Dance Forms: What are Reels?

All reels have the same structure, consisting largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.  All reels are in 4/4 time and are usually written out as 8 8th notes/measure.

Examples of Reels I like

A reel is distinguished from a hornpipe in two ways. Firstly it is played with even beats, without an implied dotted rhythm. Secondly it is played twice as fast. Examples of Reels:

• Dunmore Lasses
• Maid Behind The Bar

Like most dance music originating in the British Isles, reels are usually composed in binary form, meaning they have two parts (A and B); in most reels each part is repeated (AABB), but in others it is not (ABAB). Each part (A and B) typically has eight bars, which in turn are divisible into four-bar and two-bar phrases.  

Today many Irish reels are supplemented with new compositions and by tunes from other traditions which are easily adapted as reels. It is the most popular tune-type within the Irish dance music tradition.

Reels are popular in the folk music of Scotland and England. They crossed the Atlantic ocean with Irish and British immigration and thus entered the musical tradition of Atlantic and French-speaking Canada including that of Quebecers and Acadians.

Dunmore Lasses

Maid Behind The Bar

Dance Forms: What are Reels?

All reels have the same structure, consisting largely of quaver (eighth note) movement with an accent on the first and third beats of the bar.  All reels are in 4/4 time and are usually written out as 8 8th notes/measure.

Examples of Reels I like

A reel is distinguished from a hornpipe in two ways. Firstly it is played with even beats, without an implied dotted rhythm. Secondly it is played twice as fast. Examples of Reels:

• Dunmore Lasses
• Maid Behind The Bar

Like most dance music originating in the British Isles, reels are usually composed in binary form, meaning they have two parts (A and B); in most reels each part is repeated (AABB), but in others it is not (ABAB). Each part (A and B) typically has eight bars, which in turn are divisible into four-bar and two-bar phrases.  

Today many Irish reels are supplemented with new compositions and by tunes from other traditions which are easily adapted as reels. It is the most popular tune-type within the Irish dance music tradition.

Reels are popular in the folk music of Scotland and England. They crossed the Atlantic ocean with Irish and British immigration and thus entered the musical tradition of Atlantic and French-speaking Canada including that of Quebecers and Acadians.

Dunmore Lasses

Maid Behind The Bar

Joe Derrane's reel aka Blue-eyed Lassie with The Galway Rambler aka Lord Wellington

Blue-eyed Lassie / Joe Derrane's Reel

BLUE EYED LASSIE. AKA and see "Belles of Lewiston," "Early Rising," "Lewis’s Reel." Scottish, Reel. D Major. Standard tuning (fiddle). AAB (Gatherer): AABB (Cole). See also French-Canadian versions under titles "Réel Américain " (Joseph Allard). Two reels identified by folklorist Camelle Bégin as "Blue eyed Lassie ou l'Amercan et l'Ecossais" were in the repertoire of Montréal fiddler Jean Carignan.

Printed sources: Bégin (La Musique Traditionelle Pour Violon: Jean Carignan). Cole (1000 Fiddle Tunes), 1940; p. 7. Gatherer (Gatherer's Musical Museum), 1987; p. 5. Ryan's Mammoth Collection, 1883; p. 30.

Recorded sources: Great Meadow Music 2018, Frank Ferrel & Joe Derrane - "Fiddledance" (2004).

The Galway Rambler

The Galway Rambler

GALWAY RAMBLER, THE. AKA and see "Lord Wellington (1)," "Manchester Reel (3)," "Paddy Finley's Fancy Reel," "Paddy Finlay's Favourite," "Piper's Wedding (1) (The)," "Rising Sun (5)," "Sean Ryan's Reel (2)," "Sligo Rambler (1)," "Tiarna Wellington," "Wellington's Reel (2)." Irish, Reel. G Major. Standard tuning (fiddle). AB (Harker/Rafferty, Mulvihill, Tubridy): AAB (Taylor): AA'B (Prior).

A member of the rather large and varied tune family that includes "Mills are Grinding (1) (The)." "The Galway Rambler" is often paired in a set with "London Lasses (1)," perhaps stemming from the 1937 recording by the Aughrim Slopes Ceili Band in Dublin. It was recorded in 1927 by Galway flute player Tom Morrison (1889-1958) under the title "Manchester Reel (3)" (along with "Dunmore Lasses (The)" and "Castlebar Traveller (The)"), however, the "Manchester Reel" title seems ideosyncratic to the Morrison recording. The same medley was recreated a decade later on 78 RPM by the Aughrim Slopes Ceildhe Band, using the "Galway Rambler" title instead.

Montreal fiddler Joseph Allard's "Reel du gin" has a first strain that resembles the second strain of "Galway Rambler."

Additional notes

Source for notated version : - Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].

Printed sources : - Breathnach (Ceol Rince na hÉireann vol. I), 1963; No. 199. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 68. Flaherty (Trip to Sligo), 1994; 76. Harker (300 Tunes from Mike Rafferty), 2005; No. 28, p. 9. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 21. Mulvihill (1st Collection), 1986; No. 25, p. 7. Prior (Fionn Seisiún 3), 2007; p. 4. Taylor (Through the Half-door), 1992; No. 28, p. 21. Treoir, vol. 39, No. 4, 2007; p. 30. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 21.

Recorded sources : - Shaskeen - "Atlantic Breeze" & "Shaskeen Live." Claddagh CD BUACD 9501, "Michael Flatley" (originally recorded 1981). Green Linnet SIF 1069, Joe Burke, Michael Cooney, Terry Corcoran - "Happy to Meet, Sorry to Part." Irish I-3011, Charley Higgins & Jack Dolan (1955. Appears as "Paddy Finley"). Boys of the Lough - "Wish You Were Here."

See also listing at :

Jane Keefer's Folk Music Index: An Index to Recorded Sources [1]

Alan Ng's Irishtune.info [2]

Hear a 1959 recording by flute players Charley Higgins and Jack Dolan at the Internet Archive [3]

Hear a recording by flute player Tom Byrne, courtesy of Smithsonian Folkways [4]

Joe Derrane's reel aka Blue-eyed Lassie with The Galway Rambler aka Lord Wellington

Blue-eyed Lassie / Joe Derrane's Reel

BLUE EYED LASSIE. AKA and see "Belles of Lewiston," "Early Rising," "Lewis’s Reel." Scottish, Reel. D Major. Standard tuning (fiddle). AAB (Gatherer): AABB (Cole). See also French-Canadian versions under titles "Réel Américain " (Joseph Allard). Two reels identified by folklorist Camelle Bégin as "Blue eyed Lassie ou l'Amercan et l'Ecossais" were in the repertoire of Montréal fiddler Jean Carignan.

Printed sources: Bégin (La Musique Traditionelle Pour Violon: Jean Carignan). Cole (1000 Fiddle Tunes), 1940; p. 7. Gatherer (Gatherer's Musical Museum), 1987; p. 5. Ryan's Mammoth Collection, 1883; p. 30.

Recorded sources: Great Meadow Music 2018, Frank Ferrel & Joe Derrane - "Fiddledance" (2004).

The Galway Rambler

The Galway Rambler

GALWAY RAMBLER, THE. AKA and see "Lord Wellington (1)," "Manchester Reel (3)," "Paddy Finley's Fancy Reel," "Paddy Finlay's Favourite," "Piper's Wedding (1) (The)," "Rising Sun (5)," "Sean Ryan's Reel (2)," "Sligo Rambler (1)," "Tiarna Wellington," "Wellington's Reel (2)." Irish, Reel. G Major. Standard tuning (fiddle). AB (Harker/Rafferty, Mulvihill, Tubridy): AAB (Taylor): AA'B (Prior).

A member of the rather large and varied tune family that includes "Mills are Grinding (1) (The)." "The Galway Rambler" is often paired in a set with "London Lasses (1)," perhaps stemming from the 1937 recording by the Aughrim Slopes Ceili Band in Dublin. It was recorded in 1927 by Galway flute player Tom Morrison (1889-1958) under the title "Manchester Reel (3)" (along with "Dunmore Lasses (The)" and "Castlebar Traveller (The)"), however, the "Manchester Reel" title seems ideosyncratic to the Morrison recording. The same medley was recreated a decade later on 78 RPM by the Aughrim Slopes Ceildhe Band, using the "Galway Rambler" title instead.

Montreal fiddler Joseph Allard's "Reel du gin" has a first strain that resembles the second strain of "Galway Rambler."

Additional notes

Source for notated version : - Frank McCollam (Ballycastle, County Antrim) [Mulvihill]; New Jersey flute player Mike Rafferty, born in Ballinakill, Co. Galway, in 1926 [Harker].

Printed sources : - Breathnach (Ceol Rince na hÉireann vol. I), 1963; No. 199. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 68. Flaherty (Trip to Sligo), 1994; 76. Harker (300 Tunes from Mike Rafferty), 2005; No. 28, p. 9. Lyth (Bowing Styles in Irish Fiddle Playing, vol. 1), 1981; 21. Mulvihill (1st Collection), 1986; No. 25, p. 7. Prior (Fionn Seisiún 3), 2007; p. 4. Taylor (Through the Half-door), 1992; No. 28, p. 21. Treoir, vol. 39, No. 4, 2007; p. 30. Tubridy (Irish Traditional Music, vol. 1), 1999; p. 21.

Recorded sources : - Shaskeen - "Atlantic Breeze" & "Shaskeen Live." Claddagh CD BUACD 9501, "Michael Flatley" (originally recorded 1981). Green Linnet SIF 1069, Joe Burke, Michael Cooney, Terry Corcoran - "Happy to Meet, Sorry to Part." Irish I-3011, Charley Higgins & Jack Dolan (1955. Appears as "Paddy Finley"). Boys of the Lough - "Wish You Were Here."

See also listing at :

Jane Keefer's Folk Music Index: An Index to Recorded Sources [1]

Alan Ng's Irishtune.info [2]

Hear a 1959 recording by flute players Charley Higgins and Jack Dolan at the Internet Archive [3]

Hear a recording by flute player Tom Byrne, courtesy of Smithsonian Folkways [4]

The Clumsy Lover by Neil Dickie

 

The Clumsy Lover - De Dannan

CLUMSY LOVER, THE. Canadian, Pipe Tune (2/4 time). A Mixolydian. Standard tuning (fiddle). AABBCCDDEEFF. A modern composition by Great Highland bagpiper Neil Dickie. The tune, which has received much attention in current piping repertory, has also been adapted for fiddle repertoire (sometimes transposed to G Mixolydian).  

Since this tune is not that old, and Scotsman Neil Dickie is quite alive and well in Alberta, Canada, it might be noted that this is a Six-Part Highland Pipe-tune, and it is published in one of his music collections. There is a Highland embellishment which needs to be rendered as a triplet to make the tune sound like the composer’s original published version. It is actually under copyright, and I suggest a glance at the book before transposing or arranging for instruments other than the Highland pipes. It is a great tune, but the greatness is not quite brought out in this version.

This tune is also hugely popular with the better highland pipe bands. keeping police & firemen busy all over the world 

Additional notes

Printed sources : - Martin & Hughes (Ho-re-gheallaidh), 1990; p. 9.

Recorded sources : - Greentrax Records, Coelbeg - "An Unfair Dance" (1993). Temple Records TP021, The Battlefield Band - "On the Rise" (1986). IONA 047, Barra MacNeils - "Traditional Album."

The Clumsy Lover by Neil Dickie

 

The Clumsy Lover - De Dannan

CLUMSY LOVER, THE. Canadian, Pipe Tune (2/4 time). A Mixolydian. Standard tuning (fiddle). AABBCCDDEEFF. A modern composition by Great Highland bagpiper Neil Dickie. The tune, which has received much attention in current piping repertory, has also been adapted for fiddle repertoire (sometimes transposed to G Mixolydian).  

Since this tune is not that old, and Scotsman Neil Dickie is quite alive and well in Alberta, Canada, it might be noted that this is a Six-Part Highland Pipe-tune, and it is published in one of his music collections. There is a Highland embellishment which needs to be rendered as a triplet to make the tune sound like the composer’s original published version. It is actually under copyright, and I suggest a glance at the book before transposing or arranging for instruments other than the Highland pipes. It is a great tune, but the greatness is not quite brought out in this version.

This tune is also hugely popular with the better highland pipe bands. keeping police & firemen busy all over the world 

Additional notes

Printed sources : - Martin & Hughes (Ho-re-gheallaidh), 1990; p. 9.

Recorded sources : - Greentrax Records, Coelbeg - "An Unfair Dance" (1993). Temple Records TP021, The Battlefield Band - "On the Rise" (1986). IONA 047, Barra MacNeils - "Traditional Album."

The Sally Gardens - Na Garranta Sailí

The Sally Gardens

SALLY GARDENS [1], THE (Na Garranta Sailí). Irish, Reel (cut time). G Major. Standard tuning (fiddle). AABB (most versions): AA’BB’ (O’Malley, Perlman). A once popular Irish session tune, widely disseminated, although overplaying has diminished its appeal to many. The name “Sally Garden” is a 17th century variation of 'sallow garden', the term for a willow garden. The name ‘sally’ is derived either from the Latin name salix or salyx, meaning willow (‘aspirin’, or acetylsalicylic acid, was developed from an investigation of the folk remedy of chewing willow shoots to relieve pain), or from the Gaelic word for the plant, sailleach (which itself may have been derived from the Latin). A sally garden was kept as a source for willow sprouts or osiers used in making wicker baskets, furniture and other household items but it also sometimes served as a trysting place for lovers. The theory is that over the years ‘sally garden’ was personified into the object of desire, “Sally Gardens;” a woman’s name (see also related meanings for the American tune “Sally in the Garden”).

New Jersey accordion player Luke O'Malley credits Irish accordion players Joe Cooley and Paddy O’Brien for popularizing the reel in the New York area, when they were living in the United States, and Reg Hall notes that young London accordion players in the late 50's and early 60's were also busy imitating O'Brien's recording. Paddy O’Brien (1922–91) famously recorded the tune on 78 RPM (paired with "Yellow Tinker (The)") for Columbia Records in Newtown, Co. Tipperary, in January, 1954, on the then-new B/C accordion system (the side was released in 1955). Although he did not claim composition of the "Sally Gardens", his recording was very influential and helped to consolidate the accordion in the first rank of Irish traditional instrumentation. The Tulla Céilí Band recorded "Sally Gardens" in 1956 on 78 RPM for the HMV label. Martin Mulhaire was the accordion player with the Tulla Céilí Band in 1957 after having been asked by Paddy Canney and P.J. Hayes to join for a tour of England. Later that year, they won the All Ireland Ceili Band Competition in Dungarven, Co Waterford, followed by dates at Carnegie Hall in New York City for St Patrick’s Day, 1958. The same year they released the first long play ceili record, "Echoes of Erin", featuring Mulhaire playing O'Brien's pairing of "Yellow Tinker (The)" and "Sally Gardens."

Additional notes
Source for notated version : - fiddler Seán McGuire (1927-2005, Belfast, Ireland) [Miller & Perron]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]; fiddlers Carl & Jackie Webster (b. 1932 & 1938, Central Kings County, Prince Edward Island) [Perlman]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor].

Printed sources : - Breathnach (Ceol Rince na hÉireann vol. I), 1963; No. 100, p. 43. Brody (Fiddler’s Fakebook), 1983; p. 246. Bulmer & Sharpley (Music from Ireland vol. 1), 1974; No. 1. Jordan (Whistle and Sing), 1975; p. 18. Mallinson (100 Essential), 1995; No. 5, p. 2. Martin & Hughes (Ho-ro-gheallaidh), 1990; p. 34. Miller & Perron (Irish Traditional Fiddle Music, vol. 1), 1977; No. 29. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 102. Moylan (Johnny O’Leary of Sliabh Luachra), 1994; No. 154, p. 89. Mulvihill (1st Collection), 1986; No. 16, p. 4. O'Brien (The Definitive Collection of the Music of Paddy O’Brien 1922–1991), 2011; p. 184. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 17, p. 9. Perlman (The Fiddle Music of Prince Edward Island), 1996; p. 62. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 138. Songer & Curley (The Portland Collection, vol. 2), 2005; p. 177. Taylor (Music for the Sets: Yellow Book), 1995; p. 6. Tubridy (Irish Traditional Music, Book Two), 1999; p. 25.

Recorded sources : - Avoca 139, Seán Magurire - "Music of Ireland." Columbia CAL506-1 (78 RPM), Paddy O’Brien (1954). His Master's Voice No. 1P 1149 (78 RPM), The Tulla Céilí Band (1956, followed by "Bag of Potatoes (1) (The)" & "Congress (The)"). Kicking Mule KM-325, Banish Misfortune - "A Health to the Company" (1981). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Saydisc CDSDL 420, Jimmy Hogan Trio – “Traditional Dance Music of Britain & Ireland” (recorded 1958). Saydisc CDSDL449, Jimmy Hogan Trio - "Traditional Dance Music of Britain & Ireland" (2018). Sonet 763, Dave Swarbrick - "Lift the Lid and Listen." Bill McComiskey (et al) – “The Big Squeeze.”

See also listing at :
Alan Snyder’s Cape Breton Fiddle Recordings Index [1]
Jane Keefer’s Folk Music Index: An Index to Recorded Sources [2]
Alan Ng’s Irishtune.info [3]

The Sally Gardens - Na Garranta Sailí

The Sally Gardens

SALLY GARDENS [1], THE (Na Garranta Sailí). Irish, Reel (cut time). G Major. Standard tuning (fiddle). AABB (most versions): AA’BB’ (O’Malley, Perlman). A once popular Irish session tune, widely disseminated, although overplaying has diminished its appeal to many. The name “Sally Garden” is a 17th century variation of 'sallow garden', the term for a willow garden. The name ‘sally’ is derived either from the Latin name salix or salyx, meaning willow (‘aspirin’, or acetylsalicylic acid, was developed from an investigation of the folk remedy of chewing willow shoots to relieve pain), or from the Gaelic word for the plant, sailleach (which itself may have been derived from the Latin). A sally garden was kept as a source for willow sprouts or osiers used in making wicker baskets, furniture and other household items but it also sometimes served as a trysting place for lovers. The theory is that over the years ‘sally garden’ was personified into the object of desire, “Sally Gardens;” a woman’s name (see also related meanings for the American tune “Sally in the Garden”).

New Jersey accordion player Luke O'Malley credits Irish accordion players Joe Cooley and Paddy O’Brien for popularizing the reel in the New York area, when they were living in the United States, and Reg Hall notes that young London accordion players in the late 50's and early 60's were also busy imitating O'Brien's recording. Paddy O’Brien (1922–91) famously recorded the tune on 78 RPM (paired with "Yellow Tinker (The)") for Columbia Records in Newtown, Co. Tipperary, in January, 1954, on the then-new B/C accordion system (the side was released in 1955). Although he did not claim composition of the "Sally Gardens", his recording was very influential and helped to consolidate the accordion in the first rank of Irish traditional instrumentation. The Tulla Céilí Band recorded "Sally Gardens" in 1956 on 78 RPM for the HMV label. Martin Mulhaire was the accordion player with the Tulla Céilí Band in 1957 after having been asked by Paddy Canney and P.J. Hayes to join for a tour of England. Later that year, they won the All Ireland Ceili Band Competition in Dungarven, Co Waterford, followed by dates at Carnegie Hall in New York City for St Patrick’s Day, 1958. The same year they released the first long play ceili record, "Echoes of Erin", featuring Mulhaire playing O'Brien's pairing of "Yellow Tinker (The)" and "Sally Gardens."

Additional notes
Source for notated version : - fiddler Seán McGuire (1927-2005, Belfast, Ireland) [Miller & Perron]; accordion player Sonny Brogan (County Sligo/Dublin, Ireland) [Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the Cork-Kerry border), recorded at Na Píobairí Uilleann, October, 1984 [Moylan]; fiddlers Carl & Jackie Webster (b. 1932 & 1938, Central Kings County, Prince Edward Island) [Perlman]; set dance music recorded at Na Píobairí Uilleann in the 1980’s [Taylor].

Printed sources : - Breathnach (Ceol Rince na hÉireann vol. I), 1963; No. 100, p. 43. Brody (Fiddler’s Fakebook), 1983; p. 246. Bulmer & Sharpley (Music from Ireland vol. 1), 1974; No. 1. Jordan (Whistle and Sing), 1975; p. 18. Mallinson (100 Essential), 1995; No. 5, p. 2. Martin & Hughes (Ho-ro-gheallaidh), 1990; p. 34. Miller & Perron (Irish Traditional Fiddle Music, vol. 1), 1977; No. 29. Miller & Perron (Irish Traditional Fiddle Music), 2nd Edition, 2006; p. 102. Moylan (Johnny O’Leary of Sliabh Luachra), 1994; No. 154, p. 89. Mulvihill (1st Collection), 1986; No. 16, p. 4. O'Brien (The Definitive Collection of the Music of Paddy O’Brien 1922–1991), 2011; p. 184. O’Malley (Luke O’Malley’s Collection of Irish Music, vol. 1), 1976; No. 17, p. 9. Perlman (The Fiddle Music of Prince Edward Island), 1996; p. 62. Silberberg (Tunes I Learned at Tractor Tavern), 2002; p. 138. Songer & Curley (The Portland Collection, vol. 2), 2005; p. 177. Taylor (Music for the Sets: Yellow Book), 1995; p. 6. Tubridy (Irish Traditional Music, Book Two), 1999; p. 25.

Recorded sources : - Avoca 139, Seán Magurire - "Music of Ireland." Columbia CAL506-1 (78 RPM), Paddy O’Brien (1954). His Master's Voice No. 1P 1149 (78 RPM), The Tulla Céilí Band (1956, followed by "Bag of Potatoes (1) (The)" & "Congress (The)"). Kicking Mule KM-325, Banish Misfortune - "A Health to the Company" (1981). Rounder Records 7057, Jerry Holland – “Parlor Music” (2005). Saydisc CDSDL 420, Jimmy Hogan Trio – “Traditional Dance Music of Britain & Ireland” (recorded 1958). Saydisc CDSDL449, Jimmy Hogan Trio - "Traditional Dance Music of Britain & Ireland" (2018). Sonet 763, Dave Swarbrick - "Lift the Lid and Listen." Bill McComiskey (et al) – “The Big Squeeze.”

See also listing at :
Alan Snyder’s Cape Breton Fiddle Recordings Index [1]
Jane Keefer’s Folk Music Index: An Index to Recorded Sources [2]
Alan Ng’s Irishtune.info [3]

What are some good fiddle tunes for a beginner?

So as you know, I teach violin and many fiddle styles including celtic, bluegrass, klezmer, jazz, western swing, texas style and Quebecois.

Someone recently asked me to suggest some tunes a beginner can learn.  I decided to include some more advanced  tunes as well

Camptown Races comes to mind, as does Liza Jane, Buffalo Gals, Shady Grove (it's in Bm but doable), Shortnin' Bread, Oh, Susanna, Cindy, Dixie, Wildwood Flower, Soldier's Joy, Going to Boston, Flop Eared Mule, Skip to My Lou, Girl I left Behind Me, Old Joe Clark, Cripple Creek...all basically level 1 tunes except maybe the last 3 or so.

Slightly more advanced would be Mississippi Sawyer, Arkansas Traveler, Rose Tree, Over the Waterfall, Newcastle, Southwind, Si Beg Si More, Sandy River, Salt Creek, Chinky Pin, Cotton Eyed Joe, Cameron Highlanders, Scotland the Brave, Harvest Home, Ash Grove, Amazing Grace, Swinging on a Gate, Fisher's Hornpipe, Snowflake Reel

Every fiddle player needs to learn the "double shuffle" bowing pattern. Here are some good tunes to practice with it:

Orange Blossom Special, Back Up And Push, Rubber Dolly,.

Now we get into some jigs! Here are some easier ones: Irish Washerwoman, Garry Owen, St Patrick's Day (inna mornin), Haste to the Wedding, Road to Lisdoonvarna, Swallow Tail, Kid on the Mountain and Pipe on the Hob.

How about some Polkas? I like: As we Went Out On The Ice, Kangaroo, Kerry, Spare Leg, Andy Boyle's, Britches full of Stiches.

What are some good fiddle tunes for a beginner?

So as you know, I teach violin and many fiddle styles including celtic, bluegrass, klezmer, jazz, western swing, texas style and Quebecois.

Someone recently asked me to suggest some tunes a beginner can learn.  I decided to include some more advanced  tunes as well

Camptown Races comes to mind, as does Liza Jane, Buffalo Gals, Shady Grove (it's in Bm but doable), Shortnin' Bread, Oh, Susanna, Cindy, Dixie, Wildwood Flower, Soldier's Joy, Going to Boston, Flop Eared Mule, Skip to My Lou, Girl I left Behind Me, Old Joe Clark, Cripple Creek...all basically level 1 tunes except maybe the last 3 or so.

Slightly more advanced would be Mississippi Sawyer, Arkansas Traveler, Rose Tree, Over the Waterfall, Newcastle, Southwind, Si Beg Si More, Sandy River, Salt Creek, Chinky Pin, Cotton Eyed Joe, Cameron Highlanders, Scotland the Brave, Harvest Home, Ash Grove, Amazing Grace, Swinging on a Gate, Fisher's Hornpipe, Snowflake Reel

Every fiddle player needs to learn the "double shuffle" bowing pattern. Here are some good tunes to practice with it:

Orange Blossom Special, Back Up And Push, Rubber Dolly,.

Now we get into some jigs! Here are some easier ones: Irish Washerwoman, Garry Owen, St Patrick's Day (inna mornin), Haste to the Wedding, Road to Lisdoonvarna, Swallow Tail, Kid on the Mountain and Pipe on the Hob.

How about some Polkas? I like: As we Went Out On The Ice, Kangaroo, Kerry, Spare Leg, Andy Boyle's, Britches full of Stiches.