Fiddle Contest Tunes: How to Choose the Right Hoedowns, Waltzes & Tune-of-Choice

Banner Photo: 2022 Hart Square Festival 20; © anoldent / CC BY-SA 2.0

Choosing fiddle contest tunes is one of the most important decisions you’ll make if you’re planning to compete at a fiddlers convention or other type of bluegrass or old-time event. It’s also one of the easiest places to make mistakes that could have been avoided with some thoughtful pre-planning. Players often spend months practicing technique, only to undercut themselves by picking tunes that do not fit the contest format, meet the rules, or showcase their playing skills clearly.

If you are in need of some tips on how to choose fiddle contest tunes that work under real judging conditions, read on. We’ll look at how contests are structured, what judges listen for, how tune categories can vary, and why simple, controlled playing often scores better than flashy choices. We’ll also talk about backups, duplication, and why some popular tunes are controversial in competition.

In case you missed it, this article builds directly on the first post in this series, How to Compete at a Fiddler’s Convention, taking a closer look at repertoire, where preparation turns into a solid strategy.

Fiddle Contests Set the Pattern, But These Tune Rules Apply Across Instruments

Although what you are reading is generally tied to fiddle contests as the main reference point, the tune-selection principles we’ll cover here apply across most fiddlers’ convention contests.

At many conventions, fiddle divisions establish the basic contest structure: required tune types, time limits, and judging criteria. Other categories, including bluegrass guitar, flatpicking guitar, fingerstyle guitar, bluegrass banjo, mandolin contest divisions, dobro contest divisions, harmonica, old-time band, and bluegrass band, often follow the same logic, even when the mechanics of playing are different

Judges across instruments listen for the same core things:

• steady rhythm
• clear melody or lead voice
• controlled variation
• balanced tone

So while examples in this article may reference bowing, tempo, or fiddle-specific phrasing, the underlying advice translates directly to other instruments. A tune that works well for a fiddler usually works for a mandolinist, banjo player, or guitarist, provided it’s arranged clearly for that instrument.

Why Tune Selection Matters More Than You Think in a Fiddle Contest

In any fiddle contest, judges score what they hear in a short window of time. They don’t know how hard your tune is. They don’t know how long you’ve worked on it. Their expert ears are trained to listen for the tone, timing, clarity, and how well the tune holds together under pressure.

Most bluegrass or old-time fiddling contests use similar judging categories: rhythm and timing, creativity, expression, and execution. These are not abstract ideas, but practical listening points. A tune that’s too fast, too busy, or poorly structured makes those things harder to judge, which usually works against the player’s overall score.

The National Oldtime Fiddlers’ Contest, for example, emphasizes clear melody, steady rhythm, and traditional style, with no allowance for trick fiddling or visual gimmicks in its rules. Judges are listening for how well the tune is played, not how impressive it looks on paper.

Many contests follow similar principles. The Tallgrass Prairie Fiddle Contest spells this out directly in its scoring criteria, which include pitch, rhythm, tone, and overall presentation. This is why choosing fiddle contest tunes is not just a musical decision. It’s a strategic one.

Public Domain Tunes, Copyright Rules, and Disqualification Risks

Before talking about hoedowns or waltzes, it’s important to understand the specifics of fiddle contest rules. Many competitors overlook this, especially if they come from jam or performance backgrounds.

A large number of fiddlers contest rules require tunes to be in the public domain. Playing copyrighted material can lead to disqualification, loss of eligibility, or forfeiture of entry fees. For example, the Old Fiddlers’ Convention states that individual contestants must play a recognizable public-domain tune to remain eligible. Failure to do so can result in disqualification without refund.

The Hoppin’ John Fiddlers’ Convention goes further in certain categories, relaying that copyrighted songs are not allowed in folk song contests and that material must be performed in a traditional manner.

These rules aren’t meant to trap players. They exist to keep contests focused on traditional repertoire and fair evaluation. But they do mean that when you’re selecting fiddle contest tunes, you need to verify:

• The tune is public domain
• The tune fits the category requirements
• The tune structure works within time limits

If you’re unsure, check the contest rules directly or ask the organizers. Guessing is risky.

The Three Core Tune Categories Explained

Most contests ask for some combination of three tune types:

• Hoedown or breakdown (fast)
• Waltz (slow)
• Tune of choice

Understanding what each category is meant to show helps you choose traditional fiddle tunes that work in competition, not just in jams.

Hoedowns & Breakdowns: Fast Tunes That Test Control

Hoedowns and breakdowns dominate early rounds of contest fiddle tunes for a reason. They make it easy for judges to hear timing, drive, and consistency. These tunes are usually in 2/4 or 4/4 time, with a steady pulse that’s meant to support dancing. Judges listen closely for:

• Even tempo
• Clean bow changes
• Clear melody
• Strong rhythmic feel

The Tallgrass Prairie Fiddle Contest, for example, requires a hoedown or breakdown in multiple divisions, reflecting how central these fiddle contest tunes are to evaluation.

Common mistakes in this category include:

• Playing too fast
• Rushing ornaments
• Adding variations that blur the melody

For non-fiddle categories, hoedowns and breakdowns test different mechanics but the same musical skills. In flatpicking guitar and mandolin contest divisions, judges listen closely for right-hand timing and clean note separation. In bluegrass banjo categories, breakdowns reveal roll consistency, drive, and whether the melody stays audible beneath ornamentation.

Meanwhile, fast tunes expose ensemble time in old-time and bluegrass band contests. Judges can immediately hear whether the group locks into a groove or drifts as the tempo increases.

A general rule of thumb to follow is that the best hoedowns for fiddle contests are tunes you can play confidently at a strong, steady tempo rather than at the edge of staying in control.

Waltzes: Where Tone and Intonation Are Exposed

Waltzes slow everything down. That’s exactly why judges pay close attention to them. In fiddle contest waltzes, there’s nowhere to hide poor tone or shaky intonation. Sustained notes, long bow strokes, and simple harmony make every detail clear.

Many contests require a waltz in later rounds. Walnut Valley Festival, for example, specifies waltz requirements in several categories and uses them as a contrast to faster breakdowns.

Judges listen for:

• Smooth bow control
• Stable pitch
• Consistent tone across strings
• Musical phrasing

When choosing the best waltzes for fiddle contests, avoid tunes that rely on dramatic tempo shifts or excessive slides unless you can execute them cleanly every time.

Waltzes play a similar role across instruments. For dobro contest players and fingerstyle guitar competitors, slow tunes expose bar control, sustain, and intonation just as clearly as they expose bow control on the fiddle. In mandolin contest categories, judges listen for clean tremolo, even pick attack, and stable pitch on sustained notes.

In band settings, waltzes often reveal balance problems. Judges notice when rhythm instruments overpower the melody or when the accompaniment fails to support phrasing.

Tune of Choice: Personality Without Losing the Judges

The tune of choice fiddle contest category allows more freedom than hoedowns or waltzes, but it’s also where many competitors make mistakes. This category exists to show musical personality, not just technical ability. Rags, hornpipes, regional favorites, and other well-known fiddle contest tunes often work well when played clearly.

Some contests openly discourage overplayed novelty tunes. For example, pieces like Orange Blossom Special or Listen to the Mockingbird are often frowned upon, even if not strictly prohibited.

Tune-of-choice rounds are often where arrangement decisions matter most for non-fiddle categories. In bluegrass guitar, banjo, and mandolin contest divisions, judges listen for whether the melody stands out in the arrangement rather than getting buried under runs or fills. In old-time band and bluegrass band contests, tune-of-choice selections often show how well (or not) the ensemble blends together, handles dynamics, and whether the group achieves a good balance without certain members standing out in a competitive way.

Across instruments, judges tend to favor tunes that sound intentional and well-shaped over pieces that feel like collections of licks. This doesn’t mean you can’t add flair or personality to the song. Small, tasteful variations or ornamentation can show creativity, but only if the melody still remains clear. Choosing contest fiddle tunes (or tunes for any other instrument category) in this round is about balance: display your personality while keeping the performance controlled, audible, and well-structured.

Clean and Controlled vs. Flashy: What Do Judges Actually Reward?

Many competitors assume harder tunes score higher. In reality, most judges reward clarity.

Across contests, fiddle contest judging criteria tend to favor:

• Steady rhythm
• Clear melody
• Consistent tone
• Controlled variation

The Tallgrass Prairie rules make this explicit by weighting pitch, rhythm, and tone heavily in scoring.

Flashy tunes often introduce risk:

• Missed notes
• Tempo drift
• Uneven bowing
• Loss of groove

A simpler tune played cleanly allows judges to hear everything you do well. That’s why many experienced competitors alternate between reliable fiddle contest tunes rather than constantly chasing harder material. And the same goes for contest fiddle tunes, banjo contest tunes, bluegrass guitar arrangements, and band performances. A tune that stays solid under pressure almost always scores better than one that shoots to impress on the technical side without a firm grip on control.

Avoiding Tune Duplication: Why You Need Backup Tunes

One overlooked part of choosing contest tunes is duplication. The last thing you want for yourself or your group is to be scrutinized in a competition round because another act performed the exact same tune. It simply becomes harder for your performance to stand out.

Some contests discourage repeating tunes across rounds. Others don’t ban it outright, but judges still hear the same tunes multiple times in a day. Fiddlers Frolics notes that judges evaluate exactly what they hear, which means repetition can dull impact even if it’s allowed.

A good strategy is to prepare:

• One primary tune per category
• At least one backup
• Ideally two backups for later rounds

That flexibility lets you adjust if:

• Someone ahead of you plays your tune
• A tune doesn’t feel right under stage conditions
• You need to adapt to time limits

While you certainly want to be directly compared to another soloist by playing the same song, backup planning matters even more in ensemble categories. Old-time band and bluegrass band competitors, as well as solo performers, should prepare alternate tunes that keep the same feel and tempo, so the group can switch quickly without losing cohesion or confidence.

Popular Fiddle Contest Tunes (Contest-Friendly Choices)

Below are common fiddle contest tunes that appear frequently in competitions. While they are not guarantees of success, they’re popular because they work when played well.

Popular Hoedowns / Breakdowns

Often used in early rounds:

• Sally Goodin
• Grey Eagle
• Soldier’s Joy
• Forked Deer
• Arkansas Traveler
• Whiskey Before Breakfast
• Beaumont Rag

These are widely recognized top fiddle tunes with clear structure and strong rhythm.

Popular Waltzes

Often used to show tone and control:

• Ashokan Farewell
• Westphalia Waltz
• Midnight on the Water
• Margaret’s Waltz
• Wednesday Night Waltz

These tunes expose intonation and bowing, which is why judges listen closely.

Popular Tune-of-Choice Selections

Used carefully:

• Ragtime Annie
• Dusty Miller
• Minear’s Hornpipe
• Sweet Georgia Brown (where allowed)
• Black and White Rag

There are many resources for ideas on good tune choices, including this one shared by the Minnesota State Fiddlers Association.

While you can use these lists as starting points, you should not feel married to them. Just do some quick research on less familiar selections to make sure they line up with what’s allowed.

One personal case in point: I had a mandolin student a few years back who had attended a workshop weekend and learned an original piece by the instructor that he had his heart set on performing. We did make inquiries prior, first to make sure the writer of the song was okay with it being performed, as well as to make sure it was admissible in the contest.

While they did allow it, the tune itself did not sound very traditional—it was “newgrass” at best. It was also challenging for my student to execute seamlessly. I made more than one attempt to encourage him towards something more traditional, but in the end, he brought this one for his second performance. I applauded him on his ambition to step outside the box, but given the choice and the technical elements, he did not place.

Keep things like this in mind. If your goal is to get your feet wet competing and bring something new to the table, by all means, aim for that. But if you aim to win, choose wisely.

How Many Tunes Should You Prepare for a Fiddle Contest?

A common question in fiddle contest preparation is how much repertoire is enough.

A practical baseline:

• Hoedowns: 2–3
• Waltzes: 2
• Tune of choice: 2

This falls in line with contest formats outlined by Tallgrass Prairie and Walnut Valley, where multiple rounds may require different tune types.

More is fine, but only if all fiddle contest tunes are performance-ready.

Final Thoughts: Choose Tunes You Can Own on Stage

Strong fiddle contest tunes, as well as strong bluegrass or traditional contest tunes for any instrument, are not about showing everything you can do. They’re about showing how well you can perform a piece, with clarity and consistency being the main qualities to aim for.

Whether you’re entering a fiddle division, a mandolin contest, a bluegrass banjo category, a dobro contest, or a full old-time band or bluegrass band competition, the same principles apply: choose tunes that fit the rules, fit the category, and hold together under pressure.

In later posts, we’ll look at how to practice these tunes for competition, how to work with accompanists or bandmates, and how to manage nerves on stage. But it all starts with repertoire that supports you instead of working against you.