Mo Ghile Mear Sheet Music And Tin Whistle notes

MO GHILE MEAR / MY GALLANT DARLING Lyrics And Chords with sheet music and piano chords, plus tin whistle notes and mandolin tab . Recently recorded by Choral Scholars of University College Dublin, Celtic Thunder. (Seán Clárach Mac Domhnaill)
Traditional Songs in Irish-Gaelic language. Also translated ‚The Dashing Darling’.
For YouTube version of the Highland Sessions by Mary Black, Iarla Ó Lionáird, Mary Ann Kennedy, Karen Matheson, Karan Casey and Allan MacDonald use capo on 3rd fret.Guitar chords by Marc Fahrbach.
 
Note: the 1st verse uses the melody of the chorus an thus differs from the other verses. The Highland Sessions use an additional verse (sung by Karan Casey) between the verses 4 and 5 from below. The 6th verse given here was not used in return

​​Below is the list of sheet music and tin whistle songs that are in my ebooks. This is the largest collection of tin whistle songs ever put together.[over 800 songs ] Including folk, pop and trad tunes plus German And French songs along with Christmas Carols.
All of the sheet music tabs have been made as easy to play as was possible.
​The price of the ebooks is €7.50 

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1. (D)Seal da rabhas im' (Bm)mhaighdean (D)shéimh,
(G)'S anois im' (D)bhaintreach (G)chaite (A)thréith,
Mo (Bm)chéile ag (G)treabhadh na (Bm)dtonn go (D)tréan
De bharr na gcnoc is i (A)n-imi(D)gcéin.
 
Curfá:
(D)'Sé mo laoch, mo (Bm)Ghile (D)Mear,
(G)'Sé mo (D)Chaesar, (G)Ghile (A)Mear,
(Bm)Suan ná (G)séan ní (Bm)bhfuaireas (D)féin
Ó chuaigh i gcéin mo (A)Ghile (D)Mear.
 
2. (D)Bímse buan ar (A)buaidhirt gach (D)ló,
Ag caoi go cruaidh 's ag (Em)tuar na (A)ndeór
Mar (D)scaoileadh uaim an (A)buachaill (Bm)beó
'S ná (G)ríomhtar (D)tuairisc (G)uaidh, mo (A)bhrón.
 
Curfá
 
3. Ní (D)labhrann cuach go (A)suairc ar (D)nóin
Is níl guth gadhair i (Em)gcoillte (A)cnó,
Ná (D)maidin shamhraidh i (A)gcleanntaibh (Bm)ceoigh
Ó (G)d'imthigh (D)uaim an (G)buachaill (A)beó.
 
Curfá
 
4. (D)Marcach uasal (A)uaibhreach (D)óg,
Gas gan gruaim is (Em)suairce (A)snódh,
(D)Glac is luaimneach, (A)luath i (Bm)ngleo
Ag (G)teascadh an (D)tslua 's ag (G)tuargain (A)treon.
 
Curfá
 
5. (D)Seinntear stair ar (A)chlairsigh (D)cheoil
's líontair táinte (Em)cárt ar (A)bord
Le (D)hinntinn ard gan (A)chaim, gan (Bm)cheó
Chun (G)saoghal is (D)sláinte d' (G)fhagháil dom (A)leómhan.
 
Curfá
 
6. (D)Ghile mear 'sa (A)seal faoi (D)chumha,
's Eire go léir faoi (Em)chlócaibh (A)dubha;
(D)Suan ná séan ní (A)bhfuaireas (Bm)féin
Ó (G)luaidh i (D)gcéin mo (G)Ghile (A)Mear.
 
Curfá
Ó chuaigh i gcéin mo (A)Ghile (D)Mear

Mo Ghile Mear Sheet Music And Tin Whistle notes

​Irish / Gaeilge Ebook Of Songs For Tin Whistle. Price €6.90.
You'll be directed to the download page after payment.

Mo Ghile Mear mandolin tab

​Mo ghile mear sheet music in D Major

​Mo ghile mear tin whistle notes for the key of D

Mo Ghile Mear sheet music in the key of C Major

​Below is a list of over 170 traditional tunes with mandolin / guitar chords in an ebook.
​It cost €6.50

Your browser does not support viewing this document. Click here to download the document.

IRISH TRADITIONAL MUSIC has been produced on record since the 1890s. The year 1899 was the occasion of the first of several groups of cylinder recordings made by uilleann piper James McAuliffe in New York, after a more celebrated piper (and vaudeville star) named Patrick Touhey reportedly turned down an offer to record for the Edison company, turning instead to his own home recording apparatus, on which he made cylinder records to order of traditional dance tunes. 1899 also marked the occasion of an early recording trip to Dublin and Belfast (along with Cardiff and Glasgow), on the part of Gramophone and Typewriter Company (G&T) engineers Fred Gaisberg and W. Sinkler Darby. Previously, a traditional piper (possibly Thomas Garoghan) had recorded five solos for G&T in 1898 in London.

Despite this promising start, record companies did not begin to produce tradi- tional Irish music in quantity until World War I, when accordionist Eddie Herborn recorded for Columbia in New York. By the early twenties, Emerald, Gaelic, Celtic, New Republic and other small labels were making Irish records for local distribution in that city. As interest grew, larger companies gradually began to make Irish records; by the mid-twenties, Victor, Columbia and others were producing in quantity and the cottage-industry operations had become extinct.
Prior to the creation of EMI Records (Ireland) Ltd. in 1936, British companies recorded resident and traveling Irish musicians in London. As in America, uilleann pipers figured prominently among those first recorded. Most recordings were produced by three major firms, the Columbia Graphophone Company (Columbia and Regal), the Gramophone Company (HMV), and Parlophone. In the late 1920s, a handful of Irish records were issued on smaller labels like Beltona (which also reissued some Irish-American material), Dominion, Henecy, and Sterno. By then, larger companies were aware of the impact Irish-American recordings made in America were having. In response, a number of masters were reissued for distribution in Ireland, England and Australia. In the summer of 1929, Parlophone, by then absorbed by Columbia, went a step further by sending a recording team to Ireland. In a couple of weeks, eighty-five masters were made; seventy-six were eventually issued. A catalog published on the occasion stated: "Hear your own Irish friends on Parlophone records - Irish talent for Ireland!"

 The company also made a point of its efforts to clude talent from all parts of Ireland, listing records according to recording location. Only twelve sides were by traditional musicians. However, a trip conducted the following year yielded a more generous crop; thirty-six (out of 110) sides were of all traditional music. Perhaps because of the impact of Michael Coleman's music, these included a number of recordings by prominent Sligo musicians, including the fiddle and flute duet of Richard Brennan and Tommy Hunt, and Bart Henry's Traditional tr Quartet Orchestra of Ballymote, with John Cawley and John Joe Gardiner on flutes. Also included were four sides by the famous BALLINAKILL CEILIDHE BAND from East County Galway, representing another distinct local tradition. The band traveled to London for further recordings in November 1931. That same year, a third trip to Ireland by Columbia produced recordings by the FINGAL TRIO and accordion player Michael Grogan.

In March 1931, Columbia and Parlophone joined the Gramophone Company to form Electrical and Musical Industries Ltd. (EMD), and in 1936 an Irish branch of the company was established. New catalog series were created for the Irish market, with IM prefixes for HMV issues and IZ for Regal Zonophone. By 1937, recording sessions were being held in Dublin studios, inaugurating two new matrix series using OEL and CAL prefixes respectively. Many of the musicians recorded, including accordionist MICHAEL GROGAN and ballad singer DELIA MURPHY, were professionally active in Dublin and often featured on radio broadcasts. Others, like Donegal fiddler NEIL O'BOYLE, tin whistle player PETER GUINAN and singer PADDY BEADES, were not nationally prominent. While the piano is almost always present in accompaniments on recordings made in the United States, it is notably absent on many of the best records from the Dublin studios. Recording activity continued in London dur- ing the 1930s, where contributions from pipers LEO ROWSOME and LIAM WALSH appeared on the new Decca label, whose American branch, founded in 1934, also became prominent in recording Irish musicians in New York and Chicago.

EMI recording activity in Ireland declined during the war years and revived in the mid-1950s, just before the production of 78 rpm discs came to an end. Independent companies of the 1950s included the Irish Recording Company, which made a handful of recordings by pipers TOMMY RECK and Felix Doran, fiddler Sean Maguire and accordion player Paddy O'Brien. The last company to issue 78s in Ireland was Gael-Linn, still actively publishing recordings of Irish traditional music. Between 1957 and 1959, Gael-Linn produced forty sides, including the first commercial recordings of unaccompanied "sean-nós" (old style) singing, and magnificent performances by fiddlers Paddy Canny, DENIS MURPHY and Sean Ryan, pipers Willie Clancy and Tommy Reck, East Galway flute player Vincent Broderick and accordionist Joe Burke.

In New York, independent production by small, exclusively Irish labels came to an end in 1923-4. Performers like MICHAEL COLEMAN, PETER J. CONLON, FRANK QUINN, the Flanagan Brothers, Patsy Touhey and JAMES MORRISON occasionally appeared on larger labels during the acoustic era. The Okeh label had inaugurated an Irish 21000 series in 1921, the same year Gennett's first Irish products appeared. Columbia introduced specific series for various ethnic groups in 1923; its Irish 33000-F series, which included the first electrically-made Irish records, was begun in 1925. Victor's Irish output peaked between 1926 and 1929. Although the company finally introduced a V-29000 Irish series early in 1929, later that year its Irish record- ing activities all but came to an end. By this time, Columbia had been producing most of the new Irish recordings for several years. Except for the small Crown label, Columbia made the only ones produced during the Depression years, until English Decca began to make records in America in 1954. Its 12000 Irish series soon dominated the market and continued to do so until World War II. After 1945, the production of new Irish recordings once again became the exclusive domain of small specialized labels like Celtic (New York) and Copley (Boston).