History

Mrs Saggs is a modern English tune composed by Chris Wood in 1990.

Although some written sources notate it as a march, in practice it is often treated more freely and lyrically. In session contexts it frequently loses strict dance function and becomes a melodic piece shaped by phrasing rather than tempo.

Your classification as an air reflects how it is often performed: expressive, flexible, and guided by breath-like phrasing rather than rhythmic drive.

Overview

Jiggery Pokerwork is one of the best-known modern English session tunes, composed by melodeon player John Spiers. Despite being a relatively recent composition, it has become so widely played that many musicians encounter it alongside traditional repertoire in sessions across England and beyond. The tune combines strong rhythmic drive, memorable melodic hooks, and a characteristically English dance feel that reflects Spiers’ influential style as a performer and composer.

Originally written as a tribute to Spiers’ beloved Hohner Pokerwork melodeon, the tune has become a favourite among melodeon players while remaining popular with fiddlers, flutes, whistles, concertinas, and other melody instruments.

Overview

The Maid Behind the Bar is one of the most widely played Irish reels and is considered a session standard. It is commonly heard in traditional music sessions across Ireland, the UK, Europe, North America, and beyond.

The tune is usually played in D Major and is known for its flowing melodic lines, strong rhythmic drive, and memorable phrases. It works well at a variety of tempos, making it suitable for both learning sessions and more advanced performances.

The Butlers of Glen Avenue is one of those tunes that quietly slips into sessions and stays there. It has the kind of flowing, memorable melody that feels instantly familiar after only a few listens, while still having enough shape and movement to keep experienced players interested for years.

Like many modern Irish tunes, it now lives in that interesting space where players often assume it is “traditional” simply because it has become so widespread.

A 6/8 jig associated with modern Old-Time repertoire, “Baby Ben” is widely played in American fiddle sessions and reflects a contemporary composed tune that has been absorbed into the tradition.

About This Tune

“Baby Ben” is a modern Old-Time jig most commonly associated with Bruce Molsky, one of the key figures in contemporary American traditional music. While it feels “traditional,” it is not an anonymous tune passed down through generations, but rather part of the modern revival repertoire that blends composition with deep stylistic authenticity. Despite being a jig (a rhythm more commonly linked with Irish and Scottish traditions), “Baby Ben” sits comfortably in Old-Time sessions, especially among players who enjoy crossover repertoire. The tune typically has a warm, rolling character, with strong melodic hooks that make it memorable and session-friendly.

• A 6/8 jig associated with Welsh folk repertoire and the group Ar Log. Commonly played in sessions and rooted in a modern traditional style rather than anonymous oral tradition.

About This Tune

Mynydd Yr Heliwr is a jig associated with the Welsh folk group Ar Log, and is attributed to Stephen Rees (a member of Ar Log). It sits within the modern Welsh folk revival tradition rather than being an anonymous historical tune.

Overview

Banish Misfortune is a traditional Irish jig in D Mixolydian, widely played in Irish traditional music sessions. Its lilting rhythm and modal melodic shape give it a distinctive sound that’s beloved by fiddlers, flutists, and accompanists alike. The tune appears in many historic collections and recordings, helping cement its place in the modern session repertoire.¹²

About This Tune

Name: Banish Misfortune
Other Titles/Variants: The Bag of Meal, The Humours of Mullinafauna, Nancy Hynes³
Mode: D Mixolydian (implied C natural)¹
Key Signature: One sharp (F♯)²
Meter: 6/8 (double jig)¹
Structure: AABBCC (common form in traditional sources)¹
Typical Tempo: ~100–120 BPM (lilting jig feel)

Overview

John Ryan’s Polka is a traditional Irish polka in D major that’s become a core session favourite worldwide. It’s lively, rhythmically distinct, and sits comfortably on most traditional instruments.¹² Originally part of Irish folk tradition, the tune gained wider recognition after appearing on albums by the band Planxty and in popular media performances. ²³

About This Tune

• Name: John Ryan’s Polka
• Other Titles/Variants: Ryan’s Polka, Seán Ryan’s Polka, Keadue Polka, Armagh Polka¹⁴⁵
• Key: D major¹⁵
• Meter: 2/4 (Polka rhythm)¹⁵
• Structure: AABB (two 8‑bar sections)¹⁵
• Typical Tempo: ~120–140 BPM (energetic dance feel)
• Common Setting: Irish traditional sessions, dances, céilís, pub gigs

Polkas in Irish trad evolved from continental European dance music but have taken on a distinctive Irish feel, often played at brisk tempos with strong rhythmic drive. ²

BLARNEY PILGRIM, THE (Turasa Blarnaig). AKA and see “Jackson’s Rambles (3),” “Paddy O’Brien’s Jig,” “Parish Girl (1) (The).” Irish, Double Jig. D Mixolydian (‘A’ and ‘C’ parts) & G Major (‘B’ part). Standard tuning (fiddle). AABBCC (S. Johnson, O’Neill {3 editions}): AABB’CC’ (Mallinson): AA’BB’CC’ (Boys of the Lough, Spadaro). A modal tune (hexatonic) with tonal centers variously around the notes ‘D’ and ‘G’-there is some debate about the key of the melody (and thus the appropriate backing chords), but like many modal tunes there are different ways to accompany “Blarney Pilgrim” depending on the ear. The melody was popularized in the 1970’s and is considered somewhat hackneyed these days in many sessions. There are several places in Ireland all claiming to have the original Blarney Stone. The town of Blarney, County Cork, is the location of Blarney Castle, said to have been the seat of the McCarthy’s, the great kings of Munster. A pilgrimage to kiss the blarney stone, which is embedded in the wall of a castle and can only be reached by being dangled out of a window, bestows the gift of eloquent speech. Under the title “The Parish Girl [1]” the melody appears in Stanford/Petrie with the note: “Set about 1800 by Daniel McHourigan”-O’Neill (DMI) also gives “Parish Girl” as an alternate title. The “Blarney Pilgrim” was one of the tune played by the band (Gaelic Storm) in the scene of the Irish dancers in steerage in the 1990’s blockbuster film Titanic.

One of the most beloved slip jigs in the tradition - delicate, haunting, and surprisingly accessible for beginners despite its ethereal beauty.

About This Tune

The Butterfly is a modern classic that has become a staple of Irish sessions worldwide. Composed by Tommy Potts (1912-1988), one of the greatest Irish fiddlers of the 20th century, it has the feel of an ancient tune despite being relatively recent.

A slip jig is in 9/8 time, giving it a lilting, flowing quality that’s different from the more familiar 6/8 jig. The Butterfly captures this perfectly - its melody seems to drift and hover like its namesake.