Old Ballymoe Irish Song Lyrics And Guitar Chords
The singer in the video is Cathy Jordan. Cathy Jordan version in A major with capo on the 2nd fret.Cathy Jordan also likes to sing the old ballad Down By The Glenside .Old Ballymoe sheet music for tin whistle in D now added plus the mandolin / tenor banjo tab.
The writer remains unknown, this song was collected by Micho Russell [1915 - 1984] from Doolin County Clare who was a story teller, flute and tin whistle player. Micho became well known during the trad. revival in the 1960s. Micho was also a fine singer and had a story behind every tune he played. He preformed to audiences all over the world and made several albums. His best loved album released in 1995 ''Ireland's Whistling Ambassador'' also included a booklet about the tunes. Micho played a huge role in attracting people from all over the world to his native village of Doolin to hear traditional music played by the finest in the land. Also recorded by Annette Griffin.
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In the (G)county Ros(C)common in (D)hailstones and (G)rain.
I was crossing the fields on the way to the (D)plane I (G)met a fair (Am)Colleen says (G)she do you (C)know What’s the (G)shortest of (Am)shortcuts into (D)Old Bally(G)moe? Says (G)I, Colleen (C)oh, who (D)led you a(G)stray. I think I’ll go with you, and show you the (D)way Says (G)she, I’m not (Am)willing, for (G)you I dun(C)noe You could (G)kiss me bet(Am)ween here and (D)Old Bally(G)moe Says (G)I, Colleen (C)oh, ?? (D)seldom ?? (G)kissed She says, poor lad, a lot you have (D)missed Says (G)I, I am (Am)willing to (G)learn, you (C)know We can (G)practice bet(Am)ween, here and (D)Old Bally(G)moe You (G)think I’d go (C)with you, you (D)moron, gar(G)rough I dont like, your looks, and your smoothering (D)blows You’re (G)young and good (Am)looking but (G)god knows your (C)slow You (G)look like you (Am)did one, in (D)Old Bally(G)moe Says (G)he I’ve been (C)noted, for (D)strength and good (G)looks My brain’s not so bad, when I’ve mastered the (D)books And (G)if you are (Am)willing, tis (G)married we’ll (C)go And for(G)ever live (Am)happy, in (D)Old Bally(G)moe She (G)started to (C)laugh, till I (D)thought she would (G)choke She says, poor lad, I will tell you a (D)joke Get (G)out of my (Am)way, for (G)now I must (C)go I’ve a (G)husband and (Am)six kids in (D)Old Bally(G)moe! Chords for the key of D
In the (D)county Ros(G)common in (A)hailstones and (D)rain. I was crossing the fields on the way to the (A)plane I (D)met a fair (Em)Colleen says (D)she do you (G)know What’s the (D)shortest of (Em)shortcuts into (A)Old Bally(D)moe? Says (D)I, Colleen (G)oh, who (A)led you a(D)stray. I think I’ll go with you, and show you the (A)way Says (D)she, I’m not (Em)willing, for (D)you I dun(G)noe You could (D)kiss me bet(Em)ween here and (A)Old Bally(D)moe Says (D)I, Colleen (G)oh, ?? (A)seldom ?? (D)kissed She says, poor lad, a lot you have (A)missed Says (D)I, I am (Em)willing to (D)learn, you (G)know We can (D)practice bet(Em)ween, here and (A)Old Bally(D)moe You (D)think I’d go (G)with you, you (A)moron, gar(D)rough I dont like, your looks, and your smoothering (A)blows You’re (D)young and good (Em)looking but (D)god knows your (G)slow You (D)look like you (Em)did one, in (A)Old Bally(D)moe Says (D)he I’ve been (G)noted, for (A)strength and good (D)looks My brain’s not so bad, when I’ve mastered the (A)books And (D)if you are (Em)willing, tis (D)married we’ll (G)go And for(D)ever live (Em)happy, in (A)Old Bally(D)moe She (D)started to (G)laugh, till I (A)thought she would (D)choke She says, poor lad, I will tell you a (A)joke Get (D)out of my (Em)way, for (D)now I must (G)go I’ve a (D)husband and (Em)six kids in (A)Old Bally(D)moe! Old Ballymoe Lyrics And Chords In C Major
In the (C)county Ros(F)common in (G)hailstones and (C)rain. I was crossing the fields on the way to the (G)plane I (C)met a fair (Dm)Colleen says (C)she do you (F)know What’s the (C)shortest of (Dm)shortcuts into (G)Old Bally(C)moe? Says (C)I, Colleen (F)oh, who (G)led you a(C)stray. I think I’ll go with you, and show you the (G)way Says (C)she, I’m not (Dm)willing, for (C)you I dun(F)noe You could (C)kiss me bet(Dm)ween here and (G)Old Bally(C)moe Says (C)I, Colleen (F)oh, ?? (G)seldom ?? (C)kissed She says, poor lad, a lot you have (G)missed Says (C)I, I am (Dm)willing to (C)learn, you (F)know We can (C)practice bet(Dm)ween, here and (G)Old Bally(C)moe You (C)think I’d go (F)with you, you (G)moron, gar(C)rough I dont like, your looks, and your smoothering (G)blows You’re (C)young and good (Dm)looking but (C)god knows your (F)slow You (C)look like you (Dm)did one, in (G)Old Bally(C)moe Says (C)he I’ve been (F)noted, for (G)strength and good (C)looks My brain’s not so bad, when I’ve mastered the (G)books And (C)if you are (Dm)willing, tis (C)married we’ll (F)go And for(C)ever live (Dm)happy, in (G)Old Bally(C)moe She (C)started to (F)laugh, till I (G)thought she would (C)choke She says, poor lad, I will tell you a (G)joke Get (C)out of my (Dm)way, for (C)now I must (F)go I’ve a (C)husband and (Dm)six kids in (G)Old Bally(C)moe! |
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Annette Griffin song Old Ballymoe
Any attempt to describe, let alone define, traditional music and dance is inevitably loaded with paradoxes and contradictions. To start with it there is no popular or even academic consensus about what they include and exclude. Having long co- existed and cross-bred with popular culture, the boundaries between the tradition and popular culture are blurred, and it can be argued there is value in keeping them blurred. Traditional music and dance have belonged primarily to rural working communities, though not exclusively to them and not to all members of every such community. For example, in southern Co. Sligo at the beginning of the century, traditional music-making was for some an almost obsessional daily occurrence, yet for others it was treated with indifference or even open hostility. Evidence suggests that as a general rule the piece-meal migration of rural workers to towns puts an end to their traditional music-making and dancing, yet rural practices and repertories have sometimes been modified to suit the needs of urban communities.
It is widely believed that traditional music-making has flourished and survived longest in isolated and remote areas, yet in rural Northumberland, Scotland and Ireland in the 1920s and 1930s it was the bus services, bringing people together, and the gramophone and the radio, circulating repertory and style, that gave the popularity of music- making a significant boost. No community in these islands, including the most isolated and remote, has been free from generations of population shift, as labour has pursued employment opportunities in the army, at sea, in farm work and heavy construction and in service for the gentry, and as migrant workers have returned home. It is these movements and mixing of populations that have contributed to the dissemination of repertory and modes of practice beyond parish borders.
The tradition is essentially an aural one with each performer learning his or her material by ear from another, yet some learned song texts and dance tunes from print and manuscript. Some performed their material exactly as they learned it, while others honed it to their own liking and imbued it with their own meaning and significance. Some struggled as children, unaided and even in the face of family opposition, to make a musical instrument and devise a playing technique, while others had expert tuition from older musicians on factory-made instruments. Some sang primarily at home for family entertainment, others sang to ease the monotony of repetitive labour, while some sang alone for their own satisfaction. In rural England a primary location for traditional music-making was the pub, the preserve of men, incidentally excluding women and children, whereas in rural Ireland it was the domestic kitchen, where gatherings of family and neighbours embraced both sexes and several generations. Most traditional music-making has been amateur, yet it was not so long ago that dance musicians were invariably paid for their services and there were livings for dance teachers and street singers and musicians.
The broad repertory of traditional songs comes from a number of sources. Some songs originate from composition within the tradition itself, while others have been adapted from material from outside the tradition, most notably from seventeenth, eighteenth and nineteenth century ballad sheets and the nineteenth-century music hall. Some are archaic survivals, but some others are either contemporary or are set in the recent past. The texts are invariably constructed in conventional poetic language and the story lines and scenarios are based on equally conventional themes, while the tunes, not necessarily though sometimes wedded to particular texts, call on a stock of well-used melodic phrases. The creative potential and vagaries of aural transmission have tended towards mutations and hybrids of both words and tunes, which have resulted in countless variations. The same is true of dance tunes. for, while there is clearly some archaic survival, most dance-tune types were adapted from the dance music of the nobility and gentry (and later middle class) in the eighteenth and nineteenth centuries, tempered by a massive creative force within the tradition itself.
It is widely believed that traditional music-making has flourished and survived longest in isolated and remote areas, yet in rural Northumberland, Scotland and Ireland in the 1920s and 1930s it was the bus services, bringing people together, and the gramophone and the radio, circulating repertory and style, that gave the popularity of music- making a significant boost. No community in these islands, including the most isolated and remote, has been free from generations of population shift, as labour has pursued employment opportunities in the army, at sea, in farm work and heavy construction and in service for the gentry, and as migrant workers have returned home. It is these movements and mixing of populations that have contributed to the dissemination of repertory and modes of practice beyond parish borders.
The tradition is essentially an aural one with each performer learning his or her material by ear from another, yet some learned song texts and dance tunes from print and manuscript. Some performed their material exactly as they learned it, while others honed it to their own liking and imbued it with their own meaning and significance. Some struggled as children, unaided and even in the face of family opposition, to make a musical instrument and devise a playing technique, while others had expert tuition from older musicians on factory-made instruments. Some sang primarily at home for family entertainment, others sang to ease the monotony of repetitive labour, while some sang alone for their own satisfaction. In rural England a primary location for traditional music-making was the pub, the preserve of men, incidentally excluding women and children, whereas in rural Ireland it was the domestic kitchen, where gatherings of family and neighbours embraced both sexes and several generations. Most traditional music-making has been amateur, yet it was not so long ago that dance musicians were invariably paid for their services and there were livings for dance teachers and street singers and musicians.
The broad repertory of traditional songs comes from a number of sources. Some songs originate from composition within the tradition itself, while others have been adapted from material from outside the tradition, most notably from seventeenth, eighteenth and nineteenth century ballad sheets and the nineteenth-century music hall. Some are archaic survivals, but some others are either contemporary or are set in the recent past. The texts are invariably constructed in conventional poetic language and the story lines and scenarios are based on equally conventional themes, while the tunes, not necessarily though sometimes wedded to particular texts, call on a stock of well-used melodic phrases. The creative potential and vagaries of aural transmission have tended towards mutations and hybrids of both words and tunes, which have resulted in countless variations. The same is true of dance tunes. for, while there is clearly some archaic survival, most dance-tune types were adapted from the dance music of the nobility and gentry (and later middle class) in the eighteenth and nineteenth centuries, tempered by a massive creative force within the tradition itself.
The Tin Whistle Sheet Music
Old Ballymoe mandolin tab
