The Most Versatile Irish Jigs

Transition Analysis: Analysis of 2,384 transitions across 1914 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (34.3%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Common session transitions include: Leads to: The Lilting Banshee (5.2%), Leads to: The Connaughtman's Rambles (4.6%), Leads to: Tripping Up The Stairs (4.4%). Transition Analysis: Analysis of 2,384 transitions across 1914 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 34.3% and a median set position of 2. Common session transitions include: Leads to: The Lilting Banshee (5.2%), Leads to: The Connaughtman's Rambles (4.6%), Leads to: Tripping Up The Stairs (4.4%). Why it connects: Out On The Ocean is the undisputed champion of transition breadth. Though it has slightly fewer absolute transitions than The Kesh, it connects to a wider variety of unique tunes. Written in G major, its pentatonic-leaning, rolling melody sits perfectly on whistle, flute, and accordion. Its open-ended nature allows players to transition easily into D major, E Dorian, or A Dorian tunes.

Common Session Pairings: Most frequently leads into The Lilting Banshee (A Dorian, 5.2%), The Connaughtman's Rambles (E Dorian, 4.6%), or Tripping Up The Stairs (D major, 4.4%).

Transition Analysis: Analysis of 2,578 transitions across 2162 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (40.3%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Common session transitions include: Leads to: Morrison's (21.4%), Leads to: Out On The Ocean (6.7%), Leads to: The Swallowtail (5.1%). Transition Analysis: Analysis of 2,578 transitions across 2162 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 40.3% and a median set position of 2. Common session transitions include: Leads to: Morrison's (21.4%), Leads to: Out On The Ocean (6.7%), Leads to: The Swallowtail (5.1%). Why it connects: The Kesh is arguably the most famous jig in Irish music. Its simple, scalar G major structure makes it a universal session language—known by absolute beginners and seasoned veterans alike. Because it features a highly open, non-chromatic structure, it works as an easy entry point or resolution tune in almost any set.

Common Session Pairings: Leads into Morrison's (E Dorian, 21.4%) in one of the most famous session sets of all time. It also pairs frequently with Out On The Ocean (6.7%) and The Swallowtail (5.1%).

Transition Analysis: Analysis of 2,205 transitions across 1761 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (29.6%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Common session transitions include: Leads to: Drowsy Maggie (9.2%), Leads to: The Swallowtail (6.5%). Transition Analysis: Analysis of 2,205 transitions across 1761 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 29.6% and a median set position of 2. Common session transitions include: Leads to: Drowsy Maggie (9.2%), Leads to: The Swallowtail (6.5%). Why it connects: Named after Sligo fiddler James Morrison, this E Dorian standard is beloved for its energetic B-part octave leaps. It is incredibly popular as a follow-up to G major jigs, providing a lift in minor/Dorian modal coloring while sharing the same key signature (two sharps).

Common Session Pairings: Frequently follows The Kesh Jig. Leads into Drowsy Maggie (D Dorian, 9.2%) or The Swallowtail (6.5%).

Transition Analysis: Analysis of 1,697 transitions across 1476 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (50.3%) and median set position of 1 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 1,697 transitions across 1476 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 50.3% and a median set position of 1. Why it connects: A stunning three-part jig in D Mixolydian. The flatted seventh (C natural) gives it a modal, ancient character, but its major-sounding D triad structure keeps it bright. It functions as a perfect bridge tune when shifting from major keys to darker minor keys.

Transition Analysis: Analysis of 1,162 transitions across 1002 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (37.5%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 1,162 transitions across 1002 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 37.5% and a median set position of 2. Why it connects: Composed by Dave Richardson of The Boys of the Lough, this bright E major tune has massive crossover appeal. Playing in E major (four sharps) is somewhat rare in sessions, but Calliope House is so fun and bouncy that players learn it anyway. Its high versatility is driven by its function as a set opener or a high-energy key elevator.

Transition Analysis: Analysis of 1,636 transitions across 1261 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (27.9%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 1,636 transitions across 1261 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 27.9% and a median set position of 2. Why it connects: An old standard characterized by its rolling, scalar D major/E Dorian skips. It has a high-energy B-part that sits melodicly on the fiddle, making it a reliable standard that can follow or lead almost any G or D jig.

Transition Analysis: Analysis of 908 transitions across 765 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (44.3%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 908 transitions across 765 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 44.3% and a median set position of 2. Why it connects: Composed by Junior Crehan, this gorgeous A Dorian tune has a deep, misty, Clare atmosphere. Its modal character allows for smooth, slow-building sets that modulate into G major or D major tunes.

Transition Analysis: Analysis of 946 transitions across 842 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (41.6%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 946 transitions across 842 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 41.6% and a median set position of 2. Why it connects: A famous four-part jig in D major. Its length and melodic variations provide a substantial, satisfying core to any set, allowing backing guitarists to build complex harmonic arrangements.

Transition Analysis: Analysis of 935 transitions across 743 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (39.4%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 935 transitions across 743 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 39.4% and a median set position of 2. Why it connects: Also known as *The Humours of Trim*, this D major jig has a rolling, circular melody. Its simple, scalar jumps sit comfortably on open whistle holes and fiddle strings, making it a great middle-of-the-set connector.

Transition Analysis: Analysis of 1,307 transitions across 1040 sets suggests that this tune functions as a dedicated set closer. Its low starter rate of 20.8% (appearing as starter in only 216 sets) and median set position of 2 suggest it is typically reserved for resolving sets. Transition Analysis: Analysis of 1,307 transitions across 1040 sets suggests a preference for serving as a set closer, as reflected in its starter count of only 216 appearances and median position of 2. Why it connects: A classic double jig in A Dorian (or A minor). Its signature sliding intro and rolling rhythm make it an excellent choice to build sets. Its high entry count (185) shows that it is a common resolution point for minor-key tunes.

Transition Analysis: Analysis of 1,388 transitions across 1112 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (38.9%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 1,388 transitions across 1112 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 38.9% and a median set position of 2. Why it connects: An incredibly popular A Dorian standard. Fiddlers love the open-string drones and rocking bowing patterns. Its high exit count (168) is driven by its ability to resolve melodicly into E Dorian or D major tunes.

Transition Analysis: Analysis of 846 transitions across 694 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (46.7%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 846 transitions across 694 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 46.7% and a median set position of 2. Why it connects: Composed by Sean Harling, this three-part A Dorian jig has a rhythmic, syncopated flow. Its modern styling bridges the gap between old traditional regional styles and contemporary Celtic folk music.

Transition Analysis: Analysis of 1,473 transitions across 1201 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (45.8%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 1,473 transitions across 1201 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 45.8% and a median set position of 2. Why it connects: A lovely three-part G major jig. It has a highly lyrical melody that sit melodicly on the wooden flute and tin whistle. Its modal neutral B-part makes it an excellent set closer.

Transition Analysis: Analysis of 745 transitions across 589 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (39.4%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 745 transitions across 589 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 39.4% and a median set position of 2. Why it connects: A classic E Dorian tune from Sligo. Its rolling, repetitive fingering patterns sit comfortable on all traditional instruments, making it a great mid-set energy builder.

Transition Analysis: Analysis of 1,163 transitions across 941 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (33.7%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 1,163 transitions across 941 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 33.7% and a median set position of 2. Why it connects: A bright, bouncy D major jig. Its stepwise runs and simple chordal backing make it extremely approachable for beginners while remaining satisfying for veterans.

Transition Analysis: Analysis of 822 transitions across 684 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (50.3%) and median set position of 1 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 822 transitions across 684 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 50.3% and a median set position of 1. Why it connects: A famous old jig with a humorous title. Its Mixolydian mode (flatted seventh) gives it a bright, rustic character that modulates melodicly into G major or E Dorian.

Transition Analysis: Analysis of 700 transitions across 569 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (36.9%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 700 transitions across 569 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 36.9% and a median set position of 2. Why it connects: A classic jig in A Mixolydian. The drone-friendly open G string and rolling B-part octave shifts make it extremely popular among fiddle and bagpipe players.

Transition Analysis: Analysis of 800 transitions across 691 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (49.3%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 800 transitions across 691 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 49.3% and a median set position of 2. Why it connects: A rhythmic D major tune that often pairs with *The Lark In The Morning* or *The Rambling Pitchfork*. Its simple melody allows players to focus on ornamentation and lift.

Transition Analysis: Analysis of 454 transitions across 374 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (40.9%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 454 transitions across 374 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 40.9% and a median set position of 2. Why it connects: A melodic B minor jig composed by long-time standard setters. It acts as an excellent minor-key lift in sets that are otherwise heavily focused on D major.

Transition Analysis: Analysis of 863 transitions across 701 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (42.4%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 863 transitions across 701 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 42.4% and a median set position of 2. Why it connects: A bouncy G major jig that sits comfortably on whistle and fiddle. Its simple, stepwise runs make it a great warm-up tune in early session rounds.

Transition Analysis: Analysis of 676 transitions across 539 sets suggests that this tune functions as a dedicated set closer. Its low starter rate of 20.2% (appearing as starter in only 109 sets) and median set position of 2 suggest it is typically reserved for resolving sets. Transition Analysis: Analysis of 676 transitions across 539 sets suggests a preference for serving as a set closer, as reflected in its starter count of only 109 appearances and median position of 2. Why it connects: Composed by Colin Farrell, this contemporary A major classic has quickly spread. Its bright, bouncy character works well as an energy builder or set-closer.

Transition Analysis: Analysis of 768 transitions across 615 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (42.8%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 768 transitions across 615 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 42.8% and a median set position of 2. Why it connects: Associated with the famous blind piper Garrett Barry of Inagh, County Clare. It is often played in D mixolydian or G major, carrying a lovely, laid-back Clare swing.

Transition Analysis: Analysis of 710 transitions across 549 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (40.1%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 710 transitions across 549 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 40.1% and a median set position of 2. Why it connects: A lovely two-part G major jig associated with Sligo style. Its bouncy, rhythmic jumping intervals are incredibly fun to play, making it a great starter tune.

Transition Analysis: Analysis of 685 transitions across 544 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (36.9%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 685 transitions across 544 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 36.9% and a median set position of 2. Why it connects: A tune of English and Scottish crossover heritage that has become fully naturalized in the Irish tradition. Its simple, scalar C major melody is known worldwide.

Transition Analysis: Analysis of 683 transitions across 555 sets suggests that this tune functions as a highly flexible mid-set connector. Its balanced starter rate (46.7%) and median set position of 2 indicate that musicians regularly use it throughout sets rather than reserving it for a single fixed role. Transition Analysis: Analysis of 683 transitions across 555 sets suggests that it functions as a highly flexible mid-set connector, with a balanced starter rate of 46.7% and a median set position of 2. Why it connects: A classic A minor jig. Its circular, drone-friendly melody provides a modal, ancient atmosphere that bridges melodicly into bright D major or G major jigs.