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The jig appears to have had a greater popularity in Ireland before the reel (which is very different to saying it is older than the reel). O'Farrell's 1804 collection (obviously derived on a repertoire from at least the late 1700s) features a good number of jigs, many of which are still actively played today. There are arguments for placing the slip jig as an older form. The Single Jig and Slide are timing emphasis variants of the double jig, and there is some evidence to show that they may have derived from the latter and thus be more recent. As for the double jig and its emergence in its modern form, this argument was carried out in a printed exchange between Breandán Breathnach and Declan Townsend in the early 1970s. The latter maintained that the rhythm derived from Carolan's compositions of "Gigas", the form of which he learned from the Italian composer Correlli. Townsend cited supporting evidence on the jig performance of Donegal fiddlers, which few today would support. The former, writing in the article Tús an Poirt in Éireann (the origin of the jig in Ireland; appearing in Irish Folk Music Studies, Vol. 1) contests this and suggests amongst other things they may be based on older tunes such as clan marches which have had their speed altered slightly. In an English language summary, Breandan writes: "The jig most probably came to Ireland from England, perhaps as early as the 16th Century. Native marches were adapted for dancing, some tunes borrowed from England and a start made on composing those tunes which constituted the greatest single division of the dance music until reels began to catch up on them in the second half of the last century".
 
Certainly, I have discovered, by playing and listening to much “traditional” music from Ireland that I have found myself knowing the tune either in a different time signature, speed or a slightly altered form. Even to the extent of knowing words to the tune, which almost certainly are not Irish. Whether or not they were composed in England, Ireland or Scotland first, we do not know and I would not like to put forward a theory as to which it could possibly be.
 
The hornpipes have been argued as a more recent arrival with some indications of England as a source. More recently it is being argued that this rhythm in particular has been popularly spread through publications with a respectable amount of evidence in the tradition to support this. The notion of the performance timing of the hornpipe-the question of dotted or un-dotted playing appears to be entirely a local matter based on the local dance tradition requirements. Its slower speed gives the player much more time to attempt more technically challenging performances of this type piece, thus the bunches of triplets and the "difficult" (flat) keys. As such hornpipes were sometimes played away from the dancing environment as a show of virtuosity. In an effort to establish virtuosity note reading players (usually the more formally trained and adapted to classical based techniques) were anxious to purchase books and learn new "virtuoso" hornpipes. Examples of this are the popularity of James Hill (a Lowland Scot who came to settle in Newcastle in the north of England), who certainly had a big impact on Irish fiddle playing up to today.
 
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