Buskers Lyrics And Chords
4/4 (Colum Sands, 1996)Lyrics and chords fit Colum Sands’ version from his album ‚All My Winding Journeys’. Use capo on 4th fret. Optional chords: G6=(3-2-0-0-0-0) or (3-2-0-0-2-0), D6=(X-X-0-2-3-0) guitar work Marc Fahrbach
: The Culture, The Music, The Impact
Introduction
Busking, the act of performing music, magic, or other forms of entertainment in public places, has been a part of human culture for centuries. From the streets of ancient Rome to the bustling cities of modern times, buskers have been a constant presence, providing entertainment and adding to the vibrancy of city life. But beyond the surface level of entertainment, busking has a rich cultural history, a diverse range of musical styles and techniques, and a significant impact on both performers and audiences. In this thesis, we will explore the culture of busking, the music that is performed, and the impact it has on individuals, communities, and society as a whole.
The Culture of Busking
Busking is not just a form of entertainment, but a way of life for many performers. It is a culture that is built on community, creativity, and a love for music. Buskers are a diverse group, coming from all walks of life and backgrounds, united by their passion for performing and sharing their talents with the world. They often form close-knit communities, supporting and learning from each other, and creating a sense of belonging for those who may not fit into traditional music scenes.
In addition to the community aspect, busking also has its own set of customs and traditions. For example, many buskers have a designated spot where they perform regularly, and it is considered a sign of respect to not encroach on another busker's territory. There are also unwritten rules about the use of amplifiers and the volume of performances to ensure that buskers do not disrupt the daily lives of those around them. These customs and traditions may vary from city to city, but they all contribute to the unique culture of busking.
The Music of Busking
One of the most fascinating aspects of busking is the wide range of musical styles and techniques that are performed. From classical music to hip-hop, from traditional folk songs to experimental electronic music, there are no limits to the type of music that can be heard on the streets. This diversity is a reflection of the diverse backgrounds and influences of buskers, as well as their desire to connect with a broad audience.
Busking also allows for a more intimate and personal performance experience. Unlike traditional concerts, where the audience is separated from the performer by a stage, buskers are often surrounded by their audience, creating a more intimate and interactive environment. This allows for a unique connection between the performer and the audience, making the music more personal and meaningful for both parties.
The Impact of Busking
The impact of busking goes beyond the entertainment it provides. For performers, busking offers a platform to showcase their talents, gain exposure, and potentially earn a living. It also allows for artistic freedom and experimentation, without the constraints of record labels or commercial success. For some, busking is a stepping stone to a career in music, while for others, it is a way to share their passion and connect with others.
For audiences, busking offers a free and accessible form of entertainment. It breaks down the barriers between performer and spectator, creating a sense of community and inclusivity. It also adds to the cultural fabric of a city, making it a more vibrant and interesting place to live and visit. Additionally, busking has been shown to have a positive impact on mental health, both for the performers and the audience, providing a sense of joy and connection in a fast-paced and often isolating world.
However, busking is not without its challenges. Many buskers face issues such as regulations, permits, and harassment from authorities. There is also the constant struggle to earn enough money to sustain a living. These challenges highlight the need for recognition and support for buskers, as they contribute to the cultural and social landscape of a city.
Conclusion
In conclusion, busking is not just about performing music on the streets; it is a culture that celebrates diversity, creativity, and community. The music performed by buskers reflects this culture, with its wide range of styles and techniques. The impact of busking goes beyond entertainment and has a significant influence on individuals, communities, and society as a whole. As we continue to see the growth of busking around the world, it is important to recognize and appreciate the culture, music, and impact of this unique form of performance.
Introduction
Busking, the act of performing music, magic, or other forms of entertainment in public places, has been a part of human culture for centuries. From the streets of ancient Rome to the bustling cities of modern times, buskers have been a constant presence, providing entertainment and adding to the vibrancy of city life. But beyond the surface level of entertainment, busking has a rich cultural history, a diverse range of musical styles and techniques, and a significant impact on both performers and audiences. In this thesis, we will explore the culture of busking, the music that is performed, and the impact it has on individuals, communities, and society as a whole.
The Culture of Busking
Busking is not just a form of entertainment, but a way of life for many performers. It is a culture that is built on community, creativity, and a love for music. Buskers are a diverse group, coming from all walks of life and backgrounds, united by their passion for performing and sharing their talents with the world. They often form close-knit communities, supporting and learning from each other, and creating a sense of belonging for those who may not fit into traditional music scenes.
In addition to the community aspect, busking also has its own set of customs and traditions. For example, many buskers have a designated spot where they perform regularly, and it is considered a sign of respect to not encroach on another busker's territory. There are also unwritten rules about the use of amplifiers and the volume of performances to ensure that buskers do not disrupt the daily lives of those around them. These customs and traditions may vary from city to city, but they all contribute to the unique culture of busking.
The Music of Busking
One of the most fascinating aspects of busking is the wide range of musical styles and techniques that are performed. From classical music to hip-hop, from traditional folk songs to experimental electronic music, there are no limits to the type of music that can be heard on the streets. This diversity is a reflection of the diverse backgrounds and influences of buskers, as well as their desire to connect with a broad audience.
Busking also allows for a more intimate and personal performance experience. Unlike traditional concerts, where the audience is separated from the performer by a stage, buskers are often surrounded by their audience, creating a more intimate and interactive environment. This allows for a unique connection between the performer and the audience, making the music more personal and meaningful for both parties.
The Impact of Busking
The impact of busking goes beyond the entertainment it provides. For performers, busking offers a platform to showcase their talents, gain exposure, and potentially earn a living. It also allows for artistic freedom and experimentation, without the constraints of record labels or commercial success. For some, busking is a stepping stone to a career in music, while for others, it is a way to share their passion and connect with others.
For audiences, busking offers a free and accessible form of entertainment. It breaks down the barriers between performer and spectator, creating a sense of community and inclusivity. It also adds to the cultural fabric of a city, making it a more vibrant and interesting place to live and visit. Additionally, busking has been shown to have a positive impact on mental health, both for the performers and the audience, providing a sense of joy and connection in a fast-paced and often isolating world.
However, busking is not without its challenges. Many buskers face issues such as regulations, permits, and harassment from authorities. There is also the constant struggle to earn enough money to sustain a living. These challenges highlight the need for recognition and support for buskers, as they contribute to the cultural and social landscape of a city.
Conclusion
In conclusion, busking is not just about performing music on the streets; it is a culture that celebrates diversity, creativity, and community. The music performed by buskers reflects this culture, with its wide range of styles and techniques. The impact of busking goes beyond entertainment and has a significant influence on individuals, communities, and society as a whole. As we continue to see the growth of busking around the world, it is important to recognize and appreciate the culture, music, and impact of this unique form of performance.
Intro: G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D (2x)
I (G)saw them on the (C)streets of (G)Clones
At a (D)Fleadh Cheoil long a(G)go
A white heared (C)man with a (G)fiddle
His (D)brother had an old ban(G)jo
- They're (C)blind - said the woman beside us,
- But by (G)God them boys can play! -
- That's the (D)Swallow's Tail - said my (D7)father
And the (C)music took us (D)all a(G)way -G
Chorus
And (D)if you stop to (G)listen,
They're (C)playing for (D)you and (G)I.
And their music (D)sings a(C)long the (G)strings.
Between the (C)earth and the (G)sky, between the (D7)eart and the (G)sky
G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D
(G)Maggie was a (C)traveling (G)singer
You (D)never heard a voice so (G)strong
When she sang in (C)Newry (G)market
The (D)whole town heard her (G)song
And her (C)voice was known from London
To the (G)streets of Baltimore
For she (D)sang her songs a(D7)long a road
That was (C)often (D)walked be(G)fore. -G
Chorus, using ‚SHE’S playing...’ + ‚and HER music...’
Be(G)side Co(C)logne Ca(G)thedral
A (D)crowd had gathered (G)round
There was singing, (C)there was (G)laughing and
We (D)hurried towards the (G)sound
You (C)said - That's Klaus the Fiddler
He (G)plays here every day
Left the (D)orchestra be(D7)hind him
So that (C)everyone could (D)hear him (G)play -G
Chorus, using ‚HE’S playing...’ + ‚and HIS music...’
On the (G)streets of (C)Sara(G)jevo
Where (D)death walks every (G)day
Smailovic (C)takes his (G)cello
And he (D)slowly starts to (G)play
And the (C)people gather roud him
In the (G)spirit of the market place
His (D)music brings both (D7)tears and smiles (short rest!)
But it (C)changes (D)every (G)face -G
Chorus, using ‚HE’S playing...’ + ‚and HIS music...’
Bridge: G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D
And the (G)music (C)echoes (G)all around
No (D)matter where I (G)stray
Like the pan pipes (C)from the (G)Andes
On (D)Grafton Street to(G)day
And (C)some will give them money
And (G)some will ask them why
As the (D)music fills the (D7)lonesome place
Bet(C)ween the (D)street and the (G)sky -G
Chorus, using ‚THEY’RE playing...’ + ‚and THEIR music...’
Outro: G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D - G
Colum Sands Lyrics And Chords
I (G)saw them on the (C)streets of (G)Clones
At a (D)Fleadh Cheoil long a(G)go
A white heared (C)man with a (G)fiddle
His (D)brother had an old ban(G)jo
- They're (C)blind - said the woman beside us,
- But by (G)God them boys can play! -
- That's the (D)Swallow's Tail - said my (D7)father
And the (C)music took us (D)all a(G)way -G
Chorus
And (D)if you stop to (G)listen,
They're (C)playing for (D)you and (G)I.
And their music (D)sings a(C)long the (G)strings.
Between the (C)earth and the (G)sky, between the (D7)eart and the (G)sky
G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D
(G)Maggie was a (C)traveling (G)singer
You (D)never heard a voice so (G)strong
When she sang in (C)Newry (G)market
The (D)whole town heard her (G)song
And her (C)voice was known from London
To the (G)streets of Baltimore
For she (D)sang her songs a(D7)long a road
That was (C)often (D)walked be(G)fore. -G
Chorus, using ‚SHE’S playing...’ + ‚and HER music...’
Be(G)side Co(C)logne Ca(G)thedral
A (D)crowd had gathered (G)round
There was singing, (C)there was (G)laughing and
We (D)hurried towards the (G)sound
You (C)said - That's Klaus the Fiddler
He (G)plays here every day
Left the (D)orchestra be(D7)hind him
So that (C)everyone could (D)hear him (G)play -G
Chorus, using ‚HE’S playing...’ + ‚and HIS music...’
On the (G)streets of (C)Sara(G)jevo
Where (D)death walks every (G)day
Smailovic (C)takes his (G)cello
And he (D)slowly starts to (G)play
And the (C)people gather roud him
In the (G)spirit of the market place
His (D)music brings both (D7)tears and smiles (short rest!)
But it (C)changes (D)every (G)face -G
Chorus, using ‚HE’S playing...’ + ‚and HIS music...’
Bridge: G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D
And the (G)music (C)echoes (G)all around
No (D)matter where I (G)stray
Like the pan pipes (C)from the (G)Andes
On (D)Grafton Street to(G)day
And (C)some will give them money
And (G)some will ask them why
As the (D)music fills the (D7)lonesome place
Bet(C)ween the (D)street and the (G)sky -G
Chorus, using ‚THEY’RE playing...’ + ‚and THEIR music...’
Outro: G-G-G6-G G-G-G6-G D-D-D6-D D-D-D6-D - G
Colum Sands Lyrics And Chords
