The Belll reel

Not one for the traditionalists. On the recording, this F#m reel begins as a jig (at least for the first two parts) and then morphs, Donal Lunny-esque, into a reel with remarkably little change in the sparce accompaniment. A lovely low whistle experience.

Here’s the way the jig works:

X:1
T:The Belll
M:6/8
R:jig
K:F#m
Bcd | cFF EFA | BcA Bcd | cFF ce~f- | fec Bcd |
cFF EFA | BcA Bdc | AFF B/c/de | dcA :|
|: Bcd | ef2 fef | ac2 Bcd | cFF ce~f- | fec Bcd |
ef2 fef | ac2 Bdc | AFF B/c/de | dcA :|

The trick is to play each version with minimal swing and listen to how they morph into each other.

Perhaps I just need to listen to the album more (if that’s even possible), but I’m almost sure this tune is definitely in 3/2. Certainly never a jig.

I think the point is that the tune is a jig in standard 6/8, but the accompaniment is in 3/2 (and the odd bar of 2/2). Which is one of the things that makes it so cool.

I always felt this to be in 6/4 which is a meter you find in Breton music, and I think it’s safe to say there’s a fair bit of Breton influence or interest in mcsherry’s playing.
The next track also feels like 6/4, which is very similar to 3/2, and breaks into a waltz as well.
All these interpretations can work. I guess it’s mostly about which notes seem emphasized, which will be different across the various instruments