Learn to Play the fiddle

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Three Hares Folk Camp: Escape into the Heart of Folk Music
We invite you to join us at Three Hares Folk Camp, a long weekend residential folk music course where you can immerse yourself in the joy of folk music, level up your playing, and connect with fellow musicians.

Learn from expert tutors in small workshops during the day; then head to the oak-frame barn, or under the branches of the spreading oak to play with your fellow musicians and your tutors in sessions in the evenings!

BOOK COURSE TICKETS

Set on a picturesque organic working farm in North Somerset, our residential folk music course offers expert tuition, lots of opportunities for group playing, and a chance to immerse yourself in the music — all in an idyllic rural environment.

Whether you’re an experienced musician or someone with a basic understanding of folk music, this is the perfect opportunity to deepen your knowledge, learn and refine your musical skills, and make lasting friends and memories.

An Inspirational Folk Music Experience

Three Hares Folk Camp is not just another folk music workshop.

It’s about experiencing and learning folk music the way it was meant to be—hands-on, communal, and full of heart — all in the Somerset countryside.

Over the course of three days, you’ll be guided by some of the most talented folk musicians in the UK. With a focus on both individual instrument development and group playing, this camp is ideal for those who want to improve their technique, while building experience in playing folk music with others in a friendly, supportive environment.

Instruments & Tutors

Our talented team of tutors is ready to lead you through a diverse range of workshops, covering a range of folk instruments. Whether you’re drawn to the tunes of Ireland, Northumberland or Cape Breton, or to songs and accompaniment, there’s something for everyone. We offer workshops on the following instruments:

Fiddle with Bradon Smith

Irish Flute, Whistle, & Uilleann Pipes with Dominic Henderson

Squeeze Box & Vocals with Hazel Askew

Guitar & Mandolin with Kit Hawes

Each tutor is a professional musician with years of teaching experience, ensuring that you’ll receive top-notch guidance. Find out more about each of the tutors here.

Our residential folk music course is designed for beginners to advanced players, although some experience with your instrument will be necessary. (You should at minimum be able to play, for example, simple scales in common keys and basic tunes. If you are unsure if this folk music camp is a fit for your current level, please get in touch.)

When & Where?
- Dates: 25th–27th July 2025
- Location: Three Hares Farm, Dundry Lane, BS40 8AW, North Somerset, UK
- Arrival: Thursday, 24th July from 5pm for set-up and evening meal.
- Workshops Begin: Friday morning, with a full programme of music workshops.
This weekend retreat offers a blend of structured music workshops and informal sessions, creating the perfect atmosphere for both learning and socialising.

Residential Accommodation Options

Your ticket includes camping at the farm – pitch your tent under the stars a stone’s throw from the workshop and session spaces!

If camping isn’t for you, there are two local accommodations within walking distance of the farm, where you can stay in comfort. Whether you choose to camp or stay elsewhere, you’re guaranteed to enjoy the rural surroundings of Three Hares Farm.

Meals & Catering

At Three Hares Folk Camp, we believe that good food is an essential part of a great experience. We’ve partnered with Two Trees Catering to provide two delicious and nutritious meals each day, focusing on locally-sourced ingredients, much of which is grown right here at Three Hares Farm. Please note, attendees are responsible for their own breakfasts, but rest assured, everything else is taken care of!

Transport & Parking

If you’re driving, there is very limited parking spaces on-site; what parking there is available at an additional cost.

Alternatively, we will provide a shuttle bus service to and from Bristol on Thursday, 24th July, and Sunday, 27th July. This makes it easy to reach the camp without the hassle of driving.

For maximum respect from everyone, arrive by bike to the camp and enjoy a free drink at the bar as a reward!

Evening Sessions & Socialising

After a day of folk music workshops, the fun continues in the evenings with informal music sessions in the bar, where you can play along with your fellow musicians and your tutors, practice your new-found tunes, techniques and skills; and relax and chat with like-minded campers.

On Saturday night, we’ll be hosting a lively and inclusive ceilidh; with music provided by your tutors, and a caller to teach and lead the dances. It’s the perfect way to round off your weekend!

Why Choose Three Hares Folk Camp?
- Residential Folk Music Course: Enjoy full immersion in folk music while staying on a beautiful farm.
- Experienced Tutors: Learn from skilled and experienced professional tutors
- Variety of Instruments: Workshops for fiddle, flute, whistle, uilleann pipes, guitar, mandolin, vocals, and squeeze box
- Community Atmosphere: Join a welcoming group of like-minded musicians
- Lively Sessions & Ceilidh: Fun evening activities, including informal sessions and a ceilidh
- Delicious, Nutritious Food: Enjoy meals made with fresh, local ingredients.
Book Your Spot Today

Spaces at Three Hares Folk Camp are limited, so please book early to avoid missing out on this opportunity.

Whether you’re looking to improve your playing, learn about group playing, make new musical friends, or simply immerse yourself in the music in beautiful surroundings, Three Hares Folk Camp 2025 will be an unforgettable few days.

Contact Us

Have questions? Get in touch with Humphrey Lloyd at 07702810555 for more information. You can also reach us via WhatsApp or give us a call—email is not the best way to contact us since we’re often out in the field.
7 February 2025
Lucy Farr’s barndance

Lucy Farr’s barndance is a well-known session tune, and a great tune to learn. Though the melody is fairly straightforward, it is a lovely tune to play, and you can really concentrate on playing with a light touch, and the sort of rhythmic lift that a barndance should have.

This simplicity of the tune means that you will hear many small variations on the melodic theme from different musicians. The setting that I’m teaching as the ‘basic’ melody in the tutorial is a fairly standard one, but there is lots of room for variation.

In this tutorial, I’ll teach you how to play Lucy Farr’s barndance on the fiddle. This lovely Irish tune, is named after Lucy Farr, a fiddle player from East Galway, but whose player is most associated with the London Irish scene of the 1950s and 1960s.

This barndance has become associated with Lucy Farr’s name, though she would have called it The Kilnamona.

My online fiddle course — The COMPLETE IRISH FIDDLER – Essentials — is now launched.

FIND OUT MORE

Fiddle players, if you are looking to take your fiddle playing to the next level, come and see how I can help you transform your playing.

With modules on fiddle bowing technique and bowing patterns, ornamentation and where to use it, pulse and rhythm, the core Irish tune types, plus all my best exercises and practice tips. This course is guaranteed to take your fiddle playing further.

11 January 2025
The Home Ruler (hornpipe)

The Home Ruler is a lovely Irish hornpipe, well-known in the Irish tune tradition and played wherever Irish music is played.

It is a great hornpipe to learn if you are not familiar with hornpipes, as to my ears, it has a really ‘typical’ hornpipe feel – brilliant for learning to get the bounce and rhythm we associate with playing hornpipes.

The Home Ruler is in the key of D major.

The video below will give you an introdution to the tune. The full 30 minute tutorial will be part of my Complete Irish Fiddler course.

The full video covers the whole tune played slowly phrase by phrase so that you work it out by ear. Then discussion of hornpipe rhythm and bowing, as well as suggested bowed slurring patterns for the whole tune, and ornamentation includes cuts, triplets and casadhs.

I really hope that you enjoy learning this great hornpipe. It pairs nicely with other hornpipes – I especially like playing it with ‘The Lone Bush’, a great hornpipe by Ed Reavy, or The Bachelor hornpipe, which is in G major. You can also move from this hornpipe in to a reel in D major instead, which creates a nice change in tempo!

The Home Ruler was written by Frank McCollam (1910-1973), a fiddler (and piper) and composer of tunes from Ballycastle in County Antrim.

Frank was a contemporary of Sean Ryan and Cathal McConnell (of the Boys of the Lough), and was a well known musician in the area.

It is natural to imagine that the title – The Home Ruler – might refer to Irish politics. But apparently, that isn’t correct.

According to Dick Glasgow, who spoke to a good friend of Frank’s, Frank named the tune for his wife, Sally – apparently many of the men in the area used to refer to their wives as ‘The Home Ruler’. We hope affectionately!

31 October 2024
The Mouse in the Kitchen (jig)

This tutorial is for a fun Irish tune called The Mouse in the Kitchen, a lovely Irish jig. I’ve been teaching this jig to a few of my students recently, and they have been enjoying playing it.

This tutorial takes you through the melody slowly, and shows the melody played slowly with a close up of the fingerboard.

This jig tutorial for The Mouse in the Kitchen is intended for fiddle players who can already begin to work out tunes by ear when played slowly.

For the full 35 minute tutorial of this tune including all my ornamentation suggestions, chords, bowing patterns, left hand technique tips and more, please take a look at my Online Irish Fiddle Courses.

The Mouse in the Kitchen is a two part (double) jig written by Colin Farrell, and has been recorded by Flook and other bands. It’s a fun jig to play, and I think it really captures the sound of a mouse scurrying around a kitchen!

The Mouse in the Kitchen video lesson

It’s a really popular tune in sessions. It seems to me like it had a spike in popularity about 5 or 10 years ago, but is still well-known, and often played in sessions. As a jig in A major, I find The Mouse in the Kitchen is a particularly good tune to put at the end of a set of gigs in, for example, G or D, or related minor keys. The move to A major can give a set of tunes a real sense of ‘lift’, especially if it is one that lots of people will join in with!

I hope you enjoy learning this jig, The Mouse in the Kitchen!

And for more online fiddle lessons, take a look at Irish fiddle lessons online.

My online fiddle course — The COMPLETE IRISH FIDDLER – Essentials — is now launched.

FIND OUT MORE

Fiddle players, if you are looking to take your fiddle playing to the next level, come and see how I can help you transform your playing.

With modules on fiddle bowing technique and bowing patterns, ornamentation and where to use it, pulse and rhythm, the core Irish tune types, plus all my best exercises and practice tips. This course is guaranteed to take your fiddle playing further.

24 October 2024
The Earl’s Chair reel

In the video below, I will teach you the well-known Irish tune, The Earl’s Chair reel on the fiddle. This is a great tune to know for playing in Irish traditional sessions.

In this tutorial I will go through the melody for The Earl’s Chair reel slowly so that you can learn it by ear, as well as show you the whole tune played with a close-up of the fingerboard so that you can work out the fingering.

If you are interested in all the ornamentation and bowing patterns that I use to play this tune, these will all be included in the full video tutorial that will be part of my Complete Irish Fiddle course.

My online fiddle course — The COMPLETE IRISH FIDDLER – Essentials — is now launched.

FIND OUT MORE

Fiddle players, if you are looking to take your fiddle playing to the next level, come and see how I can help you transform your playing.

With modules on fiddle bowing technique and bowing patterns, ornamentation and where to use it, pulse and rhythm, the core Irish tune types, plus all my best exercises and practice tips. This course is guaranteed to take your fiddle playing further.

22 October 2024
Fiddle vs violin?

Fiddle vs violin — you might be wondering which you should learn.

Well, the good news is that the fiddle and the violin are actually the same exact instrument. The difference is the style of music played on them.

What this means is that if you make sure that you learn a good solid technique, it will serve you whether you want to play classical music, or jazz, or blues, or rock or Irish traditional music or bluegrass. As well as many other styles.

Generally when we talk about classical music we refer to a ‘violin’; and when we are talking about folk music we tend to call it a fiddle. But it is all to do with the style of music, rather than the instrument itself.

Both the fiddle and the violin are normally 4 string instruments that are generally played with a bow. However, it is possible to have 5 strings, or sometime more!

The tuning of the strings for playing most ‘violin’ music is for the strings to be tuned in 5ths — G, D, A, E. More information of violin and fiddle tuning on this page.

Fiddle vs violin – the instrument is the same!

However, for fiddle music — especially bluegrass, old time, Scandinavian folk and other styles — other tunings can be used. For example, in American Old Time music the fiddle is often tuned to A, E, A, E.

Get my my top tips for fiddlers

download the book

Fiddle and violin technique

If you are interested in learning to play either the violin or the fiddle, it is important to learn a good basic technique.

I recommend that you make sure you develop a good posture, and solid bowing technique and good left-hand position regardless of whether you want to learn to play classical violin or folk fiddle.

You can always adapt your technique as you decide what style of music you eventually want to play.

First you should learn a good playing technique, with a good tone and corrrect intonation (playing ‘in tune’). Once you have this, then you can start to specialise in the technique specific to either fiddle or violin playing (for example vibrato, ornametation, chords etc).

So, when it comes to the decision ‘fiddle vs violin’, you don’t really need to decide straight away!

If you are just starting out playing either the violin or fiddle, take a look at my page How to play the fiddle.

Fiddlers, want to take your fiddle playing to the next level?

The Complete Irish fiddler

17 October 2024
Irish music in pubs

When people think of Irish music, perhaps the first image that springs to mind is of informal gatherings of musicians playing Irish music in pubs. Formed in a loose circle in a corner, playing lively traditional Irish jigs and reels, chatting and drinking pints of guiness. In short, it’s a pub ‘session’.

But this idea of Irish music in pubs, the image of the pub session, is a relatively recent phase in Irish traditional music.

“It [the Irish music session in a pub] has become such an all pervasive form of traditional music performance that it has led many to believe that it has a much longer pedigree than is actually the case” — Fintan Vallely, The Companion to Irish Traditional Music

A history of the Irish pub music session

Traditionally, Irish dance music was generally played solo up until the late 19th Century. But two important developments led to the notion of the pub session that we have today — and neither of them happened in Ireland!

The first came from the United States. Although there is evidence of pub sessions in some regions of Ireland (e.g. Cork and Kerry) in the 1930s, ensemble playing as a form was influenced by the use of accompaniment for the early recordings of Irish music in America in the 1900s.

The second, important, influence is that of the growing culture of music in Irish immigrant communities in London in the 1940s.

The 20th century marked a significant era for Irish music in London, particularly within the vibrant pub culture that became a haven for musicians and patrons alike. As the Irish diaspora expanded due to economic hardship and political unrest in Ireland, London emerged as a focal point for Irish immigrants seeking community and cultural expression. While music in Ireland was often played in the home, in London pubs, serving as both social hubs and informal performance spaces, played a crucial role in the preservation and promotion of Irish musical traditions.

In the middle of the 20th century, Irish immigrants flocked to London, with many settling in areas like Kilburn, Camden, and Islington. These neighborhoods quickly transformed into cultural enclaves where the Irish community could maintain their traditions and share their music. Pubs became vital spaces for gathering, where people could enjoy a pint while listening to the sounds of home. The atmosphere was often informal, with musicians playing traditional tunes on instruments like the fiddle, bodhrán, and accordion, providing a backdrop to lively conversations and dances.

During the 1950s and 1960s, the popularity of Irish music in London’s pubs surged, influenced by both the traditional Irish music revival in Ireland and the growing recognition of Irish culture abroad. The arrival of folk music movements, alongside an increasing interest in world music, helped to elevate the status of Irish traditional music. Notable pubs, such as The Auld Shillelagh in Stoke Newington and The Ireland in Camden, became known for their regular sessions, drawing both Irish patrons and a diverse audience eager to experience the music.

An amazing sense of the Irish music played in London’s pubs in the 1950s can be heard on the triple album “It was mighty!” The Early Days of Irish Music in London. An album of “rare recordings giv[ing] us a very privileged view of a unique community who lived this music. Here are some great musicians, some great tunes, and great warmth and humanity. At the time, it was often said, that there was much better Irish music to be heard in London than in Ireland. An overstatement, of course, but there was certainly more of it to be heard in London than anywhere else in the world.”

These pub sessions were often characterized by spontaneous gatherings of musicians who would play together, sharing tunes and engaging in friendly competition. The concept of the “session” became integral to Irish music culture, allowing for a communal experience that fostered creativity and collaboration. And emigrants returning to Ireland brought the concept of the pub session back to the home land.

My online fiddle course — The COMPLETE IRISH FIDDLER – Essentials — is now launched.

FIND OUT MORE

Fiddle players, if you are looking to take your fiddle playing to the next level, come and see how I can help you transform your playing.

With modules on fiddle bowing technique and bowing patterns, ornamentation and where to use it, pulse and rhythm, the core Irish tune types, plus all my best exercises and practice tips. This course is guaranteed to take your fiddle playing further.

And for more online fiddle lessons, take a look at Irish fiddle lessons online.

15 October 2024
Irish fiddle

The History of the Irish Fiddle

An Irish fiddle

The fiddle and the violin, while sharing the same physical structure as a four-stringed instrument played with a bow, are often seen as distinct entities due to their differing musical styles. The term “violin” typically evokes classical music, while “fiddle” conjures images of traditional and folk music. The Irish fiddle, a vital component of Ireland’s rich musical heritage, represents a unique evolution of this instrument.

Get my my top tips for fiddlers

download the book

A history of the fiddle

The roots of the modern fiddle are intertwined with a long lineage of stringed instruments that date back thousands of years. Evidence suggests that bowed string instruments appeared in Europe as early as the 9th century. Notably, an excavated medieval bow in Dublin, dating to the 11th century, serves as one of the earliest examples of such instruments in the region. Furthermore, references to the “fiddle” can be traced back to the 7th century, suggesting its longstanding presence in Irish culture.

The evolution of the violin, particularly as we understand it today, took shape in 16th-century Italy. This era saw the emergence of a more standardized form of the instrument, which was further codified in 1556 with the publication of Philibert Jambe de Fer’s Académie musicale. The modern violin’s design and construction began to influence the instruments played in Ireland, primarily introduced by Scottish and English settlers. However, the Irish fiddle was shaped not only by these influences but also by indigenous traditions such as the harp, bagpipes, and vocal music.

By the 17th century, the fiddle became a popular instrument across the Irish countryside. An account from 1674 mentions fiddles being played in fields, with people dancing to the lively tunes. This illustrates the fiddle’s integral role in community gatherings and celebrations. The instrument was predominantly used for dancing, which is a characteristic shared across various fiddle traditions worldwide. The rhythmic quality of the music often catered to the social need for dance, leading to the development of lively, structured tunes that could easily be memorized and passed along through oral tradition.

A traditional Irish fiddle style

The Irish fiddle is marked by distinct regional styles, each contributing to the diverse tapestry of Irish traditional music. For instance, the Sliabh Luachra and Donegal fiddle traditions exhibit unique characteristics; others place particular emphasis on ornamentation—such as rolls and cuts—and a rhythmic quality known as “lilt.” This lilt, a combination of rhythmic bowing and slightly swung phrasing, creates a unique sound that is both danceable and expressive. The use of improvisation and variation, enhancing the clear structures of short, repeated tunes, further enriches the performance style.

Fiddlers, want to take your fiddle playing to the next level?

The Complete Irish fiddler

The practice of oral transmission is crucial in the preservation and evolution of Irish fiddle music. Players often learn by ear, passing tunes from one musician to another, which allows for regional variations to emerge while maintaining a core set of shared melodies. The interplay of different musical traditions, including those from Scotland, England, and other cultures, has led to a rich exchange of musical ideas, fostering a vibrant fiddle scene that remains dynamic today.

In conclusion, the Irish fiddle embodies a rich historical narrative shaped by centuries of cultural exchange, community practices, and regional characteristics. As a symbol of Ireland’s musical heritage, it continues to thrive, captivating audiences with its lively tunes and intricate playing styles. Whether referred to as a fiddle or a violin, the instrument remains a testament to the enduring power of music to unite communities across time and space.

9 October 2024
Irish session – The Red Monkey, Redland

I am leading a new Irish session at the Red Monkey on Chandos Road in Redland, Bristol on the first Sunday of every month, 2-4pm. Alongside Dominic Henderson on uilleann pipes and Marick Baxter on flute, plus guests.

This is a lovely community bar, with a fantastic atmosphere. The sessions here so far have been lively, and great fun, with some excellent guest musicians coming down.

The beer is good, the vibe is relaxed and the tunes are flowing. Come one come all for some mighty Irish music!

The next session will be Sunday 6th October at 2pm.

3 October 2024
Uilleann pipes and fiddle

Since I moved from London in 2018, I have been really keen to find some players of uilleann pipes in Bristol to play tunes with. But good pipers are really rare!

I have always loved the sound of uilleann pipes (traditional Irish bagpipes); and the combination of uilleann pipes and fiddle is one of my favourites in traditional Irish music.

When I was in London I had the pleasure of playing regularly in sessions with Dominic Henderson; so I was delighted in 2021 to learn that Dominic, one of my favourite players of uilleann pipes, was now in Bristol.

After leading some sessions together at The Star and the Shakespeare, we established a new session at The Red Monkey in Redland in Bristol, playing fiddle and uilleann pipes alongside Marick Baxter on flute and other special guests. A lively session, the tunes at The Red Monkey fairly flew along, often driven by Dom’s skillful pipe playing and booming laugh!

Rediscovering in this session our common love of lively but authentic traditional music played with lift and drive, we started rehearsing together when we could, and our duo Straight from the Jug was the result. We found our sound in a style of playing that is thoroughly rooted in the tradition, respectful of the tunes, with just a subtle injection of personality in the arrangements. Our repertoire includes up-tempo jigs, reels and polkas, but also waltzes, slow airs and traditional songs for two voices. You can see some videos of us playing together here and on my youtube page.

We are available for bookings, for any event where you want the authentic sound of Irish music on fiddle and uilleann pipes; in Bristol, the South West and beyond!

And if you are looking to book a solo uilleann piper for your event, I can’t recommend Dom highly enough – a skilled and sensitive piper and thoroughly nice chap to boot. You can get in touch with him directly here.

BOOK US

3 October 2024