Esther’s Arrival reel

There are 2 recordings of this tune.

Esther's Arrival has been added to 12 tunebooks.

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Two settings

X: 1
T: Esther's Arrival
R: reel
M: 4/4
L: 1/8
K: Dmaj
DFAd BdAd|cdAd BEEF|DFAd Bdfg|afeg fdAF|
DFAd BdAd|cdAd BEEF|DFAd Bdfg|afeg fdde||
f2 fa gfed|ABcd efge|f2 ef gfed|cdBc ABce|
f2 fa gfed|ABcd efge|f2 ef gfed|cABc dBAF||
DFAd B/c/d Ad|cdAd B~E3|DFAd B/c/d fg|afeg fdAF|
DFAd B/c/d Ad|cdAd BE E/E/E|DFAd B/c/d fg|afeg fdde||
~f3a g/g/f ed|ABcd efge|~f3f gfed|cdBc ABce|
~f3a gfed|ABcd efge|~f3f gfed|cABc dBAF||
# Added .
X: 2
T: Esther's Arrival
R: reel
M: 4/4
L: 1/8
K: Dmaj
DFAd (3Bcd Ad|cdAd BEE2|DFAd (3Bcd fg|afeg fdAF:|
f3a gfed|ABcd efge|f3a gfed|cdBc ABce|
f3a gfed|ABcd efge|f3a gfed|cABc dBAF||

Five comments

Esther’s Arrival

Transcribed this in response to Zina’s request for the tune off of the Maiden Voyage cd. Nice little reel. I don’t have the liner notes in front of me, so I don’t know who penned it, if it’s not trad.

The 4th bar of the B part also gets played: |cdBc AB c/B/A|

Posted .

Will, yer a rock star! 🙂

No sleeve notes either, but from what I remember it’s written by PJ King.

A friendly comment - why not just post the second version of the transcription? Personally I wouldn’t agree with some of the changes made bythe ‘reduction’ to the basic melody.


cdAd BEEF - is this not adding an extra F not in the original?

f2fa gfed - why not just leave the dotted crotchet without adding another quaver?

Just remembered I transcribed this myself yonks back! Almost the same too.

T:Esther’s Arrival
D:Maiden Voyage
DFAd (3Bcd Ad|cdAd BEE2|DFAd (3Bcd fg|afeg fdAF:||\
f3a gfed|ABcd efge|f3a gfed|cdBc ABce|\
f3a gfed|ABcd efge|f3a gfed|cABc dBAF||

Oh except for my usual laziness in not always notating the changes going from first part to second part!

Continuo, we’ve had some good discussions here in past threads about whether to post ‘bare bones’ settings or ‘as played’ settings that include all the tricky bits. I personally prefer the latter, but some people don’t like being told where to put the rolls and triplets, or can’t play them well enough yet but still want to learn the tune.

I think there are disadvantages either way–‘bare bones’ gives you no idea how the tune is actually played, but some ‘as played’ versions may be just one person’s bizarre spin on the tune, or overly ornate, or generally not well-suited to sessions.

My answer is to post two settings at once so people can use the one that suits them best. Easy enough to ignore whichever one disagrees with you.

In my ‘basic melody’ version, I aimed to keep it playable. I tend toward phrasings more common to fiddle because it’s my main instrument. Sure, BEE2 is simplified shorthand for what would normally be played as BE E/E/E or B~E3 but few fiddlers would ever play BEE2. Adding the F keeps the phrasing going without requiring a triplet or roll, and without simply hanging on E3 (or f3 in the other example you cite), which tends to sound lame on fiddle, at least in Irish music. Besides, BEEF makes a nice melodic variation, worth keeping even if you favor the ‘as played’ version.

A crotchet/quaver combination is a fairly standard (again, on fiddle, and also flute and whistle) replacement for a dotted crotchet. Rolls are widely simplified this way in notation, and many trad players actually use this phrasing to give lift to a tune without always relying on a roll or triplet.

Of course, anyone really interested in the tune would be well off to suss out both settings I’ve given, along with any others posted in the comments and elsewhere online or in print, and *listen* (a lot) to the recording to get the real feel.

Posted .