Down By The Sally Gardens Lyrics And Chords
The Sally Gardens Lyrics And Easy Guitar Chords tab. The full piano sheet music is included in the key of G Major plus the 5 string banjo chords and the tin whistle notes. Down by the Sally Gardens solfege [ Do re mi ] sheet music notes in the key of D Major now added plus the mandolin / 4 string banjo tab. The format of chords is chordpro. The music time signature is 2/2. The Video Is Orla Fallon, the second version is by Maria and Jim Conneely vs Banj O'Harrigan. Written by W.B. Yeats.A sally is a willow tree, and they used withes of the willow tree to fasten thatching on roofs back in the old days in Ireland. Each village had a bush of willow trees on the outskirts, primarily to provide the necessary material for thatching, and this bush was called the "sally gardens." It was also the 19th century equivalent of a "lovers' lane" where the young folk would go to be alone. An Irish folk song. The song was also a big hit for Maura O'Connell And Karen Matheson.Down by the Sally gardens piano letter notes for beginners now added plus the violin tab showing where to place your fingers on each string for every note played. Now added is the tenor guitar / mandola tab in CGDA.
It[D] was down by the[A] Sally[G] Gar[D]dens, my[G] love and[A] I did[D] meet.
She[D] crossed the[A] Sally[G] Gardens[D] with[G] little [A]snow-white[D] feet.
She[D] bid me[G] take love[A] easy, as the[Bm] leaves grow[G] on the[D] tree,
But I was[A] young and[Bm] fool[A]ish, and with[G] her did[A] not agr[D]ee.
In a field down by the river, my love and I did stand
And on my leaning shoulder, she laid her snow-white hand.
She bid me take life easy , as the grass grows on the weirs
But I was young and foolish, and now am full of tears.
Down by the Sally Gardens, my love and I did meet.
She crossed the Sally Gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree,
But I was young and foolish, and with her did not agree.
She[D] crossed the[A] Sally[G] Gardens[D] with[G] little [A]snow-white[D] feet.
She[D] bid me[G] take love[A] easy, as the[Bm] leaves grow[G] on the[D] tree,
But I was[A] young and[Bm] fool[A]ish, and with[G] her did[A] not agr[D]ee.
In a field down by the river, my love and I did stand
And on my leaning shoulder, she laid her snow-white hand.
She bid me take life easy , as the grass grows on the weirs
But I was young and foolish, and now am full of tears.
Down by the Sally Gardens, my love and I did meet.
She crossed the Sally Gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree,
But I was young and foolish, and with her did not agree.
Here are the easy guitar chords that Orla Fallon sings in
[G]down [C]by the[G] Sally[F]Gar[C]dens, my[F]love and I did[C] meet.
She[C] crossed the[G]Sally[F]Gar[C]dens with[F] little [G]snow-white[C] feet.
[G]She[C] bid me[F] take love[G]ea[C]sy, as the[F] leaves grow[G] on [C]the[F] tree[C],
[C]But I was[G] young and[F]fool[C]ish, and with[F] her did[G] not a[C]gree.
[C]In a field down [G]by the [F]riv[C]er, my [F]love and [G]I did [C]stand
[C]And on my [G]leaning [F]shoul[C]der, she [F]laid her [G]snow-white [C]hand.
[G]She bid [C]me [F]take life [G]eas[C]y , as the [F]grass grows [G]on the [C]weirs
But [C]I was [G]young and [F]fool[C]ish, and [F]now am [G]full of [C]tears.
Music break
C G F C F G C
The 5 string banjo chords are below in G Major.
Back to the Irish Songs From C-F
[G]down [C]by the[G] Sally[F]Gar[C]dens, my[F]love and I did[C] meet.
She[C] crossed the[G]Sally[F]Gar[C]dens with[F] little [G]snow-white[C] feet.
[G]She[C] bid me[F] take love[G]ea[C]sy, as the[F] leaves grow[G] on [C]the[F] tree[C],
[C]But I was[G] young and[F]fool[C]ish, and with[F] her did[G] not a[C]gree.
[C]In a field down [G]by the [F]riv[C]er, my [F]love and [G]I did [C]stand
[C]And on my [G]leaning [F]shoul[C]der, she [F]laid her [G]snow-white [C]hand.
[G]She bid [C]me [F]take life [G]eas[C]y , as the [F]grass grows [G]on the [C]weirs
But [C]I was [G]young and [F]fool[C]ish, and [F]now am [G]full of [C]tears.
Music break
C G F C F G C
The 5 string banjo chords are below in G Major.
Back to the Irish Songs From C-F
Guitar tab fingerstyle Down By The Sally Gardens. More Irish guitar tabs here
Down by the sally gardens tin whistle sheet music notes
Below is the list of songs that are in the ebook. This is the largest collection of tin whistle songs ever put together.[About 600 songs ]
All of the songs have been made as easy to play as was possible.
The price of this ebook is €7.50 and it will be emailed to you after payment.
All of the songs have been made as easy to play as was possible.
The price of this ebook is €7.50 and it will be emailed to you after payment.
And below is the tenor guitar / mandola tab in CGDA tuning
Irish Songs
The Emerald Isle, "Sweet Erin" - Ireland, has long been the land of romantic nostalgia in song.
Folksong became fashionable at the end of the 18th century when the Edinburgh music publisher George Thomson asked Joseph Haydn to arrange Scottish folksongs for voice and piano trio. These were so popular that in the end Haydn produced some 400 such arrangements of both Scottish and Welsh airs, almost all with new texts suitable for the polite salons of the day. His example was followed by many younger composers including Beethoven, Carl Maria von Weber, and Haydn's pupil Ignaz Pleyel. The rich heritage of Irish folksong was tapped by a much lesser light of this "second generation". Thomas Moore (1779-1852), a poet and singer who did much by his own singing of them to spread his versions, which appeared in instalments between 1808 and 1834 with musical accompaniments by John Stevenson and which indeed became better known than many of the works of his more illustrious colleagues. One in particular, "The Last Rose of Summer", swept the drawing rooms and concert platforms of all Europe, and was then immortalised by the German composer Friedrich von Flotow in his opera "Martha" of 1847. While the melodies were almost all genuine folksongs, if often modified, the texts were, as with most of these productions. specially written for the publication, in this case by Moore as "A Selection of Irish Melodies". Their romantic themes of nostalgia, gentle grief for lost love, lonely yearning and occasional high spirits, but rarely of a comic nature, suited the sentimentality of the 19th century.
This movement, and especially the Irish branch, reached a peak when after the great potato famines of the middle of the century a huge wave of almost a million immigrants reached the United States seeking a new existence, mostly in the great Northern cities. Their feeling of loss and nostalgia for a rural life in the "ould country" found an outlet in song, and with such a huge receptive public writing Irish songs became a special genre of the popular songs of the day, a vogue which lasted, with occasional abatement, until well into the 20th century. The melodies came from many sources, often being written in the fashion of the day and indistinguishable from the other popular ballads of their time. Others can be traced back as far as the 18th century English stage. These melodies often went through various guises before receiving their "Irish" text. A prime example of this is the evergreen "Danny Boy", otherwise known as "The Londonderry Air", which was first. published in 1855- though almost certainly older
and received two sets of words before the modern, well-loved text in 1913. On the other hand, some of the texts, like "Down by the Salley Gardens", have not only received various arrangements, including in this case one by Benjamin Britten, but have also served as words for an entirely new song.
The present recording offers a selection of such "traditional" Irish songs ranging from genuine folksongs to purely commercial productions that have proved their durability. One has also been included with the refrain in its original text in the Irish form of the old Gaelic tongue, still spoken as a living language in many parts of the island.
(Christopher Norton-Welsh)
The Emerald Isle, "Sweet Erin" - Ireland, has long been the land of romantic nostalgia in song.
Folksong became fashionable at the end of the 18th century when the Edinburgh music publisher George Thomson asked Joseph Haydn to arrange Scottish folksongs for voice and piano trio. These were so popular that in the end Haydn produced some 400 such arrangements of both Scottish and Welsh airs, almost all with new texts suitable for the polite salons of the day. His example was followed by many younger composers including Beethoven, Carl Maria von Weber, and Haydn's pupil Ignaz Pleyel. The rich heritage of Irish folksong was tapped by a much lesser light of this "second generation". Thomas Moore (1779-1852), a poet and singer who did much by his own singing of them to spread his versions, which appeared in instalments between 1808 and 1834 with musical accompaniments by John Stevenson and which indeed became better known than many of the works of his more illustrious colleagues. One in particular, "The Last Rose of Summer", swept the drawing rooms and concert platforms of all Europe, and was then immortalised by the German composer Friedrich von Flotow in his opera "Martha" of 1847. While the melodies were almost all genuine folksongs, if often modified, the texts were, as with most of these productions. specially written for the publication, in this case by Moore as "A Selection of Irish Melodies". Their romantic themes of nostalgia, gentle grief for lost love, lonely yearning and occasional high spirits, but rarely of a comic nature, suited the sentimentality of the 19th century.
This movement, and especially the Irish branch, reached a peak when after the great potato famines of the middle of the century a huge wave of almost a million immigrants reached the United States seeking a new existence, mostly in the great Northern cities. Their feeling of loss and nostalgia for a rural life in the "ould country" found an outlet in song, and with such a huge receptive public writing Irish songs became a special genre of the popular songs of the day, a vogue which lasted, with occasional abatement, until well into the 20th century. The melodies came from many sources, often being written in the fashion of the day and indistinguishable from the other popular ballads of their time. Others can be traced back as far as the 18th century English stage. These melodies often went through various guises before receiving their "Irish" text. A prime example of this is the evergreen "Danny Boy", otherwise known as "The Londonderry Air", which was first. published in 1855- though almost certainly older
and received two sets of words before the modern, well-loved text in 1913. On the other hand, some of the texts, like "Down by the Salley Gardens", have not only received various arrangements, including in this case one by Benjamin Britten, but have also served as words for an entirely new song.
The present recording offers a selection of such "traditional" Irish songs ranging from genuine folksongs to purely commercial productions that have proved their durability. One has also been included with the refrain in its original text in the Irish form of the old Gaelic tongue, still spoken as a living language in many parts of the island.
(Christopher Norton-Welsh)
Mandolin tab for down by the sally gardens in G Major
Mandolin tab for down by the sally gardens in G Major
Down by the Sally gardens violin sheet music for beginners
Down by the Sally Gardens solfege [ Do re mi ] piano sheet music notes in the key of D Major
The full sheet music score of The Sally Gardens
sally gardens sheet music
