Maudabawn Chapel reel

Someone was asking for Ed Reavy tunes, and this is probably his most popular composition. I know it was posted within a discussion thread on this site, but I was surprised to see it hadn’t been officially posted yet. So here ‘tis.

Talk about getting a lot of mileage out of one phrase. Mr. Reavey found a musical and engaging way to repeat GABD in three octaves within the first 4 bars of this reel, which—once you know that—makes it easier to learn. Aim for a steady stream of notes, with perhaps less accent on the beat than you might normally apply to a reel. The only other hazard are those shifty little c’s—from natural to sharp and back.

The B Part starts off like Drowsy Maggie, and the "standard" second bar continues in that vein: |E2 BE dEBE|E2 BE AFDF|…but I like Kevin Burke’s variation (as posted here) because it helps me avoid derailling into Drowsy Maggie at this point. Then you can use the standard way as a variation the next time round.

Eileen Ivers does this as an air, and she Eminors out the first bar of Part A: |GEED DE2 D|G,A,B,D EGDB,|…a variation I really enjoy, even at a more typical reel tempo. In fact, I usually start the tune this way, and then use the |G3 D E2 DB,| version the second time through.

For more ideas, listen to Kevin Burke’s latest cd, In Concert. You can also hear Reavey himself on a tribute album, titled Ed Reavy, released in 1979.

Ed Reavy was a fiddler and prolific composer of more than 400 peculiarly fluid, meandering tunes. He was born in 1898 in County Cavan at Maudabawn. This tune is named for the local church.

Reavy moved to the States in 1912 and ended up in Drexel Hill, a suburb of Philadelphia, working as a plumber. He died in 1988.

A lot of players play the last four bars of the A part different on the repeat. The whole A part is thus:

|:G3 D E2 DB,|G,A,B,D EGDB,|G,A,B,D GABd|gabg eaaf|
[1gbag efge|dged B^cde|g2 fa gedB|AcBA GEED:|
[2 ~g3a b/2a/2g a/2g/2f | gfed eage| dged BedB| AGBA GEED||

X: 1
T: Maudabawn Chapel
M: 4/4
L: 1/8
R: reel
K: Gmaj
|:G3D EGDB|G3d eBBA|G3B dG (3Bcd|eaag ea a2|
|gabg efge|dedc Bc d2|(3efg fa gedB|AcBA GEED:|
|:E2 BE E2 BE|E2 BE AFDF|E3F G3B|AD (3FED ADFD|
|EB B2 dB B2|BAFB ABde|f3d gfef|dBAF BEED:|

Not set in stone, not as well known as the Sistine chapel. Yet, more moving -and enduring- than it. An Dúchas needs not even put its seal to it as long as there will be fiddlers to play this humble masterpiece.

The following arose out of another thread
https://thesession.org/discussions/27936
which disussed "variations or mistakes" - see that thread for the context of Kevin Burke’s comments below:

"Thanks for the email. I presume at this stage that the tune could justifiably be referred to as "my version" (because I often play it even though it must be about 30yrs since I recorded it) but I wasn’t thinking of devising "my version" when I started playing it. I simply liked the tune, heard it from several sources and gradually developed a way of playing it that seemed appropriate. I’ve no idea if Ed Reavy ever heard me play it so I don’t know what he might have thought of it. I hope he’d have liked it … but you never know! I don’t really know if there is such a thing as a "mistaken" version of any tune but it’s probably true to say my version is different from the way Reavy wrote it originally. Having said that, if we could hear Ed Reavy playing it today it too would probably be different from what he wrote originally.

By nature traditional music tends to develop and alter over time and that was especially true when there weren’t many recordings available. You’d hear a tune at a session, try to remember it and then later cobble something together that sounded similar to what you had heard the previous night. SOmetimes the bits that weren’t quite "right" would be heard by other players and maybe adopted by them too. Sometimes however the realisation would come that those differences weren’t quite working and would therefore be changed again. Basically it’s down to the player to make those decisions, often based on who he/she’s playing with.

One further note - I don’t agree that the different versions of the A and B parts can’t be mixed. I’d say it’s worth giving it a go!

Mairtin Byrnes and Brendan McGlinchey were 2 great players who attracted me to the tune first so I’m sure I picked up certain "moves" from them but it was pretty popular in the 60’s and I’m sure I absorbed ideas from plenty of other people too.

All the best for now,

Kevin "

My transcription of Maureen Fitzpatrick’s setting on "The Music of Ed Reavy"

https://thesession.org/recordings/1060

X: 1
T: Maudabawn Chapel
R: reel
M: 4/4
C: Ed Reavy
S: Maureen Fitzpatrick on ‘The Music of Ed Reavy’
K: Edor
EF |: (3GFE {F}ED EB,DB, | G,A,B,D EB,DB, | G,A,B,D GABd | gabg eaaf |
|1 gabg efge | dfed Bc d2 | (3efg fa gbec | dBA=c BE{F}EF :|
|2 ~g3 a {b}agaf | gfed efge | dfe=c BcdB | A=cBA GE{F}ED |]
|: E2 BE eEBE | GABG AFDF | ~E3 F GFGB | A2 (3FED A,DFD |
E2 BE eEBE | {Bc}BAFA Bcde | ~f2 (3agf gfec |1 dBA=c BE{F}ED :|2 dBA=c BE{F}EF ||
"end"dBAF E3 z |]

Transcribed from Vincent Griffin’s 1977 LP ‘Traditional Fiddle Music from County Clare’. Vincent could not remember where he learned it, nor its name. The name "The Reefs" was given to Robin Morton by Cathal McConnell.

Clearly a version of Maudabawn Chapel https://thesession.org/tunes/302

I remember Cathal playing this in a session in Sandy Bell’s some years ago and calling it "The Reefs" - which is obviously a corruption of "Reavy’s". I also remember him saying he thought it was too good a tune to play in a session !

Sorry, I didn’t recognise it, and I should have.

Well, it’s got some very different twists in it. It’s very interesting, Nigel - thanks for posting. It may be worth putting in the comments of Maudabawn in case Jeremy decides to delete it tho’.

Submitted on July 20th 2012 by Nigel Gatherer.
~ /tunes/12073


X: 1
T: Reefs, The
S: "Vincent Griffin: Traditional Fiddle Music from County Clare"
M: 4/4
L: 1/8
R: reel
K: Gmaj
(3DEF |:\
G3 F EDB,A, | G,A,B,G, G2 DB, | G,A,B,G, GA (3Bcd | ga (3bag eggf |
ga (3bag efge | dged Bc d2 | dggb gbe^c | dBAF GEED :|
|: E2 BE eE B2 | GABG AGFD | E2 eE dE B2 | D2 FD A,DFD |
EBBB B3 c | cBAA Bcde | fggf gfe^c | dBAF GEED :|

Transcribed from Vincent Griffin’s 1977 LP ‘Traditional Fiddle Music from County Clare’. Vincent could not remember where he learned it, nor its name. The name "The Reefs" was given to Robin Morton by Cathal McConnell.

# Posted on July 20th 2012 by Nigel Gatherer

I remember Cathal playing this in a session in Sandy Bell’s some years ago and calling it "The Reefs" - which is obviously a corruption of "Reavy’s". I also remember him saying he thought it was too good a tune to play in a session !

# Posted on July 20th 2012 by Kenny

Thanks, ceolachan, Kenny and Dr Dow.

X:6 from the fiddling of Andy McGann - "Reavy’s" on Andy’s LP.

Here are recordings of Larry Redican, and Louis Quinn in duet with Ed himself:

https://app.box.com/s/xbf2to3dy74h5s8d3a8y
https://app.box.com/s/cirgirer8grb0ckmyv10

I wrote out the Kevin Burke version, which as blasphemous as this may sound, I like better than the original (much). I thought I should share this version and was surprised to not find it already posted especially since it was discussed. The chords are cool too and I’ll be playing this with my guitar player friend so I added them for that purpose. I am a flute player so I have to jump octaves in a few places unfortunately.

Taken from ‘A Fine Selection of Over 200 Irish Traditional Tunes for Sessions’, compiled by David Speers with a Forward by Matt Cranitch. I’m not sure about the repeated F# in bar 6, but that’s how it’s written. It gives that part a slightly different feel.

A version for those among us who are missing the notes below D.

Does anyone have a friendly recording of this tune on pipes, whistle, or flute?

I’ve given up on trying to sight read the two transcriptions on thesession that are within the range of pipes and whistle, and don’t ask me to interpret or transpose whatever is happening below the bottom of the staff. I’m a shight sighter reader, and I can’t cope with extra lines for notes I don’t play anyway.

Interesting challenge. I’ve played the tune for years but I don’t think I’ve ever attempted it on whistle until just now when I read your message. 🙂 The most striking feature of the first part is that the same ascending motif is repeated in three octaves (G,A,B,D GABd gab). Just bumping the notes below D up an octave results in playing GABd twice in succession, which just sounds lame. (Although I’m sure a good flute player playing along with a fiddle would fool you into thinking that the lower octave was there.) I’d be tempted to play - by default - the entire first part up an octave until you get to a high b, and then fudge the second gab with a roll or two. And occasionally take it lower and fudge earlier. If nobody comes up with a decent version for you, send me a PM and I’ll record my attempt.

https://www.youtube.com/watch?v=Xqcbhw-Et1w

play video

Flute in this mix as well, last tune:

http://irish.cocolog-nifty.com/flute_concertina/2013/11/reels-the-fishe.html

I found that YouTube video, but I think there might be better ways to fold the octaves. I would also like to say that not playing at all during most of 2020 has made me incapable of picking up tunes at that speed. However, if I’m being perfectly honest, I’ve always sucked at that. I use slower recordings or slow downer software. That guy has impressive whistle chops but I’m not good enough to learn straight off that video.

You can slow down YouTube videos, just click on the cog and you can change the playback speed.

You learn something new every day. It’s 2am here, but I’ll play with that tomorrow.

You can slow down YouTube videos watched on YouTube.com, click on the cog and you can change the playback speed.

Oops.. sorry for the double post…

You might give a listen to Michael Clarkson´s rendition of the tune on flute: http://irishflute.podbean.com/?s=Maudabawn+Chapel

Listening to the whistle/flute versions for me it seems to lose the dynamic/meaning of the tune if it doesn’t build up/stagger up from the lower octave to the higher octave, other tunes seem not to mind as much as this one does.

actually, I’ll take that back, this sounds OK https://www.youtube.com/watch?v=mEGkgjpcqxs

play video

Both Michael Clarkson and Fintan Vallely’s versions sound good. It sounds like the tune, even with all the folding.

Not a tune I play but looked at it today and found myself changing
G3 D E2 DB,|G,A,B,D EGDB,|G,A,B,D

To

G3 D E D3| GABd egdB | GABG GABd|
gabg eaaf

This little phrase GABG repeating its self an octave higher is nice but no where near the drama of running all the way up there from the low G on the fiddle.

For Michael Clarkson version, it was actually for first 2 seconds that threw me, but listening again, once I got past the first 2 seconds it’s fine, I prefer Vallely’s take on it though.

I don’t actually play this tune, I’ve always avoided it, there’s something I like about it and something I don’t like, I have no idea what ?

https://www.youtube.com/watch?v=5d0m8Wg3Ht0

play video

I avoid this tune to save my life also Theirlandais, hard to describe but I get dizzy or something when it drops down, sounds like someone is playing a tune backwards. You all identified a tune I can’t play for shite and need to practice, thanks.

https://www.youtube.com/watch?v=Uwyq29Qp04w

play video

Never saw this video, but they have a nice bounce going by the time they get to your tune.

If you are playing flute or whistle, I guess it would be difficult to learn this tune from the many recordings of fiddles. Seems like a fiddle tune for sure but this fella plays all the notes and has a nice old style of rolls and accentuation, beat. I’m learning tune from this guy and he plays the fiddle so I think he prob has a good perspective. I will stop posting thanks.

https://www.youtube.com/watch?v=yTpHQxpG8tI

play video

"Yes, Byrnes !!!" :
https://youtu.be/_6pLcu_4Ojs

play video

I remember someone telling a story some years ago about Cathal McConnell playing this in "Sandy Bell’s" in Edinburgh, and saying he thought it was too good a tune for playing in a session. At that time, he called it "The Reefs", which is obviously a "folk processed" corruption of "Reavey’s".

Well, I will just say (off topic) that I’m so happy to hear you’re picking up the pipes, DrSilverSpear. But day-um, couldn’t you just play Rolling in the Ryegrass instead of tackling this monster?

Yeah, I can definitely play Rolling in the Ryegrass, but for some reason I’ve never liked sitting out Maudabawn Chapel in a session. Don’t know why. I’m all too happy to not play overly complicated Gordon Duncan tunes, anything by Scott Skinner, or all those fiddley Gm reels. But there’s something about this one… so might as well learn some semblance of it while there are no sessions.

I just played the Paddy in the Smoke [above] version of Maudabawn Chapel - Martin Byrne’s fiddling 1st class obviously but there’s something painfully off-key going on - is someone thrashing a horribly out of tune piano in the background?

Reg Hall on piano, I believe.

thanks Kenny - well, fair play to Reg Hall who was a great promoter of Irish and English trad music in the 60’s as well as his involvement with Topic and Leader records - still grates on my ears though!

I play it on flute - Kevin Burkes version. I actually played this tune for Gary Shannon fro my one and only trad lesson when I was in Claire and he asked me why I was trying to play the song on flute. If you’re interested I can send you my version with the octave transcriptions. Just PM me.

This is basically setting #1 , but with the first line modified so it’s playable on pipes, where it doesn’t go below D3.

I’ve tried to stick to the original melody as much as possible, and avoided "folding", or playing unavailable notes in another octave.

@ DrSilverSpear

I’ve added another setting in the Tunes section : https://thesession.org/tunes/302#setting39493

It’s just the first line that’s different, in that it does not go below D3, and I’ve tried to avoid the sound of folding, and kept as much as possible to the original melody.

I’ve got the Paddy in the Smoke album, and Byrnes is as useless as everyone else with more notes than me for learning it. My ear is way too sh*t to work out my own folding. Like I said in the OP, I can’t even read those notes on the staff! It’s like reading Klingon.

Jim, I’ll check out your transcription.

Jwiseman, I’ll send you a PM.

Thank you, postie. First for posting Michael Clarkson playing this tune. I like his playing. Second because of what he wrote in his description. It’s good to see him saying it because if I said it (which I would, exactly) some of you might brush it off.

For those who have not read Michael Clarksons note for this tune:

"Here’s another tune I was asked to put on.

One of my problems with playing this tune is that is seems to have far more notes than I do. Another is trying to identify what these notes are and in which order they ought to come. I tried looking at Reavy’s book "Where The Shannon Rises" to see whether his version would shed any light on the matter but this just reinforced my view that none of his tunes are normally played the way he wrote them.

Anyway, here’s an attempt at an average of the myriad settings of this tune which tend to be lurking about the place."

The Irish Flute Podbean is brilliant resource in more than one way.