Donegal fiddle tradition

The Donegal fiddle tradition is the way of playing the fiddle that is traditional in County Donegal, Ireland. It is one of the distinct fiddle traditions within Irish traditional music.

The distinctness of the Donegal tradition developed due to the close relations between Donegal and Scotland, and the Donegal repertoire and style has influences from Scottish fiddle music. For example, in addition to the standard tune types such as Jigs and Reels, the Donegal tradition also has Highlands (influenced by the Scottish Strathspey). The distinctiveness of the Donegal tradition led to some conflict between Donegal players and representatives of the mainstream tradition when Irish traditional music was organised in the 1960s.

The tradition has several distinguishing traits compared to other fiddle traditions such as the Sliabh Luachra style of southern ireland, most of which involves styles of bowing and the ornamentation of the music, and rhythm. Due to the frequency of double stops and the strong bowing it is often compared to the Cape Breton tradition. Another characteristic of the style is the rapid pace at which it tends to proceed. Modern players, such as the fiddle group Altan, continue to be popular due to a variety of reasons.

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. 1160). The modern violin was ubiquitous in Ireland by the early 1700s. 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". Donegal fiddlers participated in the development of the Irish music tradition in the 18th century during which jigs and slipjigs and later reels and hornpipes became the dominant musical forms. However, Donegal musicians, many of them being fishermen, also frequently travelled to Scotland, where they acquired tune types from the Scottish repertoire such as the Strathspey which was integrated into the Donegal tradition as "Highland" tunes. The Donegal tradition derives much of its unique character from the synthesis of Irish and Scottish stylistic features and repertoires. Aoidh notes however that while different types of art music were commonly played among the upper classes of Scottish society in the 18th century, the Donegal tradition drew exclusively from the popular types of Scottish music. Like some Scottish fiddlers (who, like Donegal fiddlers, tend to use a short bow and play in a straight-ahead fashion), some Donegal fiddlers worked at imitating the sound of the bagpipes. Workers from Donegal would bring their music to Scotland and also bring back Scottish tunes with them such music of J. Scott Skinner and Mackenzie Murdoch.Lilting, unaccompanied singing of wordless tunes, was also an important part of the Donegal musical tradition often performed by women in social settings. Describing the musical life of Arranmore Island in the late 19th century singer Róise Rua Nic Gríanna describes the most popular dances: "The Sets, the Lancers, the Maggie Pickie [i.e., Maggie Pickins] the Donkey, the Mazurka and the Barn dances". 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. These virtuosos played unaccompanied listening pieces in addition to the more common dance music.

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