Mary Grace reel

Also known as Bohola, The Bohola, Maire Ni Grasaig, Martin Ainsborough’s, Martin Ansboro’s.

There are 4 recordings of a tune by this name.

Mary Grace has been added to 1 tune set.

Mary Grace has been added to 75 tunebooks.

Download ABC

Four settings

X: 1
T: Mary Grace
R: reel
M: 4/4
L: 1/8
K: Ador
cA~A2 EA~A2|BGdG BG~G2|cA~A2 EA~A2|cded cA~A2|
cA~A2 EA~A2|BGdG BG~G2|AGAB cBcd|egdB cA~A2||
(3Bcd ef ~g3d|BG~G2 DG~G2|(3Bcd ef g2fg|egdB cA~A2|
(3Bcd ef ~g3d|BG~G2 DG~G2|(3Bcd ef g2fg|~a3f gfed||
X: 2
T: Mary Grace
R: reel
M: 4/4
L: 1/8
K: Ador
cA~A2 EAAc|Bgdc BGGB|czAG EA~A2|cded cAAB|
cAAG ~E3z|Bdde BGGB|AEAB cGcd|(3efg dB cA~A2||
(3Bcd ef ~g3d|BGAG DGGA|(3Bcd ef (3ggg fg|(3efg dB cA~A2|
(3Bcd ef gaed|BG~G2 DG~G2|(3Bcd ef (3ggg fg|~a3f gfed||
X: 3
T: Mary Grace
R: reel
M: 4/4
L: 1/8
K: Ador
2 A^GAB c2 gd | egdB cA (3AAG ||
|: cdef g2 gd | BG (3GGG DGBG |
(3Bcd ef g2 fg |1 egdB A2 AG :|2 a2 af ged ||
X: 4
T: Mary Grace
R: reel
M: 4/4
L: 1/8
K: Amix
cA~A2 EA~A2|BG~G2 AG (3Bcd|cA~A2 EAcA|dBGB ~A3z|
cA~A2 eA~A2|BGdG BG~G2|=c2cA BG~G2|dBGB ~A3z:|
|:(3Bcd ef gedc|BGDG BG~G2|(3Bcd ef ~g3z|eaag aged|
(3Bcd ef gedc|BGdG BG~G2|=c2cA BG~G2|dBGB ~A3z:|
cA~A2 EA~A2|BGdG BG~G2|cA~A2 EA~A2|dBGB ~A3z|
cA~A2 EA~A2|BGdG BG~G2|=c2cA BG~G2|dBGB ~A3z:|
|:(3Bcd ef gedc|BGDG BG~G2|(3Bcd ef ~g3z|eaag aged|
(3Bcd ef gedc|BGDG BG~G2|=c2cA BG~G2|dBGB ~A3z:|

Eleven comments

Mary Grace

I recall playing this with Geoff Pollitt when I was in the UK last year. The setting I’ve given here is a really basic one. There’s a lot of room for variation with this one. For me it might typically come out like this:

X: 1
T: Mary Grace
M: 4/4
L: 1/8
R: reel
K: Ador
cA~A2 EAAc|Bgdc BGGB|czAG EA~A2|cded cAAB|
cAAG ~E3z|Bdde BGGB|AEAB cGcd|(3efg dB cA~A2||
(3Bcd ef ~g3d|BGAG DGGA|(3Bcd ef (3ggg fg|(3efg dB cA~A2|
(3Bcd ef gaed|BG~G2 DG~G2|(3Bcd ef (3ggg fg|~a3f gfed||

Thanks for posting this one Dow.
Hopefully more people will get to know it now.
It’s a really good tune which I tend to play more on the mandolin now, with triplets instead of rolls.

Go and get on with your thesis! :)

The digital hair shirt :-P

Good aside Geoff, sock it to ‘em. He is spending far too much time on this site lately, which can only mean he is putting off the inevitable. Is it ‘inevitable’? Well, whatever the outcome, there will be some kind of ‘fiddler’ to answer to…

Nice to see this tune here by the way, to be reacquainted, though my memory has a few different ways with it. Also, I didn’t have a name for it…

This tune is also in the Francis O’Neill Collections. Here is another take on it under that reacquaintance:

K:A Dorian
|: B |
cA (3AAA EAcA | BGdc BG (3Bcd |
1 cA (3AAG E>A (3AAB | cded cAA :|
2 A^GAB c2 gd | egdB cA (3AAG ||
|: cdef g2 gd | BG (3GGG DGBG |
(3Bcd ef g2 fg |1 egdB A2 AG :|2 a2 af ged ||

Shut up the two of you. I come on this site to relax and forget about work and all I get is bloody nag nag nag. There’s no escape. Go and do your marking Geoff, and your lesson planning, and all that other paperwork we expect you teachers to be doing these days.

this tune is in "the complete guide to the mandolin" by pairaig carrol, it sounds pretty much the same here as it does there.

After much deliberation, I’ve put Matt Molloy’s "Bohola Reel" off his Heathery Breeze album in the comments section here as I don’t think it’s different enough to be considered a separate tune. Even though there are lots of C#s, the part endings are different and it’s played double, there are just too many bars that are the same. What do people think?

X: 1
T: Bohola
T: Martin Ainsborough’s
T: Martin Ansboro’s
M: 4/4
L: 1/8
R: reel
K: Amix
cA~A2 EA~A2|BG~G2 AG (3Bcd|cA~A2 EAcA|dBGB ~A3z|
cA~A2 eA~A2|BGdG BG~G2|=c2cA BG~G2|dBGB ~A3z:|
|:(3Bcd ef gedc|BGDG BG~G2|(3Bcd ef ~g3z|eaag aged|
(3Bcd ef gedc|BGdG BG~G2|=c2cA BG~G2|dBGB ~A3z:|

And without the variations for easy comparison:

X: 1
T: Bohola
T: Martin Ainsborough’s
T: Martin Ansboro’s
M: 4/4
L: 1/8
R: reel
K: Amix
cA~A2 EA~A2|BGdG BG~G2|cA~A2 EA~A2|dBGB ~A3z|
cA~A2 EA~A2|BGdG BG~G2|=c2cA BG~G2|dBGB ~A3z:|
|:(3Bcd ef gedc|BGDG BG~G2|(3Bcd ef ~g3z|eaag aged|
(3Bcd ef gedc|BGDG BG~G2|=c2cA BG~G2|dBGB ~A3z:|

Molloy alternates between playing Cnat and C# in the 1st bar of the 2nd part. To a non-flute player like me, C# can sound weird on the descending run but it gives it character and makes the flute sound pretty wild.

Re: Mary Grace

Ceolachan, if you see this, what’s the title O’Neill uses for this tune, and which book is it from? Just curious. Thanks.

Re: Mary Grace

Never mind, found the info courtesy of the Traditional Tune Archive. C, thanks for the O’Neill transcription. The Matt Molloy version is superb.