Music of India 4 Tones

Swaras or Tones

There are seven basic Swaras or tones used in Indian Music. These are:

Sa=Shadja 

Ri (or Re) =Rishabha 

Ga=Gandhara 

Ma=Madhyama 

Pa=Panchama 

Dha=Dhaivata 

Ni=Nishadha 

Added to this are five more 4 flattened tones and one sharpened tone giving us the basic series of the following tones. 

Sari - a flattened Ri, Riga - a flattened Ga, GaMa - a sharpened Ma, Padha -  a flattened Dha, Dhani - a flattened Ni

The sharpened Ma is usually written uppercase and the 'natural' Ma lower case. This gives us the shorthand S,r,R,g,G,m,M,P,d,D,n,N. We could take this scale and superimpose it on the traditional Western system, but doing this we have to keep in mind that the Indian system is based on pure tones and not an equal tempered system.We also need to note that Indian Music is based around a three octave system the lower octave denoted with ' to the left of a tone and the upper octave with ' to the right.

Relating these tones to the western system is a good way to get an initial idea of the system thus:

Do - Sa, Re - Ri, Mi- Ga, Fa- Ma, So - Pa, La - Dha, Ti - N,i Do - Sa'

Here however the similarity abruptly ends for the Carnatic system. The Carnatic system divides the octave up into sixteen tones not twelve. Also the Carnatic system generally uses a numbering method thus:

SR 1R 2 , G 1R 3, G 2G 3M 1M 2PD 1D 2, N 1D 3, N 2N 3

On first glance this appears to be a twelve tone system with tones such as R2 and G1 being enharmonic equivalents, tonally they do sound the same but their function is distinctly different. Also we can see here that tones such as Dha now have three variations. This can perhaps be likend to the western system thus: D1 = Ab, D2 =A, D3=A#, this would then make N1 = A, N2 = A# and N3 = B. This shows that the two systems do not fit together perfectly but it is possible to create a link between them, to aid in understanding the Indian tonal system.

However what this does not take into consideration is the micro-tones used in Indian Music, For example R1 may for some Raga or scales sit closer to S, yet in another Raga sit closer to G1.
An excellent collection of examples about this are available on http://www.likhati.com A Blog written by a woman called Uttara. The Page titled Introducing Yourself to Indian Classical Music 11-Demonstrating the Srutis (Microtones) in Indian Classical Music containing an excellent set of YouTube clips covering these micro-tonal variations.







Reference:
Courtney David, 'Overview of Indian Classical Music' chandrakantha 2012 (article) [online] available at:<http://chandrakantha.com/articles/indian_music/> (accessed 11 October 2013)
Uttara 'Introduction to Indian Classical Music' Likhati 2010 (blog) [online]Available at:<http://www.likhati.com/introduction-to-indian-classical-music/> (accessed 11 October 2013)
Uttara 'Introducing Yourself to Indian Classical Music 11-Demonstrating the Srutis (Microtones) in Indian Classical Music' Likhati 2010 (blog) [online]Available at:<http://www.likhati.com/2010/04/18/introducing-yourself-to-indian-classical-music-11-demonstrating-the-srutis-microtones-in-indian-classical-music/> (accessed 11 October 2013)
 Krsna Dhenu, 'KKSongs Music Center' Krsna Kirtana Songs 2012 (website)[online] Avalilable at:<http://kksongs.org/music.html>(accessed 11 October 2013)
Szabi Tóth, 'Indian Classical Music' india.tilos.hu 2011(website)[online]Available at:<http://india.tilos.hu/english_raga.html>(accessed 11October 2013)

Music of India 3 The Sound

Hindustani vs. Carnatic

As the form, structure,texture and instrumentation are so interwoven in Indian music it is not as easy as say, Irish music to create separate sections for instrumentation or styles, Nor should it be. Indian music perhaps more so than many other genres is a sum of its parts. Also the importance applied to Indian music has to be taken into account,this is more of a sacred form of music instead of a secular type. As this music is so deeply rooted in the belief system of the audience and performers, a certain amount of respect is necessary, not only in the study but also in how this information is presented.

In the following video the Arabic flavour of Hindustani music is very apparent:

Example of Hindustani Music Bada Khayal in Raga Yaman

This next video of Carnatic music allowing a comparison with the above:

Sudha Ragunathan: Carnatic (South Indian) Vocal Recital

Clearly there are similarities in both, melody ,drone and rhythmic elements are all present, the differences are apparent in the notes used however.In later posts these differences will be examined. Differences between North and south instrumentation, and the similarities will be observed as will the differences in structure and in the spiritual significance.

Reference:

'Example of Hindustani Music Bada Khayal in Raga Yaman' Shankar Mahadevan Academy uploaded 17 Dec 2011 (video)[online] available at:<http://www.youtube.com/watch?v=pb5iwSi5OIo> (accessed 11 October 2013)

'Sudha Ragunathan: Carnatic (South Indian) Vocal Recital' leopoldbloom uploaded 20 Oct 2006 (video) [online] Available at:<https://www.youtube.com/watch?v=hh3Hpy699LY> (accessed 11 October 2013)

Music of India 2 Geography

North or South

The music of India can be split into two main distinct styles. Northern or Hindustani and Southern or Carnatic.

Both of these styles originate with the Veda,sacred texts from between 1500 to 500 BCE. In Hindu tradition, the creation of Vedas is credited to Brahma. The Veda are classed as some of the oldest sacred texts. Originaly the Veda were Śruti(what is heard) as opposed to smrti(what is remembered), possibly making the Veda one of the oldest oral traditions. Interestingly Śruti is also a term used to describe the smallest interval between two notes that can be distinguished, also a Śruti-box is an instrument used to create a tonic drone in Indian Music.

Around the 13th Century Indian music began to split into the two main styles seen today. In the North,  Islamic rule of the area during the  Delhi Sultanate then the Mughal Empire created an Indo-Persian culture covering much of the North of India and also Pakistan, Bangladesh, Nepal and Afghanistan. This created what is now know as Hindustani classical music.

Meanwhile in the South the style developed into Carnatic music with more emphasis on vocalisation.

Both styles are notably different, for example you can here the Persian influence in Hindustani music with its Arabic feel. Yet both still retain many of the same elements from their origin as a more singular style.

Both styles use three main elements or layers:

Raga- The melodic element

Śur or Śruti- An equivalent in western music would be Key, here it refers to the Drone element

Tala or Taal- The Rhythmic element

This appears to make both forms of Indian music simplistic in texture and instrumentation.On some levels this is true each instrument/performer has a very specific role to play governed by the musical rules associated to it. Yet as will be come apparent Indian Music is anything,but simplistic.

reference:

Courtney David, 'Overview of Indian Classical Music' chandrakantha 2012 (article) [online] available at:<http://chandrakantha.com/articles/indian_music/> (accessed 11 October 2013)

Uttara 'Introduction to Indian Classical Music' Likhati 2010 (blog) [online]Available at:<http://www.likhati.com/introduction-to-indian-classical-music/> (accessed 11 October 2013)

'Indian Performing Arts' Centre for Cultural Resources and Training-Ministry of Culture, 
Government of India (no Date) (article) [online] Available at:< http://ccrtindia.gov.in/performingarts.htm>(accessed 11 October 2013)

'Indian Music' HinduOnline 2010(article) (magazine) [online]Available at:<http://hinduonline.co/HinduCulture/IndianMusic.html>(accessed 11 October 2013)

Dale Stephen F, 'INDIA xvi. INDO-PERSIAN HISTORIOGRAPHY'  ENCYCLOPÆDIA IRANICA Originally Published: December 15, 2004 Last Updated: March 27, 2012(article) [online]Availabel at:< http://www.iranicaonline.org/articles/india-xvi-indo-persian-historiography>(accessed 11 October 2013)

 Krsna Dhenu, 'KKSongs Music Center' Krsna Kirtana Songs 2012 (website)[online] Avalilable at:<http://kksongs.org/music.html>(accessed 11 October 2013)

Szabi Tóth, 'Indian Classical Music' india.tilos.hu 2011(website)[online]Available at:< http://india.tilos.hu/english_alap.html>(accessed 11October 2013)

Music of India

Music of India.

As an introduction to the music of India, I am watching 3 lectures from Dr John Prescott. These lectures are part of Missouri State Universities courses available both on iTunes University and YouTube. The course is MUS 239: Introduction to World Music and the lectures are 24:  Music of India I 25: Music of India II and 26 Music of India III. Each are approximately 50 minutes long.

Lecture 24: Music of India I

Lecture 25: Music of India II

Lecture 26: Music of India III

Reference:

Prescott John, 'Introduction to World Music: Lecture 24 - Music of India I' (2013) Missouri State University (lecture) (video) [online] Available at:<https://www.youtube.com/watch?v=47ZzZHHv-yM> (accessed 10 October 2013)

Prescott John, 'Introduction to World Music: Lecture 25 - Music of India II' (2013) Missouri State University (lecture) (video) [online] Available at:<https://www.youtube.com/watch?v=tn8wTW03YnY> (accessed 10 October 2013)
Prescott John, 'Introduction to World Music: Lecture 26 - Music of India III/Review' (2013) Missouri State University (lecture) (video) [online] Available at:<https://www.youtube.com/watch?v=5Y9Pb7Fqht4> (accessed 10 October 2013)

Traditional Irish Folk Music 13 Song Styles 4 Scales

Scales

As a generalization the majority of Irish folk Music is played in the keys of D Major  and G Major. The Session Website(1)has quite a long discussion as to why this is yet no definite answer appears.

 The scales or modes most common in Irish Folk Music are

Ionian or Major

Dorian ( a minor mode)

Mixolydian  (a major mode)

Aeolian or natural minor 

Taking the two keys into account we get the following

Scales based on Dmajor:
-----------------------
D major/D Ionian:  D  E  F#  G  A  B  C#  d
E Dorian:                     E  F#  G  A  B  C#  d  e
A Mixolydian:                              A  B  C#  d  e  f#  g  a
B Natural minor/Aeolian:                B  C#  d  e  f#  g  a  b

Scales based on Gmajor:
-----------------------
G major/G Ionian:  G  A  B  C  D  E  F#  g
A Dorian:                    A  B  C  D  E  F#  g  a
D Mixolydian:                            D  E  F#  g  a  b  c  d
E Natural minor/Aeolian:              E  F#  g  a  b  c  d  e

So we have two keys with predominately the same notes. Perhaps the reason those keys are    the most common, is simply that they have the easiest notes to play on the instrument or the      easiest fingering.

Quite often a 'gapped' scale is used where the third or sixth is omitted, the seventh is also          sometimes subject to this omission. Quite often this makes the tune sound archaic.

The third and Sixth  are also occasionally 'half sharpened' raised a quarter tone in pitch. 

Reference:

'Why are most irish tunes in D or G ?' (forum)[online] available at:<http://thesession.org/discussions/25437> (accessed 5 October 2013)

Speek Han, '"Chord Scales" and accompanying Irish dance music.' 1996 (article) [online] available at: <http://hspeek.home.xs4all.nl/dadgad/theory.html> (accessed 5 October 2013)

Traditional Irish Folk Music 12 Song Styles 3 Metre, Tempo and Structure

Metre and Tempo

Here we have a breakdown of common metre and tempo in traditional Irish folk Music.

Jig                   6/8 time          80 to 126 bpm (slow jig to double jig 12/8 time)

Reel                4/4 time        112 to 120 bpm

Hornpipe         4/4 time         54 to 84 bpm for slow, up to 92 bpm for standard

Polka              2/4 time        132 to 138 bpm

Slip-jig            9/8 time        144 bpm

Slide              12/8 time       132 to 138 bpm

Waltz              3/4 time          96 to 160 bpm  airs are at the lower end of the tempo

Mazurka         4/4 time          63 bpm

Highlands        4/4 time         88 bpm

 These are generalizations and tempo can vary from performance to performance. It is not uncommon for musicians to speed up or slow down a tempo dependent on dancers ability so for example a waltz may be played 20 bpm slower for a less sprightly audience.


Structure
Traditional Irish folk music on the whole has a very simple structure, though there are always exceptions.

1. Generally a tune is split in to two parts A and B, occasionally a third part C is present.
2. Each part is played twice so AABB or AABBCC
3. Each part is generally eight bars long so an AABB tune totals 32 bars
4. Each eight bar section is split into 4 two bar 'phrases'

So learning an AABB tune can be broken down into a total of eight two bar 'phrases'.Making them easy to learn by learning each 'phrase' of section A and adding it to the previous 'phrase'. Then doing the same with section B, and C if present.

Reference:
 Potterton Andrew, 'Copy of Irish Folk Music' 17 July 2013 (Presentation) [online] available at <http://prezi.com/voxb28vnlc5u/copy-of-irish-folk-music/?utm_campaign=share&utm_medium=copy> (accessed 5 October 2013)

Traditional Irish Folk Music 11 Song Styles 2

Instrumental or dancing styles.
Much of traditional Irish folk music is based around dancing sometimes with vocals but quite often just instrumental. 

After looking at many sources of the styles I came to the conclusion that the following extract best explained the different styles and also gave excellent examples. (Haigh) 

TUNE TYPES IN IRISH MUSIC

The repertoire of Irish traditional music is huge. In his book Pete Cooper suggests that there are around 6000 tunes currently in circulation. They fall into a number of distinct categories, based on their rhythm and structure:

Reels are fast tunes in 4/4 time (or more accurately, in cut time). Reels are the staple diet of Irish traditional sessions the world over, usually outnumbering all other tune types by a large margin. They were imported from Scotland in the late 18th C, but have now developed their own style in Ireland, and make up a large part of the repertoire. They are made up mostly of  eighth notes (quavers) which may be played straight, or given a swing a bit like hornpipes.The pulse of a reel can either be on the first of each four quavers (the on beat), or on the third (the off beat or backbeat) The latter approach, similar to the American Georgia shuffle, is frequently used by Kevin Burke. Patterns in which the bow rocks across two strings are common in reels. Most reels have repeated eight-bar sections, making 32 bars (eg. the Star of Munster, the Merry Blacksmith,) Less common are 3-part (48 bar) reels such as the Flogging Reel or the Moving Cloud. Single reels are those in which the 8-bar sections are not repeated. Examples of two-part single reels include The Wind that Shakes the Barley, the Monaghan Twig, and Drowsy Maggie. Single reels can also be three-part (The Flogging Reel, the Longford Spinster, Boys of Malin); four part; (Lord MacDonald’s), or five-part (Bucks of Oranmore).

Reels are usually fast and flashy, showing the fiddler's technique to good effect, though Martin Hayes is known for playing reels in a very slow and expressive fashion.

Hornpipes were introduced from England. They are similar to reels, but with a bouncy, "humpty dumpty" rhythm created by lengthening the first of each pair of quavers, and shortening the second.. They tend to be played slower than reels, particularly when played for dancing. A hornpipe can be reliably identified if the 8 bar line ends with three even crotchets, as for example in the sailor’s hornpipe. Hornpipes tend to be more melodic than reels, and with more harmonic interest, and frequent triplets are a common feature. Arpeggiated phrases, chromatic notes and implied non diatonic chords are all common in hornpipes. Examples include Harvest Home, Boys of Bluehill, Stack of Barley and Off to California. Listen to Frankie Gavin’s take on The Wonder Hornpipe, which more than lives up to its name.

Polkas are played faster than reels, but feel steadier as they have far fewer runs of quavers. They are in 2/4 time- ie two crotchets to the bar. They are used for a couple dance which originated, probably in Poland, in the 1830's. The polka was soon a popular throughout the ballrooms of Europe, before filtering down to the dances of ordinary people. Polkas are often very simple melodies, and a particularly prevalent in the Sliabh Luachra rogion of Cork, Kerry and Limerick. Among the leading exponents were Julia Clifford and Denis Murphy, a brother and sister from county Kerry, and more recently the fiddler Matt Cranitch from the band Sliabh Notes.

Examples of well known polkas include Maggie in the Wood, The £42 cheque, Farewell to Whiskey, and Denis Murphy's Polka. Britches full of Stitches is a particulalry easy tune to learn, as it is based on a pentatonic (five note) scale.

Jigs, among the oldest form of Irish dance tune,, have a bouncy 6/8 rhythm, with a stress at the beginning of each three notes (rashers and sausages) Examples would be Haste to the Wedding or Lannigan's Ball. You may sometimes hear the term double jig; this is in fact the normal form. The term “double” in reference to jigs refers to the “double battering” step used by dancers.

Jigs are occasionally three-part (such as Dingle Regatta) or four-part (The Lark), but like most Irish tunes are usually 2-part.A single jig  has a simpler rhythm (boil the eggs and cook the bacon), and is sometimes notated in 12/8 time. The best known examples include Smash the Windows, Hag at the Churn and Off She Goes.

Slip jigs. Far less common than ordinary jigs, these have a similar feel but are in 9/8 (cooking my rashers and sausages). The slip jig is used for a graceful soft shoe stepdance, usually danced by women only, and also for the ceili dance Strip the Willow. Among the best known are The Butterfly (a composition by Dublin fiddler Tommy Potts), Rocky Road to Dublin, Drops of Brandy, the Kid on the Mountain and the Foxhunter’s Jig.

Slides; similar to jigs again, but in a brisk 12/8 time; found only in the south west of Ireland. They can be distinguished from jigs by the long melodic phrases which would not fit into a bar of 6/8 (cooking my taters and rashers and sausages) Examples include Star above the Garter, Hare in the Corn, and Kilfenora Jig.

Mazurkas. Like Polkas, Mazurkas originated as couple dances in Poland (a Mazur being an inhabitant of the province of Mazovia). They are in 3/4 time, but unlike the waltz, the accent is usually on the second beat of the bar. Examples include Johnny Doherty's, Charlie Lennon's, and Sonny's Mazurka. They are played somewhat faster then waltzes. They have become particulalry associated with Donegal music.

Slow airs, derived in part from the sean-nos (old style) gaelic singing, are only occasionally played at sessions, and make more demands on tone and intonation than do the dance tunes. They are played rubato, and with a great deal of expression. Examples of well-known slow airs include An Chúilfhionn (The Coolin), Bean Dubh a’Gleanna (Dark women of the Glen), Sliabh Geal Gcua (Fare you well), and The Wounded Hussar. Slow airs are an important feature of fiddle contests at the fleadh; in the adult category the playing of one is compulsory. It is said that to perform one properly, you need to be familiar with the gaelic lyrics, otherwise the phrasing will make no sense.

 [Used by kind permission of Chris Haigh from his website http://www.fiddlingaround.co.uk/ireland/]

A Little bit about Chris Haigh

Chris is a professional fiddle player based in London, both as a session musician and live player. He has worked with artists such as: Alison Moyet, Michael Ball, The Quireboys, Steps, Morcheeba, All About Eve, Rolf Harris, David Soul and James Galway. As well as TV shows such as 'Billy Connolly-Journey to the edge of the World','Wild Shepherdess' with Kate Humble, and on the 2013 Hairy Bikers series.

Chris also writes books and articles on fiddle playing including: 
Fiddling Around the World
The Fiddle Handbook
Any Fool Can Write Fiddle Tunes!
Exploring Jazz Violin
Discovering Rock Violin
Hungarian Fiddle Tunes
To give an idea of the versitility and knowledge Chris has the following is a list of the styles he covers his books and on his web site http://www.fiddlingaround.co.uk/ :

BRITAIN AND IRELAND

  IRELAND  

  ENGLAND  

  SCOTLAND  

  WALES

   

EUROPE

  SCANDINAVIA 

  EASTERN EUROPE/GYPSY FIDDLE

  KLEZMER

  BALTIC

  POLAND

  BALKAN

  HUNGARY

  MIDDLE EAST AND MEDITERRANEAN

     

AMERICA

  OLD TIME 

  CAJUN 

  BLUEGRASS 

  WESTERN SWING 

  TEXAS SWING 

  CANADIAN  

        BLUES 

  MEXICAN 

  CUBAN

   

OTHERS

  INDIAN 

  CHINESE 

  JAZZ 

  ROCK

For each style Chris goes into detail about the history and techniques and his web site is an invaluable resource for anyone interested in none classical violin.

   
Reference:
Haigh Chris,  'Irish Fiddle' fiddlingaround (no date) (article) [online]Available at:<http://www.fiddlingaround.co.uk/ireland/> (accessed 5 October 2013)

Traditional Irish Folk Music 10 Song Styles 1

Song Styles
As we have already seen over the last few posts, traditional Irish folk music adapted and absorbed instruments from many places, this is also true of its song styles.

Vocal styles.
Two of the most distinct vocal styles of traditional Irish folk music are:
Sean-nós 
roughly translated as in the old style, sean-nós is usually sung solo or occasionally as a duet. A very ornamental style of singing, generally sung near the top of the singers range though not always. Sean-nós has a very otherworldly quality to it and many people mistake it for Arabic or Indian. 


Here is an excellent example of Sean-nós where the similarity to Arabic singing can be heard.

Eleanór a Rún sung by Róisín El Safty

Here we have Asalah Nasri singing a classical Arabic song, where the similarities are very apparent.

Asalah Nasri-Classical Arabic Song

The other distinct vocal style is the Caoineadh (translated as weeping or crying). Not unlike a Lament. Quite often the material is about the longing to return to Ireland after being displaced, or regarding the 'troubles' of the very turbulent history of Northern Ireland and the British military presence.

Here is an example of Caoineadh in the folk song Four Green Fields by Tommy Makem. A story of an old woman, who strangers try to take  four fields from and her sons die defending. It is believed that the four fields are in fact provinces of Ireland.The words spoken by the woman in Makem's song are taken directly from "Cathleen ni Houlihan", an early play by W. B. Yeats.

Four Green Fields-Makem & Clancy 9/10

Reference:
McCann Anthony, 'Sean-nos singing - A Bluffers Guide' The Living Tradition Issue 24 June/July '98 (Article) [online] available at:<http://www.folkmusic.net/htmfiles/inart378.htm> (accessed 5 October 2013)
Sean Nós Singing, clarebannerman Uploaded  27 Jul 2008 (video) [online] available at:<https://www.youtube.com/watch?v=N8paj2hQHIo> (accessed 5 October 2013)
Classical Arabic Song ( TV Show ) - Asalah Nasri,qwert123331 Uploaded  19 Jan 2011 (video) [online] Available at: <https://www.youtube.com/watch?v=ScQZuxkxIkA> (accessed 5 October 2013)
Whittle Peter L, 'FOUR GREEN FIELDS' polemic and paradox (blog) [online available at: < http://www.polemicandparadox.com/2012/03/four-green-fields.html> (accessed 5 October 2013)
Four Green Fields-Makem & Clancy 9/10 theconman18 uploaded 9 Apr 2008 (video) [online] available at:< https://www.youtube.com/watch?v=-d30rpdvtiA> (accessed 5 October 2013)

Traditional Irish Folk Music 9 Instrumentation 5 Other Instruments.

Other Instruments.
Over the years Traditional Irish folk music, has had a synergy with the diaspora if the Irish themselves. Influenced and influencing the instrumentation and music played. This has led to many other instruments finding their way into the style.

These instruments often  include;
The guitar and piano as accompaniment instruments.
A range of flutes, commonly wooden, but even PVC ones can be seen today.
The Banjo, Irish Bouzouki and Mandolin. The Mandolin having the equivalent range and almost identical left hand fingering to the flute, making it  easy to play flute tunes on.
The Harmonica
The Accordion and Concertina. Many Irish musicians prefer the Anglo Concertina which like a harmonica sounds a different note when the air draws or blows across the reeds.

So it becomes obvious, that Traditional Irish folk music embraced instruments form where ever the Irish people found themselves. Bouzouki from Greece, Mandolins from Italy, Banjos from America(derived from African instruments) and Harmonicas ( originally from Austria) have all found their way into Irish folk music. Likewise Irish fiddle playing can be heard in Bluegrass, and most American folk music.

Perhaps this it because Irish folk music is exactly that 'folk music' played by small groups of musicians in a relaxed friendly atmosphere. Sat around a table in an inn or public house the musicians played for enjoyment and entertainments opposed to the more grandiose concert hall music of classical exponents. Also the subject matter of story-telling bardic tradition lends itself to the audience sing a long not dissimilar to Afro-American work songs or English piano sing a longs. Perhaps even early English Music Hall and early American Vaudeville has some roots in this and may even have helped in the continuation and adaptation of Traditional Irish Folk music.

Reference:
Peters Damien, 'Instruments of Irish Traditional Music' Irish American Mom 2013. (article) [online] Available at:<http://www.irishamericanmom.com/2013/09/03/instruments-of-irish-traditional-music/> (accessed 5 October 2013)

Traditional Irish Folk Music 8 Instrumentation 4 The Fiddle

The Fiddle.
The Fiddle used in traditional Irish Folk music is simply a Violin, though it does appear that Irish Fiddlers like many folk fiddlers prefer a flat backed instrument instead of the classical arched back style.The only other differences between an instrument used for folk playing are, shaving the bridge down to allow easier playing of double stops and also fiddle players tend to favor fine tuners on all four strings in stead of just the E string as preferred by classical players.

Parts of a violin/fiddle

[http://www.private-violin-lessons.co.uk/images/Violin-large.jpeg]

The fiddle is presumed to be a descendant of the Byzantine lyra.

An interesting set of three articles by Caoimhín Mac Aoidh(1) about Irish fiddling,originally published in Vol. 1 of An Fhidil Ghaelach (now out of print).

Part three covers the different regional styles including:

North Donegal / West Tyrone / Northwest Tyrone, East Derry / Antrim/ Southwest Tyrone, South Donegal / Fermanagh / North Leitrim, Sligo, East Galway, Clare and Sliabh Luachra

Tuned the same as a classical violin GDAE. Though Cross tuning appears very common, including lowering all the strings by a semitone to play with the uilleann  Pipes, also tunings such as AEAE which allowed the fiddler to play a pipe like drone alongside the melody[ http://www.fiddlingaround.co.uk/ireland/]. Irish fiddle players  make less use of vibrato than classical player.

Upon listening to Irish fiddle tunes, it appears to me that fiddlers play with a tighter bow than classical players, perhaps this is to give the bow more of a bounce against the strings aiding in the playing style, or perhaps as the fiddle is generally taught by ear, it has just become 'the norm'. I believe that this tighter bow combined with the technique of slurring into the beat common in Irish fiddle playing, adds to the natural lilt of Irish fiddle playing. This lilt is very reminiscent of the Irish brogue of the spoken language, and as a conscious or unconscious decision it  makes Irish fiddle playing very distinctive.

The other thing that makes Irish fiddle playing so distinctive is the use of ornamentation. Irish folk melodies appear to be relatively simplistic on fist examination. It is the ornamentation used by the fiddle player that adds the complexity to the style.
The most common ornamentations are:

The Cut

When two notes of the same pitch are together in a tune, a usually higher grace note is inserted between them, played with a slur of the bow. 

The Tap  

The same as a cut yet a lower grace note is used( more common on tin whistle)

The Double Cut or Casadh

Similar to an upper mordant in classical styles, where a melody note is preceded by two grace notes,  the same note and a note higher. For example a B would be preceded by a B and D.

The Long Roll

Prevalent in jig playing where a note lasting half a bar of 6/8 or a dotted crochet( three quavers) is split into five rapid notes played with a single slur of the bow. For example a D may become DEDCD.

The Short Roll

Identical to the long roll except that the five notes are squeezed into a a crochet instead of dotted crochet

The Cran

An imitation of pipe ornamentation, basically a roll using an open string.

The Slide

Used at the start of a phrase for one or two key notes of a tune, the player slided into the melody note usually from a semitone below

The Treble, or Bowed Triplet

The treble is a down-up-down or up-down-up bow technique splitting usually a crochet into three short flicks or stutters of the bow instead of three  distinct separate bow movements.

Reference:
Brewczynska M, 2011 'Violin facts & history' (image) [online] available at: <http://www.private-violin-lessons.co.uk/images/Violin-large.jpeg> (accessed 5 October 2013)
(1) Mac Aoidh, Caoimhín. 2000. “Caoimhín Mac Aoidh on Regional Fiddle Styles,” originally published in Vol. 1 An Fhidil Ghaelach (out of print) (article) [online] available at:<http://www.standingstones.com/caoimhin.html> (accessed 5 October 2013)
Haigh Chris,  'Irish Fiddle' fiddlingaround (no date) (article) [online]Available at:<http://www.fiddlingaround.co.uk/ireland/> (accessed 5 October 2013)

Traditional Irish Folk Music BBC Four Folk Hibernia documentary

Interesting documentary from 2008 about the Irish  folk revival.

Folk Hibernia

Irish Folk Music Revival - Documentary (90mins)

Some interesting views about the revival that started in the 50's. Mostly from a musicians point of view it also covers the history and politics of the time.

Reference:
Irish Folk Music Revival - Documentary (90mins), IrishDocs, Uploaded 27 Nov 2011. (video) (documentary) [online] Available at:<https://www.youtube.com/watch?v=39D0J8SzQMA>(accessed 4 October 2013)