Irish Fiddle Duet Recordings

Irish Fiddle Duet Recordings

Irish fiddle duet recordings add a new dimension to the treasure of recordings of solo Irish fiddle players already available. 2 men who never made a fiddle duet recording together are Micheal Coleman & James Morrison which is a shame. 2 Legendary fiddlers playing around the same time in a fervent scene in New York in the 1920’s. But many other recordings exist of fiddle duets and some have been very special indeed. Nowhere is the harmony of a fiddle duet better demonstrated than with Seamus & Manus McGuire on ‘The Humours of Lissadell‘ and ‘Carousel’ later to expand to become Buttons & Bows with Jackie Daly. The 1st album listed below, ‘ Nothern Lights‘ – Kevin & Seamus Glackin. Has great drive and verve from 2 Dublin fiddlers with a very strong Donegal(North west Ireland) influence. Wooden acoustic instruments when played together will resonating with each other creating a unique sound.

Below a short discography of Fiddle Duet Recordings.

‘Nothern Lights‘ link – Kevin & Seamus Glackin. Irish music played with great drive and verve from fiddle playing brothers with a string Donegal bckround.

‘North’ – Danny Diamond & Conor Caldwell

The Kane Sisters(Liz & Yvonne Kane) ‘Side By Side'(2010) Link

The Kane Sisters had two previous album releases, ,’The Well Tempered Bow‘(2002) & ‘Under the Diamond‘(2004)

‘Carousel‘ (link)a beautiful album with an exquisite selection of tunes, many newly circulating and/or composed at the time. A follow on from their previous album, ’The Humours of Lissadell’.

‘Away on up the Road’- Aidan Connolly & John Daly link

‘The Wavy Bow Collection – John & James Carty – Link

‘At Complete Ease‘ (link) John Carty & Brian Rooney.

John & James Kelly ‘Irish Traditional Fiddle Music’.(1976) Link

Tara Connaughton Duet

‘The Masters Return‘-Link (Frankie Gavin & Malachy Bourke) A Tribute to Paddy Killoran.

Nathan Gourley & Laura Feddersen. ‘ Life is All Checkered’ Link.

Martin & P.J. Hayes ‘The Shores of Lough Graney. Buy – Link

Liz & Yvonne Kane(also the ‘Kane Sisters’). Have recorded ‘The Well Tempered Bow’ link & ‘Under the Diamond’ link &’ Side by Side’ link.

Andy McGann & Paddy Reynolds(with Guitarist Paul Brady) – Link.

‘The Apple in Winter’ Brian Conway & Tony deMarco. Available here.

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Paul

Set Dances are almost exclusively danced in hard shoes by Irish Dancers in a formal setting. Set Dances are also sometimes player in sessions quite often in a set with hornpipes. The term ‘Set Dance’ can refer the type of tune or the dance that accompanies it. They are also having somewhat of a revival in sessions. The tunes themselves have varying irregular bar forms. The 1st part is often 8 bars but the 2nd part can be 8, 12 or 16. Some irish fiddlers have recorded set dances as slow airs(version of the tune) and then into the tune itself such as Andy McGann & Paddy Glackin with the ‘Blackbird‘. The fiddle is often an accompaning instrument for irishstep dancers(as in the Video below)
Rodney’s Glory Download PDF

Played by Paddy Glackin on ‘The Flags of Dublin’.

The Garden of Daisies Download PDF

The Humours of Bandon Download PDF

The Job of Journeywork Download PDF

The Three Sea Captains Download PDF

More about types of tunes including Set Dances and several others in ‘A Complete Guide to learning the Irish Fiddle’ (Link)by Paul McNevin’

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Paul

5 Barndances

Barndances (a type of tune)were popular the mid 20th century. They have a 4/4 time signature and an even more pronounced rhythm than hornpipes. They have seen somewhat of a revival in recent years by Irish traditional musicians such as John Carty. ‘Some say the Divil is Dead’ would be a barndance with a very commonly known melody. Barndances would have originally been played for dancers dancing all same facing 2-step dance. This type of dance is still performed in Ceilis( an Irish folk dance usually performed at a social gathering).

They have been recorded sporadically by music groups such as De Danann(On an album called ‘The Star Spangled Molly’)and by the Sligo Master fiddlers such as Micheal Coleman, James Morrison(Biography) and Paddy Killoran.

Playing a barndance on the fiddle usually requires a certain approach to bowing(and rhythm). Because they are especially rhythmic the bowing will often require more attack to accentuate the emphasis in each bar. The bar structure isn’t dissimilar to a hornpipe (both types of tune often have 2 parts with 8 bars repeated) but barndances often have more crotchets rather than hornpipes having 2 groups of 4 quavers(or dotted quaver and semi quaver to be more exact). If you are not too well up on musical theory, barndances have more longer notes therefore the rhythm is punctuated more. To get the flavour listeing to Barndances is an absolute must. Make sure to add barndances to your repetoire.

If we Hadn’t Any Women in the World Download PDF
James Gannon’s Download PDF
Jimmy Duffy’s Download PDF
The Festival Download PDF
The Flanagan Brothers Download PDF

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Paul

Building a Repertoire

Building a Repertoire

In my opinion Building a Repertoire is important to further your playing. especially coming in to the intermediate stage.

You will need to get over the initial difficulties of holding the fiddle and bow and knowing the notes. You will also need to have grasped the basic format of the tune types and play a small amount of tunes through off by heart. If a small amount of your practice time is spent on technique you can then work on building your repertoire . As ever, much time should be spent listening to other players and to recordings.

Repertoire list: Doing out a repertoire list will allow you keep an eye on what and how much you know. Keeping an eye on your repertoire especially when new to the music is a good idea in my opinion and having a structured approach will help. You will get to the stage where you can do away with the list. If you want to build a repertoire quickly it is better to have a goal in mind. A small one to start, even just 2 tunes that go together(same tune type). If you don’t have the tune titles, just write out the notes of the first few bars. Try to find someone who’ll play these with you or a local session. This should help your playing immensely.

Most Irish musicians and won’t know how many tunes they know. Many session players will have so many tunes they can remember e.g. start themselves, but they will have many more they can play along with once they get the start! Tunes are learned or absorbed from sessions, recordings or directly from another musician. It important to note that Irish music is played off by heart and someone having a list to refer to in a session would be highly unusual! This might happen at beginner session or ‘slow’ session where the goal is to improve rather than a spontaneous musical gathering as such.

Sets

Sets: sets (tunes in groups, usually 2 or 3) seem to have always been popular in Irish music. This seems to have been done since Irish music has been recorded and played. Playing tunes in sets is more enjoyable, makes it easier to remember turns (changes to the next tune) and adds a sense of community when playing in groups or sessions(an Irish music gathering). Sets often change key but this is not always the case.

There are many favoured sets by groups of musicians when playing for dancers in a ceili band. Reels are the most popular are the most popular type of tunes played in sets followed by jigs. The popularity of sets will vary from location to location. People may also be drawn to a famous local musician or composer in their locality. Write a list of the tunes you know and try various combinations. Sets will need to be the same type of tune, if not this will need to be organised with the musicians who are playing with you!

Joe Burke & Sean McGuire – LP cover

Many solo players would record sets on their albums. Usually lots of sets of reels with some jigs and hornpipes. Two of the players to do this was Joe Burke and Sean McGuire(on an album of the same name). Michael Coleman did also in the 1920’s, recording about 70 sides in total. Coleman not only had a huge influence on Irish music itself but being one of the 1st irish fiddlers to record he made popular many sets of tunes which are still played today. These would include Bonnie Kate and Jenny’s Chickens and Crowleys 1 & 2.

 

‘The Enduring Magic’ – Michael Coleman.

The Tulla Ceile band(Old Photo)

Ceile Bands:  Céile Bands(a band playing irish music for dancing) are a great source of tunes played in sets. There are many favoured sets by groups of musicians when playing for dancers in a ceili band. Reels are the most popular are the most popular type of tunes played in sets followed by jigs. Listen for recordings of The Tulla, The Kilfenora and The Gallowglass céili bands.

The Kilfenora Ceili band.

Some sets are so intertwined it is hard to imagine them being played in other sets, such as Cooleys & The Wise Maid or The Home Ruler/Kitty’s Wedding.

Joe Cooley

List of tune sets: (including several recorded by Michael Coleman)

The Butterfly/The Kid on the Mountain. (recorded by the Bothy Band – a superb 1970’s Irish Folk band.)
The Ballydesmond 1 & 2 (polkas)
The Boys of Bluehill / Off to California
Bonnie Kate / Jennys Chickens( recorded by Michael Coleman, James Kelly, Brian Conway & many more)
Colonel Rogers / The Happy Days of Youth (recorded John McKenna, Frankie Gavin, on Flute)
Maud Millar / Molloys Favourite (recorded by John Whelan, Joe Burke)
The Plains of Boyle / The Rights of Man
The Home Ruler / Kitty’s Wedding (recorded by Noel Hill and Tony Linnane)
The Tarbolton / The Longford Collector / The Sailors Bonnet(also known as the Tarbolton selection made popular by Michael Coleman)
Cooleys / The Wise Maid (recorded by Joe Cooley)
The Jig of Slurs / The Athol Highlanders(A Scottish jig)
The Copperplate 1 / The Copperplate 2(Also known as The Old & The New Copperplate)
The Killarney Wonder / The Finnea Lassies(recorded by Michael Coleman, Kevin Burke)
The Concertina reel / The Earls chair(recorded by Patrick street)
The Jug of Punch / Eddie Kelly’s (recorded by Kathleen Collins, Paddy Glackin on ‘Hidden Ground‘)

Farrell O Gara / Trim the Velvet( recorded by Joe Burke and Sean McGuire)
The Turnpike Gate / The Killavil Fancy(recorded by Roger Sherlock, Frankie Gavin)
The Duke of Leinster / The Duke of Leinsters Wife (recorded by James Kelly)
The Lads of Laois / The 1st Month of Summer (recorded by Andy McGann, Cathal Hayden)
The Banks of the Llen / The Scartaglen reel(The New Post Office), (recorded on ‘Irlande‘ with Frankie Gavin, Aidan Coffey and Arty McGlynn)
Andy McGanns / The Humours of Scariff (recorded by Andy McGann, Sean McGuire)
The Salamanca / The Banshee / The Sailors Bonnet (recorded by the Bothy Band)
Paddy Fahy(s) / The Cliffs of Moher (recorded by Kevin Burke, Martin Byrnes, Vincent Griffin)
The Pigeon on the Gate / Miss Monaghan (recorded by Michael Coleman, Josephine Keegan, John Vesey)
Jackie Colemans / (Charlie) Mulvihills
The Morning Dew / The Woman of the House (recorded by Michael Coleman, Willie Clancy)
The Stage / The Western (recorded by Michael Coleman, James Kelly)
The Skylark / Roaring Mary (recorded by Joe Cooley)

Cul Aodh jig (The Coolea jig) / The Blue Angel (recorded by Buttons and Bows, Sean McGuire quartet)
Caisleáin na nOr / The Humours of Tullycrine(Bobby Casey‘s)This tune was composed by Junior Crehan(recorded by Kevin Burke)
Doctor Gilbert’s Fancy / The Queen of May( recorded by Michael Coleman, Andy McGann, An Fhidil Sraith 1, John Vesey.)
The Glen Cottage polkas (recorded on An Fidil Straith II)
Planxty set – Planxty Irwin / Fanny Power (composed by Turlough O Carolan)

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Paul

150 Irish fiddle recordings.

In this 100 Irish fiddle recordings article I have included albums I listened to most. Albums as there were once known! There has been so many formats of music releases, recordings may be more appropriate term. A majority of the earlier recordings this list would have been originally released on vinyl disc. Also included are links to interviews, articles and where to purchase these recordings. Observe the release dates to see where irish solo fiddle recording was going commercially.
Listening to music is a huge part of learning it and that is especially true with Irish music. I also tried to vary the list by including solo, duets and others. I also chose not to include too many albums by one artist for variety. I couldn’t include all my preferred choice of albums(but this is most!) so this list is limited but may be amended to include more than 100 in a later edition of this post. This list is in no particular order and of course all these recordings are recommended listening. I hope you get as much enjoyment from this list as I did compiling it.

Michael-Coleman-1891-1945

Michael Coleman (link)1891-1945 Ireland’s most influential traditional musician of the 20th century. Released 1992 by Harry Bradshaw.

Sean Keane – Gustys Frolics. Released 1975. Link

Tommy Peoples– Link(with Paul Brady) – ‘The High Part of the Road‘. Released 1976.

Frankie Gavin (link)- Frankie Gavin & Alec Finn. Released 1977.

Kevin Burke – ‘In Concert’ Released 1999. Link

Frankie Gavin – Fierce Traditional. Released 2001. Link

Maeve Donnelly‘Maeve Donnelly’ – Maeve Donnelly(link) released 2002.

Sean Keane – Jig it in style. Released 1990. Link

The Atlantic Roar-Paul Bradley. Link

Released 1998. Paul is also a fiddle maker.

Vincent Griffin – Traditional music from county Clare. Released 1977.

Kevin Burke with Michael O Domhnaill (link)- Promenade. Released 1979.

Mick Queally – The Trip over the Mountain. With Cyril O Donoghue.(photo unavailable)

Hugh Gillespie – Classic recordings of Irish Traditional Music. Released 1992. Link.

James Morrison (link)- The Pure Genius of James Morrison. Released 1991.

Michael Coleman (link)- The Enduring Magic. Released 2004. Link.

Paddy Killoran ‘Back to town’. Released 1977.

John Doherty– (link)The Floating Bow. Released 1996. Link.

In-full-spate-paddy-glackin

Paddy Glackin – (link) In Full Spate. Released 1991.

Kevin Burke

If the Cap Fits – Kevin Burke. Released 1978.

www.kevinburke.com

Sean-Maguire-man-of-achievement

Sean Maguire (link)- Man of Achievement. Released 1988.

sean maguire

60 years of Sean Maguire, released 1988. Not original album image.

remember-Des-Donnelly

Des Donnelly -Link(Uncle of fiddler Dezi Donnelly)Remember Des Donnelly. Released 2012.

Shane Meehan ‘Twill do’

The-wind-that-shakes-the-barley-jim-mckillop

Jim McKillop – The Wind that Shakes the Barley. Released 1976

Brid Harper

Brid Harper – Brid Harper.(link) Released 2015.

Kevin-Burke-up-close

Kevin Burke Up Close. Released 1984.

Liz-Carroll-a-Friend-indeed

Liz Carroll (Link) – A Friend Indeed. Released 1979. Reissued 1995.

Seamus-connolly-here-and-there

Seamus Connolly(article) – Here and There. Released 1989.

Matt-Crannitch-Eistigh-seal

Matt Crannitch,(link) Eistigh Seal. Released 2009

Sean-Keane

Sean Keane (link)- ‘Sean Keane’ (Ogham label) Released 1980.

Cathal-hayden-handed-down

Cathal Hayden (link)- Handed Down. Released 1988.

Frankie-gavin-frankie-goes-to-town

Frankie Gavin (link)- Frankie goes to Town. Released 1991.

james-Kelly-the-ring-sessions.

James Kelly (Link)- The Ring Sessions. Released 2003.

Ciaran Tourish

Ciaran Tourish – ‘Down the Line‘ Released 2005.

Tommy Peoples

Tommy Peoples (Link)- Waiting for a Call – Released 2013.

Andy McGann & Paddy Reynolds

Andy McGann (article)& Paddy Reynolds – Traditional Music of Ireland. Released 1976 reissued 1994.

David Doocey ‘Changing Time’

Brendan-McGlinchey-music-of-a-champion

Brendan McGlinchey(article) – Music of a Champion. Released 1974.

Glackin

Paddy Glackin (Link)- Glackin. Released 1977. Reissued on CD.

Liz Carroll

Liz Carroll – Lost in the Loop. Released 2000. www.lizcarroll.com

Seamus Sands

‘Across Bridges‘ (link)- Seamus Sands. Released 2015.

Martin-Mulvihill-The-Flax-in-bloom

Martin Mullvihill (link)- The Flax in Bloom. Released in 1979.

Tommie-Potts

Tommie Potts (link)(Alternative 1st name spelling of Tommy) Traditional Fiddle Music from Dublin. Released 2012 RTE.

Sean-Smyth-The-Blue-Fiddle

Sean Smyth – The Blue Fiddle. Sean Smyth is a member of irish group Lunasa. Released 1993.

An Fidil

‘An Fhidil sraith II’ A fiddle compilation album featuring none other than, Sean Keane, Paddy Glackin, Kevin Burke & Seamus Creagh.

Martin-Hayes

Martin Hayes – Martin Hayes.(link)Released 1992.

Emma O Leary ‘Mo Cheantar Fein’ Link

Neillidh Boyle

Neillidh Boyle – A Feeling in the Blood. Released 2011.

Purchase Link on 3 CD’s.

Bobby-Casey-Taking-flight

Bobby Casey (link)- Taking flight, released

Brian-Conway-‘First through the gate’ Purchase Link Released 2002.

Capel Street

James Kelly-(link) Capel street. Photo not album cover. Released possibly 1986

Ceol An Clair – Released purchase link

Ceol An Clair – The Music of Clare. Bobby Casey, Junior Crehan, John Kelly. Patrick Kelly, Joe Ryan.

John-Carty-and-Brian-rooney-at-complete-ease

John Carty & Brian Rooney

Dezi Donnelly – Familiar Footsteps. Released 1999

Brian Rooney(cd Link) – From Leitrim to London. Released 2002

Jesse Smith – ‘Jigs & Reels’ Released 2002.

Liz and Yvonne Kane – The Well Tempered Bow. Released 2002.

Purchase Link

Tommy Peoples

Tommy Peoples (link)- An Exciting with One of Ireland Leading Traditional Fiddlers. Released C.C.E. 1976.

Last-Nights-Fun

John Carty – Last Nights Fun.

Martin & P.J.Hayes (link)- The Shores of Lough Graney. Released 1990. Reissued 2011.

Liz Carroll – Liz Carroll(Green Linnett) Released 1993. Link.

Diarmuid O Brien – ‘Cairde Cairdin’. Released 2007. Link.

McDara O Raghallaigh -(link) Ego Trip. Released 2011 Link.

It’s a Hard Road to Travel

Andy McGann(with Paul Brady) – ‘It’s a Hard Road to Travel’. Released 1977.

The-Green-Branch

Oisin mc Diarmada (link)- The Green Branch. Released 2015. Link.

Setting-Free

Tola Custy & Cyril O Donoghue Setting free. Released 1994 Link.

Clare-egan-Turing-tides

Claire Egan (link)- Turning Tides. Released 2015.

Martin-Byrnes-Masters-of-irish-music

Martin Byrnes (link)- Released in 1969. Reissued on CD.

Paddy Cronin

Paddy Cronin (link)- Kerry’s Own. Released 1977.

With-A-Lot-Of-Help-From-Their-Friends

Mary Custy & Eoin O Neill – ‘With a Lot of Help from Their Friends.’

Martin Byrnes – ‘The Inimitable Martin Byrnes’ – Released 2022 Link

Charlie Lennnon (link) – The Emigrants Suite. (Featuring Frankie Gavin Released 1985. Link.

Oisin McAuley – ‘Far from the Hills of Donegal’. Released 2007. Fiddler player with Irish group – Danu.

Tommy Potts (link)- ‘The Liffey Banks’. Released 1972. Link.

Patrick Mangan (link)- Farewell to Ireland. Released 2003

Josephine Keegan (link)- ‘Reels, Jigs, Hornpipes & Airs’. Released 1980. A formidable fiddle player and tune composer. Accompanied Sean McGuire on a number of his recordings.

Bits n’Pieces.

Donal McCague – ‘Bits & Pieces’. Released 2012

Gerry-O-Connor-Journeyman

Gerry O Connor -(link) Journeyman. Released 2007

Martin-hayes-live-in-seattle

Martin Hayes (link)- Live in Seattle. Released 1999

Aidan Connolly The Portland Bow. Released 2021 Link.

Kathleen Collins

Kathleen Collins – ‘Traditional Music of Ireland’. Released 1976

Michelle-O-Brien-The-Wishing-Well

Michelle O Brien (& Laoise Kelly) – (link)The Wishing Well. Released 2015.

John Dwyer -‘ The Dursey Sound’ Link

Maurice -Lennon-The-little-ones

Maurice Lennon – The Little Ones. released 2013. www.mauricelennon.com

Maire O Keeffe

Maire O Keefe (link)- House Party. Released 1998.

Padraid-O-Keefe-the-sliabh-luachra-fiddle-master

Padraig O Keeffe (link)- Sliabh Luachra Fiddle Master.

Milestone-at-the-garden

Milestone at the Garden buy(link) – Various including Michael Coleman & James Morrison.

An Fhidil Sraith I

‘An Fhidil sraith I’. Various young fiddlers including performances by Seamus Glackin, Martin Hayes, Maurice Lennon, Sean Montgomery and Seamus Thompson.

The-Godfather

Brian Rooney (link)- The Godfather. Released 1999

kevin-and-seamus-glackin-nothern-lights

Kevin & Seamus Glackin – Northern Lights, released 1988.

Fergal Scahill

Fergal Scahill – ‘The Dusty Bridge’(link), released 2008.

Declan Folan Skin & Bow

Declan Folan – ‘Skin & Bow’. Released 1996 Link

The Road to Glenlough

James Byrne – The Road to Glenlough. Released 1995. Link.

Traditional Fiddle Music from Donegal

The Brass Fiddle(fiddle music from Donegal) Francis Byrne, James Byrne, Vincent Campbell, Con Cassidy. Link.

Kevin Burke

Kevin Burke (link)- In Concert. Released 1999.

Seamus & Manus McGuire

Seamus & Manus Maguire – The Humours of Lissadell(Released 1980) Link.

The Apple in Winter

Brian Conway (link)& Tony DeMarco(link) – The Apple in Winter. Released 1980. Link.

Within-a-mile-of-kitty

Within A Mile of Kitty (link)- Brian Rooney, Charlie Lennon, Ben Lennon. Released 2005.

Denis-murphy-the-star-above-the-garter

Denis Murphy (link)- The Star Above the Garter

Ciaran O Maonigh – Ceol A Ghleanna

Ciaran O Maonigh (link)- Ceol A Ghleanna (Music of the Glen) Released 2004. Link.

mick-Connelly-Selkie

Mick Conneely (link)- Selkie. Released 2001. Link.

Carousel-Seamus-and-manus-mcguire

Carousel – Seamus & Manus McGuire. Released 1984. Link.

Randal-Bays-the-Salmons-leap

Randal Bays (link)- The Salmon’s Leap. Released 2000.

ben-lennon-and-friends-the-natural-bridge

Ben Lennon (link)& Friends – ‘The Natural Bridge’.Released 1999.

My Love is in America

‘My Love is In America‘(link) Various Artists. Released 1991. Featuring performances from Seamus Connolly, Andy McGann, Liz Carroll, Kevin Burke etc.

The post 150 Irish Fiddle recordings appeared first on Irish fiddle teaching and resource website Written by
Paul

Fiddle Lessons with Paul McNevin


One to one teaching with one of Irelands foremost fiddle teachers and players.

Paul has vast teaching experience and coached to All-Ireland level.

Paul with Waltons music has produced the best selling fiddle guides (Book/Dvd/video)See profile

Get out of the same standard you have been in for years with focused, goal directed, practice.

Get the best out of your playing even if it is not of a very high standard.

Learn the skills and knowledge needed to improve your musicianship.

Tuition for exams Scrudu Ceol Tire. Junior cert./Leaving Cert.

Goal directed learning. For sessions, performance or just for your own enjoyment.

Lessons online(Via Skype) or ‘One-to-One’ from Paul McNevin in Dublin. Please contact paulmcnevin@gmail.com or phone Dublin, Ireland – 0851212753
From outside Ireland + 353 + 085 1212753

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Paul

Tips for beginners

Fiddle Tips: for Beginners

In this tips for beginners article is advice I often give to pupils in the 1st few fiddle lessons. These are often bullet points written down. They should help to learn and improve your technique. An important thing is to avoid bad habits that can limit progress later on. The effect of good technique is to give the very best chance of learning to a high standard without hinderance. There are also subtle things and inferences that would be difficult to get across here, but most of the basics are covered.

Posture:
Posture is very important. When people play fiddle or any instrument for long periods it can have long them ill effects if posture is not correct. Try to practice standing. The back should be straight (but not rigidly so) when playing. This will also help to have more correct holding of the fiddle and bow. Sit upright on a chair, avoid sofas!

Long bows:

I cannot stress this enough. One of the most common points! The forearm needs to get used to moving independently and almost the full length of the bow. This needs to be practiced diligently. I always say it like and athlete warming up. Always bow longer in practice than you would in a session or in a playing environment.

Left hand position:

The neck of the fiddle should be cradled between the thumb and the base of the finger of the left hand. Where the last line of the finger meets the hand. It is important that it is not gripped. With the fingers of the left hand moving so much tension can result in the left hand. Be careful not too press too hard on the fingerboard. Have your fingers over the fingerboard so the tips comfortably reach. The fingers(or finger tips) should be flush with the fingerboard.

Nails Short:
Nails need to be kept short. Long nails will hinder finger placement. Get used to cutting them regularly if you play the fiddle!

Left Thumb Position:
The Left thumb position is important for the positioning of the left hand. The left thumb should not be too high and encroach over the fingerboard. Only about half of the thumb should be higher than the fingerboard. Also important is, the thumb should be gently pressed in. Definitely not away from the neck and out to the left.

Left Hand Steady:

Sometimes their is an inclination for the left hand to move when fingering across the strings, especially the ‘E string’. Consequently the grip of the neck alters. There should be minimal movement of the left hand. Let the fingers do the work.

Gap at left wrist:
This part of technique many can find difficult. The left wrist should not collapse underneath the fiddle. It is possible to play like this! But it really prevents the hand opening up and the fingers stretching to certain positions. I have seen players play like this and play well. It is often because they learned this when young and the hand adapted over time to be able to reach certain notes.

Hold the Fiddle Up:

This is basic but common point for beginners.In some cases it can be held too high and this will result in the left arm getting tired. Keeping the fiddle at the right height will be better not only for general posture but also for the left arm and forearm position. It will allow the elbow to stay slightly(a few inches) away from the body. This will avoid any tucking of the left elbow into the body, this is a bad habit and one to avoid.

Bowing

Bow just above fingerboard:

This relates to where the bow lies on the strings. In my experience about an inch above the fingerboard is about right. You don’t want to be to close to the bridge, play just above the end of the fingerboard. If you play above or further down the fingerboard some of the natural fiddle resonance will be lost and the sound will become muddy. Equally avoid playing too close to the bridge. The sound will taper and become dry or glassy. Again this is not ideal for the best sound. Do plenty of long bows (with bow parallel to the bridge)with and without slurs(more than one note in one bow) and keep an eye on bow placement. There is personal preference with bow placement, watch other players.

Bow Parallel:
The bow should remain parallel to the bridge at all times. The bow needs to go directly across the strings as much as possible. If done correctly the bow will grip the strings better and better contact(and therefore sound)will be made. When doing long bows and having the bow parallel to the bridge, you should be getting a full sound. Almost as loud as your fiddle/violin is going to get.

Bow Hold:

This is one of the most common difficulties starting the fiddle and can be very technical. Each way of playing the fiddle is unique and the bow hold is quite personal. With the correct bow hold, the bow should feel natural in the hand and not in any way awkward.

Thumb bent:

Often the thumb straightens on the bow hand. It is easy to miss for the beginner because it is out of the line of vision of the player. That’s why it is important to check it 1st as you pick up and grip the bow. The thumb should be bent on the bow. Bent halfway rather than fully bent. This will allow the hand to remain loose and avoid tension. Having the thumb straight is certainly to be avoided and the thumb should not touch the bow hair when playing. incorrect thumb hold will almost always create tension in the hand and playing the fiddle can be difficult enough!

Fingers Closer on bow:

It is quiet common to see a gap between the 1st and 2nd fingers on the bow. This could tense hand and therefore the bow hold. The bow grip should be natural and feel ‘right’. Imagine picking up a pencil from a table, the hand needs to be relaxed. This is similar to how the bow hangs underneath the hand. With my hold the fingers do not touch each other, but are just millimeters apart.

Bow tilt:
The wood of the bow should be tilted slightly away from the player. The bow is played at a slight angle.

Right Elbow lower:

Sometimes the fight elbow can pop up. It should be high enough to support the hand holding the bow. It should not be too low where there is a strain on the hand (or at the wrist)supporting the bow. The right elbow height changes slightly according to what string is being played.
Fingers on tape:

Put tape and on the fingerboard on the 1st,2nd and 3rd positions. Make sure it is tape that will not damage it. Paper tape is usually quite good and it does not leave much of a residue. You will need an experienced player to put the tape in the correct position. If you already play another instrument your ear should guide you.

No gap at Neck:

The Fiddle should be placed gently at the neck(of the body!). But firm enough so that a gap cannot be seen. It there is a gap it could cause the holding to be loose.

Don’t Look Down on Fiddle:

This happen with some pupils from time to time. This is when there is a gap at the neck and the head is slightly over extended looking down on the fiddle/fingerboard. This could cause pain in the long term and is certainly to be avoided.

Keep the bow on the Strings:

Some pupils lift the bow off the strings at the start of a bow stroke. Often without realizing it. The bow should remain on the strings. You will need control of it on the strings.

Shoulder Rest: I would recommend using a shoulder rest. It will help very much with the posture and especially allowing the left hand to not have the extra task of holding the fiddle at the neck. The neck of the fiddle should rest on the left hand and the gripping of the fiddle is at the neck and chin. The shoulder rest I use is Bon-Musica (link). Picture below. It is more of a professional shoulder rest. It is quite expensive but I would recommend it. It is very sturdy and hard wearing. Initially it can be uncomfortable but this only lasts a short time as it moulds itself to the shoulder shape making it very comfortable. A good student- intermediate shoulder rest is ‘Willy-Wolf’.

 

I hope you have enjoyed this fiddle tips for beginners article and that it can help you on your fiddle playing journey. More about technique, bowing, ornamentation and lots of tunes in my book below.

One-to One Tuition available in Dublin. E-Mail paulmcnevin@gmail.com or Link

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Paul

Which skill sets does an accomplished musician have and a novice need to learn?

Irish Fiddle Skill sets

Irish Fiddle Skill Sets No.1: Remembering:(musical memory)

Musical skills need to be developed through practice and repetition. Being creative during practice can ease the burden of repetition. Part of being a musician is to be able to remember music. When it is remembered it is internalised along with the muscle memory of playing. As it is an aural tradition, Irish music needs to be remembered. Many of the tunes I 1st learned were from recordings. This helped me remember sets of tunes and often when I remembered the name(s), the tune would come to me better because of the association. When you have some tunes to start off(say more than 10),you can then look at building a repetoire. It is a great way to keep track of how many tunes you have and it is enjoyable too. Irish Fiddle music is generally played in sets(groups or 2 or 3)so you can build up sets of jigs, reels etc.

Irish Fiddle Skill Sets No. 2 – A Good Ear:
Through listening and playing you will become more sensitive to music and build a better appreciation. You will be able to focus on specific aspects of the music rather and build up a level of concentration that will come second nature with regular practice.
Can you listen to a trio and just focus on one instrument all the way through? This will test your concentration and listening ability. This is all part of analysing the music. You will do this quickly and more naturally with practice. How does a player phrase the tune, how long are these phrases. Listen for how a fiddler might play more Sticatto(choppy – less slurs) or Legato (more slurring – smooth). Listen out for a style. What other players do they remind you of and who might be their influences. Some players get their style from players of other instruments. One of my favorite players is master fiddle player Sean Keane(of Irish group ‘The Chieftains’)who mimics the Uilleann Piping(Irish elbow pipes) style.

Listen for different ornamentation and how people play it. For example, different types of rolls or the same types played slightly different. Some players also play triplets differently also. The are 2 types of triples, slurred or seperate bows. There are also variations of how these are played.

Irish Fiddle Skill Sets No. 3: Dexterity:
An accomplished musician needs to be dexterous. This is best formed when young as a natural part of growing. The fingers and posture grow and adapt into the playing position and posture. It can become so natural the musician may not know how to do otherwise. When this happens the muscle memory and the co-ordination is natural and habitual. Young people have supple muscles and this is an advantage in learning for sure. Simply put, the holding of the fiddle(and especially the bow) is not a natural position for the hands/arms to be in. If you feel pain or tension, leave playing temporarily and shake both hands and allow the circulation to flow. You can soon return to playing when the pain subsides. In traditional music circles a phrase often used is ‘command of the instrument ‘. This is the ease with which one plays. Top players are relaxed and at one with their instrument. With some musicians playing actually relaxes them.

Reading/Transcribing:

Reading music is certainly not essential to playing Irish music but it is my belief that being able to read music is a huge bonus(even just the abc’s). Transcribing will do wonders for your ‘ear'(for music) in regard to what is being played and more importantly, how it is being played.
Many Irish musicians do not read music but they are at no disadvantage. Irish music is mainly an aural tradition and much more will be gained from the traditional handing down of music through personal connection with teachers, sessions and experience of traditional music gatherings than with sheet music and books. With regard to reading, Irish music has an advantage over other types/genres of music e.g. Classical or jazz. It is a lot easier to read! Not saying that it is easy, that skill has to be developed. Because every nuance of Irish music is not written as it would be impractical and unwise to try to include all the subtleties. Irish music is often in a standard number of keys (though it has been popular to vary keys to suit particular instruments or add a freshness to a composition). Many Irish tunes often do not go beyond two octaves(though many fiddle tunes do) again convenient for readers.
It you get the opportunity to learn to read music, avail of it. It will be a help to your playing and much coveted music is available in collections such as ‘O Niells 1001’ (which has been a kind of Irish music bible for some)and ‘Ceol Rince na hEireann’ vol. 1-5 both collections important to the popularising of Irish music. A string to your bow as it were.
Tip: can you hear a tune in your head(or lilt it) as you read without having to play your instrument. This is a very useful skill. There are even competitons in Irish music for lilting.

Skill Set no.4: Interpretation:

The skill of interpretation of Irish traditional music. This is one of the most difficult aspects of development. Of course there are varying opinions as to what is truely traditional making it more difficult. Some musicians are great composers putting fresh ideas into the tradition. Others are great at interpretation. They have the skill of being able to mould a personal touch into a piece while at the same time carrying on the tradition.
This is often done by phrasing and ornamentation sympathetic to the music and the tradition. Their playing will often carry soul that evokes a reaction in the listener that takes them out of their present state and into the living, breathing tradition itself. If they are experienced players or listeners they will be even more absorbed by great traditional music. Listening and playing music will bring on your musical appreciation too.

Lessons in Dublin or online contact Paul McNevin
paulmcnevin@gmail.com

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