Donegal fiddle tradition

This is potentially due to the geographical borders/mountains (as well as national borders with Northern Ireland) keeping Donegal's repertoire more locally-known for decades.

Mazurkas are historically mainland-European tunes very similar to a waltz, in its 34 meter, though generally livelier and with more emphasis being placed on the second beat of each measure.

Another uniquely Donegal tune is called the barndance, stemming from the Germanic schottische (essentially meaning ‘Scottish’), also similar to the Norwegian reinlander.

Very rarely referred to as a “highland fling”, these quintessentially Donegal tunes are influenced by the Scottish strathspey, but played a bit smoother, as a sort of “strathspey-reel”.

[3] Among the most famous Donegal style players are John Doherty from the early twentieth century and James Byrne, Paddy Glackin, Tommy Peoples and Mairéad Ní Mhaonaigh in recent decades.

The fiddle has ancient roots in Ireland, the first report of bowed instruments similar to the violin being in the Book of Leinster (ca.

However the first mention of the fiddle being in use in Donegal is from the blind harper Arthur O'Neill who in his 1760 memoirs described a wedding in Ardara as having "plenty of pipers and fiddlers".

[8] Lilting, unaccompanied singing of wordless tunes, was also an important part of the Donegal musical tradition often performed by women in social settings.

Among the travelling fiddlers of the late 19th century players such as John Mhosaí McGinley, Anthony Hilferty, the McConnells and the Dohertys are best known.

As skill levels increased through apprenticeships several fiddle masters appeared such as the Cassidy's, Connie Haughey, Jimmy Lyons and Miock McShane of Teelin and Francie Dearg and Mickey Bán Byrne of Kilcar.

[7] These players prided themselves on their technical abilities, which included playing in higher positions (fairly uncommon among traditional Irish fiddlers), and sought out material which would demonstrate their skills.

[4][5] Outside of the Comhaltas movement however, Donegal fiddling stood strong with Paddy Glackin of Ceoltorí Laighean and the Bothy Band and later Tommy Peoples also with the Bothy Band and Mairead Ni Mhaonaigh with Altan, who all drew attention and prestige to the Donegal tradition within folk music circles throughout Ireland.

[1] Another feature of Donegal fiddling that makes it distinctive among Irish musical traditions is the variety of rare tune types that are played.

[14] John, a travelling tinsmith, was known for his extremely precise and fast finger- and bow-work and vast repertoire, and is considered to be one of the greatest Irish fiddlers ever recorded.

Currently living Donegal fiddlers, include, Vincent Campbell, John Gallagher, Paddy Glackin, and Danny O'Donnell.

In 2007, he won the prestigious ‘Oireachtas na Geailge' fiddle title, and has been a regular tutor at the Irish World Academy of Music and Dance, at the University of Limerick for the past number of years.