Scrúdú Ceol Tíre

Administered by
COMHALTAS CEOLTÓIRÍ ÉIREANN

TRADITIONAL IRISH MUSIC EXAMINATIONS

Syllabus - 2016 Edition

Director / Chief Examiner

Oisín Mac Diarmada
SCT Examination Board
Majella Bartley
Attracta Brady
Kieran Hanrahan
Jim McAllister
Brenda McCann
Kathleen Nesbitt
Odhrán Ó Casaide
Martin Power
Paddy Ryan

SCT Examination Office

Clasaċ
Alfie Byrne Road
Clontarf
Dublin 3
Ireland

sct@comhaltas.ie
http://sct.comhaltas.ie

Graphic Design & Layout: Fernando Marcos

 THE PURSUIT OF EXCELLENCE
by Senator Labhrás Ó Murchú, Director General of CCÉ

Is dea scéal é go bhfuil ag eirí thar barr leis an Scrúdú Ceol Tíre (SCT) – á eagrú
ag Comhaltas Ceoltóirí Éireann. Tá an tionscnamh stairiúil seo tráthúil agus
oiriúnach go mór mhór mar lóchrann an dóchais ar an ród seo romhainn. Is breá
le daoine óga dúshlan chun caighdeán a fheabhsú agus a gcumas a fhorbairt
agus, dar ndóigh, tá an scéal amhlaidh le ceoltóiri traidisiúnta na hÉireann.

Launched by President Mary McAleese in December 1998, the Irish traditional

music examinations have met with exceptional success. This examination
network is a further example of the vibrancy of, and the standards being
achieved in, Irish traditional music. This native music of Ireland now enjoys an
enviable status, not only nationally but also internationally, and none more so
than among young people.

Young people welcome a challenge to improve their skills and raise their
standards and this applies also to the young traditional musicians of today.
They have demonstrated their prowess, adaptability and innovative artistry
and they have won the admiration of many people at home and abroad. These
young performers have remained true to the tradition which they have inherited
from the older exponents while at the same time bringing their own artistic
enthusiasm to bear on their musicianship.

It is now generally acknowledged that Irish traditional music should enjoy the
fullest recognition and equality, with all the necessary resources, within the
education system and at all levels. One hopes that this will be achieved in the
near future.

The late Micheál Ó hEidhin, former Music Inspector with the Department of
Education, gave unstinted and invaluable service to the development of SCT –
based on his own professional and traditional background – to the development
of the examination syllabus. In this he was ably assisted by the CCÉ Project
Committee, consisting of Dr. Antóin Mac Gabhann, Dr. Tomás Ó Canainn,
Séamus Mac Mathúna, Máirtín de Paor, Micheál Ó Briain, Lourda Griffin,
Micheál Ó hAlmhain and Mary Nugent. Among others who gave considerable
assistance were Noel Hill, Kathleen Nesbitt and Paddy Ryan. To all who helped
in any way to bring his project to fruition we express our heartfelt appreciation.

The Ardchomhairle of CCÉ, and indeed our membership worldwide, look forward
with confidence to the continued development of Scrúdú Ceol Tíre (SCT). We
see this as another important milestone in the cultural life of Ireland, the Irish
diaspora and friends of Ireland.

Senator Labhrás Ó Murchú

Director General of CCÉ
 Prioritising Traditional Music Education
by Oisín Mac Diarmada, Director & Chief Examiner SCT

The vision displayed by founding Director of SCT, Micheál Ó hEidhin

(1938-2012), in spearheading the development of an examination system for
traditional Irish music during the late 1990s, continues to be celebrated in the
publication of this 2016 syllabus.

The onset of SCT examinations in 1999 launched an era whereby a structured

system of graded assessment could offer an important learning support
to teachers and students of traditional Irish music. With over 50,000
examinations already completed, the experience harnessed since the original
roll-out in association with the Royal Irish Academy of Music, has been an
invaluable resource in constructing this revised syllabus. The years since have
seen traditional Irish music become ever more established as a field of study
within third level education, and initiatives such as the SCT examinations
continue to play a part in the overall development of a broad musical skill set
within the traditional music community.

A hugely important role has been played by the dedicated team of

educationalists who make up the SCT Examination Board, and their
contribution to this syllabus revision has been immense. I also wish to
acknowledge the work of SCT Administrator, Jim McAllister, along with his
team at Clasaċ, who have worked tirelessly as the chief point of contact with
teachers and parents over many years. The advice and expertise of Siobhán
Ní Chonaráin, Riarthóir CCÉ, along with Martin Power, Director of TTCT, has
been of immense importance in harnessing the educational potential of
this initiative. I would like to especially thank the SCT examiners in Ireland
and the United States who have given many years of dedicated service,
traveling thousands of miles to facilitate the provision of a decentralised
examination centre model which reaches out to local musical communities.
The partnership of so many dedicated music teachers has been a critical
part of the successful roll-out of this examination system over 16 years, and
I look forward to continuing an active engagement with music education
practitioners in striving to serve the educational needs of students.

The launch of the Advanced Performance Certificate in Syllabus 2016 is

one of the most important new developments. This recital-based certificate
examination, promoting excellence in solo performance, marks the
culmination of the SCT examination system and will act as a bridge towards
the TTCT Teaching Diploma. It is my sincere hope that the legacy of Micheál
Ó hEidhin will continue to live on through the continued development and
internationalisation of SCT examinations in the years ahead. Many thanks for
your continued support.

Oisín Mac Diarmada

Director & Chief Examiner SCT
 TABLE OF CONTENTS

Page

Guidelines for Teachers & Students i - ii

General Regulations iii - iv

ELEMENTARY CYCLE
Elementary 1 1
Elementary 2 2
Elementary 3 3

Grade 1 4
Grade 2 5
Grade 3 6
Grade 4 7
Grade 5 8

Guidelines For Grades 6 - 8 9

Grade 6 10
Grade 7 11
Grade 8 12

Advanced Performance Certificate 13

Suggested Tunes for Elementary Cycle 14

Suggested Tunes for Grades 1 - 5 15
Suggested Tunes for Grades 6 - 8 17
 GUIDELINES FOR TEACHERS & STUDENTS

1 The SCT examination system comprises 12 grades as follows:

ELEMENTARY CYCLE: Elementary 1

Elementary 2
Elementary 3

GRADES 1 - 8: Grade 1
Grade 2
Grade 3
Grade 4
Grade 5
Grade 6
Grade 7
Grade 8

CERTIFICATE: Advanced Performance Certificate

The examination process comprises four sections, i.e. Performance, Aural Awareness, Discussion &
Repertoire (plus Research Project Grades 6 - 8 only) and Literacy.
The overall percentage mark and grade category awarded will be determined by the marks
accumulated from each of the four sections, as follows:

MARKING SCHEME
Elementary 1 - Grade 5
A) Performance 60
B) Aural Awareness 15
OVERALL GRADE CATEGORIES
C) Discussion & Repertoire 15
Pass 40% - 59%
D) Literacy 10
Merit 60% - 74%
Grades 6 - 8
Honours 75% - 89%
A) Performance 60
B) Aural Awareness 10 Distinction 90% - 100%
C) Research Project, Discussion
& Repertoire 20

D) Literacy 10

A minimum overall mark of 40% (Pass), in addition to a minimum Pass (24 marks) in Performance
section, is required to progress from one exam grade to the next. In the event of a Pass mark not
being achieved, the candidate is encouraged to repeat the exam during the next examination session.
Progression to Advanced Performance Certificate, requires a minimum overall mark of 75% (Honours)
at Grade 8 level.

Advanced Performance Certificate

The Advanced Performance Certificate is a recital-style examination aimed at performers of exceptional
ability who have received minimum Honours in Grade 8 examination, having also successfully
completed Grade 6 and 7 examinations. The 40 - 45 minute solo recital will be examined by a panel of
examiners, comprising at least one instrument-specialist in the instrument being examined.

MARKING BREAKDOWN TOTAL MARKS

Interpretation 45 marks
Technical Skills 35 marks
Choice of Programme 10 marks
Stage Presentation 10 marks

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 2 The SCT Examination System is designed for the assessment of traditional Irish music only.

The Examiner may ask the candidate to play all or part of the performance requirements listed in the
3 syllabus. Unless otherwise indicated by the Examiner, candidates should perform each tune twice,
except in the case of a Single Reel, which should be performed three times.

4 Candidates are required to present the Examiner with a Repertoire List, outlining competency with
tune repertoire learned in addition to the examination performance material.The list should be clearly
written or typed with tunes numbered and categorised into various tune-types. The syllabus outlines a
guideline number of tunes required for each examination. Candidates on harp or piano are not expected
to provide left- hand accompaniment for tunes on Repertoire List.

5 Candidates are responsible for tuning and provision of their own instruments.

6 Candidates may not be accompanied during the examination on another instrument.

7 Candidates may be examined on syllabus material of previous grades.

8 In the Performance section of grades Elementary 1 through to Grade 2, candidates asked to play an air
can play any slow traditional Irish melody, with or without strict meter. From Grade 3 onwards, where
candidates are asked to play a Slow Air, this should be a melody without strict meter, representative of
either a song or instrumental air.

9 Candidates must not use any form of written music during the Performance section. However it is
acceptable to notate the beginning of tunes on Repertoire List to assist recall.

10 Candidates should write to the SCT Examination Office well in advance of the entry date, regarding any
instrument not offered as instrument choice on online entry system.

11 Performance pieces can be selected from the list of Suggested Tunes on pages 14 to 19 of this syllabus.
Alternatively candidates can perform pieces of own choice, provided that they are of an appropriate
standard, relative to the list of Suggested Tunes. Credit will be given for candidate ability to embellish
tunes with tasteful ornamentation and variation, especially as they progress through the grades.

12 At Grade 8 level, candidates achieving a Distinction grade will be awarded the Mícheál Ó hEidhin Medal,
in recognition of reaching an exceptional standard of musicianship.

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 GENERAL REGULATIONS

1 It is very important that first-time candidates enter at a level suitable to their overall ability and this
decision should be taken in conjunction with their teacher. To achieve this it is vital that all aspects of the
syllabus are considered carefully.

Candidates entering for Grade 6 must be minimum 14 years of age on the 1st January of the year
in which the examination takes place. Candidates may be asked to provide evidence of this through
original birth certificate or passport.

Candidates for Advanced Performance Certificate must have completed Grades 6, 7, 8 and achieved
minimum Honours grade in Grade 8 examination.
In the case of Grade 6, 7, 8 examinations, a Research Project must be submitted along with application.
Details of submission guidelines can be found in the syllabus.

2 Place of Examinations
Examinations will be held at centres throughout Ireland, United Kingdom and USA. Centres will be
selected on the basis of their suitability. Normally at least 25 candidates are necessary to form a Centre,
but where numbers are smaller, consideration will be given to requests for the examination of a smaller
number of candidates at a Centre in certain circumstances.

3 Dates of Examinations
Spring / Summer: late-March to early-June

Candidates must be prepared to present themselves for examination

on any date within the stated period (including Sundays)

A letter may be enclosed with the entry form(s) detailing inconvenient dates. Every consideration will be
given to these requests but no undertaking can be given that such dates will be avoided. Once dates and
times have been fixed for examination, they cannot be altered.

4 Fees, Method and Date of Entry

Details of entry fees and closing dates are available from the SCT website at http://sct.comhaltas.ie
Candidates may be enrolled by a branch of Comhaltas, school, teacher, parent or guardian.
Application must be made online at SCT website or on an official entry form, downloadable from SCT
website. If amendments are requested after submission of the entry form(s), an additional fee may be
charged. Appointment times will be issued to candidates in the order that they appear on the Entry
Form. Entry forms together with the full fees must reach SCT Examination Office on or before closing
date. All communication with the SCT Examination Office must be in the form of email to the following
address: sct@comhaltas.ie

Late entries will not be accepted

One cheque per applicant, payable to Comhaltas Ceoltóirí Éireann, for the full amount of the fees,
should follow by post immediately after online entry or accompany entry form(s) where online entry
system is not used. We regret that for security reasons cash cannot be accepted.

In the case of Grade 6 - 8 candidates, a copy of the Research Project must reach the SCT Examination
Office by email attachment only (PDF or Word format) by 5pm on March 01st prior to examination.
The Research Project must be accompanied by a completed Cover Sheet, downloadable from the SCT
website. Any Research Project received after this date will not be assessed and candidate will therefore
not be eligible for any of the marks available for this section.

5 Examinations Conducted Through the Medium of Irish

A request for examination(s) to be conducted through the medium of Irish will be facilitated if possible,
provided this facility is requested at time of application.

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 6 Candidates with Special Needs
Candidates with special needs will be accommodated provided such facilities are requested at the time
of entry. All candidates will be assessed on the same basis.

7 Notices of Date and Time

Notices will be sent as early as possible to the applicant (i.e. branch of Comhaltas, school, teacher,
parent or guardian), stating the precise date that the Examiner has been scheduled to visit the Centre
concerned and a timetable for all his/her candidates. Candidates must attend for examination at the
time indicated on the timetable. The Examiner cannot be expected to change the time of examination
for any candidate. Alterations to the timetable may be possible in exceptional circumstances. The SCT
Examination Office must be notified by email of any proposed alterations and an additional fee may
be charged for this service. Please quote Applicant Number on any correspondence to the office, to aid
processing of requests. Communication by phone will not be facilitated. Any candidate who does not
attend at the allocated time will be deemed to be absent.

8 Absence from Examination

Any candidate failing to attend for examination on the date and at the time appointed will forfeit
any entry fee, except in the case of illness, in which case a medical certificate must be sent to the SCT
Examination Office. Notification of such must be sent to the SCT Examination Office within seven days
of the date of the examination. Dates cannot be altered for school examinations, school tours, family
holidays, etc. unless notified on the application form. Such requests should take the form of specific
dates. Requests for block dates will not be considered. The SCT Examination Office may at its discretion,
refund such portion of the entry fee as shall be determined, or arrange for the examination of the
candidate at a future date.

9 Results of Examinations
The SCT Examination Office will send Applicant a Result Sheet and Certificate by post for each
candidate, of which there is no duplicate, giving details of results. The office cannot accept responsibility
for the non-receipt of any Result Sheet/Certificate after its dispatch by post. We regret that no results
can be communicated by telephone to Applicant.
Complaints must be notified in writing to the SCT Examination Office, Clasaċ, Alfie Byrne Road, Clontarf,
Dublin 3 within 30 days of receipt of result. A €50 fee must be submitted along with written complaint,
refundable upon complaint being upheld. Complaints will be considered by SCT Examination Board
and decision communicated to Applicant within 30 days of receipt. The decision of the SCT Examination
Board is final.

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 ELEMENTARY 1

Performance (60 marks):

2 tunes as follows:
Candidates will be asked to play any two tunes of their own choice.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of one bar in 4/4 as demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air or Polka.

3) to differentiate between high and low notes a fifth apart (the root D and the A above), played twice in any
order, on an instrument by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to talk briefly with the Examiner about their interest in traditional music, how and
where they learn, and demonstrate some knowledge of traditional instruments other than their own.

Literacy (10 marks):

Candidates will be asked to play a short sight-reading test on their instrument written in staff notation
comprising the notes D and D’.

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 ELEMENTARY 2

Performance (60 marks):

2 tunes as follows:
Candidates will be asked to play one Air and one Dance Tune of their own choice.

Note: Air may be chosen from list of suggested basic airs on page 14 of Syllabus, or any alternative slow traditional melody.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of one bar in 4/4 as demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air or March.

3) to differentiate between high and low notes a fifth or sixth apart (root D and either A or B above), played twice
in any order on an instrument by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to describe generally what happens during their music lesson and practice schedule,
along with showing an awareness of musical instruments other than their own.

Candidates are required to present a Repertoire List, comprising a suggested minimum 2 tunes, not including
tunes already played in Performance section. They should be able to play short phrases from any tune featured
on Repertoire List.

Literacy (10 marks):

Candidates will be asked to play a short sight-reading test on their instrument written in staff notation
comprising the notes D, D’, G, G’.

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 ELEMENTARY 3

Performance (60 marks):

3 tunes as follows:
Candidates will be asked to play one Air, one March, and one Dance Tune (own choice).

Note: Air may be chosen from list of suggested basic airs on page 14 of Syllabus, or any alternative slow traditional melody

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of two bars in 4/4 as demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air, Polka, Double Jig.

3) to repeat on their instrument a simple 2-bar phrase in the key of D major using notes - D, F#, G, A - the rhythm
being similar to Aural Awareness (1) above, as played three times by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to discuss with the Examiner, their interest and experience so far in traditional music.
Some knowledge of their own instrument is required including naming a prominent musician who plays this
instrument.

Candidates are required to present a Repertoire List, comprising a suggested minimum of 5 tunes, not including
tunes already played in Performance section. They should be able to play short phrases from any tune featured
on Repertoire List.

Literacy (10 marks):

Candidates will be asked to play a short sight-reading test on their instrument written in staff notation
comprising the notes D, D’, G, G’, E, E’.

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 GRADE 1

Performance (60 marks):

3 tunes as follows:
Candidates will be asked to play one Air, one Polka and one Double Jig.

Note: Air may be chosen from list of suggested basic airs on page 14 of Syllabus, or any alternative slow traditional melody.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of two bars in 4/4 time, in any combination of crotchet (quarter note) and quaver (eighth
note) beats, finishing with a minim (half note), demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air, March, Polka,
Double Jig or Reel.

3) to repeat on their instrument a simple 2-bar phrase in the Key of D major using notes - D, E, F#, G, A - the
rhythm being similar to Aural Awareness (1) above, as played three times by the examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to talk about their interest and progression in traditional music, and display some
knowledge of traditional musicians in their area. Candidates should also display awareness of local traditional
music events in their area such as the Fleadh Cheoil.

Candidates are required to present a Repertoire List comprising a suggested minimum of 10 tunes (containing at
least 3 different tune types), not including tunes already played in Performance section.
They should be able to play short phrases from any tune featured on Repertoire List, and discuss the various tune
types found on the list.

Literacy (10 marks):

Candidates will be asked to play a short sight-reading test on their instrument written in staff notation
comprising the notes D, D’ G, G’, E, E’, A, B.

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 GRADE 2

Performance (60 marks):

4 tunes as follows:
Candidates will be asked to play one Air, one Polka, one Reel, and one of the following (as chosen by candidate):
Single Jig, Double Jig, Slide.

Note: Air may be chosen from list of suggested basic airs on page 14 of Syllabus, or any alternative slow traditional melody.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of two bars in 4/4 time or two bars in 3/4 time in any combination of crotchet/dotted
crotchet (quarter/dotted quarter note) and quaver (eighth note) beats, as demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air, March, Polka,
Double Jig, Reel, Slide.

3) to name the upper note of 2 notes D-D’, D-A, D-F#, having been given the root note D, played twice by the
Examiner.

4) to repeat on their instrument a simple 2-bar phrase in D major using notes - D, E, F#, G, A, B - the rhythm being
similar to Aural Awareness (1) above, played three times by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to talk about their interest in music and give an example of a traditional music
recording (audio or video) which they have enjoyed. Candidates will be asked to name a few well-known
musicians across a range of instruments, particularly musicians whose music is readily available on CDs.

Candidates are required to present a Repertoire List comprising a suggested minimum of 15 tunes (containing
at least 3 different tune types), not including tunes already played in Performance section.
They should be able to play short phrases from any tune featured on Repertoire List, and discuss the various tune
types found on the list.

Literacy (10 marks):

Candidates will be asked to play a short sight-reading test on their instrument written in staff notation
comprising the notes D, D’, G, G’, E, E’, A, B, F#, C#.

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 GRADE 3

Performance (60 marks):

5 tunes as follows:
Candidates will be asked to play one Slow Air, one Hornpipe, one Double Jig, one Reel and one of the following
(as chosen by candidate): Single Jig, Slide.

Note: Slow Air may be chosen from list of suggested slow airs on page 15 of Syllabus.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of two bars in 4/4 or two bars in 6/8 (as in double jigs) in simple rhythmic combinations, as
demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air, March, Polka,
Double Jig, Reel, Slide, Hornpipe.

3) to name the upper note of two notes D-D’, D-A, D-F# or D-E, having been given the root note D, as
demonstrated twice by the Examiner.

4) to repeat on their instrument a simple 2-bar phrase in the key of D major using all notes of the scale, the
rhythm being similar to Aural Awareness (1) above, as played three times by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to name some of the key historical musicians across a range of main instruments, and
have some basic information about their musical styles.

Candidates are required to present a Repertoire List, comprising a suggested minimum of 20 tunes (containing
at least 4 different tune types), not including tunes already played in Performance section. They should be able
to play short phrases from any tune featured on Repertoire List, and discuss the various tune types found on the
list.

Literacy (10 marks):

Candidates should be able to play the Scale of D major, one octave up and down, on their instrument.

Candidates will be asked to play a short sight-reading test in D major, comprising 10-12 crotchet or quaver notes,
written without bar lines in staff notation.

Candidates will be asked to identify where 1st bar line would be placed in example, given time signature of either
4/4 or 3/4.

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 GRADE 4

Performance (60 marks):

6 tunes as follows:
Candidates will be asked to play one Slow Air, one Reel, one Hornpipe, one Slip Jig, and one of the following
connected selections (as chosen by candidate) two Double-Jigs, two Slides, two Single Jigs.

Note: Slow Air may be chosen from list of suggested slow airs on page 15 of Syllabus.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of two bars in 4/4, two bars in 3/4 or two bars in 6/8 as demonstrated twice
by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air, March, Polka,
Double Jig, Reel, Slide, Hornpipe, Slip Jig.

3) to name the upper note of two notes D-D’, D-A, D-F#, D-E or D-G having been given the root note D, as
demonstrated twice by the Examiner.

4) to repeat on their instrument a simple 2-bar phrase in the key of D major, the rhythm being similar to Aural
Awareness (1) above, as played three times by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should demonstrate a growing knowledge of local, national and international exponents of traditional
Irish music along with associated stylistic traits. Also to discuss developments in local music, in Ireland generally
or abroad, i.e. groups, bands, Comhaltas branches or festivals.

They should also show detailed knowledge of an instrument other than their own, along with an understanding
of ornamentation and variation.

Candidates are required to present a Repertoire List, comprising a suggested minimum of 25 tunes (containing
at least 5 different tune types), not including tunes already played in Performance section. They should be able
to play short phrases from any tune featured on Repertoire List, and discuss the various tune types found on the
list.

Literacy (10 marks):

Candidates should be able to play the scales of D major and G major, one octave up and down, on their
instrument.

Candidates will be asked to play a 2-bar sight-reading test in D major or G major, comprising crotchets and
quavers, written in staff notation. They will also be asked to identify the key signature of sight-reading test.

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 GRADE 5

Performance (60 marks):

7 tunes as follows:
Candidates will be asked to play one Slow Air, one Hornpipe, two Double Jigs (connected), two Reels
(connected), and one of the following (as chosen by candidate): Slip Jig, Slide.

Note: Slow Air may be chosen from list of suggested slow airs on page 15 of Syllabus.

Aural Awareness (15 marks):

Candidates will be asked

1) to clap the rhythm of two bars in 4/4, two bars in 3/4, two bars in 6/8 or 2 bars of 4/4 (as in Hornpipes with ¾
and ¼ beats) as demonstrated twice by the Examiner.

2) to identify tune type based on a sample 8-bar melody played twice by the Examiner, i.e. Air, March, Polka,
Double Jig, Reel, Slide, Hornpipe, Slip Jig, Mazurka. Also to recognise simple ornamentation in any of the above
tunes, i.e. grace notes (cuts), triplets (legato or staccato), rolls, sliding notes.

3) to name the upper note of two notes - Root D being the lower note, and the upper note being any note from
the major Diatonic Scale of D, as played twice by the Examiner.

4) to repeat on their instrument a simple 2-bar phrase in the key of D major, the rhythm being similar to Aural
Awareness (1) above, as played three times by the Examiner.

Discussion & Repertoire (15 marks):

Candidates should be able to talk about simple forms of musical arrangement within traditional Irish music,
drawing on any experience of group playing in Fleadhanna Ceoil, other competitions, festivals, etc. The
discussion should also involve reference to developments in musical arrangement by traditional Irish groups over
a number of decades.

Candidates are required to present a Repertoire List, comprising a suggested minimum of 30 tunes (containing
at least 6 different tune types), not including tunes already played in Performance section. Also to be able to play
short phrases from any tune featured on Repertoire List, and discuss the various tune types found on the list.

Literacy (10 marks):

Candidates should be able to play the scales of D major, G major and A major, one octave up and down, on their
instruments.

Candidates will be asked to play a simple 2-bar sight-reading test in 4/4 time or 6/8 time, using crotchets,
quavers, dotted crotchets and minims, written in staff notation. Candidates will be asked to identify key signature
of sight-reading test as either G major, D major or A major.

eg

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 GUIDELINES FOR GRADES 6 - 8

All candidates entering Grades 6 - 8 must enter initially at Grade 6 level. Candidates entering
Grade 6 examination must be minimum 14 years of age on the 1st January of the year in which the
examination takes place.

In Grades 6, 7 and 8, candidates must submit a Research Project as part of examination. A copy of
the Research Project must reach the SCT Examination Office by email attachment only (PDF or Word
format) by 5pm on March 01st prior to examination. The Research Project must be accompanied by a
completed Cover Sheet, downloadable from the SCT website. Any Research Project received after this
date will not be assessed and candidate will therefore not be eligible for any of the marks available
for this section. Guidelines for subject area of Research Project are detailed under relevant grade
information.

All audio, video and written (including online) sources utilised in the course of Research Project
preparation must be acknowledged, and transcribing or plagurising of existing material will render
project inadmissible for marking.

During the course of the Musical Discussion & Repertoire section of the examination, the Examiner
will discuss aspects of the Research Project with the candidate. Particular focus will be given to the
candidate’s ability to recall key information from the Research Project.

Performance tunes can be selected from the list of Suggested Tunes on pages 17 to 19 of this
Syllabus. Alternatively candidates can play tunes of their own choice, provided the tunes are of similar
standard to those featured on the list of Suggested Tunes.

Candidates awarded Distinction in Grade 8 will receive the Mícheál Ó hEidhin medal in recognition of
achieving an exceptional standard of musicianship.

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 GRADE 6

Performance (60 marks):

8 tunes from a prepared list of 13 as follows:
Candidates will be asked to play one Slow Air, two Double Jigs (connected), two Slip Jigs (connected), two Reels
(connected).
Also to play one of the following: Mazurka, Fling, Barndance, Hornpipe, Schottische or Polka (as chosen by the
Examiner).
Note: Slow Air may be chosen from list of suggested slow airs on page 17 of Syllabus

Aural Awareness (10 marks):

Candidates will be asked

1) to identify tune type and time signature based on a sample 8-bar melody played twice by the Examiner, i.e.
Air, March, Polka, Double Jig, Reel, Slide, Hornpipe, Slip Jig, Mazurka, Barndance.

2) to name the upper of two notes - Root D being the lower note, and the upper note being any note from the
major Diatonic Scale of D, as played twice by the Examiner.

3) to repeat on their instrument a 2-bar phrase in 4/4 time in the key of D major with use of ornamentation, as
played three times by the Examiner.

Research Project, Discussion & Repertoire (20 marks):

Research Project
The Research Project at Grade 6 level should be a biography-type essay of approximately 750 words about a
prominent traditional musician (local, national or international), which displays evidence of original research (e.g.
field interview, visits to regional or national archives) and musical analysis. All audio, video and written (including
online) sources utilised must be acknowledged. (see also page 9)

Discussion
The Research Project will be discussed with the candidate during the examination, with an ability to recall and
discuss relevant information being of critical importance. Candidates will also be expected to display awareness
about musical activity in their local area including a detailed knowledge of local musicians and their stylistic traits.

Repertoire
Candidates are required to present a Repertoire List, comprising a suggested minimum of 40 tunes (containing
at least 7 different tune types), not including tunes already played in Performance section.
Candidates should be able to play short phrases from any tune featured on Repertoire List, and discuss the
various tune types found on the list.

Literacy (10 marks):

Candidates should be able play the Scales of D major, G major, A major and C major, one octave up and down, on
their instrument. Also to play the Dorian Mode (Ray Mode) in D i.e. E, F#, G, A, B, C#, D’, E’.

Candidates will be asked to play a 4-bar sight-reading test in 6/8, 3/4, 4/4 using minims, crotchets, quavers and
dotted crotchets in the key of D major, G major or A major. Candidates will be asked to identify time signature of
sight-reading test as either 6/8, 4/4, or 3/4, which will not be indicated on the score written in staff notation. e.g.

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 GRADE 7

Performance (60 marks):

9 tunes from a prepared list of 15 as follows:
Candidates will be asked to play one Slow Air, two Double Jigs (connected), two Slip Jigs (connected), two Reels
(connected), and one Single Jig or one Slide (chosen by candidate).

Also to play one of the following: Mazurka, Fling, Barndance, Hornpipe, Schottische, Polka, Set Dance, (as chosen
by the Examiner).

Note: Slow Air may be chosen from list of suggested slow airs on page 17 of Syllabus

Aural Awareness (10 marks):

Candidates will be asked

1) to identify tune type and time signature based on a sample 8-bar melody played twice by the Examiner, i.e.
Air, March, Polka, Double Jig, Reel, Slide, Hornpipe, Slip Jig, Mazurka, Barndance, Fling, Clan March. Candidates
should also be able to identify any use of ornaments within the sample melody.

2) to repeat on their instrument a 2-bar phrase in 4/4 time in the key of D or G major with use of ornamentation,
as played three times by the Examiner.

3) From a 32-bar tune sample played once by Examiner, candidates should recognise whether tune is based
around Doh Mode (Ionian) of G or D, or alternatively based around the Ray Mode (Dorian) of G or D. Candidates
should also explain how they arrived at their answer.
Examples: Doh (Ionian) Mode tunes: Sally Gardens (Reel) or Boys of Bluehill (Hornpipe)
Ray (Dorian) Mode tunes: Drowsy Maggie (Reel), The Sligo Maid (Reel), Old Man Dillon (Double Jig)

Research Project, Discussion & Repertoire (20 marks):

Research Project
The Research Project at Grade 7 level involves a minimum 750-word analysis of two prominent recorded
musicians, one from pre-1960s era & one from post-1960s era. The project should compare and contrast
specific recorded material from both musicians to illustrate consistency and/or changes in performance styles
during the time span under discussion. All audio, video and written (including online) sources utilised must be
acknowledged, and written reference made to any original research (e.g. interview, visit to regional or national
archives) pursued. (see also page 9)

Discussion
The Research Project will be discussed with the candidate during the examination, with an ability to recall
and discuss relevant information being of critical importance. Candidates will be also expected to discuss the
evolution of playing styles in Ireland and amongst the Irish diaspora abroad across a number of different
instruments from early 20th century to present.

Repertoire
Candidates are required to present a Repertoire List, comprising a suggested minimum of 50 tunes (containing
at least 8 different tune types), not including tunes already played in Performance section.
They should be able to play short phrases from any tune featured on Repertoire List, and discuss the various tune
types found on the list.

Literacy (10 marks):

Candidates should be able to play the scales of D major, G major, A major, C major and F major, one octave up and
down, on their instrument. Candidates will also be asked to play the following 2 Modal Scales, one octave up and
down: Dorian Mode (Ray Mode) in D, i.e. E, F#, G, A, B, C#, D’, E’ and back down to E, along with the Lah Mode
(Aeolian Mode) [of D major i.e. B, C#, D’, E’, F’#, G’, A’, B’].

Candidates will be asked to play an 8-bar sight-reading test in 2/4, 4/4, 6/8 or 9/8 in the key of G major, D major
or A major, using crotchets, quavers, semiquavers and dotted notes. Candidates will be allowed a 1-minute period
to study the staff notation prior to commencing.

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 GRADE 8

Performance (60 marks):

12 tunes from a prepared list of 20 as follows:
Candidates will be asked to play two Slow Airs, two Double Jigs (connected), two Slip Jigs (connected),
two Slides (connected), two Reels (connected) and one Reel of three or more parts.

Also to play one of the following: Mazurka, Fling, Barndance, Hornpipe, Schottische, Polka, Set Dance, Clan
March, Planxty (as chosen by the Examiner).

Note: Slow Airs may be chosen from list of suggested slow airs on page 17 of Syllabus

Aural Awareness (10 marks):

Candidates will be asked

1) to identify tune type and time signature based on a sample 8-bar melody played twice by the Examiner, i.e.
Air, March, Polka, Double Jig, Reel, Slide, Hornpipe, Slip Jig, Mazurka, Barndance, Fling, Clan March, Single Jig,
Schottische. Candidates should also be able to identify any ornaments featured within the sample melody.

2) to repeat on their instrument a 2-bar phrase in 4/4 time in the key of D major, G major or A major with use of
ornamentation, as played three times by the Examiner.

3) from a 32-bar tune sample played once by Examiner, candidates will be asked which of the following the
tune is based around: Doh Mode (Ionian) of G or D, Ray Mode (Dorian) of G or D, Lah Mode (Aeolian) of G or D.
Candidates should also explain how they arrived at their answer.

Examples of Lah (Aeolian) Mode Tunes:

Lah Mode: The Fermoy Lassies (Reel), The Kid on the Mountain (Slip Jig),
The Old Grey Goose (Double Jig), The Musical Priest (Reel)

Research Project, Discussion & Repertoire (20 marks):

Research Project
The Research Project at Grade 8 level should take the form of a live concert review of approximately 1000 words
and provide information about performer(s), location/timing of event, repertoire played, performance traits and
relevant background information about the performers. The Research Project should also include candidate
opinion and response to the performance. (see also page 9)

Discussion
The Research Project will be discussed during the examination, with an ability to recall and discuss relevant
information being of critical importance. Candidates will also be expected to display knowledge of newly-
released recordings (solo & ensemble) of traditional music, along with a detailed awareness of influencial
historical recordings both within and outside of Ireland.

Repertoire
Candidates are required to present a Repertoire List, comprising a suggested minimum of 60 tunes (containing
at least 9 different tune types), not including tunes already played in Performance section.
They should be able to play short phrases from any tune featured on Repertoire List, and discuss the various tune
types found on the list.

Literacy (10 marks):

Candidates will be asked to play the following 3 Modal Scales of D major, one octave up and down: Ray Mode
(Dorian Mode), Lah Mode (Aeolian Mode) and Soh Mode (Mixolydian) [of D major i.e. A, B, C#, D’, E’, F#’, G’, A’].

Candidates will be asked to play a sight-reading test comprising 16-bar reel (2-part tune, no repeats) in the key
of D major, G major or A major, with consideration being given to progression, fluency and general notational /
rhythmic accuracy. Candidates will be allowed a 2-minute period to study the staff notation prior to commencing.

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 ADVANCED PERFORMANCE CERTIFICATE
As the final examination in the SCT programme, the Advanced Performance Certificate is intended for
exceptional performers who have completed SCT Grades 6, 7, and achieved a minimum Honours mark
at Grade 8 level.

Candidates are asked to perform a 40 - 45 minute solo recital programme, including spoken tune introductions,
which will be assessed by a panel of examiners. The performance will be open to the general public and
candidates are expected to structure a varied programme of minimum 15 tunes to include each of the following
tune categories, in any selection combinations: Reel, Double Jig, Hornpipe, Slow Air, Barndance, Slide, Polka,
Slip Jig. A typed list of programme content must be presented to panel of examiners on day of examination. The
panel of examiners will comprise at least one instrument-specialist in the instrument being examined.

Candidates are expected to include material sourced from the following 3 categories:

(a) Early Recordings [first half of 20th century]

(b) Published Collections & Manuscript Sources
(c) Newly Composed [1980s onwards]

The recital will be assessed under the following areas:

Interpretation 45%

Technical Skills 35%

Choice of Programme 10%

Stage Presentation 10%

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 SUGGESTED TUNES FOR ELEMENTARY CYCLE
(Melodies may also be chosen from other grades)

AIRS
- An Ghaoth Aneas - Blind Mary - Thugamar féin an Samhradh Linn
- The Castle of Dromore - Bog Braon - Anonn ‘s Anall
- Seán Ó Duibhir a’Ghleanna - Buachaill ón Éirne - An Droimeann Donn Dílis
- Óró Bog Liom í - Siobhán Ní Dhuibhir - Gleantáin Ghlas Ghaoth Dobhair
- Níl ‘na Lá - Eibhlín a Rún - Sí Bheag, Sí Mór
- Rachaidh Mise - An Goirtín Eornan
- Éamonn a’Chnoic - Slán le Máigh

DANCE TUNES
- An Coilleach ag Fógairt an Lae - Ryan’s Polka - Bhíosa Lá ‘bPort Láirge
- An Bóthar ó Thuaidh go hÁrann - John Brosnan’s - East Limerick Polka
- Were you at the Fair? - Follow me up to Carlow - Nead na Lachan sa Mhúta
- Maggie in the Wood - Nora Daly - Cuirfimíd Dandy
- The Rakes of Mallow - All the way to Barna - Oh! The Britches full of Stitches
- I have a Bonnet trimmed with - Off She Goes - Beidh Aonach Amárach
Blue - John Kelly’s Jig - Shoe the Donkey
- Teachín an Ghleanna - Maggie Pickins
- An Bhó Chiarraíoch Peg - Donan’s Mazurka

MARCHES
- O’Neill’s March - The Foggy Dew - The Return to Fingal
- Fáinne Geal an Lae - The Three Flowers - Kelly the Boy from Killane
- Óró Sé do Bheatha ‘bhaile - The Minstrel Boy - O’Donnell Abú
- God Save Ireland - O’Neill’s Cavalcade - The Harp that Once
- The Boys of Wexford - Napoleon Crossing the Alps - The Mountains of Pomeroy
- Ding Dong Dederó - The Battle of Aughrim

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 SUGGESTED TUNES FOR GRADES 1 - 5
(Melodies may also be chosen from other grades. Slow Airs listed are relevant for Grades 3, 4, 5)

POLKAS
- Glen Cottage 1 & 2 - Donal Murphy’s - The East Limerick Polka 2
- Brosna/O’Keeffe’s/Ballydesmond 2 - Ní Magadh Leat a Táimse - The Spanish Lady
- Pádraig O’Keeffe’s/Nell Fees/The - As I went up on the Ice - Farewell to Whiskey
Cascade - Ballydesmond 2 & 3 - The Dark Girl Dressed in Blue
- Gullane Polka - Lackagh Cross - Terry Teehan’s
- The Dark Girl Dressed in Blue - Sweeney’s Polka - Donncha Lynch’s/Dul dtí’s na
- The Banks of Inverness - Tarrant’s/The Blue Ribbon Rásanna
- Britches buttoned on - The Scartaglen/Denis Murphy’s

MARCHES
- Seán Nugent’s March - Boyne Water - McGuire’s
- Bonny Prince Charlie - Shane O’Neill’s March - O’Sullivan’s March
- The Battle of Aughrim - I won’t be a Nun - Georgina’s March
- Mo Ghiolla Mear - Auchadon House

DOUBLE JIGS
- Scatter the Mud - Down the Back Lane - Port Cill Channaigh
- Saddle the Pony - Garret Barry’s Jig - An Buachaillín Fionn
- The Luck Penny - Strop the Razor - Apples in Winter
- The Humours of Glendart - The Connacht Man’s Rambles - Fanning’s
- The Miller of Glanmire - Old Tipperary - The Geese in the Bog
- The Kesh Jig - The Rambling Pitchfork - The Ship in Full Sail
- The Maids on the Green - Paddy’s Return - The Mist on the Meadow
- The Munster Jig - Out in the Ocean

SLOW AIRS (Grades 3, 4, 5)

- Port na bPúcaí - Úr Chill an Chreagáin - Bean Dubh an Ghleanna
- Sliabh Geal gCua - An raibh tú ag an gCarraig - Sliabh na mBan
- Táimse im’Chodhladh - Amhrán na Trá Báine - Liam Ó Raghallaigh
- Coinnleach Ghlas an Fhómhair - Ar Éirinn ní nEosfainn cé hí - Mo Mhúirnín Bán
- De Bharr na gCnoc - An Mhaighdean Mhara - Aisling Gheal
- Blind Mary - An Caisideach Bán - Seolfaimíd araon na Géanna
- A Spailpín a Rún - The Ship in Full Sail romhainn
- Sé Fáth mo Bhuartha - The Mist on the Meadow - Na Connery’s
- Úna Bhán - The Dear Irish Boy
- Maidin Luan Chincíse - Rocking the Cradle

HORNPIPES
- Ben Hill/Spellan’s Fiddle/ - Kitty’s Wedding - The Harvest Home
Callaghan’s - Paddy O’Brien’s - The Tailor’s Twist
- The Derry Hornpipe - The Few Bob - Cruach an Choirce /Cornphíopa
- The Fisher (First Setting) - An Comhra Donn Lady Alexander
- The Friendly Visit - The Home Ruler - Cornphíopa Uí Bhriain
- Chief O’Neill’s Favourite - Cronin’s - The Pleasures of Hope
- Alexander’s Hornpipe - Off to California - Garraí na bhFeileoig/Miss Galvin
- The Plains of Boyle - The Boys of Blue Hill

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 SINGLE JIGS
- Stoneybatter/The Temple House/ - Sergeant Cahill’s Favourite - Elizabeth Kelly’s Favourite
Grier’s #37 - Is it the Priest you want? - What ails you
- The Echoes of Killarney - Off She Goes - Hunt the Cat
- Barrack Hill - Trip it up Stairs - Pléaracha Dhoire an Chreasáin
- The Peeler and the Goat - Rogha Mháire Uí Bhraonáin - Cis Ní Liatháin
- Cock your Pistol Charlie - An Brístín Mire - Port an Eachréidh

REELS
- The Lady on the Island - Gearrchaile Bhaile Mhistéala - The Sailor’s Bonnet
- The Concert Reel - Gearrchailín an Dhúin Mhóir - The London Lassies
- The Wind that Shakes the Barley - The Sligo Maid - Morrison’s Reel
- The Boyne Hunt - The Star of Munster - Last Nights Fun
- Drowsy Maggie - The Templehouse - The Mountain Road
- The Skylark - The Swallow’s Tail - Rolling in the Ryegrass
- Miss Monaghan - The Red Haired Lass - The Humours of Tulla
- The Little Bag of Peaties - The Merry Blacksmith - The Heather Breeze
- The First House in Connaught - The Wise Maid - Ah! Surely
- The Sailor on the Rock - The Belles of Tipperary - The Union Reel
- The Bank of Ireland - The Tarbolton
- The Morning Star - The Longford Collector

SLIP JIGS
- Hardiman the Fiddler - A Blast of Wind - Comb your hair and curl it
- The Foxhunter’s Jig - Dever the Dancer - Eilish Kelly’s Delight
- Drops of Brandy - Humours of Whiskey - Gurty’s Frolics
- The Swaggering Jig - Cuir bárr air - Will you come down to Limerick
- The Boys of Ballisodare - The Dragon Fly
- Cnoic Aitheannach Liatroma - The Honey Bee

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 SUGGESTED TUNES FOR GRADES 6 - 8
(Tunes may also be chosen from other grades)

MAZURKAS
- Peeler Creek - The Irish Mazurka - Shoe the Donkey
- Sonny’s Mazurka - An Fhalaigín Mhuimhneach - The Old Donegal Mazurka

FLINGS
- Mrs Galvin’s - Knocktoran Fair - Cuz Teahan’s
- John Roche’s - Moneymusk - Up and Down the Hill
- Love will you marry me - An Buachaill Dreoite - Mary Brennan’s Fling

SCHOTTISCHE
- Castles in the Air - Queen Anne’s - Miss Crawford
- Sweet Flowers of Milltown - Green Grow the Rushes O! - Killarney Wonder
- The Festival - The Cat that Kitted in Jamie’s Wig

BARNDANCES
- John McKenna’s - If there weren’t any women in the - The Merry Priest
- The Curlew Hills World - Thart timpeall Lios na Síthe
- Peach Blossoms - The Belle of the Ball - The Chaffpool Post

CLAN MARCHES
- The March of the King of Laois - O’Brien of Arra - The Ulster Outcry
- Maguire’s March - The First Clan March of the - The Leinster Outcry
- Mórmháirseál Uí Dhonnchú O’Sullivan’s - The Connaught Outcry
- Allistrum’s March - O’Sullivan’s March - The Munster Outcry
- Brian Boru’s March - McNamara’s March
- O’Donovan’s March - Sir Patrick Bellow’s March

SET DANCES
- The Three Sea Captains - The Blackbird - The Hunt
- The Garden of Daisies - Madame Bonaparte - Bonaparte’s Retreat
- The Ace and Deuce of Pipering - King of the Fairies - The Lodge Road
- The Kilkenny Races - The Job of Journeywork - St Patrick’s Day
- The Princess Royal - Rub the Bag
- Poll Ha’penny - Jockey at the Fair

SLOW AIRS
- Caoineadh Luimnigh (Marbhna - O’Raghallaigh’s Grave - An Draigheann
Luimní) - O’Crowley’s Dream - Na Géanna Fíáine
- Casadh na nGéanna - Easter Snow - The Lament for Staker Wallace
- Loch na gCaor - An Speic Seoigeach - Róisín Dubh
- An Tiarna Mhaigh Eo - The Parting of Friends - Lord Mayo
- The Wounded Hussar - Táimse i m’chodladh - The Maid of Ballingarry
- Cath Chéim an Fhia - Amhrán na Leabhar - Casadh na nGéanna Éire

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 REELS
- The Wise Maid - The Mullingar Races - The Wild Swans of Coole
- Bonny Kate - The Templehouse Reel - The Glen Fiddler
- The Broken Pledge - Within a mile of Dublin - The Leitrim Lilter
- The Old Torn Pettycoat - Paddy Ryan’s Dream - The High Road The Garavogue
- Rakish Paddy - The Salamanca Reel - The Punch Bowl Kilcoon
- The Concertina Reel - The Chicago Reel - Ríl an Spidéil
- Farewell to Connacht - Never was piping so gay

REELS-THREE PARTS OR MORE

- The Boys of Ballisodare - Lord McDonald - The Bunch of Keys
- Trip to Durrow - Miss McDonald - Kilty Town
- The Maid of Mount Kisco - Trim the Velvet - The Red Bee
- Colonel Fraser - The Jolly Tinker - Bunker Hill
- The Humours of Ballyconnell - The Yellow Tinker - The Girl that broke my heart
- Lord Gordon’s - The Bucks of Oranmore - The Ballinasloe Fair
- The Graf Spey - The Floggin Reel - The Dublin Reel
- Christmas Eve - Lucy Campbell

SINGLE JIGS
- Get up Old Woman and Shake - Paddy McFadden - The Fowler on the Moor
Yourself - Sergeant Cahill’s Favourite - The Humours of Kilclogher
- Behind the Bush in the Garden - The Humours of Limerick - Ask my Father

SLIP JIGS
- The Barony - Will you come down to Limerick - Elizabeth Kelly’s Favourite
- The Leitrim Quickstep - A Blast of Wind - Drops of Brandy
- Moll Roe - Hardy Man the Fiddler - The Boy in the Bush
- The Butterfly - Give us a drink of water - The Kid on the Mountain
- Kitty come down to Limerick - Riding a mile - Gusty’s Frolics

DOUBLE JIGS
- The Pipe on the Hob - Seán Mac Glynn’s Jig - Sean Tiobraid Árainn
- The Carraroe Jig - Tell her I am - The Wheels of the World
- Rosemary Lane - Nora Críonna
- Sliabh Russell - Port Sheáin Sheosamh

DOUBLE JIGS-THREE PARTS OR MORE

- The Luckpenny - The Cook in the Kitchen - The Old Grey Goose
- Cherish the Ladies - Doctor O’Neill’s - Tom Billy’s
- The Humours of Ennistymon - The Chorus Jigs - The Blarney Pilgrim
- The Doberman’s Wallet - The Monaghan Jig - The Gold Ring
- Banish Misfortune - Strike the Gay Harp - The Battering Ram
- The Humours of Ballyloughlin - The Killimor - The Langstern Pony
- Paddy O’Rafferty - Gillian’s Apples
- Connie O’Connell’s Jig - The Frieze Britches

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 PLANXTIES
- Lord Inchiquin - Planxty Drew - Planxty Johnston
- Colonel John Irwin - Planxty McGuire - Planxty Madame Maxwell
- Planxty Irwin - Planxty Sudley - Eleanor Plunkett
- First Air John Drury - Planxty John O’Connor - Planxty Browne
- Planxty Drury - Planxty George Brabazon
- Planxty Burke - Planxty O’Rourke

HORNPIPES
- Fuaim na Farraige - Old Man Quinn - The Liverpool Hornpipe
- The High Level - The Shaskeen - Spellan the Fiddler
- An Móinteáin - Johnny Cope - The Sweep’s Hornpipe
- The Exiles Return - Chief O’Neill’s Favourite - The Quarrelsome Piper
- Flaherty’s Hornpipe - Kitty’s Wedding - The Groves

SLIDES
- Art O’Keeffe’s - Ceol a’Mhála - John Kelly’s Slide
- Dawley’s Delight - Óró Bhuachaillín - Dan O’Keefe’s Slide
- Quarry Cross - Merrily Kiss the Quaker’s Wife - The Glen Cottage Slide
- I’d rather be married than left - The Bunratty Boys - Danny Abs’
- Chase me Charlie - Denis Murphy’s Slide - The Star above the Garter
- The Kilcummin - The Brosna Slide - Daithín Davy’s
- Slide An Chóisir - Johnny Mickey’s Slide - The H Note
- The Lisheen Slide - Denis O’Keefe’s Slide - Tuar Slide
- Eibhlín Ní Riordáin - The Hare in the Corn - Johnny O’Leary
- Biddy from Sligo - If I had a Wife

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