I’m interested in any slip jigs, even if the tune can’t be played on whistles. I also have a mandolin and octave mandola, so any tune would be within my range.
I was busy looking into the tunes mentioned here, and I forgot to look at that list on thesession. I will give that a look now!
Thanks again
These two and Ryan’s make a good set.
Promenade is a hop jig, not a slip jig. Totally different rhythmic feel.
Hop jigs rule.
There are a few others in this thread that might also be said to be hop jigs. The Foxhunter’s can be played as such, and I’d say that Fig for a Kiss feels quite hoppy (not in the beer-sense) too. They do tend to get lumped together as they’re both 9/8-tunes.
I just found a really cool slip jig called “Seo Libh, a Mhná, chun Tae” . That’s my plan for tonight!
The Monaghan Jig, a four part tune that sits really nice on the flute…i will post up the tune in my blog once i get it recorded. Yes, it is just a jig. If you are looking for a slip jig, try Down in Abbey from Sean Moloney.
Monaghan Jig is not a slip jig…
A Fig For a Kiss isn’t really a hop jig. My litmus test is “Does this feel the same as the Dusty Miller?” (the one that goes A2AA2G) That generally works out for me. A Fig for a Kiss is a great slip jig, and it is a little sparser, note-wise, but I don’t feel it works as a hop jig (there are definitely ones that do, like the Foxhunter’s, provided you leave off the last part, and even the tired Butterly - but then that one was originally quite a bit hoppier than it gets played these days).
I find I really like song jigs, like the Fair-Haired Canavans and Patrick’s little Wife.
There’s always the contrary ones that leave you wondering how to label them (I have given up a bit on the labeling). I mean ones like the Silver Slipper, Frieze Breeches (the one JOBM recorded, not the usual jig) etc.
Indeed, although I think of the Silver Slipper as a… hmmm, actually I’m not sure! 
I guess I do think it is a hop jig, but it does have a slightly different feel than the Dusty Miller. But it also works. I read once that it was a Donegal Slip Jig… so I’ll go with that!
Is that Frieze Britches the same one Tommy Reck recorded with Top it Off? If so, it’s a single jig verging on fling (same as Follow me up to Carlow). I’m not seeing it on Sean Reid’s Favorite, so I may not have the recording. Incidentally, Top it Off and JOBM’s An Briste Breidin feel better to me with an extra beat. Don’t tell Jimmy 
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play The Frieze Breeches as in O’Neill’s; it is set there as a double jig in five parts. This setting is similar to how Seamus Ennis plays it on “The Wandering Minstrel” LP. One of my favourite tunes ever, and among the first pipe tunes I ever heard (when Liam O’Flynn played it).
There was a reason why I said:
Frieze Breeches (the one JOBM recorded, not the usual jig)
I was talking about a completely different tune, An Briste Breidin as Nico above mentioned. The name ofcourse translates as The Frieze Breeches.
Oh right, I’d forgotten that was the translation. I think of that one as a slip jig, through and through. It flows nicely into the fair haired canavans (but I do like throwing in an extra beat when I’m feeling it…)
Sorry, I didn’t mean to confuse the issue.
Not to worry, I knew it would happen even if tried to avoid it.
The second version of the Muster Gimlet/Will you come down from Limerick (DMWC 46) which I got from Tommy McCarthy is another one that would fit in the contrary category. Different-ish rhythm from the usual version and similar to that of An Briste Breidin mentioned above.
But as I said, I never quite managed (or bothered) to distinguish between hop & slip.
That surprises me. There are some that you just can’t play with others. There are some that can be interchanged, but mostly they just feel differently to me.
Two tunes I’ve been playing recently are the untitled Tommy Potts one on the RTE Traditional music from Dublin disc, and the first Dusty Miller on track 25 of the Ennis RTE disc followed by the other Dusty Miller of course.
All so simple and so lovely.
tedious as threads like this can be, they can lead you somewhere, sometimes as well.
And both of those Dusty Millers are hop jigs. Great example of it as well.
I think the Potts tune is a hop as well. I’m no expert it only comes to light for me when I try to play one after the other and find myself adapting one. Then I sometimes realise I have one of each on my hands but the lines are blurry.
(As Nico mentions above)
I went into this in some depth some years ago (before then trying deliberately to forget everything about it and give it up as a bad job). What I found was that there are some people who vehemently insist that there is a clear distinction between hop jigs and slip jigs, whilst others insist that the two are the same, and still others - including me - would have it that within this whole category are tunes which are sometimes so individual that you can’t really lump them at all, and each is its own.
From what I failed to forget from my researches, the truth appears to be that the two terms have existed side by side for a century or so, and it depends where you are in history and geographical location as to whether you will refer to something as a hop jig or a slip jig. What finally made me give up and “just play the tunes” was when I discovered that, at various times and in various places, what I had thought were slip jigs were referred to as hop jigs and vice versa.
In summary: just play the tunes.
You can liven up the Butterfly by playing it against a repeating pattern of Em, D, C, D, in power chords (no 3rds). You get some interesting dissonant effects, but it works. (Or maybe it’s not as original as I think and everyone already uses this progression. I’ve actually only played that tune like once in a session.)
Fig for a Kiss works with the same chords. I’m working on some kind of weird melding of the two, don’t know yet how it’s going to turn out.