I Know Where I'm Going -Song lyrics and guitar chords
The full sheet music score with letter notes plus the ukulele chords are included for I Know Where I'm Going. This is an old traditional Irish song that has been recorded by Maureen Hegarty who also recorded the Tipperary banner song Slievenamon, Laura Wright, Julie Andrews and Kathleen Ferrier. I have included three versions of the guitar chords including the version of The Weavers in the youtube video.I know where I'm going mandolin tab now added.
The Song Words And Chords In D
[D]I know [A]where I'm going
And [Bm]I know who's going with[A] me
I [D]know who I[Bm] love
And my [Em]dear knows who I'll[A] marry.
I have stockings of silk
And shoes of bright green leather
Combs to buckle my hair
And a ring for every finger.
O' feather beds are soft
And painted rooms are bonnie
But I would give them all
For my handsome winsome Johnny.
Some say that he's poor
But I say that he's bonnie
Fairest of them all
Is my handsome winsome Johnny.
Irish song lyrics G-J
[D]I know [A]where I'm going
And [Bm]I know who's going with[A] me
I [D]know who I[Bm] love
And my [Em]dear knows who I'll[A] marry.
I have stockings of silk
And shoes of bright green leather
Combs to buckle my hair
And a ring for every finger.
O' feather beds are soft
And painted rooms are bonnie
But I would give them all
For my handsome winsome Johnny.
Some say that he's poor
But I say that he's bonnie
Fairest of them all
Is my handsome winsome Johnny.
Irish song lyrics G-J
The Weavers Version of the chords
[C]I [G]know where [C]I'm go[Dm]ing
And [C]I know [F]who's going [G]with me
[C]I know [F]who I love
And [Dm]my dear knows who I'll[G] marry.
[C]I [G]know where [C]I'm go[Dm]ing
And [C]I know [F]who's going [G]with me
[C]I know [F]who I love
And [Dm]my dear knows who I'll[G] marry.
All folk song, by definition, springs from the people. Irish folk songs come from a people with an enormous gift for love and laughter, for drinking and fighting, for sadness and joy. Uniting these diverse qualities is a great pride in being Irish, in having withstood political adversity for centuries and in having preserved a rich and many-faceted folk tradition.
This Celtic nation, possessor of an advanced civilization in Roman days, was repeatedly invaded: after A.D. 800 by the Vikings and from 1160 on by England. Rebellion after rebellion- 1536, 1597, 1649, 1690, 1798, 1829, 1916-was put down by force, and the precious Home Rule did not become a reality until the partition of Ireland in 1921. Thus while other nations have their songs. in praise of the homeland's history and beauty, Ireland's bards sang often of oppression, of thwarted hopes, of betrayal and bloodshed:
Avenging and bright fall the swift sword of Erin On him who the brave sons of Usna betrayed! For ev'ry fond eye which he wakened a tear in, A drop from his heartwounds shall weep o'er her blade.
Alike the noble heroes and the peasant protestors were immortalized:
"Land of song!" said the warrior bard,
"Though all the world betrays thee,
One sword at least thy right shall guard,
One faithful harp shall praise thee!"
King Usna and King Lir date from medieval legend, but the "Croppy Boy" (who cut his hair as a symbol of rebellion) was a victim of the uprising of 1798:
'Twas in the guardhouse where I was laid, And in the parlor where I was tried; My sentence passed and my courage low, When to Dungannon I was forced to go.
There is no vague threat of danger; the enemy is clear and present: And taken was I by the Lord Cornwall-the very same Cornwallis who surrendered to George Washington at Yorktown. The English objectives and the means of obtaining them are ridiculed:
Not all the fighting was done at home. In an at- tempt to escape the hopeless poverty of the countryside, many young men ran away to join the army. The tragedy of the wounded and maimed coming back from overseas service to a yet more hopeless existence finds magnificent expression:
Where are your eyes that looked so mild When my heart you so beguiled?
Indeed, your dancin' days are done. I'm happy for to see you home All from the Island of Ceylon, So low in flesh, so high in bone: Why Johnny, I hardly knew ye.
Musically, the songs seem to divide into two groups: those based primarily on dance rhythms and those with a predominantly lyric quality. Within the dance group of jigs and reels in 6/8 meter there is an astonishing variety of mood and tempo. We May Roam Through This World is traditionally fast, while Johnny, I Hardly Knew Ye has an almost unbearable intensity. A Ballynure Ballad is playful; Sing, Sing gently rocks, and 'Tis Pretty to Be in Balinderry is as quiet as a reflection in still water. Other dances, in duple meter, exuberant and popu- lar, are The Girl I Left Behind Me, Wearin' of the Green and To Ladies' Eyes.
The lyric songs include three great soaring modal melodies: Silent, O Moyle, My Gentle Harp and Has Sorrow Thy Young Days Shaded. The Minstrel Boy and Avenging and Bright have a more straight- forward, martial tone. I Know Where I'm Goin', The Croppy Boy and The Parting Glass are ballads sharing a singable, plaintive sweetness.
For centuries the hereditary Irish bards accompanied themselves on the Irish harp. Smaller than a modern instrument, often beautifully carved and decorated, it has a brilliant and distinctive tone which uniquely complements the song.
There are hundreds more Irish folk songs, yet this selection may serve for the moment to illustrate the joyful, playful, loving and melancholy muse that has informed the Irish soul. With Thomas Moore we can-
This Celtic nation, possessor of an advanced civilization in Roman days, was repeatedly invaded: after A.D. 800 by the Vikings and from 1160 on by England. Rebellion after rebellion- 1536, 1597, 1649, 1690, 1798, 1829, 1916-was put down by force, and the precious Home Rule did not become a reality until the partition of Ireland in 1921. Thus while other nations have their songs. in praise of the homeland's history and beauty, Ireland's bards sang often of oppression, of thwarted hopes, of betrayal and bloodshed:
Avenging and bright fall the swift sword of Erin On him who the brave sons of Usna betrayed! For ev'ry fond eye which he wakened a tear in, A drop from his heartwounds shall weep o'er her blade.
Alike the noble heroes and the peasant protestors were immortalized:
"Land of song!" said the warrior bard,
"Though all the world betrays thee,
One sword at least thy right shall guard,
One faithful harp shall praise thee!"
King Usna and King Lir date from medieval legend, but the "Croppy Boy" (who cut his hair as a symbol of rebellion) was a victim of the uprising of 1798:
'Twas in the guardhouse where I was laid, And in the parlor where I was tried; My sentence passed and my courage low, When to Dungannon I was forced to go.
There is no vague threat of danger; the enemy is clear and present: And taken was I by the Lord Cornwall-the very same Cornwallis who surrendered to George Washington at Yorktown. The English objectives and the means of obtaining them are ridiculed:
Not all the fighting was done at home. In an at- tempt to escape the hopeless poverty of the countryside, many young men ran away to join the army. The tragedy of the wounded and maimed coming back from overseas service to a yet more hopeless existence finds magnificent expression:
Where are your eyes that looked so mild When my heart you so beguiled?
Indeed, your dancin' days are done. I'm happy for to see you home All from the Island of Ceylon, So low in flesh, so high in bone: Why Johnny, I hardly knew ye.
Musically, the songs seem to divide into two groups: those based primarily on dance rhythms and those with a predominantly lyric quality. Within the dance group of jigs and reels in 6/8 meter there is an astonishing variety of mood and tempo. We May Roam Through This World is traditionally fast, while Johnny, I Hardly Knew Ye has an almost unbearable intensity. A Ballynure Ballad is playful; Sing, Sing gently rocks, and 'Tis Pretty to Be in Balinderry is as quiet as a reflection in still water. Other dances, in duple meter, exuberant and popu- lar, are The Girl I Left Behind Me, Wearin' of the Green and To Ladies' Eyes.
The lyric songs include three great soaring modal melodies: Silent, O Moyle, My Gentle Harp and Has Sorrow Thy Young Days Shaded. The Minstrel Boy and Avenging and Bright have a more straight- forward, martial tone. I Know Where I'm Goin', The Croppy Boy and The Parting Glass are ballads sharing a singable, plaintive sweetness.
For centuries the hereditary Irish bards accompanied themselves on the Irish harp. Smaller than a modern instrument, often beautifully carved and decorated, it has a brilliant and distinctive tone which uniquely complements the song.
There are hundreds more Irish folk songs, yet this selection may serve for the moment to illustrate the joyful, playful, loving and melancholy muse that has informed the Irish soul. With Thomas Moore we can-
I know where I'm going mandolin tab
I Know Where I'm Going Uku Chords
