Mackilmoyle’s reel

Also known as Galope De La Malbaie, Tiddle Took Todfish.

There are 7 recordings of this tune.

Mackilmoyle’s has been added to 2 tune sets.

Mackilmoyle's has been added to 30 tunebooks.

Download ABC

Two settings

1
X: 1
T: Mackilmoyle's
R: reel
M: 4/4
L: 1/8
K: Dmaj
DFAd fdfd|cdec dBAG|DFA=c BGBG|FGAF E2 FE|
DFAd fdfd|cdec dBAG|DFA=c BGBd|cdec d2 d2|
cdef gf g2|Ace^g a^ga2|Acef gfge|dfed cB A2|
cdef gf g2|Ace^g a^g a2|Acef gfge|cdec d2 d2|
2
X: 2
T: Mackilmoyle's
R: reel
M: 4/4
L: 1/8
K: Dmaj
DF Ad fd fd | cd ec df dA | FA FA GB GB | FA FA EA EA |
DF Ad fd fd | cd ec df dA | FA FA GB GB | Ac ec d4 :|
|: Ac ef ge ce | de fg aa fd | Ac ef gf gb | af ge fa fd |
Ac ef ge ce | de fg af ge | fd ec dB AG | FA Bc d4 :|

Seven comments

Trad or contemporary?

Is this tune considered traditional, or is it fairly contemporary? I like it pretty well, but I don’t think the G# fits so nicely in the B part.

Mackilmoyle’s

Tell us more, like where you got it.

Fiddler Graham Townsend recorded this as "Galop de Malbaie" and believed that Canadian Joe Bouchard composed it. According to Donna Hinds (who also calls it "Mackilmoyle Reel"), it is "very popular at New England dances" (this info from her book The Grumbling Old Woman).

Abcs for La Galop de Malbaie from JC’s tune finder

no G#s in this version…..
cheers,
Trish

X: 1
T:La Galop de Malbaie
S:Dominique Renaudin <domren:free.fr> QueTrad 2002-11-12
O:Québec
R:reel
Q:1/4=200
M:4/4
L:1/8
F:http://trillian.mit.edu/~jc/music/abc/Contra/reel/ReelDeLaMalbaie_1.abc 2009-07-05 19:37:13 UT
K:D
DF Ad fd fd | cd ec df dA | FA FA GB GB | FA FA EA EA |
DF Ad fd fd | cd ec df dA | FA FA GB GB | Ac ec d4 :|
|: Ac ef ge ce | de fg aa fd | Ac ef gf gb | af ge fa fd |
Ac ef ge ce | de fg af ge | fd ec dB AG | FA Bc d4 :|

Accent is different for Galope de Malbaie

Starts on the half measure. Can’t remember which is which.

quarter irish -

the g# at first seemed odd to me, but everyone i’ve played this tune with has played it that way. i think it’s more dramatic with the sharp there, as it creates a major 7th chord. to leave it as a g natural leaves the chord the same for that measure and the preceding one, and (especially with accompaniment) and it feels more static.

nigelg -

i learnt it from donna hinds about ten or eleven years ago, i just used the alternate punctuation here. i’ve seen the title writtten out both ways.