The Barndances

The Barndances / Germans Of Donegal

The Rhythm

Barndances, or Germans as they are more often called in many parts of County Donegal are a specific traditional rhythmic group. They are played in common, or 4/4, time and as such show certain basic similarities with hornpipes, highlands, schottisches and reels. The nomenclature around the rhythm can be confusing and it was common to hear old fiddlers refer to certain tunes as German Schottisches. Some of those tunes were certainly barndances while others were not.

Barndances do have distinguishing characteristics rooted in the associated traditional couple dance which make them stand out from the 4/4 rhythmic groups. They are played slower than reels and close to the tempo of the hornpipe and highland. Ideally they are delivered with a lively, almost bouncy rhythm. The main characteristic of the barndance is the appearance of a number of crotchets (quarter notes) usually at the ends of certain measures. These notes, longer in duration than adjacent notes, provide the dancers with the specific distinctive beats allowing them to perform the defining steps of the barndance.

Structurally, Barndances share some characteristics of hornpipes. For example, in the second part of a tune played the first time through, the eight measures differ from the first part of the tune. In the second playing through of the second part of the tune the final four measures are sometimes ‘borrowed’ from the final four measures of the first part.

The less common Long German was danced by two ladies and a man and performed to a specific tune. It was often called The Eight Step Polka. Versions of this tune appear in the repertoire of fiddlers from such diverse locations as those in Shetland, and North America.

In his People’s Ballroom Guide (1905) the renowned Scottish fiddle virtuoso and dancing master, James Scott Skinner, described two forms of dances of interest. First is the German Schottische as well as The Barndance the latter of which he and others considered a derivative of the Pas de Quatre. While we would expect an association with the Barndance as performed in Donegal given the strong cultural connections with Scotland, Skinner’s dances are more along the lines of dances set for the ballroom, as opposed to the small, rural cottages of Donegal.

Barndances appear to have emerged later than the reel and hornpipe in the Irish tradition with a form first appearing in ballrooms around 1850. As a couple dance it had certainly become a regular feature of social dancing in Donegal by the 1880s. The performance of the barndance in Donegal is with the couple adopting an initial waltz hold and later with lateral movements. This is very close, if not the same as that danced to the Military Two Step. A transcription of the dance movements to the couple dance as performed in Donegal appears as a PDF file amongst the tune transcriptions under the title Dance Transcription as set to Green Grow the Rushes-O.

Transcription Systematics

The source performer’s first playing of the tune was that used for transcription purposes. In some cases where subsequent playing introduced variations of great interest, these were noted. In titling tunes, the names of the tunes provided are those that were used by the source musicians. Where source musicians had no titles for a tune these are listed, as per the Irish publishing tradition, as Gan Ainm (without name). Where there were more than one Gan Ainm tunes, or where more than one version of the tune has been provided, these are arbitrarily listed as No. 1, No. 2, No. 3 etc. for the purposes of distinguishing each tune. There is no significance intended in the use of these suffix numbers and do not constitute a formal title of the tune. Where a double sharp symbol occurs associated with a note played on the third finger, this indicates that the note is played slightly sharp of the normal sharp note, but not as a unison with the adjacent higher open string. Where double grace (acciaccatura) notes appear this is written to indicate that the note to be graced is sounded fractionally before the grace note, the second of the two, is delivered.

Confusion of Labels

How the dance form recognised as a barndance in Donegal came to be known as a German is curious and has given rise to confusion. It stems from the development of the dance form the schottische, which originated in Germany in the 1800s. Its title in German implies the rhythm of the dance form and melodies were to give the impression of being Scottish-like. The dance form spread throughout Europe and became quite popular in Scotland. Rosses fiddler, Danny O’Donnell, remembered that sheet music could be got in music shops in Derry. Amongst them were examples titled German Schottische and Highland Schottische. The old players interpreted these to mean that tunes to be played for Barndances equated with the German Schottische melodies and were ‘Germans’ while those melodies which aligned with the Highland Schottisches were ‘Highlands’, a term which is a dance rhythm firmly rooted in the Donegal tradition today.

The Tunes

Castles in the Air. This tune was very common amongst the older Donegal fiddlers. It has associations with the children’s rhyme Wee Willie Winkie. It was sometimes played as a strathspey.
Cití Sheáin’s. Dermot McLaughlin learned this tune from the late Cití Sheáin Bean Uí Chunneagáin of Teileann who remembered it from the local fiddlers of her youth.
The Cois Cladaigh. Proinsias Ó Maonaigh learned this from his mother Roise Bheag Roise Mhóire who learned it from An Píobaire Mór, Tarlach Mac Suibhne. It is related to An Comhra na dTonn. It has appeared in collections under the titles The Connacht Rangers, The Durham Rangers and The Merry Sherwood Rangers. The title used here derives from the townland in which Proinsias spent his adult years in Gaoth Dobhair.
Con Cassidy’s No. 1. Con remembered this tune from the older generation of fiddlers of his youth around Teileann.
Con Cassidy’s No. 2. Con remembered this tune from the older generation of fiddlers of his youth around Teileann.
Connolly’s. John Doherty associated this tune with the Connolly family of Strabane who had a popular family band around east Donegal.
Dance Transcription. This is a transcription of the dance movements of the Barndance in the couple dance format as done in Donegal and set to Green Grow the Rushes-O. This transcription has been very kindly supplied by our colleague Terry Moylan.
Dermot McLaughlin’s. Dermot McLaughlin was Paul O’Shaughnessy’s source for this tune.
Gan Ainm No. 1. This was a common barndance around the Rosses during Danny O’Donnell’s youth. It is a close setting of the first two parts of Jim McBride’s No 2. It is a version in one sharp of Gan Ainm No. 2 as well as the first two parts of McConnell’s where the parts are played in reverse order.
Gan Ainm No. 2. This is a version of Gan Ainm 1 set in two sharps. See also Jim McBride’s No. 2 for a related version. This is also a version of McConnell’s with the parts in reversed order.
Gan Ainm No. 3. This was a common barndance around the Rosses during Danny O’Donnell’s youth. See also parts 3 and 4 of Jim McBride’s No. 2 for similar versions.
Gan Ainm 4. This tune appears to be localised to Inishowen.
Gan Ainm 5. This was a common barndance around the Rosses during Danny O’Donnell’s youth.
Gan Ainm 6. John Doherty considered this an old tune. It is a version of Proinsias Ó Maonaigh’s No. 1.
German a’ Gypsy Mór. Vincent Campbell learned this tune from The Gypsy Mór, a Traveller from County Roscommon. He visited Na Cruacha each year around Autumn and would be remembered for dry shaving his beard with a cut-throat razor. He would not shave again until he returned the following year.
Green Grow the Rushes-O. Settings of this tune have been used for both highlands and barndances. It is originally of Scottish origin and served as the melody for a number of the poet, Robert Burns, compositions.
Hayes’ Favourite. This was popular at house dances in the Rosses during Danny O’Donnell’s youth. It was and remains a widely known tune.
If There Weren’t Any Women in the World, Version 1. Mairéad learned this from her father, Proinsias Ó Maonaigh. It was the common version played around Gaoth Dobhair. The fiddler, Francie McHugh of Lough Doon, used to sing a song entitled The Three Leaf Shamrock of Glenore to this tune.
If There Weren’t Any Women in the World, Version 2. Danny learned this contrasting setting of the tune from Néillidh Ó Baoighill.
If There Weren’t Any Women in the World, Version 3. Danny learned this higher pitched setting of the tune from Néillidh Ó Baoighill. This version was that which was more common in the Rosses.
Jim McBride’s No. 1. Paul learned this from his mother, Pearl who learned it from her father, Jim McBride of Navenney Street, Ballybofey.
Jim McBride’s No. 2. Paul learned this from his mother, Pearl who had it from her father, Jim McBride of Navenney Street, Ballybofey. This setting is in fact two separate tunes which are often played as a single extended barndance today. In this setting it is sometimes called Pearl O’Shaughnessy’s and has been recorded under that title. The first two parts are versions of Gan Ainm 1 and Gan Ainm 2 as well as McConnell’s where the parts are played in reverse order. The 3^rd and 4^th parts of this setting are versions of Gan Ainm No. 3.
Jim McFadden’s. Jim Doherty learned this tune from Jim McFadden, an accordion player from Cill Mhic nÉanáin. It is also known in southwest Donegal as Con Cassidy’s.
Joe Byrne’s. Joe Byrne was a fiddler from Gleann Malainn, Gleann Cholm Cille.
John Terrence McGee’s. John Gordon learned this tune from accordionist, John Terrance McGee, who often partnered John Gordon at sessions.
The Long German. Though technically considered a german, there was a specific dance done to this tune which differed from all other forms of the Barndance in County Donegal.
Matthew Buchanan’s. Jim Doherty learned this from his father, Neil, who picked it up from Matthew Buchanan while playing for house dances in north Donegal.
McConnell’s. This setting of the tune is associated with the McConnell brothers, Alec and Mickey. It is a version of both Gan Ainm No. 1 and Gan Ainm No. 2 as well as Jim McBride’s No. 2 with the parts in reversed order.
McNamara’s Band. Danny O’Donnell remembered this tune as popular in his area of the Rosses during his youth. The tune eventually took on its title when local fiddlers heard recordings of the song McNamara’s Band and the similarity of the first parts.
Mick Carr’s 1. Dermot learned this tune from James Byrne who had it from Mick Carr, an accordion player from Mín an Aoire.
Mick Carr’s 2. James Byrne learned this tune from Mick Carr, an accordion player from Mín an Aoire who James often partnered.
Pádaí Beag Ó Gallachoir’s. In his early years Danny O’Donnell learned this tune from Pádaí Beag Ó Gallachoir, a butcher from Dungloe. Pádaí had a family dance band and enlisted Danny to play fiddle and saxophone. It would seem to have derived from the Scottish tradition where it appears in Kerr’s Collection of Merry Melodies, Vol. 2 as The Winter’s Night Schottische. Danny McCarry of north Donegal knew it as The Hot Canary and it was a favourite of both Jamie Peoples, Tommy Peoples’ grandfather, and Kathleen McGinley who learned it from Bob Peoples.
The Peacock’s Feather. John Meehan picked this tune up playing for house dances around Cill Cartha prior to emigrating to Chicago.
Proinsias Ó Maonaigh’s No. 1. Proinsias got this tune from his mother, Roise Bheag Roise Mhóire who had in turn learned it from Tarlach Mac Suibhne, An Píobaire Mór. During the 1930s it was strongly associated with The Forthill Céilí Band of Ardara. It is a version of Gan Ainm No. 6.
Proinsias Ó Maonaigh’s No. 2. Proinsias got this tune from his mother, Roise Bheag Roise Mhóire who had in turn learned it from Tarlach Mac Suibhne, An Píobaire Mór.
Rosie Bheag
The Rosetta. This was a common tune amongst the older fiddlers. It appears in Peter Kennedy’s The Fiddler’s Tune Book, Volume 1 as Davy Knick Knack. It was sometimes played in polka time. When played by two fiddlers the tune is commonly reversed (played in octaves). The variation provided is employed by as second fiddler for measure three and four of the first part as a harmony.
The Shamrock. Vincent learned this tune from Mickey Doherty. Vincent recalled it was very popular for dances around St. Patrick’s Day.
The Tinware Lass. Caoimhín learned this tune from John Doherty who sometimes played it as an air going into the barndance. A version can be found in Honoria Galwey’s Old Irish Croonauns where she considered it ‘a perfect fiddle tune.’
The Tuesday Barndance. This tune was composed by Paul O’Shaughnessy who named it after the day of the week of its composition.
Willliam McGonagall’s No. 1. This is another tune provided by Danny Meehan’s muse, the poet William McGonagall. It appeared in the 2008.
Willliam McGonagall’s No. 2. This is another tune provided by Danny Meehan’s muse, the poet William McGonagall. It appeared in the early 2000s.

The Sources

Mick Brown. Mick was born in Dublin. He has been a long time resident of southwest Donegal where he came to be strongly influenced by local fiddlers James Byrne, Con Cassidy, Francie Dearg Ó Beirn and Con McGinley. Mick has also had associations with the late accordionist, Micheál Carr.
James Byrne (1946 – 2008). James was born in Gleann Cholm Cille. His father, John, was an accomplished fiddler. During James’ youth there was an abundance of highly skilled fiddlers in Gleann Cholm Cille who acted as source musicians for James. He passionately pursued fiddle playing and learned from as many players as he could and these included such greats as Frank Cassidy, Con Cassidy, Francie Dearg and Mikey Bán Uí Bheirn as well as Danny Meehan. In turn, James went on to teach and greatly influence a variety of young Donegal players.
John Byrne. John ‘The Miner’ is a fiddler from Gleann Malainn, Gleann Cholm Cille. He learned his early fiddle playing from James Byrne of Gleann Cholm Cille and John’s near neighbour, Joe Byrne.
Jimmy (1937 – 2022) and Peter Campbell. As with his brother, Vincent, Jimmy learned his early music in the fiddle-rich atmosphere of his home in Na Cruacha. His father, Peter, and the Doherty brothers Mickey and John as well as the many local fiddlers were seminal influences. Jimmy’s son, Peter, has followed in the family tradition of not only becoming a fiddle player, but becoming one of great skill.
Vincent Campbell (1938 – 2018). Vincent was born in Na Cruacha, the mountainous area outside of the village of Glenties. The family home was known to be a very musical one and so became a regular stopping place for both John and Mickey Doherty. Vincent learned his initial music from his father, Peter, as well as an abundant repertoire from the Dohertys and also from the many local fiddlers. Having such a strong and immediate connection with many of the legendary Donegal fiddlers, Vincent became a seminal tradition bearer for younger generations of players.
Con Cassidy (1909 – 1994). Con was born and raised in Teileann which during his youth had a very large number of highly gifted local fiddlers including his cousins Paddy, Johnny and Frank Cassidy. Con had a large and rich repertoire of local tunes. As such, he generously served as an important source of tunes and folklore rooted in the local style.
Jim Doherty (1939-2012). Jim learned his early fiddle playing from his father, Neil, and other local fiddlers. The music of neighbouring fiddlers Matthew Buchanan and Robert Sproule formed the basis for the local repertoire. Having played many years for house dances, Jim had an important store of unusual versions and tunes from playing for house dances. A good deal of Jim’s house dance tunes can be heard here on the Jim Doherty mini-site on the Cairdeas na bhFidiléirí website.
John Doherty (1900 – 1980). John was born in early 1900 and passed away in early 1980. He came from a very long and prestigious line of traditional musicians. Travelling west, southwest and central Donegal he met and learned tunes from a wide variety of musicians. His repertoire was extensive and he is seen as one of the most accomplished and influential fiddlers in the Donegal tradition.
John Glackin. John was a blacksmith, originally from Glenswilly who came to settle around Dungloe during Danny O’Donnell’s youth. John was held in high regard around the Rosses and had a marked impact on Danny O’Donnell who would go on to record at least two tunes learned from John as well as passing on a number of John’s barndances.
John Gordon (1928 – 2002). John was born in the townland of Drumcully, County Fermanagh and spent is adult life in the nearby village of Belleek. He was regarded as a player of extraordinary skill having broadcast widely and commercially recorded. He was the most influential player in south Donegal during his lifetime and his music continues to influence the playing of that area.
Caoimhín Mac Aoidh. Caoimhín has spent most of his adult life as a resident of Ballyshannon and has been active for more than five decades in playing, collecting and promoting Donegal fiddle music.
John McCracken (1931 – 1998). John was a pupil and eventual regular playing partner of Pat Mulhern. He was a long serving member of the Crana Céilí Band based in Buncrana as well as being an active member of his local Comhaltas Ceoltóirí Éireann branch.
Danny Meehan (b. 1940) Danny was born Donegal Town and raised in the townland of Drimalost, outside the village of Mountcharles. His early influences were his father, John, and near neighbours Charlie McCahill and Peter Quinn. Later he would come to be influenced by John James Connaghan and brothers John and Mickey Doherty. Having spent nearly five decades in London, where he played sessions and performed with the band Le Chéile, he has returned home to live in the village of Laghey. Danny maintains his muse is the spirit of the Scottish poet of Donegal heritage, William McGonagall.
Pat Mulhern 1900 – 1997). Pat was born at Fallask, Inishowen on St. Patrick’s Day, 1900. His house was a very musical one and he quickly progressed on the fiddle. A regular visitor to his house was the much regarded Paddy ‘The Slithers’ McDonald. Pat was popular as a player for dancers and broadcast from both the Dublin and Athlone transmitters of 2RN (the forerunner of RTÉ) as well as from the BBC in Belfast. Pat lived well into his nineties passing away in 1997. He played with great command throughout. He was a major influence on the tradition in Inishowen
Danny O’Donnell (1910 – 2001). Danny was born in Meenbanad, Dungloe in the Rosses on October 10^th, 1910. His earliest influences were his parents and siblings, particularly his brothers John and Anthony who had brought back fiddles from seasonal work in Scotland. Blessed with a most keen ear and retentive memory, other influences included local fiddlers Neillidh Ó Baoghill, Paddy Cecily Bonner and maternal relations Jimmy Doherty and James Sheáin Mhór Ó Domhnaill. Another important influence during Danny’s youth was John Glackin. Danny’s playing was renowned for the purity of his tone and tasteful interpretation.
Proinsias Ó Maonaigh (1922 – 2006). Proinsias was born in Gaoth Dobhair and took to the fiddle at an early age. His mother, Roise, was his earliest influence and passed on to him a number of rare tunes she had learned at first hand from Tarlach Mac Suibhne, An Píobaire Mór. For decades he was the mainstay fiddler of Gaoth Dobhair and generously taught a host of fiddlers across northwest Donegal. He was both influential and inspirational, tirelessly promoting the fiddle music of County Donegal.
Paul O’Shaughnessy. Paul was born in Dublin and learned his early fiddle playing from his mother, Pearl as well as tunes from her father, Jim McBride of Ballybofey. By his teenage years Paul was already recognised as a fiddler of extraordinary skill. A great deal of his repertoire is drawn from the masters of his grandfather’s generation who to an individual, held him in lofty regard.