The Moving Cloud reel

This tune is fairly garish but fun to play. Those D#‘s in the first measure of the Apart are optional. Nowadays the D# is often just played as a D natural. This tune used to be played in the key of F, but it’s more popular in G - for obvious reasons. I think this is really popular with the Cape Breton & Scottish players. Those d2bd adgd bits can be turned around & played d2gd adbd for a variation.

PS I first heard this tune from Gerry O’Connor’s playing, where he really rips it up.

I believe this tune was written by Neilly Boyle. Does anyone have any information on him they could add here?

I used to dislike this tune, until I heard it by Seamus Creagh and Aidan Coffey - they actually play it in a nice laid back manner and it doesn’t sound forced or tricksy. I’ll try to find time to write and post a review of their album - It’s great stuff…

Neil O’Boyle, (1889-1961), better known as ‘Neillie’. He was born in Easton, Pennsylvania and grew up near Dungloe. Famous for his Donegal ‘Northern’ style of fiddling - brisk tempo and crisp staccato bowing. Also famous for his strong views on Jazz and Pop music, which he dubbed ‘Jungle Music’. Only recorded 6 sides on 78.
(Thanks to the sleeve notes for ‘From Galway To Dublin’ - Rouder CD 1087)

I think this was originally composed in “F”, rather than G.
There’s an unusual version on the 2nd recording by James Kelly, Paddy O’Brien & Daithi Sproule, which also features on a live double CD recorded at Boston College a few years ago.
As an aside , I used to have a band playing traditional Scottish and Irish music called “The Moving McLeods”.

Has anyone figured out the Gerry O’connor version of this tune, i’ve almost got of his variations but some of them are too complex for me.

I think that most of the variations that most of the Irish musicians do, were taken from Sean Maguire. This tune was one of his party pieces in the late 50s and early 60s.
Bobby Mcleod the Scottish danceband leader added the 3rd and 4th part.

Listen to a crazy good flute player playing this reel: http://www.rte.ie/radio1/ceilihouse/rams/27august.smil (starts around 41:00) I had the pleasure to meet her a couple of years ago, and I believe she had just turned 12 when that was recorded. Jaw-dropping!

In her book “A Drop In The Ocean”, Josephine Keegan attributes this tune to Sean McGuire.

Watch this:
http://comhaltas.ie/music/detail/comhaltaslive_209_1_orla_mcauliffe

Lovely… 🙂

Tune #2: “Jean’s Reel”
Key signature: G Major
Submitted on August 26th 2001 by Kerri Brown.
https://thesession.org/tunes/255

~ but ~ 😏

But what?

This tune was composed by Phil Cunningham.
Sharon Shannon does a nice version on her solo album, but definitely the most amazing version for me has to be that of Marion something or other (banjo player) who used to play at the local sessions.
By the way the ABCs sh*te. 🙂

Rubbish ! Or if you prefer, sh*te. And which “solo album” did Sharon Shannon record it on? There’s nothing wrong with the “abcs” as far as I can tell. I think you’re confusing this with Jean’s Reel, [ and Phil didn’t compose it either ].

Composed..should be.

Well thanks for correcting me then!
The albums just called “Sharon Shannon”, and this tunes on track 13, a set called “Phil Cunningham”.
Maybe I am confusing it with Jeans Reel…
Gur a mie ayd. ;)

On Kathleen Boyle’s new album, An Cailin Rua, track 10 has her grandfather, Neilidh Boyle playing this tune, his own composition. She and her father Hughie play along. In the notes, she says that the tune was written in F, but because of the tuning of his fiddle it is closer to G, “which would explain why it is played in both these keys today.”

instead of the D# could you play and E? Sounds ok to me, chord C an all.

Here’s the man himself talking about & playing the tune
http://www.mediafire.com/?njyyqicm24z

Here’s the tune compressed, tuned & half speed
http://www.mediafire.com/?yzltdgkun2z

X:1
T:The Moving Cloud (APB Neilly Boyle)
C:Neilly Boyle (Composed in 1942)
M:4/4
R:Reel
K:G
DGBG EGBG | DGBG dGBG | AeeA (^de)Ae | eABe d/c/B G/F/E |
DGB(^D E)GBG | DGBG FGBG | AB ~d2 efge | aged BA G/F/E |]
[| DGB(^D E)GBG | DGBG E/E/G BG | A2 ~d2 ^cAAe | eABd ^cAGE |
DGB(^D E)GBG | D/D/G BG G,GBG | A2 ~d2 efge | aged [^cg]def |]
[| ~g2 ab g ~d3 | ^cdgd BGGB | AB ~a2 ^gaba | a2 ^gb a=gef |
~g2 ab g~d3 | gdgd BGGB | AB ~d2 efge | aged [^cg]def |]
[| ~g2 ab gdgd | ^cdgd BGGB | A2 ~a2 ^gaba | a2 ^gb a=gef |
~g2 ab g~d3 | gdgd BGGB | A2 ~d2 efge | aged BAGE |]
[| DGBG EGBG | DGBG E/E/G BG | A2 eA ^efBg|gc^ga BA =G/F/E |
DGB(^D E)GBG | DGBG F/F/G BG | A2 ~d2 efge | aged BA G/F/E |]
[| D3B E2B2 | DGBG E/E/G BG | Ae^eB fc^cg | d^gad BA=GB |
D2 G/G/B EGBG | DGBG G,GBG | A~d3 efge | aged [^cg]def |]
[| g2 ab g~d3 | ^cdgd BGGB | A2 ~a2 ^gaba | a2 ^gb a=gef |
~g2 ab gdad | ad^cd BGGB | AB ~d2 efge |aged [^cg]def |]
[| ~g2 ab g~d3 | gdgd BGGB | AB ~a2 ^gaba | ~a2 ^gb a=gef |
g2 ab g~d3 | g~d3 BGGB | AB ~d2 efge | aged BAB^c |]
[| d2 bd db^cd | bdbd ^cd^dd | e2 c’e ec’ec’ | c’ec’c’ ec’c’e |
d2 bd bd^cd | bdbb ^cdbd | ^cdbd b^c’ba | g/g/e dB dG E/E/^C |]
[|[d2D2]bd db^cd | bdbd ^cd^dd | e2 c’e c’c’ec’ | c’ec’c’ ec’c’e |
d2 bd db^cd | bd^cd bdbd | ^cdbd b^c’ba | gedB D3 B |]
[| DGBG EGBG | DG B2 DG B/B/G | AeeA (^de)Ae | eABd ^cA G/F/E |
D2 G/G/B EGBG | DGBG FGBG | AB ~d2 efge | aged BAGE |]
[| D4 E2 B2 | DGBG G,GBG | Ae^eB fc^cg | d^gad BA =G/G/B |
DG B/B/B EGBG | D/D/G BG G,GBG | AB ~d2 efge | aged [^cg]def |]
[| ~g2 ab g~d3 | gdgd BGGB | A2 ~a2 ^gaba | a2 ^gb a=gef |
~g2 ab g~d3 | gdgd BGGB | AB ~d2 efge | aged [^cg]def |]
[| ~g2 ab g~d3 | ^cdgd BGGB | A2 ~a2 ^gaba | ~a2 ^gb a=gef |
~g2 ab gd B/c/d | gdgd BGGB | A2 ~d2 efge | a^ged BAB^c |]
[| d2 bd db^cd | bdbd ^cd^dd | e2 c’e ec’ec’ | c’ec’c’ ec’c’e |
d2 bd db^cd | bdbd ^cdbd | ^cdbd b^c’ba | gedB DDB^c |]
[| d2 bd db^cd | bdbd ^cdbd | e2 c’e c’c’ec’ | c’ec’c’ ec’ec’ |
d2 bd db^cd | bd^cd bdbd | ^cdbd b^c’ba | gedB [G4B,4]|] (3fga [b2g2] [a2e2] [g2e2]

The composer of this tune Neillidh Boyle called it “The Moving Clouds” (‘Clouds’, plural)

gPod, this is an impressive transcription of Neillidh Boyle’s version. I always hated this tune until I heard the original version played by Neillidh Boyle. This tune is actually played a tone down from your transcription. You can hear the open-G drone being played along with the G on the D string throughout. The tune falls under the fingers a lot easier when played a tone lower. Neillidh Boyle always tuned the fiddle a full tone sharp of modern concert pitch.

Using a transposing programme I’ve just transposed gPod’s excellent transcription down a tone to where Neillidh Boyle himself played it (though it sounds a tone higher because the fiddle was tuned sharp). I did change one note throughout: The low open-G in the above transcription in actually an open-G in the lower pitch. Whenever the note is played it sounds harsh and rather non-pitched and it never rings out, but I slowed it down using Audacity (as well as shifting the tuning down to A440) and it’s the open-G string for sure. Many thanks gPod for putting in all the work.

X:1
T:The Moving Clouds
C:Neillidh Boyle (Composed in 1942)
M:4/4
R:Reel
K:F
CFAF DFAF | CFAF cFAF | GddG (^cd)Gd | dGAd c/B/A F/E/D |
CFA(^C D)FAF | CFAF EFAF | GA ~c2 defd | gfdc AG F/E/D |]
[| CFA(^C D)FAF | CFAF D/D/F AF | G2 ~c2 ^BGGd | dGAc ^BGFD |
CFA(^C D)FAF | C/C/F AF G,FAF | G2 ~c2 defd | gfdc [^Bf]cde |]
[| ~f2 ga f ~c3 | ^Bcfc AFFA | GA ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | GA ~c2 defd | gfdc [^Bf]cde |]
[| ~f2 ga fcfc | ^Bcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | G2 ~c2 defd | gfdc AGFD |]
[| CFAF DFAF | CFAF D/D/F AF | G2 dG ^deAf|fB^fg AG =F/E/D |
CFA(^C D)FAF | CFAF E/E/F AF | G2 ~c2 defd | gfdc AG F/E/D |]
[| C3A D2A2 | CFAF D/D/F AF | Gd^dA eB^Bf | c^fgc AG=FA |
C2 F/F/A DFAF | CFAF G,FAF | G~c3 defd | gfdc [^Bf]cde |]
[| f2 ga f~c3 | ^Bcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga fcgc | gc^Bc AFFA | GA ~c2 defd |gfdc [^Bf]cde |]
[| ~f2 ga f~c3 | fcfc AFFA | GA ~g2 ^fgag | ~g2 ^fa g=fde |
f2 ga f~c3 | f~c3 AFFA | GA ~c2 defd | gfdc AGA^B |]
[| c2 ac ca^Bc | acac ^Bc^cc | d2 bd dbdb | bdbb dbbd |
c2 ac ac^Bc | acaa ^Bcac | ^Bcac a^bag | f/f/d cA cF D/D/^B, |]
[|[c2C2]ac ca^Bc | acac ^Bc^cc | d2 bd bbdb | bdbb dbbd |
c2 ac ca^Bc | ac^Bc acac | ^Bcac a^bag | fdcA C3 A |]
[| CFAF DFAF | CF A2 CF A/A/F | GddG (^cd)Gd | dGAc ^BG F/E/D |
C2 F/F/A DFAF | CFAF EFAF | GA ~c2 defd | gfdc AGFD |]
[| C4 D2 A2 | CFAF G,FAF | Gd^dA eB^Bf | c^fgc AG =F/F/A |
CF A/A/A DFAF | C/C/F AF G,FAF | GA ~c2 defd | gfdc [^Bf]cde |]
[| ~f2 ga f~c3 | fcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | GA ~c2 defd | gfdc [^Bf]cde |]
[| ~f2 ga f~c3 | ^Bcfc AFFA | G2 ~g2 ^fgag | ~g2 ^fa g=fde |
~f2 ga fc A/B/c | fcfc AFFA | G2 ~c2 defd | g^fdc AGA^B |]
[| c2 ac ca^Bc | acac ^Bc^cc | d2 bd dbdb | bdbb dbbd |
c2 ac ca^Bc | acac ^Bcac | ^Bcac a^bag | fdcA CCA^B |]
[| c2 ac ca^Bc | acac ^Bcac | d2 bd bbdb | bdbb dbdb |
c2 ac ca^Bc | ac^Bc acac | ^Bcac a^bag | fdcA [F4A,4]|] (3efg [a2f2] [g2d2] [f2d2]

Good catch with the title.

I have to disagree about your key change. Regardless of where his fiddle was tuned, he was fingering it in “G”. You mentioned the ringing open “G” & “D” strings which would not be there if you fingered it in “F”.

Glad you like the transcription & all the best,
-George

love this tuuuune xox

This is the version I play, taken from Matt Molloy and Orla McAuliffe:

X: 1
T: Moving Cloud, The
M: 4/4
L: 1/8
R: reel
K: Gmaj
|:DGAG EGBG | DGBG AGEG | cEG cBd ga | aged cEGE |
D3G~E3G | DGBG AGEG | cEGc BDGB | ~A3B ~G3z |
DG~G2 EG~G2| DG~G2 AGEG |cEG cBd ga | aged cEGE |
D3G~E3G | DGBG AGEG | cEGc BDGB | ~A3B ~G3z|
|:d2 bd adgd | ~d2 bd adgd | e2 c’e beae | ~e2 c’e bage
d2 bd adgd | ~d2 bd adgd|1 c’bac’ bage | dBAB ~G3z:|2cBAc BDGB|~A3B~G3z|
|:(3B^cd ^cdedBA | Bz ^cdedBd | ce~e2 fe~e2 | feed edBA
(3B^cd ^cdedBA | Bz ^cdedBA | BAAG GFFE | EDEF ~G3z|
|(3B^cd ^cdedBA | Bz ^cdedBd | ce~e2 fe~e2 | g2fd edBA
(3B^cd ^cdedBA | Bz ^cdedBA| BDAD GDFD|EDEF ~G3z|

iTrad wrote:
“I have to disagree about your key change. Regardless of where his fiddle was tuned, he was fingering it in “G”. You mentioned the ringing open “G” & “D” strings which would not be there if you fingered it in “F”.”

I must agree with Whistleblower here. The fingering is definitely not in G, and you’ll still find it played in Donegal using the lower fingering. Neillie Boyle always tuned the fiddle a full tone sharp of modern concert pitch, (so what you hear as a G is being fingered as an F, what you hear as D is fingered as C). I’d say that D minor is the right key here; B-natural and C-sharp have that accidental sound.

In Neillie Boyle’s recording, the open strings you can hear ringing (the D and G strings) sound as E and A (in modern concert pitch). Also you can tell that the third not of the tune is the open A string (sounding as B in concert pitch). It’s also clear that the first three notes of the reel are played on three separate strings (which doesn’t happen if you play the tune a tone sharper than Neillie Boyle, starting with D rather than C). The way Neillie Boyle played this tune (in D minor) means there is no need to move beyond the first position on the fiddle (as with his version of Seán sa Cheo which he played in G minor, his favourite key). Seán sa Cheo is also now widely played a tone sharper than Neillie played it (and also moved from the minor to the major key), also necessitating a position change on the fiddle. Unfortunately, no one has yet posted Neillie Boyle’s version of Seán sa Cheo. https://thesession.org/tunes/177

The rather bizarre and wild climbing variations that occur in The Moving Clouds (bars 35 & 36, 43 & 44, etc.) were actually performed using glissando, sliding the fingers along the strings, and sound a bit crazy. I don’t know any modern player who plays the glissando parts, or who is even capable of playing them for that matter.

I’ve fixed a few problems (with Whistleblower’s ABCs) from moving the tune down a tone, as well as a fixing a few B-flat / B-natural errors. Here is the corrected D minor version of The Moving Clouds:
(Many thanks to George for all the hard work noting down the original.)

X:1
T:The Moving Clouds
C:Neillidh Boyle (Composed in 1942)
M:4/4
R:Reel
K:Dmin
CFAF DFAF | CFAF cFAF | GddG (^cd)Gd | dGAd c/B/A F/E/D |
CFA(^C D)FAF | CFAF EFAF | GA ~c2 defd | gfdc AG F/E/D |]
[| CFA(^C D)FAF | CFAF D/D/F AF | G2 ~c2 =BGGd | dGAc =BGFD |
CFA(^C D)FAF | C/C/F AF G,FAF | G2 ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga f ~c3 | =Bcfc AFFA | GA ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | GA ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga fcfc | =Bcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | G2 ~c2 defd | gfdc AGFD |]
[| CFAF DFAF | CFAF D/D/F AF | G2 dG ^deAf|fB^fg AG =F/E/D |
CFA(^C D)FAF | CFAF E/E/F AF | G2 ~c2 defd | gfdc AG F/E/D |]
[| C3A D2A2 | CFAF D/D/F AF | Gd^dA eB=Bf | c^fgc AG=FA |
C2 F/F/A DFAF | CFAF G,FAF | G~c3 defd | gfdc [=Bf]cde |]
[| f2 ga f~c3 | =Bcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga fcgc | gc=Bc AFFA | GA ~c2 defd |gfdc [=Bf]cde |]
[| ~f2 ga f~c3 | fcfc AFFA | GA ~g2 ^fgag | ~g2 ^fa g=fde |
f2 ga f~c3 | f~c3 AFFA | GA ~c2 defd | gfdc AGA=B |]
[| c2 ac ca=Bc | acac =Bc^c=c | d2 bd dbdb | bdbb dbbd |
c2 ac ac=Bc | acaa =Bcac | =Bcac abag | f/f/d cA cF D/D/=B, |]
[|[c2C2]ac ca=Bc | acac =Bc^c=c | d2 bd bbdb | bdbb dbbd |
c2 ac ca=Bc | ac=Bc acac | =Bcac abag | fdcA C3 A |]
[| CFAF DFAF | CF A2 CF A/A/F | GddG (^cd)Gd | dGAc =BG F/E/D |
C2 F/F/A DFAF | CFAF EFAF | GA ~c2 defd | gfdc AGFD |]
[| C4 D2 A2 | CFAF G,FAF | Gd^dA eB=Bf | c^fgc AG =F/F/A |
CF A/A/A DFAF | C/C/F AF G,FAF | GA ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga f~c3 | fcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | GA ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga f~c3 | =Bcfc AFFA | G2 ~g2 ^fgag | ~g2 ^fa g=fde |
~f2 ga fc A/B/c | fcfc AFFA | G2 ~c2 defd | g^fdc AGA=B |]
[| c2 ac ca=Bc | acac =Bc^c=c | d2 bd dbdb | bdbb dbbd |
c2 ac ca=Bc | acac =Bcac | =Bcac abag | fdcA CCA=B |]
[| c2 ac ca=Bc | acac =Bcac | d2 bd bbdb | bdbb dbdb |
c2 ac ca=Bc | ac=Bc acac | =Bcac abag | fdcA [F4A,4]|] (3efg [a2f2] [g2d2] [f2d2]

All the high Bs are B-flats. When the mid-register Bs are natural the high Bs later in the bar should have been marked flat. My bad!

Here’s the fixed version with the high B-flats properly noted. George has done an incredible job of putting an amazingly complex version, played by one of the greatest fiddlers who ever lived, into notation. Thanks again.

X:1
T:The Moving Clouds
C:Neillidh Boyle (Composed in 1942)
M:4/4
R:Reel
K:Dmin
CFAF DFAF | CFAF cFAF | GddG (^cd)Gd | dGAd c/B/A F/E/D |
CFA(^C D)FAF | CFAF EFAF | GA ~c2 defd | gfdc AG F/E/D |]
[| CFA(^C D)FAF | CFAF D/D/F AF | G2 ~c2 =BGGd | dGAc =BGFD |
CFA(^C D)FAF | C/C/F AF G,FAF | G2 ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga f ~c3 | =Bcfc AFFA | GA ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | GA ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga fcfc | =Bcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | G2 ~c2 defd | gfdc AGFD |]
[| CFAF DFAF | CFAF D/D/F AF | G2 dG ^deAf|fB^fg AG =F/E/D |
CFA(^C D)FAF | CFAF E/E/F AF | G2 ~c2 defd | gfdc AG F/E/D |]
[| C3A D2A2 | CFAF D/D/F AF | Gd^dA eB=Bf | c^fgc AG=FA |
C2 F/F/A DFAF | CFAF G,FAF | G~c3 defd | gfdc [=Bf]cde |]
[| f2 ga f~c3 | =Bcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga fcgc | gc=Bc AFFA | GA ~c2 defd |gfdc [=Bf]cde |]
[| ~f2 ga f~c3 | fcfc AFFA | GA ~g2 ^fgag | ~g2 ^fa g=fde |
f2 ga f~c3 | f~c3 AFFA | GA ~c2 defd | gfdc AGA=B |]
[| c2 ac ca=Bc | acac =Bc^c=c | d2 bd dbdb | bdbb dbbd |
c2 ac ac=Bc | acaa =Bcac | =Bcac a_bag | f/f/d cA cF D/D/=B, |]
[|[c2C2]ac ca=Bc | acac =Bc^c=c | d2 bd bbdb | bdbb dbbd |
c2 ac ca=Bc | ac=Bc acac | =Bcac a_bag | fdcA C3 A |]
[| CFAF DFAF | CF A2 CF A/A/F | GddG (^cd)Gd | dGAc =BG F/E/D |
C2 F/F/A DFAF | CFAF EFAF | GA ~c2 defd | gfdc AGFD |]
[| C4 D2 A2 | CFAF G,FAF | Gd^dA eB=Bf | c^fgc AG =F/F/A |
CF A/A/A DFAF | C/C/F AF G,FAF | GA ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga f~c3 | fcfc AFFA | G2 ~g2 ^fgag | g2 ^fa g=fde |
~f2 ga f~c3 | fcfc AFFA | GA ~c2 defd | gfdc [=Bf]cde |]
[| ~f2 ga f~c3 | =Bcfc AFFA | G2 ~g2 ^fgag | ~g2 ^fa g=fde |
~f2 ga fc A/B/c | fcfc AFFA | G2 ~c2 defd | g^fdc AGA=B |]
[| c2 ac ca=Bc | acac =Bc^c=c | d2 bd dbdb | bdbb dbbd |
c2 ac ca=Bc | acac =Bcac | =Bcac a_bag | fdcA CCA=B |]
[| c2 ac ca=Bc | acac =Bcac | d2 bd bbdb | bdbb dbdb |
c2 ac ca=Bc | ac=Bc acac | =Bcac a_bag | fdcA [F4A,4]|] (3efg [a2f2] [g2d2] [f2d2]

I don’t think Néillidh Boyle played those high Bs flat, though I think Martin McGinley and some other Donegal fiddlers do.

The high B’s are indeed natural, but B-flat might be more in keeping with some of the modal rules of north west Donegal music. I heard Martin McGinley playing along with some other fiddlers in Letterkenny last year at the arts festival and they did play the weird bits glissando (though I’m not sure about how they played the high-B’s.)

We play it with a most def D# in the first phrase. It is that note that makes the tune stand out! And scares the life out of those who ‘don’t know’ it!
And, as a backer, I play a most untraditional Cminor (iv in G maj) chord for the second half of the first and fifth bars. The tune is an arpeggio of that chord in fact.
Was it .not named after an native American princess who was the daughter of Passing Wind?

E flat rather than D sharp surely? That’s a C minor arpeggio.

There are recordings of Neillidh playing this tune on this excellent 3 CD set of his music:
http://www.donegalfiddlemusic.ie/sound-11.htm

Jack Campin: Yes! you are correct! I suppose it is an Eb! One could also (not quite as well) back using a G augmented fifth chord, in which case it would be a D#!

Here’s Sligo musician Carmel Gunning playing the reel on the whistle: https://soundcloud.com/carmel-gunning/08-the-moving-cloud-the-old-1

http://youtu.be/aHRfff93zok

play video

… accompanied by the late, great “Peerie” Willie Johnson of Shetland. [ RIP ].

Regarding the Sean Maguire attribution mentioned earlier, Sean did claim now and again that this was his tune. I suspect his variations were his own and that’s about it.

Maybe I shouldn’t talk, since I’m 1) not Irish, and 2) not by any means very good at playing Irish music, but I am fairly sure that Boyle would be turning in his grave to hear the versions of this tune played these days. I’m sorry if you like such versions, but it must be said that everyone from Matt Molloy to Joe Burke to Noel Hill does not play Boyle’s version. In fact, I would say that a classification as a separate tune for their version would be theoretically warranted, as the feel is completely different between them. While Molloy-Burke-Hill’s version resolves to the tonic every time, Boyle’s never does. The latter version is somewhat like a “Rakish Paddy” in F, come to think of it.

I have transcribed another recording by Boyle himself playing this tune off the “Feeling in the Blood” album mentioned above. This transcription is greatly simplified, and it should be simple enough to learn from, although obviously variations can be added - Boyle had copious amounts of variation. I like this version much better than what seems to have become the standard version as played by Joe Burke, Matt Molloy, Noel Hill and others, as I said in my previous comment.

If Sean claimed he composed it, he did. He was not one to take credit for other people’s talent. He had enough of his own. As a matter of fact he was quick to point out the reel “Sean Maguire” was NOT composed by him – although he was a major influence in its popularity. I might mention that he played it in A and used a D# in the first part.

Now as far as the tune itself, there is a recording by Luke O’Malley which most accurately uses Sean’s version. First of all, Sean always played it in F. Second, he always used a C# in the first measure, i. e., |C F A F C#F A F|
|D F A F G F D F|, and a variation of this was |C F FFF D F C# F |C F FFF G F D F|.

Pardon my ignorance of ABC notation .

@Thestonecrusher, I’m not familiar with Maguire’s version of the tune. I would be suspicious of his claim to composition as Boyle says he composed it in 1942. However, I can accept that Maguire may have composed the version played by Burke / Molloy / Hill.

Brian Finnegan’s version, from 1996 :

https://youtu.be/MW18di2WhL4

play video

Matt Molloy ( on Heathery Breeze ) plays the first 8 bars without a breath.
who needs to breathe.

Thats just showin’ off
Pat

Here’s Matt : https://youtu.be/FrFMUtYCTjE

play video

My version.

This is my take on what’s played first time through on Phil cunningham’s tune set <don’t know the name of the first one>, Jeans Reel, Moving Cloud off Airs and Graces I think

From Dylan Foley and Dan Gurney’s record “Irish Music From The Hudson Valley.” Pretty simple two-part setting.

Tried to add a few chords and a general outline that Dave Curley lick from Green Grass Blue Grass in the 5th measure.

All the settings listed above in key of G above have a high b in the second last bar of the first line. This is a full octave and 4 and a half tones up from the base D that starts the tune . In the F settings the highest note in the second last bar of line one is d , which is an octave and one tone up from the starting low C note. This would then mean that the highest note in the second last line should be high e in the key of G.
If follows that the run down in the last bar of the first line then could be | edCB AGFE | . I have not looked at the preceding notes but –– ! just wondering who / when this was decided. If the composers setting was transposed up , it would not result in the high b.
Comments welcome !!

One of my favorite reels! This version is based on the playing of Matt Molloy.