Gaeilge Song Lyrics And Guitar Chords
As Gaeilge/Gaelic Lyrics And Guitar Chords. All the songs in this section of the site are in the Irish language and are some of the most popular Gaelic songs in Ireland. Guitar chords are in chordpro format. I have received lots of requests for guitar tabs in Gaelic, no other site was doing it and there are no music books available which exclusively give chords and lyrics so I decided I'd give it a try. If this section encourages you to learn even one song in Irish then it is worth it. Marc Fahrbach has given me great encouragement and has added most of the guitar chords. I hope to add more songs in the near future. Most of the tunes are traditional songs and have being brought back by Altan and The Cassidys
are being embraced by a wider audience
Introduction
The Irish language, also known as Gaeilge, has been an integral part of Irish culture and identity for centuries. Despite its rich history and cultural significance, the Irish language has faced many challenges throughout the years, including suppression and decline. However, in recent years, there has been a noticeable shift in the attitude towards the Irish language, particularly in the realm of music. As Gaeilge songs, or songs in the Irish language, are being embraced by a wider audience, it is clear that the language is experiencing a revival and resurgence. This thesis will examine the reasons behind this embrace and its impact on Irish society.
Historical Background
The Irish language has a long and complex history that is deeply intertwined with the history of Ireland itself. It is estimated that Irish has been spoken on the island for over 2,000 years, with its origins dating back to the Celtic language spoken by the ancient inhabitants of the island. Throughout the centuries, the Irish language has faced many challenges, including the arrival of the English language in the 12th century and the subsequent colonization of Ireland by the British. The British government actively suppressed the Irish language, viewing it as a threat to their control over Ireland. This suppression, along with other factors such as the Great Famine in the 19th century, led to a decline in the use of the Irish language. By the 20th century, Irish had become a minority language, spoken mainly in the Gaeltacht regions of Ireland.
Irish Music and its Role in Irish Society
Irish music has always been an important aspect of Irish culture, with its roots dating back to ancient times. Traditional Irish music, or 'trad' music, has been passed down through generations and has remained a constant in Irish society. Traditionally, Irish music was sung in the Irish language, and many of the songs were composed in the language. However, with the decline of the Irish language, there was a decline in the use of Irish in traditional music as well. This led to a shift towards English-language songs in the Irish music scene.
Reasons for the Revival of Gaeilge Songs
In recent years, there has been a noticeable increase in the popularity of Gaeilge songs, both within Ireland and internationally. This shift can be attributed to several factors, including a growing interest in Irish culture and identity, a resurgence of the Irish language, and the efforts of musicians and artists to promote the language through their work.
One of the main reasons for the revival of Gaeilge songs is the growing interest in Irish culture and identity. With the rise of globalization and the increasing homogenization of cultures, many people are seeking to reconnect with their roots and preserve their cultural heritage. In Ireland, this has led to a renewed interest in the Irish language and a desire to preserve it for future generations. As a result, there has been a demand for Gaeilge songs that celebrate Irish culture and identity.
Another contributing factor to the revival of Gaeilge songs is the resurgence of the Irish language. In recent years, there has been a concerted effort by the Irish government and various organizations to promote the Irish language and increase its usage. This has led to a growing number of people learning and speaking Irish, particularly among younger generations. As these individuals become more proficient in the language, they are also seeking out music in Irish, leading to a greater demand for Gaeilge songs.
The efforts of musicians and artists to promote the Irish language have also played a significant role in the revival of Gaeilge songs. Many Irish musicians and bands are now incorporating the Irish language into their music, either by singing entire songs in Irish or by incorporating phrases and verses into their English-language songs. This has not only exposed a wider audience to the Irish language but has also made it more accessible and relatable to non-Irish speakers.
Impact of the Revival of Gaeilge Songs
The growing popularity of Gaeilge songs has had a significant impact on Irish society. It has not only led to a resurgence of the Irish language but has also played a role in promoting Irish culture and identity. The increased usage of Irish in music has also helped to break down the stigma surrounding the language and has made it more socially acceptable to speak and use Irish in everyday life.
Furthermore, the revival of Gaeilge songs has also played a role in the preservation of the Irish language. As more people become interested in Irish music and seek out Gaeilge songs, the language is being kept alive and passed down to future generations. This has helped to ensure that the Irish language will continue to be a part of Irish culture and identity for years to come.
Conclusion
In conclusion, the increasing embrace of Gaeilge songs by a wider audience is a clear indication of the revival and resurgence of the Irish language. This shift can be attributed to a growing interest in Irish culture and identity, a resurgence of the Irish language, and the efforts of musicians and artists to promote the language through their work. The impact of this revival is significant, as it has not only led to a greater appreciation and usage of the Irish language but has also played a role in preserving Irish culture and identity. As Gaeilge songs continue to gain popularity, it is evident that the Irish language will remain an integral part of Irish society for generations to come.
Introduction
The Irish language, also known as Gaeilge, has been an integral part of Irish culture and identity for centuries. Despite its rich history and cultural significance, the Irish language has faced many challenges throughout the years, including suppression and decline. However, in recent years, there has been a noticeable shift in the attitude towards the Irish language, particularly in the realm of music. As Gaeilge songs, or songs in the Irish language, are being embraced by a wider audience, it is clear that the language is experiencing a revival and resurgence. This thesis will examine the reasons behind this embrace and its impact on Irish society.
Historical Background
The Irish language has a long and complex history that is deeply intertwined with the history of Ireland itself. It is estimated that Irish has been spoken on the island for over 2,000 years, with its origins dating back to the Celtic language spoken by the ancient inhabitants of the island. Throughout the centuries, the Irish language has faced many challenges, including the arrival of the English language in the 12th century and the subsequent colonization of Ireland by the British. The British government actively suppressed the Irish language, viewing it as a threat to their control over Ireland. This suppression, along with other factors such as the Great Famine in the 19th century, led to a decline in the use of the Irish language. By the 20th century, Irish had become a minority language, spoken mainly in the Gaeltacht regions of Ireland.
Irish Music and its Role in Irish Society
Irish music has always been an important aspect of Irish culture, with its roots dating back to ancient times. Traditional Irish music, or 'trad' music, has been passed down through generations and has remained a constant in Irish society. Traditionally, Irish music was sung in the Irish language, and many of the songs were composed in the language. However, with the decline of the Irish language, there was a decline in the use of Irish in traditional music as well. This led to a shift towards English-language songs in the Irish music scene.
Reasons for the Revival of Gaeilge Songs
In recent years, there has been a noticeable increase in the popularity of Gaeilge songs, both within Ireland and internationally. This shift can be attributed to several factors, including a growing interest in Irish culture and identity, a resurgence of the Irish language, and the efforts of musicians and artists to promote the language through their work.
One of the main reasons for the revival of Gaeilge songs is the growing interest in Irish culture and identity. With the rise of globalization and the increasing homogenization of cultures, many people are seeking to reconnect with their roots and preserve their cultural heritage. In Ireland, this has led to a renewed interest in the Irish language and a desire to preserve it for future generations. As a result, there has been a demand for Gaeilge songs that celebrate Irish culture and identity.
Another contributing factor to the revival of Gaeilge songs is the resurgence of the Irish language. In recent years, there has been a concerted effort by the Irish government and various organizations to promote the Irish language and increase its usage. This has led to a growing number of people learning and speaking Irish, particularly among younger generations. As these individuals become more proficient in the language, they are also seeking out music in Irish, leading to a greater demand for Gaeilge songs.
The efforts of musicians and artists to promote the Irish language have also played a significant role in the revival of Gaeilge songs. Many Irish musicians and bands are now incorporating the Irish language into their music, either by singing entire songs in Irish or by incorporating phrases and verses into their English-language songs. This has not only exposed a wider audience to the Irish language but has also made it more accessible and relatable to non-Irish speakers.
Impact of the Revival of Gaeilge Songs
The growing popularity of Gaeilge songs has had a significant impact on Irish society. It has not only led to a resurgence of the Irish language but has also played a role in promoting Irish culture and identity. The increased usage of Irish in music has also helped to break down the stigma surrounding the language and has made it more socially acceptable to speak and use Irish in everyday life.
Furthermore, the revival of Gaeilge songs has also played a role in the preservation of the Irish language. As more people become interested in Irish music and seek out Gaeilge songs, the language is being kept alive and passed down to future generations. This has helped to ensure that the Irish language will continue to be a part of Irish culture and identity for years to come.
Conclusion
In conclusion, the increasing embrace of Gaeilge songs by a wider audience is a clear indication of the revival and resurgence of the Irish language. This shift can be attributed to a growing interest in Irish culture and identity, a resurgence of the Irish language, and the efforts of musicians and artists to promote the language through their work. The impact of this revival is significant, as it has not only led to a greater appreciation and usage of the Irish language but has also played a role in preserving Irish culture and identity. As Gaeilge songs continue to gain popularity, it is evident that the Irish language will remain an integral part of Irish society for generations to come.
Oro se do bheatha bhaile
An Bhfaca Tu Mo Sheamaisin
Amhrán na gCupán
Ar eirinn ni neosfainn
Baidin fheilimi
Beidh aonach amárach
Bó Na Leath Adhairce
Buachaill ón Éirne
City Of Chicago As Gaeilge
Caoine Cill Cháis
Cailín na Gaillimhe
Cuaichín Ghleann Neifin
Caitlín Tiriall Skara Brae
Casadh An tSúgáin
Thíos Cois Na Trá Domh
Fainne Geal An Lae
Fairytale Of New York As Gaelige
An Bhfaca Tu Mo Sheamaisin
Amhrán na gCupán
Ar eirinn ni neosfainn
Baidin fheilimi
Beidh aonach amárach
Bó Na Leath Adhairce
Buachaill ón Éirne
City Of Chicago As Gaeilge
Caoine Cill Cháis
Cailín na Gaillimhe
Cuaichín Ghleann Neifin
Caitlín Tiriall Skara Brae
Casadh An tSúgáin
Thíos Cois Na Trá Domh
Fainne Geal An Lae
Fairytale Of New York As Gaelige
An poc ar buile
An londubh is an chéirseach
Do Bhios-sa Lá
Ealaigh lion
Fáinne Geal an Lae
Moll Dubh an Ghleanna
Including A Bhean Udaí Thall chords
Mo Ghile Mear
Nil Se La
Óró Bog Liom
Oíche chiúin / Silent Night
Lakes Of Pontchartrain Irish version
Roisin Dubh
Trasna na dTonnta
Teangaidh na nGael
scaoil uait na-deora lyrics hold back the river
The Wexford Carol
SÍ DO MHAMA / CAILLEACH AN AIRGID
An londubh is an chéirseach
Do Bhios-sa Lá
Ealaigh lion
Fáinne Geal an Lae
Moll Dubh an Ghleanna
Including A Bhean Udaí Thall chords
Mo Ghile Mear
Nil Se La
Óró Bog Liom
Oíche chiúin / Silent Night
Lakes Of Pontchartrain Irish version
Roisin Dubh
Trasna na dTonnta
Teangaidh na nGael
scaoil uait na-deora lyrics hold back the river
The Wexford Carol
SÍ DO MHAMA / CAILLEACH AN AIRGID
The vast majority of songs in the Irish language have a very distinct style that is very different to songs
in the English language. Most of the songs in the English language are strongly influenced by the folk/ballad form and are usually written as straight forward narrative, the songs in Irish are usually more lyrical in form and often only hint at the background story of the song subject.
This is usually because songs in Irish have absorbed more stylistic features from the old poetry.
Many songs in Irish are deliberately vague or even ambiguous. They may open with a question, such as ''A Bhuachill An Chuail Dualaigh'' where the first line is ''Where Did You Sleep Last Night ''
The identities of the main people in the song may be confused and in many cases the details of a relationship are not given. In most parts of Ireland what were known originally as songs are now played as tunes. The reason is because of the huge decline of the Gaelic language that happened after the great hunger
of 1847 /52 [So Called Famine]. In many of the Irish speaking [Gaelteach] areas the lyrics are still sang.
in the English language. Most of the songs in the English language are strongly influenced by the folk/ballad form and are usually written as straight forward narrative, the songs in Irish are usually more lyrical in form and often only hint at the background story of the song subject.
This is usually because songs in Irish have absorbed more stylistic features from the old poetry.
Many songs in Irish are deliberately vague or even ambiguous. They may open with a question, such as ''A Bhuachill An Chuail Dualaigh'' where the first line is ''Where Did You Sleep Last Night ''
The identities of the main people in the song may be confused and in many cases the details of a relationship are not given. In most parts of Ireland what were known originally as songs are now played as tunes. The reason is because of the huge decline of the Gaelic language that happened after the great hunger
of 1847 /52 [So Called Famine]. In many of the Irish speaking [Gaelteach] areas the lyrics are still sang.
SONGS IN IRISH
THE Peasant or Folk Songs of Ireland written in English are, as a rule, very inferior to those in Irish; for the good reason that the song-writers were only imperfectly acquainted with English, while they were quite at home in Irish. The Irish language, as it were, ran in their blood: and indeed it runs in our blood at the present day, whether we speak Irish or not; for our English is everywhere coloured with Irish idioms.
Nevertheless I have been able to select, from a vast collection of Anglo-Irish Folk Songs-partly preserved in my own memory, partly on rude printed sheets, and partly in manuscript-a large number by no means deficient in merit, and some really good. Those I give here are on the whole the best and most representative I could find: though I might have added many others that would pass muster as good Folk Songs. No one will question the beauty of the Airs: and the whole selection is fresh and wholesome like a breeze from the heather.
One feature is absolutely new-namely, that the words are set to the proper airs-the syllables under the musical notes: a thing never before attempted for this class of Irish lyrics. But observe:-this collection includes six peasant songs and airs published by me in 1906 in the form of a little pamphlet, as well as a few reprinted from my "Ancient Irish Music," issued in 1872. I thought it better to bring all together here, so as to place within reach of the public-and for the first time-one good representative collection of complete Anglo-Irish Folk Songs-words and music combined.
I found many of the versions-especially those in printed ballad-sheets-very corrupt. In regard to these, I can only say that I have, in all cases, dealt with them as tenderly as possible.
As to the Rhyme of the following songs, two points must be borne in mind. First, there is much Assonance, i.e. vowel-rhyming, which requires only that the vowel-sounds correspond or be identical, no account being taken of the consonants. This custom our Anglo-Irish song-writers borrowed from their native Gaelic language, in which the rhyme is assonantal.
The second point is, that all through Ireland the long vowels e and ea are still sounded as they were in the classical English of three centuries ago-and then spoken all over the Three Kingdoms: for in many matters of this kind our peasantry are very conservative. Thus "tea" is still pronounced lay; "reason," rayson, "sphere," sphaire, "severe," sevare, etc. Examples of this will be found. everywhere through these songs; and unless the rhyming syllables are sounded after the fashion of the people, the rhymes lose their force.
Rhyme counted for much and was keenly appreciated: it might indeed be said that there was a sort of popular instinct towards it; and in order to gratify this taste, the proper pronunciation of words was often modified or sacrificed- whether in reading, reciting, or singing. Thus when y at the end of a word was made to rhyme with er (or its equivalent), they was always lengthened and carried the accent, in order to give full effect to the rhyme:-
It is important to bear in mind that the words were always written to suit airs already existing: so that the airs are in all cases much older than the words.
I will conclude this short notice with the following observations of the late Sir Charles Gavan Duffy ("Ballad Poetry of Ireland," 1874, p. 142), which are intended to apply to our Anglo-Irish Folk Songs in general:-
"The student would do well to compare it [i.e. the song, "The Lamentation. of Hugh Reynolds," or "She's the dear maid to me": see page 135, above] with the other street ballads in the collection, such as Shule Aroon' and Peggy Bawn,' that he may discover if possible where the charm lies that recommends strains so rude and naked to the most cultivated minds. ballads have done what the songs of our greatest lyrical poets have not done- delighted both the educated and the ignorant. Whoever hopes for an equally large and contrasted audience must catch their simplicity, directness, and force, or whatever else constitutes their peculiar attraction."
THE Peasant or Folk Songs of Ireland written in English are, as a rule, very inferior to those in Irish; for the good reason that the song-writers were only imperfectly acquainted with English, while they were quite at home in Irish. The Irish language, as it were, ran in their blood: and indeed it runs in our blood at the present day, whether we speak Irish or not; for our English is everywhere coloured with Irish idioms.
Nevertheless I have been able to select, from a vast collection of Anglo-Irish Folk Songs-partly preserved in my own memory, partly on rude printed sheets, and partly in manuscript-a large number by no means deficient in merit, and some really good. Those I give here are on the whole the best and most representative I could find: though I might have added many others that would pass muster as good Folk Songs. No one will question the beauty of the Airs: and the whole selection is fresh and wholesome like a breeze from the heather.
One feature is absolutely new-namely, that the words are set to the proper airs-the syllables under the musical notes: a thing never before attempted for this class of Irish lyrics. But observe:-this collection includes six peasant songs and airs published by me in 1906 in the form of a little pamphlet, as well as a few reprinted from my "Ancient Irish Music," issued in 1872. I thought it better to bring all together here, so as to place within reach of the public-and for the first time-one good representative collection of complete Anglo-Irish Folk Songs-words and music combined.
I found many of the versions-especially those in printed ballad-sheets-very corrupt. In regard to these, I can only say that I have, in all cases, dealt with them as tenderly as possible.
As to the Rhyme of the following songs, two points must be borne in mind. First, there is much Assonance, i.e. vowel-rhyming, which requires only that the vowel-sounds correspond or be identical, no account being taken of the consonants. This custom our Anglo-Irish song-writers borrowed from their native Gaelic language, in which the rhyme is assonantal.
The second point is, that all through Ireland the long vowels e and ea are still sounded as they were in the classical English of three centuries ago-and then spoken all over the Three Kingdoms: for in many matters of this kind our peasantry are very conservative. Thus "tea" is still pronounced lay; "reason," rayson, "sphere," sphaire, "severe," sevare, etc. Examples of this will be found. everywhere through these songs; and unless the rhyming syllables are sounded after the fashion of the people, the rhymes lose their force.
Rhyme counted for much and was keenly appreciated: it might indeed be said that there was a sort of popular instinct towards it; and in order to gratify this taste, the proper pronunciation of words was often modified or sacrificed- whether in reading, reciting, or singing. Thus when y at the end of a word was made to rhyme with er (or its equivalent), they was always lengthened and carried the accent, in order to give full effect to the rhyme:-
It is important to bear in mind that the words were always written to suit airs already existing: so that the airs are in all cases much older than the words.
I will conclude this short notice with the following observations of the late Sir Charles Gavan Duffy ("Ballad Poetry of Ireland," 1874, p. 142), which are intended to apply to our Anglo-Irish Folk Songs in general:-
"The student would do well to compare it [i.e. the song, "The Lamentation. of Hugh Reynolds," or "She's the dear maid to me": see page 135, above] with the other street ballads in the collection, such as Shule Aroon' and Peggy Bawn,' that he may discover if possible where the charm lies that recommends strains so rude and naked to the most cultivated minds. ballads have done what the songs of our greatest lyrical poets have not done- delighted both the educated and the ignorant. Whoever hopes for an equally large and contrasted audience must catch their simplicity, directness, and force, or whatever else constitutes their peculiar attraction."
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