Little Musgrave Song Lyrics And Guitar Chords
The sheet music and tin whistle notes are included.A Traditional Song Recorded by Christy Moore [ songs ] and Planxty . Alternative chords G=D C=G D=AThis is one of the big songs in my life.This one is from 27 years ago.I found the words scattered around the floor of an old auction room in 1973. They were loose pages from a fallen book. I gathered them up on Liffey Walk and took them home to Inchicore and stuck
them together and found this wonderful lyric. Sometime later I heard the melody elsewhere, Nic Jones maybe and married the two. I still love to sing this but don't often find the right setting.
Little Musgrave - Box Set - Christy Moore notes.
them together and found this wonderful lyric. Sometime later I heard the melody elsewhere, Nic Jones maybe and married the two. I still love to sing this but don't often find the right setting.
Little Musgrave - Box Set - Christy Moore notes.
LITTLE MUSGRAVE (Child #81)
The earliest appearance in print of this ancient ballad was in Beaumont and Fletcher's "Knight of the Burning Pestle" (ca. 1611). It appears to have been published rather frequently in 17th and 18th century England in various drolleries and on broadsides, and though popular in British tradition in the 19th century, it has not been reported in England or Scotland in this century.
In America, however, the ballad has frequently been reported from every section of the country in a tradition which has had little or no recourse to print. Phillips Barry was of the opinion that the American texts of this ballad, being more vivid and incisive than Child's British versions, were probably older and that the ballad has been sung in this country for over 300 years.
American variants show certain traits in common with each other which either do not appear or appear only rarely in British variants. The lady is never as aggressive in English texts as in American. The expression "they cost me deep in the purse" (when the lord is telling of his two swords) appears only in one of Child's texts, though it appears almost universally in American texts (it is not found in Jean Ritchie's version). The attempt to bribe the page and the suggestion of a past affair between the bedmates appear no where in America though found frequently in Child's texts.
Jean's version, learned from her Uncle Jason, appears to be a fascinating Kentucky reworking of one of the oldest British texts for it follows Child's A text (from two 17th century English drolleries) very closely. Even the odd place name "Bucklesfordberry" is retained in the Kentucky text nearly 300 years after it first turns up in Britain! But there is no doubt about the traditional nature of Uncle Jason's text, for almost every line contains changes, emendations and additions of a vital oral tradition.
The earliest appearance in print of this ancient ballad was in Beaumont and Fletcher's "Knight of the Burning Pestle" (ca. 1611). It appears to have been published rather frequently in 17th and 18th century England in various drolleries and on broadsides, and though popular in British tradition in the 19th century, it has not been reported in England or Scotland in this century.
In America, however, the ballad has frequently been reported from every section of the country in a tradition which has had little or no recourse to print. Phillips Barry was of the opinion that the American texts of this ballad, being more vivid and incisive than Child's British versions, were probably older and that the ballad has been sung in this country for over 300 years.
American variants show certain traits in common with each other which either do not appear or appear only rarely in British variants. The lady is never as aggressive in English texts as in American. The expression "they cost me deep in the purse" (when the lord is telling of his two swords) appears only in one of Child's texts, though it appears almost universally in American texts (it is not found in Jean Ritchie's version). The attempt to bribe the page and the suggestion of a past affair between the bedmates appear no where in America though found frequently in Child's texts.
Jean's version, learned from her Uncle Jason, appears to be a fascinating Kentucky reworking of one of the oldest British texts for it follows Child's A text (from two 17th century English drolleries) very closely. Even the odd place name "Bucklesfordberry" is retained in the Kentucky text nearly 300 years after it first turns up in Britain! But there is no doubt about the traditional nature of Uncle Jason's text, for almost every line contains changes, emendations and additions of a vital oral tradition.
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as [G]it fell on one[C] holy day,
As[D] many be in the[G] year, Little Musgrave would to the[G] church and pray To[D] see the fair ladies[G] there. Some came down in red velvet, And some came down in pall, And then came down my lady Barnard, The fairest among them all. She cast a look on little Musgrave, As bright as the summer's sun, And then bethought this little Musgrave, This lady's love I have won. Good day, good day, you handsome youth, God make you safe and free, What would you give this day, Musgrave, For a night in bower with me I dare not for my lands, lady, I dare not for my life, For the ring on your white finger shows You are Lord Barnard's wife. Lord Barnard is a-hunting gone, I hope he'll ne'er return, And you shall sleep into his bed And keep his lady warm. You nothing have to fear, Musgrave, You nothing have to fear, I'll set my page without the gate To watch till morning clear. But woe be to the wee foot-page, And an ill death may he die, For he's away to the green wood As fast as he can flee. When he came to the wan water, He slacked his bow and swam, And when he came to growing grass, Set down his feet and ran. And when he to the green wood came, Twas dark as dark could be, And he found his master and his men Asleep aneath a tree. Rise up, rise up master, he said, Rise up and speak to me, Your wife's in bed with little Musgrave, Rise up right speedily. If this be true, you tell to me, It's gold shall be your fee, But if it be false you tell to me, I'll hang you on a tree. Go saddle me the black, he cried, Go saddle me the grey, Nor wind no horns, quoth he, on your life, Lest our coming it should betray. There was a man in Lord Musgrave's train, Had a love to little Musgrave, And blew his horn both loud and high, Away, Musgrave, away ! Methinks I hear the throstle cock, Methinks I hear the jay, Methinks I hear Lord Barnard's horn, Away, Musgrave, away ! Lie still, lie still, thou little Musgrave, And huddle me from the cold, Tis nothing but a shepherd's boy Driving his flock to the fold. Is not thy hawk upon the perch, Thy steed eats oats and hay, And thou, a gay lady in thy arms, And yet thou wouldst away ? He turned him right and round about, And he fell fast asleep, And when he woke, Lord Barnard's men Were standing at his feet. How do you like my bed, Musgrave, And how like you my sheets, And how like you my fair lady Lies in your arms and sleeps ? It's very well I like your bed, It's well I like your sheets, But foul may fall your lady fair Lies in my arms and sleeps. Get up, get up young man, he said, Get up as swift's you can, It never shall be said in my country I slew a naked man. I have two swords in one scabbard, Full dear they cost my purse, And thou shalt have the best of them And I will have the worse. Slowly, slowly rose he up, And slowly put he on, And slowly down the stairs he goes And thinking to be slain. The first stroke little Musgrave got, It was both deep and sore, And down he fell at Barnard's feet And word spoke never more. O how do you like his cheeks, lady, And how do you like his chin, Or how do you like his fair body That there's no life within ? O well I like his cheeks, she said, And well I like his chin, And better I like his fair body Than all your kith and kin. He's taken out a long, long brand And stripped it through the straw, And through and through his lady's sides He garred the cold steel go. |
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Guitar chords for the key of D
as [D]it fell on one[G] holy day,
As[A] many be in the[D] year,
Little Musgrave would to the[D] church and pray
To[A] see the fair ladies[D] there.
Key of C
as [C]it fell on one[F] holy day,
As[G] many be in the[C] year,
Little Musgrave would to the[C] church and pray
To[G] see the fair ladies[C] there.
as [D]it fell on one[G] holy day,
As[A] many be in the[D] year,
Little Musgrave would to the[D] church and pray
To[A] see the fair ladies[D] there.
Key of C
as [C]it fell on one[F] holy day,
As[G] many be in the[C] year,
Little Musgrave would to the[C] church and pray
To[G] see the fair ladies[C] there.
Christy Moore
The Little Musgrave song, also known as 'Little Matthew Groves' or 'Lady Barnard and Little Musgrave', is a traditional English ballad that has captured the hearts and imagination of listeners for centuries. Its haunting melody, tragic storyline, and vivid imagery have made it a beloved piece of music that continues to be performed and studied to this day. In this thesis, we will delve into the origins, themes, and cultural impact of the Little Musgrave song, exploring its enduring popularity and examining the various interpretations and adaptations of this timeless piece.
The Little Musgrave song is believed to have originated in England during the late medieval period, although the exact date and authorship remain unknown. It is classified as a Child Ballad, named after the Scottish-American folklorist Francis James Child who published a collection of traditional ballads in the late 19th century. These ballads, including the Little Musgrave song, were passed down through oral tradition before being recorded and preserved in print. The song has since been adapted and reinterpreted by various artists, including folk musicians such as Joan Baez, Christy Moore Bob Dylan, and Steeleye Span, and has been featured in popular culture in films, television shows, and literature.
The Little Musgrave song tells the story of a young and handsome knight, Little Musgrave, who is seduced by the Lady Barnard while her husband, Lord Barnard, is away on a hunting trip. The two lovers are discovered by Lord Barnard upon his return, and in a fit of rage, he kills Little Musgrave. The song ends with a warning to young men to beware of the treachery of women, as Little Musgrave's infidelity ultimately leads to his untimely demise. The theme of infidelity and its consequences is a common theme in traditional ballads, and the Little Musgrave song is no exception. However, what sets this ballad apart is its intricate storytelling and the use of vivid imagery, which adds depth and emotion to the narrative.
One of the most striking aspects of the Little Musgrave song is its use of vivid imagery, which paints a vivid picture of the characters and their surroundings. The opening lines of the ballad immediately set the scene with the description of Lord Barnard's castle, with its 'silver walls and gates of gold'. This imagery of wealth and grandeur contrasts with the bleak and desolate landscape where Little Musgrave and the Lady Barnard meet, adding to the illicit and forbidden nature of their affair. The use of specific details, such as the 'leaping, leaping o'er the land' and the 'brymly branks' (bridal beds), further immerses the listener in the story, making it feel like a vivid and realistic account rather than a mere fictional tale.
Moreover, the Little Musgrave song has been interpreted in various ways, reflecting the changing attitudes and perceptions towards love, infidelity, and gender roles throughout history. In the original version of the ballad, the Lady Barnard is portrayed as a cunning and deceitful woman, who uses her beauty and charm to manipulate men and achieve her own desires. Little Musgrave, on the other hand, is depicted as a naive and foolish young man, who falls prey to the Lady Barnard's seduction. This portrayal of gender roles and power dynamics reflects the patriarchal society in which the ballad originated, where women were often seen as temptresses and men as helpless victims of their wiles.
However, in more recent versions of the Little Musgrave song, the characterization of the Lady Barnard has shifted, with some interpretations presenting her as a sympathetic figure who is trapped in a loveless marriage and seeks solace in the arms of another man. This change in perspective reflects the evolving attitudes towards female sexuality and infidelity in modern society. The song's enduring popularity and its ability to be reinterpreted and adapted to suit different cultural and societal contexts attest to its timeless appeal and relevance.
In conclusion, the Little Musgrave song is a captivating and thought-provoking piece of music that has stood the test of time. Its origins, themes, and imagery make it a fascinating subject of study, providing insights into the cultural, social, and historical contexts in which it was created and continues to be performed. Through its haunting melody and poignant lyrics, the Little Musgrave song continues to resonate with listeners, reminding us of the timeless themes of love, betrayal, and morality that are central to the human experience.
The Little Musgrave song is believed to have originated in England during the late medieval period, although the exact date and authorship remain unknown. It is classified as a Child Ballad, named after the Scottish-American folklorist Francis James Child who published a collection of traditional ballads in the late 19th century. These ballads, including the Little Musgrave song, were passed down through oral tradition before being recorded and preserved in print. The song has since been adapted and reinterpreted by various artists, including folk musicians such as Joan Baez, Christy Moore Bob Dylan, and Steeleye Span, and has been featured in popular culture in films, television shows, and literature.
The Little Musgrave song tells the story of a young and handsome knight, Little Musgrave, who is seduced by the Lady Barnard while her husband, Lord Barnard, is away on a hunting trip. The two lovers are discovered by Lord Barnard upon his return, and in a fit of rage, he kills Little Musgrave. The song ends with a warning to young men to beware of the treachery of women, as Little Musgrave's infidelity ultimately leads to his untimely demise. The theme of infidelity and its consequences is a common theme in traditional ballads, and the Little Musgrave song is no exception. However, what sets this ballad apart is its intricate storytelling and the use of vivid imagery, which adds depth and emotion to the narrative.
One of the most striking aspects of the Little Musgrave song is its use of vivid imagery, which paints a vivid picture of the characters and their surroundings. The opening lines of the ballad immediately set the scene with the description of Lord Barnard's castle, with its 'silver walls and gates of gold'. This imagery of wealth and grandeur contrasts with the bleak and desolate landscape where Little Musgrave and the Lady Barnard meet, adding to the illicit and forbidden nature of their affair. The use of specific details, such as the 'leaping, leaping o'er the land' and the 'brymly branks' (bridal beds), further immerses the listener in the story, making it feel like a vivid and realistic account rather than a mere fictional tale.
Moreover, the Little Musgrave song has been interpreted in various ways, reflecting the changing attitudes and perceptions towards love, infidelity, and gender roles throughout history. In the original version of the ballad, the Lady Barnard is portrayed as a cunning and deceitful woman, who uses her beauty and charm to manipulate men and achieve her own desires. Little Musgrave, on the other hand, is depicted as a naive and foolish young man, who falls prey to the Lady Barnard's seduction. This portrayal of gender roles and power dynamics reflects the patriarchal society in which the ballad originated, where women were often seen as temptresses and men as helpless victims of their wiles.
However, in more recent versions of the Little Musgrave song, the characterization of the Lady Barnard has shifted, with some interpretations presenting her as a sympathetic figure who is trapped in a loveless marriage and seeks solace in the arms of another man. This change in perspective reflects the evolving attitudes towards female sexuality and infidelity in modern society. The song's enduring popularity and its ability to be reinterpreted and adapted to suit different cultural and societal contexts attest to its timeless appeal and relevance.
In conclusion, the Little Musgrave song is a captivating and thought-provoking piece of music that has stood the test of time. Its origins, themes, and imagery make it a fascinating subject of study, providing insights into the cultural, social, and historical contexts in which it was created and continues to be performed. Through its haunting melody and poignant lyrics, the Little Musgrave song continues to resonate with listeners, reminding us of the timeless themes of love, betrayal, and morality that are central to the human experience.
