The Trip To Dublin reel

Also known as A Trip To Dublin.

There are 6 recordings of a tune by this name.

The Trip To Dublin has been added to 19 tunebooks.

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Four settings

X: 1
T: The Trip To Dublin
R: reel
M: 4/4
L: 1/8
K: Ador
|: cB | ABcd efec | dABG E2G2 | ABcd efed | cAAG A2cB |
ABcd efec | dABG E2G2 | ecdB cABG | cAAG A2 :|
|: cd | ec-~c2 Gcec | dB-~B2 GBdB | cAAG ABAG | E2ED E2cd |ec-~c2 Gcec |
dB-~B2 GBdB |1 ABcd efed | cAAG A2 :|2 ecdB cABG | cAAG A2 ||
# Added by gone .
X: 2
T: The Trip To Dublin
R: reel
M: 4/4
L: 1/8
K: Amin
ABcd e2 fe | dAB^G E2 Gc | A2 B/c/d efed | cAA^G A2 cB |
AEcE effe | dAB^G E3 G | ecdB cABG | c/B/A B^G A2 :|
ecAc GcEc | dB^AB GBdB | cAA^G A2 c/B/c | ecE^D E2 cd |
ec c/c/c Gc c/c/c | dB B/B/B ^G2 B/B/d |[1 A2 B/c/d efed | c/B/A B^G A2 :|
X: 3
T: The Trip To Dublin
R: reel
M: 4/4
L: 1/8
K: Ador
ABcd e2 fe | dABG E2 Gc | A2 B/c/d efed | cAAG A2 cB |
AEcE effe | dABG E3 G | ecdB cABG | c/B/A BG A2 :|
ecAc GcEc | dBAB GBdB | cAAG A2 c/B/c | ecED E2 cd |
ec c/c/c Gc c/c/c | dB B/B/B G2 B/B/d |[1 A2 B/c/d efed | c/B/A BG A2 :|
X: 4
T: The Trip To Dublin
R: reel
M: 4/4
L: 1/8
K: Amin
E2 | ABcd efec | dedB G2E2 | ABcd efec | d3e d2cB |
ABcd e^dec | dedB GBcd | ecdB cABG | A2AB A2 :|
|: cd | ec~c2 Gcec | dB~B2 GBdB | cAAG ABAG | E2ED E2cd |
ec~c2 Gcec | dB~B2 GBcd | ecdB cABG | A2AB A2 :|
B,2 | EFGA BcBG | ABAF D2B,2 | EFGA BcBG | A3B A2GF |
EFGA BcBG | ABAF DFGA | BGAF GEFD | E2EF E2 :|
|: GA | BG~G2 DGBG | AF~F2 DFAF | GEED EFED | B,2B,A, B,2GA |
BG~G2 DGBG | AF~F2 DFGA | BGAF GEFD | E2EF E2 :|

Seventeen comments

Not to be confused with the Charlie McKerron jig of the same name?:P Nice tune though, really like it, especially the second part!

Nice tune but not sure about the F#’s. Not sure that they should be naturals but if you play an "a" instead of the f# each time it is a nice compromise and leaves it ambiguous as to whether it really has an F natural or sharp.

F#’s / F nat’s

Interesting comment Donough. I have to admit that, as it was going through my head while I was waking up, those F’s were somewhere between, and that’s really how I’m playing them now. Sort of slide up to them and don’t quite get there, kind of thing. I’ve tried the "a" idea, but I find it produces a slightly bland effect. OK for a change, but not really the tune I had in mind.

You used to get a lot of tunes where the F’s were ambiguous - irrespective of mode - but it only seems to be C’s these days, and even they’re disappearing. πŸ™

Posted by .

OK Ben I had another go today and found it nice to play a ‘g’ instead of the first f# (bar 1) and then a super-natural sort of f# in bar 3. Then back to the ‘g’ in bar 4. For the B section the f# doesn’t feel too bad or again a supernatural f.

Even more interesting, Donough. And that’s the sort of place where, once upon a time, it would have been nice to hear the ‘g’ simultaneously with the ‘f#’ and have a delicious sort of clash. Tastes have changed, sadly.

Posted by .

“The Trip to Dublin” & “The Dublin Trip” 😏

Forgive me Ben, I’m still in a minor mood and this happened while I was semi-conscious, sometime in the middle of the night, so I guess that would be the hypnogogic state? That should qualify me for some forgiveness? Demons in the shadows! πŸ˜‰

X: 2
T: Dublin Trip, The
M: 4/4
L: 1/8
R: reel
K: Amin
|: cB |\
ABcd e2 fe | dAB^G E2 Gc | A2 B/c/d efed | cAA^G A2 cB |
AEcE effe | dAB^G E3 G | ecdB cABG | c/B/A B^G A2 :|
|: B/c/d |\
ecAc GcEc | dB^AB GBdB | cAA^G A2 c/B/c | ecE^D E2 cd |
ec c/c/c Gc c/c/c | dB B/B/B ^G2 B/B/d |[1 A2 B/c/d efed | c/B/A B^G A2 :|
[2 ec d/c/B cA B/G/E | c/B/A B^G A2 |]

I like a lot of that, ceol. I dont really approve of the change to Amin, or the G^’s, but some really nice ideas in there, particularly A2 B/c/d efed . I’ll probably nick some for variation. πŸ™‚

Posted by .

It’s my mood Ben… I enjoyed playing it or you wouldn’t see my distortion of the original intent… That just happened. I wonder if the sides of my smile and my shoulders dropped simultaneously? ~ πŸ™‚ ~ πŸ™ ~ πŸ˜‰

“The Trip to Dublin” ~ the above back to Dorian and minus the accidentals

X: 2
T: Trip to Dublin, The
M: 4/4
L: 1/8
R: reel
K: ADor
|: cB |\
ABcd e2 fe | dABG E2 Gc | A2 B/c/d efed | cAAG A2 cB |
AEcE effe | dABG E3 G | ecdB cABG | c/B/A BG A2 :|
|: B/c/d |\
ecAc GcEc | dBAB GBdB | cAAG A2 c/B/c | ecED E2 cd |
ec c/c/c Gc c/c/c | dB B/B/B G2 B/B/d |[1 A2 B/c/d efed | c/B/A BG A2 :|
[2 ec d/c/B cA B/G/E | c/B/A BG A2 |]

~ another possibility…

B-part, bar 4 ~ from ~ | ecED E2 cd | ~ to ~ | ecGF G2 B/c/d | ~

& 😏

A-part, bars 7 & 8 ~ | e^cdB =cA B/A/G | EAA^G A2 :|

Well done, Ben! I like it a lot. I’m avoiding the whole f nat vs. f sharp debate by simply leaving them out entirely and hanging on the e’s. Leave the mode totally ambiguous—a penchant of mine.

WIll work this one up for tonight’s session and hope it sets its hooks into my mates.

Posted .

Another possible variation for that F/F# is a D#. Played more slowly than your average reel, it would probably sound more like a hornpipe with those crotchets - could work nicely like that too, maybe.

When I played round with this tune, it came out as a hornpipe type thing, and a bit simpler in structure. I also found myself playing F nats:

X: 1
T: Trip To Dublin, The
M: 4/4
L: 1/8
R: hornpipe
K: Amin
E2 | ABcd efec | dedB G2E2 | ABcd efec | d3e d2cB |
ABcd e^dec | dedB GBcd | ecdB cABG | A2AB A2 :|
|: cd | ec~c2 Gcec | dB~B2 GBdB | cAAG ABAG | E2ED E2cd |
ec~c2 Gcec | dB~B2 GBcd | ecdB cABG | A2AB A2 :|

I discovered that that sits nicely in E minor.

X: 1
T: Trip To Dublin, The
M: 4/4
L: 1/8
R: hornpipe
K: Amin
B,2 | EFGA BcBG | ABAF D2B,2 | EFGA BcBG | A3B A2GF |
EFGA BcBG | ABAF DFGA | BGAF GEFD | E2EF E2 :|
|: GA | BG~G2 DGBG | AF~F2 DFAF | GEED EFED | B,2B,A, B,2GA |
BG~G2 DGBG | AF~F2 DFGA | BGAF GEFD | E2EF E2 :|

That second key sig should have been Emin, sorry.

Link to the tune

Just out of interest, I’ve posted this on Sound Lantern, together with another tune I wrote to go with it:

http://www.soundlantern.com/UpdatedSoundPage.do?ToId=13987

I think the tune (the Trip to Dublin, not the second one) is better than I am at playing it, so if any better musicians would like to play it, I’d love to hear it.

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