Resources

Gaylí – A Pride Celebration with Shanvaghera

Irish music in London’s Irish Centre for a special Irish ceilí for London Pride! Shanvaghera are delighted to announce we will be playing traditional Irish music at the London Irish Centre, in Camden, for a special Irish ceilí – a Gaylí! – for London Pride 

Live Irish music in Bristol and Bath

We’re lucky at the moment to have loads of live Irish music in Bristol and Bath going on every week. There are more Irish sessions right now than I can remember since I came to Bristol 6 years ago. And it isn’t just the amount 

How hard is it to learn the fiddle?

The question I get asked often is: ‘Is it hard to learn the fiddle?’. There’s definitely a opinion that it is really hard to learn to play fiddle!

The assumption seems to be that it takes years to start playing tunes. Or even to make a nice clean sound.

But it doesn’t have to take long, or be particularly hard. But it does really help if you get a few things right from the start.

Is it hard to learn the fiddle? No!

Why do people think it is hard to learn the fiddle?

There are a few things that make learning the fiddle different from some other common instruments. The one that seems to get the most attention, concerns playing in tune. On the piano, when you push down a key, the note sounds in tune.

On a guitar, banjo, mandolin, ukelele and similar instruments there are frets that help you to get the notes in tune. If you place a finger anywhere between the frets, and pluck the string, the note will be in tune.

Frets may make it easier to play in tune on the guitar than on the fiddle

But on the fiddle fingerboard there are no frets, and no keys. So playing in tune relies on putting your fingers down in the right place on the finger board. Exactly the right place, ideally!

And this does seem to cause people a lot of concern. But in my considerable experience teaching beginners how to play fiddle it isn’t so hard to learn to play the fiddle in tune.

Learning to play in tune

Some beginners (and teachers) like to put stickers on the fingerboard in the spot where the fingers need to be placed. You can even buy sheets that stick on the fingerboard. These can help, I don’t tend to recommend them for 3 reasons.

  1. It means you have to look at your fingers the whole time, which isn’t a good habit to get in to for lots of reasons. Maybe I’ll do a whole post on this!
  2. The placement of your fingers to play in tune is far more precise than stickers can ever be.
  3. Most importantly, it distracts you from the most important thing – using your ears!

In my experience, about 99 out of 100 people can quite quickly learn to play a note and say whether it sounds ‘right’ — or in tune. The rest is about trial and error, constantly listening, constantly correcting your finger position.

Over time you’ll be able to bring your finger down in the right postition more consistently. But even very good fiddle players are constantly making tiny changes based on feedback from their ears. Even if they don’t know it!

What will really help with getting consistent tuning is to learn to keep you hand position approximately the same when playing with each of the different fingers, and on each of the strings. Have a look at my page on How to Play the Fiddle to learn a good starting point for how to hold the fiddle with the left hand.

And getting some advice from a teacher at an early stage is also a great idea to develop a nice relaxed left hand that will help you play in tune right from the start.

Is it hard to learn to make a nice sound on the fiddle?

The other thing that people worry will be hard when learning the fiddle, is making a nice sound. When you first pick up the fiddle, you may worry that it will sound awful. But again, I reckon I can get almost anyone making a nice sound in our first 1 hour lesson.

I’ll write another whole article on making a nice fiddle sound. But the basics are fairly simple:

  • to start with don’t press down with the bow at all – the weight of the bow will be enough (for now)
  • keep the bow moving smoothly and fairly quickly
  • Keep the bow parallel with the bridge, and halfway between the bridge and the end of the fingerboard

So what is hard about learning to play fiddle?

I spend a lot of time with my students talking about bowing technique. So much of your playing quality comes from the bow. The tone, rhythm, phrasing, lilt, pulse are all affected by the bowing technique. So it really pays off to invest time in your practice to thinking just about bowing.

I sometimes say to students: “You can learn to play fiddle tunes in the first year – the bowing is the lifetime project”.

Starting out with a good bow hold is an important place to begin. You want your right hand to be really nice a relaxed. But still have good control of the bow, its movements and its pressure on the string.

good fiddle bow hold
My fiddle bow hold

Think about building some simple fiddle bowing exercises into your practice.

Practising with your ears

It won’t take you too long to get some basic technique, get playing roughly in tune, and get a few beginner fiddle tunes under your belt.

Then the real work begins.

Learning how to play the fiddle isn’t hard. But learning how to play really well, that’s where the work is. But also enormous satisfaction.

And a lot of it starts, I think, with listening. That link will take you to a very small sample of a Irish fiddle players I recommend listening to. It is not comprehensive!

Listen to your favourite players; try to work out what they are doing that you like.

My advice would be: at the beginning, forget about 2 things – ornamentation and speed. You can add the ornaments later, you can build the speed as you progress. Slow and good is better than fast and bad.

Focus instead on what players that you like are doing with emphasis, pulse, phrasing and so on. Can you hear how they are using slurs between notes to create certain patterns?

This kind of listening isn’t casual, it is focussed. And it’s incredibly valuable.

Is it hard to learn the fiddle – no!

The basics of learning to play the fiddle are not necessarily hard. Some help from a good teacher will definitely set you on your way. But you can also teach yourself.

Focus on the fundamental stuff at the beginning:

  • a gentle, nice tone
  • good left hand hand position
  • a relaxed bow hold
  • smooth, light bowing
  • listening to your tuning

Then you will be well on your way!

Josefin’s Waltz / Josephine’s Waltz

Here’s a beautiful waltz written by Swedish guitarist Roger Tallroth. Normally it is known as Josephine’s Waltz here in England; or I’ve seen it called Josefin’s Waltz in many places. But it’s name as given by Roger himself is “Johsefins dopvals”. It’s a lovely but 

Announcing… Straight from the Jug!

Straight from the Jug – proper traditional Irish music and song on uilleann pipes, fiddle, and voices played with energy and drive! Fiddle and uilleann pipes has for a long time been one of my favourite duo combinations in Irish traditional music. They just seem 

Sí Bheag, Sí Mhór on fiddle and uillann pipes

Si Bheag, Si Mhor sounds fantastic on fiddle and uilleann pipes together.

This beautiful tune is probably Turlough O’ Carolan’s most well known composition.

The title, ‘Si Bheag, Si Mhor’ translates as ‘the little fairy mound, and the big fairy mound’.

Recently I had a chance to do some recording with good friend and mighty uilleann pipes player, Dominic Henderson. So we took the opportunity to record Si Bheag, Si Mhor on fiddle and uilleann pipes.

I’ll be posting videos of some of the other tune sets we recorded soon.

Fiddle players, if you would like to take your fiddle playing to the next level, take a look at my online fiddle courses, including my free Irish fiddle course.

Si Bheag, Si Mhor was not written for fiddle and uillann pipes. In fact, it was written for the harp.

Turlough O’ Carolan (also, Turloch Carolan and similar) was a harp player and composer who lived at the end of the 17th Century and beginning of the 18th Century. He was blinded by smallpox at the age of eighteen. At this point, he learned to play the harp, as was common at the time.

He was an itinerant harpist, travelling, and ‘treated with respect and hospitality in many of the big houses’ around Ireland. He was, according to Fintan Vallely’s Companion to Irish Traditional Music ‘an adequate, but not remarkable, harper, having come to the instrument at too late an age, but he quickly established a reputation as a composer. This gave him a status superior to his fellow harpers’.

Sí Bheag, Sí Mhór was written not fiddle and uillann pipes but on harp,

The Swaggering jig

This slip jig, called The Swaggering Jig, (also called ‘Give us a drink of water’) is often one of the first Irish slipjigs that I teach students. I have heard it said that the slipjig and the hopjig are the ‘true’ indigenous musical forms of 

Cooley’s reel

Cooley’s reel is a very well-known Irish reel associated with Joe Cooley, the great accordion player from Co. Galway. Fiddle players, if you would like to take your fiddle playing to the next level, take a look at my online fiddle courses, including my free 

The Trip to Athlone (jig)

In this Irish fiddle tutorial we are going to learn a popular Irish session jig The Trip to Athlone, a great Irish session tune.

The full tutorial on this tune will be part of my Complete Irish Fiddler course (coming soon!). Find out more at Irish Fiddle Courses.

The Trip to Athlone jig, which also goes by the name of The Newport Lass (or Gearrchaile Bhaile Uí bhFiacháin in Irish), was first recorded in 1937, but is probably older than that. Athlone is a town on the border of County Roscommon and County Westmeath. It is named in Irish Baile Átha Luain meaning ‘the Town of the ford of Luain’, the ford in this case being of the River Shannon, on which Athlone sits.

Athlone, Ireland

Newport, where the lass taking the trip to Athlone presumably came from, is on the West coast of Ireland, in County Mayo.

There are lots of tunes in the Irish traditional called “The Trip to….”. The Trip to Dingle, The Trip to Kinvara, The Trip to Sligo, The Trip to Dublin, Paddy’s Trip to Scotland, The Trip to Nenagh — that’s just off the top of head, I’m sure there are hundreds of otheres!

Which makes sense, since walking or riding the 80 miles between Newport and Athlone would have taken some time – plenty of time indeed to write an excellent little jig.

In this tutorial we are just learning the melody, but there is lots more that we can do with this fun Irish jig. As part of my Complete Irish Fiddler course, I also discuss

  • how we can use ornaments, such as crans and bowed triplets, in this tune
  • using chords and drones
  • the interesting harmonic progression of the first phrase
  • the possibilities for phrasing that distinctive second phrase
  • bowing patterns and emphasis
  • melodic variations

The Trip to Athlone is a popular tune in sessions, so it’s a good jig to know. I hope you enjoy learning it.

Farewell to Whalley Range

Farewell to Whalley Range is a popular slipjig by Michael McGoldrick, in F# minor. This is a slightly unusual key for fiddle tunes, so may take a little getting used to. But don’t worry – I’ll take you through the whole tune on the fiddle,