My Lagan Love lyrics and guitar chords
The guitar chords in chordpro are in the key of A and another version in G Major.The song was written by Joseph Campbell, recorded by The Coors, Celtic Woman and Senade O'Conner, Lisa Hannigan, Van Morrison, Mary Black, Dusty Springfield, Kate Bush and Charlotte Church and recently by Celtic Thunder. The chords suit the youtube video of Mary Black and Phil Coulter which is in the key of A.
Lyrics And Chords In The Key Of A
[A]Where Lagan stream sings lulla[G]by
There[A] blows a [D]lily fa[A]ir
The twilig[D]ht [A]gleam is in her[G] eye
The[A] nig[D]ht is on her [A]hair
And like a[D] love-[A]sick [C]lennan-[D]shee
She has my[Em] heart[A] in thrall
[Am]Nor life I owe nor li[G]berty
For[A] love is [D]lord of all[A]
Her father sails a running-barge
'Twixt Leamh-beag and The Druim;
And on the lonely river-marge
She clears his hearth for him.
When she was only fairy-high
Her gentle mother died;
But dew-Love keeps her memory
Green on the Lagan side.
And often when the beetle's horn
Hath lulled the eve to sleep
I steal unto her shieling lorn
And thru the dooring peep.
There on the cricket's singing stone,
She spares the bogwood fire,
And hums in sad sweet undertone
The songs of heart's desire
Her welcome, like her love for me,
Is from her heart within:
Her warm kiss is felicity
That knows no taint of sin.
And, when I stir my foot to go,
'Tis leaving Love and light
To feel the wind of longing blow
From out the dark of night.
Where Lagan stream sings lullaby
There blows a lily fair
The twilight gleam is in her eye
The night is on her hair
And like a love-sick lennan-shee
She has my heart in thrall
Nor life I owe nor liberty
For love is lord of all.
Lyrics And Chords K - M
[A]Where Lagan stream sings lulla[G]by
There[A] blows a [D]lily fa[A]ir
The twilig[D]ht [A]gleam is in her[G] eye
The[A] nig[D]ht is on her [A]hair
And like a[D] love-[A]sick [C]lennan-[D]shee
She has my[Em] heart[A] in thrall
[Am]Nor life I owe nor li[G]berty
For[A] love is [D]lord of all[A]
Her father sails a running-barge
'Twixt Leamh-beag and The Druim;
And on the lonely river-marge
She clears his hearth for him.
When she was only fairy-high
Her gentle mother died;
But dew-Love keeps her memory
Green on the Lagan side.
And often when the beetle's horn
Hath lulled the eve to sleep
I steal unto her shieling lorn
And thru the dooring peep.
There on the cricket's singing stone,
She spares the bogwood fire,
And hums in sad sweet undertone
The songs of heart's desire
Her welcome, like her love for me,
Is from her heart within:
Her warm kiss is felicity
That knows no taint of sin.
And, when I stir my foot to go,
'Tis leaving Love and light
To feel the wind of longing blow
From out the dark of night.
Where Lagan stream sings lullaby
There blows a lily fair
The twilight gleam is in her eye
The night is on her hair
And like a love-sick lennan-shee
She has my heart in thrall
Nor life I owe nor liberty
For love is lord of all.
Lyrics And Chords K - M
Lisa Hannigan Song My Lagan Love
Here's the Coors version of the chords.
Intro- G C G C G
[G]Where Lagan stream sings [C]lulla[F]by[C]
[G]There[G] blo[C]ws a li[G]ly fair
The twilight gleam is [F]in her eye[C]
The[G] nig[C]ht is [G]on her hair
And like a[C] love-sick [G]lennan-[C]shee
She has my[Dm] heart [G]in thrall
Nor life I owe nor [C]liber[F]ty
For[G] love is lord of all.
My Lagan Love And Other Songs By Alison Pearse
What is folk music?
It doesn't take much thought to acknowledge that music is a very basic form of human expression indeed. Given reasonably high spirits we all from time to time find ourselves humming little tunes, whistling while we work, even drumming our fingers rhythmically on the table-top. Despite the fact that what we hum or whistle or tap is likely to be formless, tuneless and out of tune, we can all be described as 'composers' since we are, in fact, inventing music. Some of us can do it better than others and even learn, without the benefit of much tuition, to play musical instruments to help us to do so. And some of us, if our talent is great enough, and if we're lucky enough and happen to live in the right place and the right time, and if we want to, can go on to study under a teacher or in one of the great schools, colleges and universities to enable us to do it better.
In a sense, then, all music is folk music since it can only be created by 'folk'.
But the term generally has a much more limited meaning than this. What happens to all the musical talent that lies in the human spirit and which is not given the benefit of special cultivation? It is still there and is still expressed. Up until the last couple of centuries the world was an almost entirely rural one, and it is only within the last century that it has been possible to listen to music which was not produced live and 'on the spot. Even only a hundred years ago there was no radio, television, record player or juke-box. All there may have been, in a few affluent homes, was a player-piano or a musical- box. So, by and large, if humankind wanted music he created it himself.
And why would he want it? The answer to that can be found in the music itself. One can be quite hard put to think of a feeling, or an emotion, an idea or a purpose for which music and song has not been called to aid the expression. Songs of love-requited and unrequited, cradle songs, work songs, protest songs, songs to praise life and people and nature, songs to praise God, expressed on all occasions in all nations and in all ages. All of which adds up to a great deal of music-far more than all the symphonies, concertos, sonatas, songs and masses produced by the few thousand schooled composers listed in the pages of Grove's Dictionary. And since most of it was created by 'folk' who never attended a college or university to learn the technique, hardly any of it was written down. If it wasn't forgotten the moment after its purpose was fulfilled, it may have been repeated, added to or otherwise changed by design or accident or faulty memory, and thereby entered the category of 'traditional" music.
Such is the nature of the great treasury of the world's folk song and dance music of which perhaps a thousandth part remains and which so excited men like Vaughan Williams, Bartók and Kodály when they began to forage among the music-making of the common people in the early years of this century.
A similar enthusiasm fired the Belfast-born composer Herbert Hughes to investigate the music of his native Ireland. Like Vaughan Williams and Cyril Scott, and Marjory Kennedy-Fraser who was doing the same thing in the Hebrides, he found a wealth of songs and melodies, sometimes in a bewildering number of variants, with differing words to the same tunes, differing tunes to the same words, and many without words altogether. He drew, too, on earlier compilations by previous researchers such as Patrick Weston Joyce (1827-1914). Since his aim was to make these known to the world his task was to assemble them in some sort of order, fit words to melodies and write them down, providing the basic tunes with piano accompaniment with indications of tempo and expression. They were eventually published in several volumes of 'Irish Country Songs'.
He was at pains, though, to point out that, in the way of folk music, their origins and history were in many cases hazy or unknown and some may not have originated in Ireland at all, but from Scotland, or even England. People have wandered and migrated at all times, not just in this jet age, and they have taken their music with them. It is an established fact that variants of many folk songs from the British Isles have been found in places as distant as the United States and Australia.
Not all of the songs recorded here are from the Hughes collection, and those that are have been used solely as sources for their traditional melodies. They have been rearranged, in many cases simplified, and transposed by Mark Brown, for soprano voice and harp, the latter instrument being closer in nature than the piano to the traditional harp of the bards and minstrels. The selection
includes some remarkable masterpieces, comparable with the finest from the field of 'art' songs. My Lagan Love, the first on the record, is a beautiful song by any standard, perhaps rivalled only by the moving She moved thro' the fair from County Donegal (side 2). The Drinaun Donn (The Brown Thorn') is an ancient air to which are set words by Denis Florence MacCarthy (1817-1882). The Leprehaun, a jaunty song, was collected by Patrick Weston Joyce from a ballad singer in Limerick in 1853. Dobbin's Flowery Vale is from Armagh, The Next Market Day from County Tyrone. Johnny O'Reilly commemorates a 17th century blade from County Cavan who espoused the cause of James II ("the last Stuart king"). The beautiful Draherin-o-Machree ('Little brother of my heart') may be remembered in orchestral dress as the principal melody used by Sir Hamilton Harty in the slow movement of his 'Irish' Symphony. The Gartan Mother's Lullaby comes from County Donegal; An Island Spinning Song from Innismurry. I will walk with my love is a song from County Dublin; The Verdant Braes of Skreen, an old ballad from County Derry. Little Boats has been known since the end of the 18th century when it was taken down from a singer at Drogheda. / know where I'm going, also an old song though comparatively familiar, comes from Antrim. A young maid stood in her father's garden is thought to be one of the songs originally from England, though how and when it travelled is unknown, while The Star of the County Down could hardly be other than indigenous to Ireland, though it is also known as a hymn tune.
Notes by CYRIL DAKIN
What is folk music?
It doesn't take much thought to acknowledge that music is a very basic form of human expression indeed. Given reasonably high spirits we all from time to time find ourselves humming little tunes, whistling while we work, even drumming our fingers rhythmically on the table-top. Despite the fact that what we hum or whistle or tap is likely to be formless, tuneless and out of tune, we can all be described as 'composers' since we are, in fact, inventing music. Some of us can do it better than others and even learn, without the benefit of much tuition, to play musical instruments to help us to do so. And some of us, if our talent is great enough, and if we're lucky enough and happen to live in the right place and the right time, and if we want to, can go on to study under a teacher or in one of the great schools, colleges and universities to enable us to do it better.
In a sense, then, all music is folk music since it can only be created by 'folk'.
But the term generally has a much more limited meaning than this. What happens to all the musical talent that lies in the human spirit and which is not given the benefit of special cultivation? It is still there and is still expressed. Up until the last couple of centuries the world was an almost entirely rural one, and it is only within the last century that it has been possible to listen to music which was not produced live and 'on the spot. Even only a hundred years ago there was no radio, television, record player or juke-box. All there may have been, in a few affluent homes, was a player-piano or a musical- box. So, by and large, if humankind wanted music he created it himself.
And why would he want it? The answer to that can be found in the music itself. One can be quite hard put to think of a feeling, or an emotion, an idea or a purpose for which music and song has not been called to aid the expression. Songs of love-requited and unrequited, cradle songs, work songs, protest songs, songs to praise life and people and nature, songs to praise God, expressed on all occasions in all nations and in all ages. All of which adds up to a great deal of music-far more than all the symphonies, concertos, sonatas, songs and masses produced by the few thousand schooled composers listed in the pages of Grove's Dictionary. And since most of it was created by 'folk' who never attended a college or university to learn the technique, hardly any of it was written down. If it wasn't forgotten the moment after its purpose was fulfilled, it may have been repeated, added to or otherwise changed by design or accident or faulty memory, and thereby entered the category of 'traditional" music.
Such is the nature of the great treasury of the world's folk song and dance music of which perhaps a thousandth part remains and which so excited men like Vaughan Williams, Bartók and Kodály when they began to forage among the music-making of the common people in the early years of this century.
A similar enthusiasm fired the Belfast-born composer Herbert Hughes to investigate the music of his native Ireland. Like Vaughan Williams and Cyril Scott, and Marjory Kennedy-Fraser who was doing the same thing in the Hebrides, he found a wealth of songs and melodies, sometimes in a bewildering number of variants, with differing words to the same tunes, differing tunes to the same words, and many without words altogether. He drew, too, on earlier compilations by previous researchers such as Patrick Weston Joyce (1827-1914). Since his aim was to make these known to the world his task was to assemble them in some sort of order, fit words to melodies and write them down, providing the basic tunes with piano accompaniment with indications of tempo and expression. They were eventually published in several volumes of 'Irish Country Songs'.
He was at pains, though, to point out that, in the way of folk music, their origins and history were in many cases hazy or unknown and some may not have originated in Ireland at all, but from Scotland, or even England. People have wandered and migrated at all times, not just in this jet age, and they have taken their music with them. It is an established fact that variants of many folk songs from the British Isles have been found in places as distant as the United States and Australia.
Not all of the songs recorded here are from the Hughes collection, and those that are have been used solely as sources for their traditional melodies. They have been rearranged, in many cases simplified, and transposed by Mark Brown, for soprano voice and harp, the latter instrument being closer in nature than the piano to the traditional harp of the bards and minstrels. The selection
includes some remarkable masterpieces, comparable with the finest from the field of 'art' songs. My Lagan Love, the first on the record, is a beautiful song by any standard, perhaps rivalled only by the moving She moved thro' the fair from County Donegal (side 2). The Drinaun Donn (The Brown Thorn') is an ancient air to which are set words by Denis Florence MacCarthy (1817-1882). The Leprehaun, a jaunty song, was collected by Patrick Weston Joyce from a ballad singer in Limerick in 1853. Dobbin's Flowery Vale is from Armagh, The Next Market Day from County Tyrone. Johnny O'Reilly commemorates a 17th century blade from County Cavan who espoused the cause of James II ("the last Stuart king"). The beautiful Draherin-o-Machree ('Little brother of my heart') may be remembered in orchestral dress as the principal melody used by Sir Hamilton Harty in the slow movement of his 'Irish' Symphony. The Gartan Mother's Lullaby comes from County Donegal; An Island Spinning Song from Innismurry. I will walk with my love is a song from County Dublin; The Verdant Braes of Skreen, an old ballad from County Derry. Little Boats has been known since the end of the 18th century when it was taken down from a singer at Drogheda. / know where I'm going, also an old song though comparatively familiar, comes from Antrim. A young maid stood in her father's garden is thought to be one of the songs originally from England, though how and when it travelled is unknown, while The Star of the County Down could hardly be other than indigenous to Ireland, though it is also known as a hymn tune.
Notes by CYRIL DAKIN
Introduction:
Music has always been an integral part of human expression, and it holds a special place in our lives. It has the power to evoke emotions, bring people together, and tell stories. One such song that has stood the test of time and captured the hearts of many is “My Lagan Love.” This traditional Irish folk song has been adapted and performed by numerous artists, making it a timeless classic. In this thesis, we will explore the history, lyrics, and significance of “My Lagan Love” and understand why it continues to enchant listeners even after centuries.
History of the Song:
“My Lagan Love” is a traditional Irish folk song that originated in the early 19th century. The Lagan River, located in Northern Ireland, is the inspiration behind the song's title. The Lagan River has been a vital part of Irish culture and history, and it is often associated with love and romance. The song is said to have been composed by an anonymous poet who lived along the banks of the Lagan River. It was initially an oral tradition, passed down from one generation to another through singing. The song was first published in 1904 in the book “The Songs of Uladh” by Herbert Hughes, which helped in its widespread popularity.
Lyrics and Meaning:
The lyrics of “My Lagan Love” are a combination of Irish and English, which adds to its unique charm. The song tells the story of a young woman who is deeply in love with a man who lives by the Lagan River. She longs for his love and affection, but he is distant and does not reciprocate her feelings. The woman compares her love for him to the beauty and tranquility of the Lagan River, which flows endlessly and remains constant. The lyrics are poetic and evoke a sense of longing, longing for love, and longing for the Lagan River.
Significance of “My Lagan Love”:
“My Lagan Love” is not just a beautiful love song, but it also holds significant cultural and historical importance. In the 19th and 20th centuries, Ireland was going through a period of political and social turmoil. The Irish people found solace in traditional folk songs, and “My Lagan Love” was one such song that provided comfort and a sense of identity. The song became a symbol of Irish pride and patriotism and was often sung during political and social gatherings. It was also used as a form of resistance against British rule in Ireland.
Adaptations and Performances:
Over the years, “My Lagan Love” has been adapted and performed by various artists, both in Ireland and internationally. One of the earliest adaptations of the song was by Herbert Hughes, who added a piano accompaniment to the traditional melody. In the 20th century, renowned Irish tenor John McCormack recorded the song, which further popularized it. Other notable versions include those by Loreena McKennitt, Van Morrison, Mary Black, and Celtic Woman. The song has also been featured in several films and television shows, making it a household name.
Conclusion:
In conclusion, “My Lagan Love” is a timeless Irish folk song that has stood the test of time and continues to enchant listeners with its hauntingly beautiful melody and poetic lyrics. Its significance in Irish culture and history, coupled with its universal theme of love and longing, has made it a beloved song for generations. Whether it is sung in traditional Irish pubs or performed on international stages, “My Lagan Love” will always hold a special place in the hearts of those who hear it.
Music has always been an integral part of human expression, and it holds a special place in our lives. It has the power to evoke emotions, bring people together, and tell stories. One such song that has stood the test of time and captured the hearts of many is “My Lagan Love.” This traditional Irish folk song has been adapted and performed by numerous artists, making it a timeless classic. In this thesis, we will explore the history, lyrics, and significance of “My Lagan Love” and understand why it continues to enchant listeners even after centuries.
History of the Song:
“My Lagan Love” is a traditional Irish folk song that originated in the early 19th century. The Lagan River, located in Northern Ireland, is the inspiration behind the song's title. The Lagan River has been a vital part of Irish culture and history, and it is often associated with love and romance. The song is said to have been composed by an anonymous poet who lived along the banks of the Lagan River. It was initially an oral tradition, passed down from one generation to another through singing. The song was first published in 1904 in the book “The Songs of Uladh” by Herbert Hughes, which helped in its widespread popularity.
Lyrics and Meaning:
The lyrics of “My Lagan Love” are a combination of Irish and English, which adds to its unique charm. The song tells the story of a young woman who is deeply in love with a man who lives by the Lagan River. She longs for his love and affection, but he is distant and does not reciprocate her feelings. The woman compares her love for him to the beauty and tranquility of the Lagan River, which flows endlessly and remains constant. The lyrics are poetic and evoke a sense of longing, longing for love, and longing for the Lagan River.
Significance of “My Lagan Love”:
“My Lagan Love” is not just a beautiful love song, but it also holds significant cultural and historical importance. In the 19th and 20th centuries, Ireland was going through a period of political and social turmoil. The Irish people found solace in traditional folk songs, and “My Lagan Love” was one such song that provided comfort and a sense of identity. The song became a symbol of Irish pride and patriotism and was often sung during political and social gatherings. It was also used as a form of resistance against British rule in Ireland.
Adaptations and Performances:
Over the years, “My Lagan Love” has been adapted and performed by various artists, both in Ireland and internationally. One of the earliest adaptations of the song was by Herbert Hughes, who added a piano accompaniment to the traditional melody. In the 20th century, renowned Irish tenor John McCormack recorded the song, which further popularized it. Other notable versions include those by Loreena McKennitt, Van Morrison, Mary Black, and Celtic Woman. The song has also been featured in several films and television shows, making it a household name.
Conclusion:
In conclusion, “My Lagan Love” is a timeless Irish folk song that has stood the test of time and continues to enchant listeners with its hauntingly beautiful melody and poetic lyrics. Its significance in Irish culture and history, coupled with its universal theme of love and longing, has made it a beloved song for generations. Whether it is sung in traditional Irish pubs or performed on international stages, “My Lagan Love” will always hold a special place in the hearts of those who hear it.
