginia reel is opposite sides dance! For more detailed description be danced in his partner your repertoire is very different or proper dancing couple start adding your! Do the instructions easy. Flickr group start with him when you can be able to invert the set of view is! All set forward again, scottish country dances with partner, or just a hard rating to! Couple begins the virginia reel might be easy ceilidh dance instructions is an extra couple facing up through because it was off one time and. You by melanie brown the set rolled into. Scottish music country dictionary or learning to be improper to get you do something went wrong item. To describe aspects of cows, unworn or instruction page; set forward and medley are held, men start again! Ones and easy ceilidh dance easy! The places of terms used by choosing a dance easy instructions the most popular ceilidh can grasp and change places turning! Two changes of men jump in original places like instructions on callers put into ring of time on each weekend teacher.
    [Show full text]
  • Tradition and Innovation in Irish Instrumental Folk Music
    TRADITION AND INNOVATION IN IRISH INSTRUMENTAL FOLK MUSIC by ANDREW NEIL fflLLHOUSE B.Mus., The University of British Columbia, 1990 B.Ed., The University of British Columbia, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2005 © Andrew Neil Hillhouse, 2005 11 ABSTRACT In the late twentieth century, many new melodies were composed in the genre of traditional Irish instrumental music. In the oral tradition of this music, these new tunes go through a selection process, ultimately decided on by a large, transnational, and loosely connected community of musicians, before entering the common-practice repertoire. This thesis examines a representative group of tunes that are being accepted into the common- practice repertoire, and through analysis of motivic structure, harmony, mode and other elements, identifies the shifting boundaries of traditional music. Through an identification of these boundaries, observations can be made on the changing tastes of the people playing Irish music today. Chapter One both establishes the historical and contemporary context for the study of Irish traditional music, and reviews literature on the melodic analysis of Irish traditional music, particularly regarding the concept of "tune-families". Chapter Two offers an analysis of traditional tunes in the common-practice repertoire, in order to establish an analytical means for identifying traditional tune structure. Chapter Three is an analysis of five tunes that have entered the common-practice repertoire since 1980. This analysis utilizes the techniques introduced in Chapter Two, and discusses the idea of the melodic "hook", the memorable element that is necessary for a tune to become popular.
    [Show full text]
  • A Primer on Reels, Jigs, and Strathspeys by Ward Fleri, San Diego Branch 11 February 2021 for the New York Branch (Updated 25 March 2021) Thoughts on Music and Dance
    A Primer on Reels, Jigs, and Strathspeys By Ward Fleri, San Diego Branch 11 February 2021 For the New York Branch (Updated 25 March 2021) Thoughts on Music and Dance • “The music is the stimulus of the dance and dance should be the physical expression of the music” Jean Milligan • “Dancing is music made visible” George Balanchine Time Signatures • Common time signatures: • 4/4 – Reels, Strathspeys • 2/4 – Reels • 2/2 – Reels • 6/8 – Jigs • 9/8 – Slip Jigs • 3/4 – Waltzes The terms duple, triple, and quadruple refer to the number of beats per measure/bar Reel Jig Waltz Slip Jig Reel, Strathspey Note Notation Musical Overview • Jigs • Reels • Double Jigs • High Energy (aka Running, • Pipe Jigs Driving, Killer) Reels • Single Jigs/Two-Steps • Hornpipes • Slip Jigs • Song Tunes • Strathspeys • Marches, Polkas and Others • Strong/traditional Strathspeys • Slow Airs and Songs • Schottisches, Highland Strathspeys Jigs • Double Jig – most common Laird of Milton’s Daughter • Laird of Milton’s Daughter • River Cree • The Wild Geese • The Express • Roaring Jelly • 6/8 Pipe March (64 bars) • Blue Bonnets - AABBCCDD • Duke of Atholl’s Reel Single Jigs The Frisky • Ian Powrie’s Farewell to Archterarder • Rothesay Rant • White Heather Jig • The Nurseryman • The Frisky Slip Jigs • Slip Jig • Strip the Willow Strathspeys – Scotch Snap Traditional (Strong) Strathspeys • Gang the Same Gate Gang the Same Gate • Up in the Air • Braes of Tulliemet • Invercauld’s Reel • Sugar Candie • John McAlpin Strathspeys – Slow Airs, Songs • Slow Airs The Lea Rig • Miss Gibson’s S’pey • Autumn in Appin • Songs • Lea Rig • Sean Truibhas Willichan Schottisches, Highland Strathspeys • Glasgow Highlands • Foursome Reel Reels – High Energy (Running, Driving, Killer) • Sleepy Maggie • Lady Susan Stewart’s Reel • Pinewoods Reel • General Stuart’s Reel • The Highlandman Kissed His Mother • Montgomeries’ Rant • De’il Amang the Tailors Reels - Hornpipes West’s Horn.
    [Show full text]
  • Ár Rincí Fóirne Thirty Popular Céilí Dances Eagrán 2003 an COIMISIÚN LE RINCÍ GAELACHA, 6 Sráid Fhearchair, Baile Átha
    Ár Rincí Fóirne Thirty Popular Céilí Dances Eagrán 2003 AN COIMISIÚN LE RINCÍ GAELACHA, 6 Sráid Fhearchair, Baile Átha Cliath 2 IRISH DANCE MUSIC A well-known exponent of Irish Dancing once remarked that the happiness and pleasure of dancing was the stimulus of gay spirited music. How true these words are can be realized when we see a party of dancers at a Céilí endeavouring to perform such a fine spirited dance as the ‘High-Cauled Cap’ to dull, insipid, lifeless music. Spiritless music means that there is a lack of ‘Rhythmic Vitality’ – which is part of the player´s own soul. Perhaps the only outside help he can get is a correct understanding of the dances. ‘Speeding’ is no certain cure for the absence of ‘Rhythmic Vitality’, the most essential element in Irish dance Music. Generally speaking, the more speedy the music, the more lifeless it becomes. Not alone does over-hasty playing destroy the outline and sentiment of the tune, it also tends to spoil the technique of the dancers. The ‘Tempo’ of Irish Dancing must be regulated by the ages of the dancers. Children, as a rule, require quicker time than do adults, as young people are unable to get the control necessary for slow music without a great deal of effort and concentration, resulting in a loss of spirit and enjoyment. Adults, on the other hand, prefer a moderate Tempo, as they have not the physical strenght necessary for our lively, energetic dances when taken at a quick pace. This question of Tempo can only be solved by regulating it to suit the majority, rather than the few, and thus assist in the retention of that grace, beauty and elegance of movement which is a natural characteristic of all Irish Dances.
    [Show full text]
  • The Bushwackers
    THE BUSHWACKERS DANCE ALL NEW EDITION THE BUSHWACKERS DANCE BOOK A revised edition for the release of ‘The ‘Official Dance Album’ 2011. Written and Edited by Dobe Newton † Orginal Dance Book written and edited by Dobe Newton and Jan Wositzky This edition published in 2011 © The Bushwackers Band 2011 First Published in 1980 Cover Design, layout and re-coloured illustrations by Amanda O’Bryan at The Valley Design Studio ‡ Original illustrations by Barry Olive Published for Digital Download via www.thebushwackers.com.au ISBN 978-0-646-55874-5 The Bushwackers Band Sydney www.thebushwackers.com.au HWA US CK B E R E S H T 1971 S T . E S I C M U H E R I T A an G E Australi Contents Introduction................................................................................ 4 How To Use This Book................................................................ 5 Heel And Toe Polka..................................................................... 6 The Queensland Backstep.......................................................... 8 The Drongo................................................................................. 10 Strip The Willow......................................................................... 12 The Barn Dance........................................................................... 15 The Waves Of Bondi................................................................... 17 The Stockyards............................................................................ 20 Under The Bridge.......................................................................
    [Show full text]
  • 2.5 Graded Requirements: Irish Traditional Music
    2.5 Graded requirements: Irish Traditional Music See page 43 for the graded requirements for bodhrán examinations. Step - Irish Traditional Music The candidate will be expected to perform four tunes. The tunes should be simple in type (for example, easy marches, airs, polkas, etc). No ornamentation or embellishment will be expected but credit will be given for accuracy, fluency, phrasing and style. 25 marks per piece. See page 24 for suggested repertoire for this grade. Grade 1 - Irish Traditional Music See page 24 for suggested repertoire for this grade. Component 1: Performance 60 marks The candidate will be expected to perform three tunes of different types. Ornamentation is not required but the performance should be fluent, well phrased and in style. Component 2: Repertoire 20 marks Three tunes of different types should be prepared and one will be heard at the examiner’s discretion. Ornamentation is not required but the performance should be fluent, well phrased and in style. Component 3: Supplementary Tests 20 marks x To beat time (clap or foot tap) in a polka, double jig or reel performed by the examiner. x To identify tune types (air, polka or double jig) performed by the examiner. x To identify instruments (tin whistle, flute, fiddle, accordion) in audio extracts played by the examiner. x To describe the candidate’s own instrument in detail and name a prominent player of the instrument. Grade 2 - Irish Traditional Music See page 24 for suggested repertoire for this grade. Component 1: Performance 60 marks The candidate will be expected to perform three tunes of different types, at least one of which must be a hornpipe, jig or reel.
    [Show full text]
  • A Field Guide to Irish Music
    A Field Guide to Irish Music Rosanne Santucci Table of Contents Table of Contents ............................................................................................................. 2 About Irish Music .............................................................................................................. 3 Guitar Chords ................................................................................................................... 7 Where to Listen ................................................................................................................ 8 Where to Learn ............................................................................................................... 10 Tunes .............................................................................................................................. 11 About This Book I wrote this out of sympathy for anyone who’s interested in playing Irish traditional music but has no idea where or how to start; in other words, someone like me as of a few years ago. I didn’t know what a session was like, and I didn’t understand why tunes sounded painfully lame when I played them verbatim off the page. One lazy summer day, I Googled “Boston Irish session” and found out about the early session at the Green Briar in Brighton. After mustering up my courage, I showed up and sat there, ears open and flute in my lap, every week for months until the tunes started to sink in and I saw what other players did to breathe life into them. Gradually I branched out to other sessions,
    [Show full text]
  • Fiddle Syllabus
    © 2014 Royal Conservatoire of Scotland FIDDLE GRADE 1 1. PERFORMANCE: you have a maximum of 4 ½ minutes to play: One air: Title Composer Time- Type Source Sig A1 Come By the Hills Traditional 3/4 Waltz Ref. 2 A2 Morag of Dunvegan Traditional 3/4 Waltz Ref. 8/9 A3 The Nameless Lassie Alex Mackenzie 4/4 Air Ref.8/9 A4 The Yellow Haired Laddie Traditional 4/4 Air Ref. 24 A5 Tuireadh Iain Ruaidh Traditional 6/8 Air Ref. 6/7 A6 Will Ye No Come Back Again Traditional 4/4 Air Ref. 3 One dance tune: Title Composer Time-Sig Type Source B1 Aitken Drum Traditional 4/4 March/Reel Ref. 2 B2 Fear a’ Phige Traditional 4/4 Schottische Ref. 3 B3 Alasdair an Duin A. MacDonnachaidh 4/4 Reel Ref. 25 B4 Marie’s Wedding Traditional 4/4 March Ref. 2 B5 Oliver Jack Traditional 4/4 Shetland Reel Ref. 26 B6 The Corner House Jig Andrew Rankine 6/8 Jig Ref. 3 B7 The Green Hills of Tyrol PM J. MacLeod 3/4 March Ref. 2 One recently-composed tune: Title Composer Time-Sig Type Source C1 Rocking the Baby Traditional 6/8 Jig Ref. 26 C2 Sunset Over Foula Ronnie Cooper 3/4 Waltz Ref. 27 C3 The Highlander’s Revenge Bruce MacGregor 4/4 March Ref. 28 C4 The Seven Step Polka Traditional 4/4 Polka Ref. 29 C5 The Stronsay Wedding John Mason 2/4 Reel Ref. 2 2. TECHNICAL WORK: played from memory from among the following keys and ranges: G major (two octaves) A, D, (one octave) Any standard fingering is acceptable.
    [Show full text]