The Banks Of My Own Lovely Lee lyrics and guitar chords
An Irish folk song from Munster- written Richard Forbes and J.C. Flannagan. The singer is Sean O'Se in the youtube video. I have included the chords in the key that Sean sings in. The song was also recorded by Elle Marie O'Dwyer, Joe Lynch and played as an instrumental by the James Last band. The sheet music is included plus the tenor banjo / mandolin tab. The music time signature is 6/8. The Langer Song which also hales from Cork is here also by the folk group Natural Gas. And with Cork being the ''Rebel County'' there's been a heap of rebel songs written regarding the county including The Third West Cork Brigade .
[C]How oft do my[F] thoughts in their[C] fancy take[Am] flight
To the[G] home of my[D] childhood a[G]way, To the[C] days when each[F] patriot's[C] vision seem'd [Am]bright Ere I[G] dreamed that those[D] joys should de[G]cay. When my heart was as[G7] light as the[C] wild winds that[Am] blow Down the[C] Mardyke through[Am] each elm[G7] tree, Where I[C] sported and[G7] play'd 'neath each[F] green leafy[C] shade On the[G7] banks of my own lovely[C] Lee. And then in the springtime of laughter and song Can I ever forget the sweet hours? With the friends of my youth as we rambled along 'Mongst the green mossy banks and wild flowers. Then too, when the evening sun's sinking to rest Sheds its golden light over the sea The maid with her lover the wild daisies pressed On the banks of my own lovely Lee The maid with her lover the wild daisies pressed On the banks of my own lovely Lee 'Tis a beautiful land this dear isle of song Its gems shed their light to the world And her faithful sons bore thro' ages of wrong, The standard St. Patrick unfurled. Oh! would I were there with the friends I love best And my fond bosom's partner with me We'd roam thy banks over, and when weary we'd rest By thy waters, my own lovely Lee, We'd roam thy banks over, and when weary we'd rest By thy waters, my own lovely Lee, Oh what joys should be mine ere this life should decline To seek shells on thy sea- girdled shore. While the steel-feathered eagle, oft splashing the brine Brings longing for freedom once more. Oh all that on earth I wish for or crave Is that my last crimson drop be for thee, To moisten the grass of my forefathers' grave On the banks of my own lovely Lee To moisten the grass of my forefathers' grave On the banks of my own lovely Lee. |
Here's the guitar chords in the key of the version of the song by Sean O'Se
[D]How oft do my[C] thoughts in their[D] fancy [F#m]take [D]flight To the[A] home of my[Em] childhood a[A]way, To the[D] days when each[C] pa[F#m]triot's[D]] vision seem'd [Bm]bright Ere I[A] dreamed that those[Em] joys should de[A]cay. When my heart was as light as the[G] wild [D]winds that blow[F#m] Down the[Bm]] Mar[D]dyke through[C#m] each elm[F#m] tree[A], [F#m]Where we[D] sported and[A] play'd 'neath each green leafy[D] shade On the[A] banks of my own love[D]ly Lee. The Banks Of My Own Lovely Lee Lyrics
How oft do my thoughts in their fancy take flight To the home of my childhood away, To the days when each patriot's vision seem'd bright Ere I dreamed that those joys should decay. When my heart was as light as the wild winds that blow Down the Mardyke through each elm[ tree, Where I sported and play'd 'neath each green leafy shade On the banks of my own lovely Lee. And then in the springtime of laughter and song Can I ever forget the sweet hours? With the friends of my youth as we rambled along 'Mongst the green mossy banks and wild flowers. Then too, when the evening sun's sinking to rest Sheds its golden light over the sea The maid with her lover the wild daisies pressed On the banks of my own lovely Lee The maid with her lover the wild daisies pressed On the banks of my own lovely Lee 'Tis a beautiful land this dear isle of song Its gems shed their light to the world And her faithful sons bore thro' ages of wrong, The standard St. Patrick unfurled. Oh! would I were there with the friends I love best And my fond bosom's partner with me We'd roam thy banks over, and when weary we'd rest By thy waters, my own lovely Lee, We'd roam thy banks over, and when weary we'd rest By thy waters, my own lovely Lee, Oh what joys should be mine ere this life should decline To seek shells on thy sea- girdled shore. While the steel-feathered eagle, oft splashing the brine Brings longing for freedom once more. Oh all that on earth I wish for or crave Is that my last crimson drop be for thee, To moisten the grass of my forefathers' grave On the banks of my own lovely Lee To moisten the grass of my forefathers' grave On the banks of my own lovely Lee. |
The banks of my own lovely Lee mandolin / tenor banjo tab
The Banks Of My Own Lovely Lee Sheet Music Notes For The Key Of C Major
Below is the ebook list of Irish Folk Songs with guitar chords
in 3 keys. Price €8.90 and I'll email the ebook after purchase .
The chords are suited to ukulele, banjo or mandolin also.
Martin
in 3 keys. Price €8.90 and I'll email the ebook after purchase .
The chords are suited to ukulele, banjo or mandolin also.
Martin
Songs from the four corners of Ireland album by Frank Patterson
The songs and ballads of Ireland recorded here deal in the main with the country's scenic beauty, the beauty of its womanhood, and the history of its tragic and glorious rise to free nationhood. Many of the old airs, which are among the most melodious in the world, were handed down orally in the 17th and 18th centuries when the people were cut off from other forms of art. New words to these airs boosted the morale of the people in their struggle for independence.
The songs on side 1 take us on a tour of the beauty spots of Ireland and introduce us to some of the famous colleens associated with them.
Our journey starts "by Killarney's lakes and fells" in the world-famous tourist spot which the lyric rightly de- scribes as "Heaven's reflex." The music is by Michael William Balfe (1880-70), composer of "The Bohemian Girl."
Still in County Kerry we move on to the town where John Mulchinock (1820-64) won the heart of Mary O'Connor, the Rose of Tralee. Mary was a servant in the Mulchinock home. John's parents sent him abroad to keep them apart. When he returned she had died of consumption. The words are by E. Mordaunt Spencer and the music by C. W. Glover.
Moving through the central plains we cross the border which divides Irishmen, North and South. We come to the linen town of Banbridge to "young Rosie McCann from the banks of the Bann," the Star of the Country Down who "looked so neat from her two white feet, to the sheen of her nut-brown hair."
We return south to County Tipperary where the mountain of Slievenamon rises 2,368 feet over Frank Patter- son's native town of Clonmel. To an anonymous melody, Charles J. Kickham, journalist, novelist, poet, and patriot (1828-82) tells us of a maiden in the valley near Slievenamon. "Twas the soul of truth and of melting ruth and the smile like a summer dawn," that stole his heart away.
Beautiful girls are not confined to the frequented tourist havens. You may meet one of them anywhere, like "The gentle maiden" whom Harold Boulter tells us, to an old Irish air of untraceable origin, "is pure as an angel, and fair as the flowers in May."
Ireland's third city, Cork, is built on the banks of the Lee. The university now nestles beside green mossy banks where, we are told in a song beloved by Cork- men the world over, "the maid with her lover the wild daisies pressed." Another trip northwards brings us to a younger university town where "beautiful Kitty one morning was tripping, with a pitcher of milk for the Fair of Coleraine." The author is believed to be Charles Dawson Shanly (1811-75). The music, by an unknown composer, dates from around 1750.
We end our journey with Thomas Moore (1779-1852), one of Ireland's best-loved songwriters, in County Wicklow, the garden of Ireland and stop with him at the Vale of Avoca at the confluence of the Avonmore and Avonbeg rivers.
The songs on side 2 give us a vivid Irish commentary on the final three hundred years of English rule in Ire- land, during which the people six times asserted in arms their right to national freedom and sovereignty. We begin with Roisin Dubh, that finest example of classic Irish melody, which is believed to be based on an eighth-century love poem. Dark Roisín was one of the names given to Ireland by the people who found strength in patriotic song even when they were for- bidden to sing the name of their country.
The man addressing Roisín is the great leader of his day, Red Hugh O'Donnell, who went to Spain for help when Irish hopes had been destroyed once more in the Battle of Kinsale (1603). He assures her that she won't be deserted even if "the sea shall be in red turmoil and the sky changed to blood." It added to the tragedy that O'Donnell was afterwards poisoned in Spain. Thomas Moore brought "the tear and the smile" into nineteenth-century Irish music, introducing his nation's cause into English drawing-rooms. He put new words
to ancient melodies which had been rescued from oblivion by the Belfast musician and collector Edward Bunting (1773-1843).
Three of Moore's famous songs follow, linking Ireland's rich heritage of myth and legend with the realities of history. "The harp that once," brings us to Tara, the seat of the High Kings, where until 560 A.D. festivals of music were held. But the hearts "that once beat high for praise, now feel that pulse no more." "Avenging and bright" tells one of the sorrowful tales of Ireland, Deirdre lamenting the fate of the sons of Usnach. At the beginning of the Christian era Conor Mac Nessa, King of Ulster, was in love with Deirdre. But she eloped with Naisi, one of the sons of Usnach to Scot- land. Conor sent Fergus MacRoy to Scotland offering them pardon, but when they returned they were at- tacked and murdered. One of Moore's great friends in his student days at Trinity College, Dublin was Robert Emmet whose memory lives mainly through his speech before execution. Emmet was only 25 when his rising of 1803 ended in failure. An escape to France was ar- ranged for him, but he returned to Dublin to bid fare- well to his lover Sarah Curran and was captured there by the English.
He was tried and hanged publicly the following day in Thomas Street. After his execution, Sarah left Ireland and died of a broken heart in exile, "far from the land where her young hero sleeps." The music is by Frank Lambert.
Emigration, always high among the Irish race, was most drastic after the Great Famine of 1846-47 when in 50 years the population fell from 8,500,000 to 4,000,000. The loneliness of the emigrant who will "not forget old Ireland, were it (i.e. America) fifty times as fair," and of those he leaves behind is the theme of "The Irish Emigrant," by Lady Dufferin (1807-67). The music is by G. Baker.
After the famine America became the center for Irish conspiracy. Fenianism was born there through the secret oathbound Irish Republican Brotherhood. It was condemned by the Catholic Church; its plans became known to the English; its rising of 1867 was a failure, but the IRB lived on to help lead the country to freedom through the ruins of 1916.
"Glory Oh! glory Oh! to the bold Fenian men" was the song of the old woman plucking nettles "Down by the Glenside." It was written about 1918 by Peadar Kearney, uncle of Brendan and Dominic Behan, and author of "The Soldier's Song," Eire's national anthem. With the rising of Easter Week 1916 and the execution of its leaders, "a terrible beauty was born," in the words of W. B. Yeats. The new fire was not allowed to go out. Independence was won. When the truce brought the guerilla war with the British to an end in 1921, the young men of Ireland were already singing an old ballad with new words in memory of Kevin Barry who "gave his young life, for the cause of liberty." He was "just a lad of eighteen summers," a medical student at University College, Dublin. Wounded and captured during an attack, he was hanged as a reprisal, Barry's memory is sacred. Despite his youth, he would not betray his comrades but walked to death "softly smiling, that old Ireland might be free."
Song list from the album.
Side 1:
KILLARNEY
(Balfe/Falconer)
THE ROSE OF TRALLEE
(Glover/Spencer)
THE STAR OF THE COUNTY DOWN
SLIEVENAMON
(Anon/Kickham)
THE GENTLE MAIDEN
(Anon/Boulter)
THE BANKS OF MY OWN LOVELY LEE
(Shanahan)
KITTY OF COLERAINE
(Anon/Shanly)
THE METTING OF THE WATERS (Anon/Moore)
Side 2:
ROISIN DUBH
(Anon/Anon)
THE HARP THAT ONCE
(Anon/Moore)
AVENGING AND BRIGHT (Anon/Moore)
SHE IS FAR FROM THE LAND
(Lambert/Moore)
THE IRISH EMIGRANT (Baker/Dufferin)
DOWN BY THE GLENSIDE
(Peadar Kearney)
KEVIN BARRY
The songs and ballads of Ireland recorded here deal in the main with the country's scenic beauty, the beauty of its womanhood, and the history of its tragic and glorious rise to free nationhood. Many of the old airs, which are among the most melodious in the world, were handed down orally in the 17th and 18th centuries when the people were cut off from other forms of art. New words to these airs boosted the morale of the people in their struggle for independence.
The songs on side 1 take us on a tour of the beauty spots of Ireland and introduce us to some of the famous colleens associated with them.
Our journey starts "by Killarney's lakes and fells" in the world-famous tourist spot which the lyric rightly de- scribes as "Heaven's reflex." The music is by Michael William Balfe (1880-70), composer of "The Bohemian Girl."
Still in County Kerry we move on to the town where John Mulchinock (1820-64) won the heart of Mary O'Connor, the Rose of Tralee. Mary was a servant in the Mulchinock home. John's parents sent him abroad to keep them apart. When he returned she had died of consumption. The words are by E. Mordaunt Spencer and the music by C. W. Glover.
Moving through the central plains we cross the border which divides Irishmen, North and South. We come to the linen town of Banbridge to "young Rosie McCann from the banks of the Bann," the Star of the Country Down who "looked so neat from her two white feet, to the sheen of her nut-brown hair."
We return south to County Tipperary where the mountain of Slievenamon rises 2,368 feet over Frank Patter- son's native town of Clonmel. To an anonymous melody, Charles J. Kickham, journalist, novelist, poet, and patriot (1828-82) tells us of a maiden in the valley near Slievenamon. "Twas the soul of truth and of melting ruth and the smile like a summer dawn," that stole his heart away.
Beautiful girls are not confined to the frequented tourist havens. You may meet one of them anywhere, like "The gentle maiden" whom Harold Boulter tells us, to an old Irish air of untraceable origin, "is pure as an angel, and fair as the flowers in May."
Ireland's third city, Cork, is built on the banks of the Lee. The university now nestles beside green mossy banks where, we are told in a song beloved by Cork- men the world over, "the maid with her lover the wild daisies pressed." Another trip northwards brings us to a younger university town where "beautiful Kitty one morning was tripping, with a pitcher of milk for the Fair of Coleraine." The author is believed to be Charles Dawson Shanly (1811-75). The music, by an unknown composer, dates from around 1750.
We end our journey with Thomas Moore (1779-1852), one of Ireland's best-loved songwriters, in County Wicklow, the garden of Ireland and stop with him at the Vale of Avoca at the confluence of the Avonmore and Avonbeg rivers.
The songs on side 2 give us a vivid Irish commentary on the final three hundred years of English rule in Ire- land, during which the people six times asserted in arms their right to national freedom and sovereignty. We begin with Roisin Dubh, that finest example of classic Irish melody, which is believed to be based on an eighth-century love poem. Dark Roisín was one of the names given to Ireland by the people who found strength in patriotic song even when they were for- bidden to sing the name of their country.
The man addressing Roisín is the great leader of his day, Red Hugh O'Donnell, who went to Spain for help when Irish hopes had been destroyed once more in the Battle of Kinsale (1603). He assures her that she won't be deserted even if "the sea shall be in red turmoil and the sky changed to blood." It added to the tragedy that O'Donnell was afterwards poisoned in Spain. Thomas Moore brought "the tear and the smile" into nineteenth-century Irish music, introducing his nation's cause into English drawing-rooms. He put new words
to ancient melodies which had been rescued from oblivion by the Belfast musician and collector Edward Bunting (1773-1843).
Three of Moore's famous songs follow, linking Ireland's rich heritage of myth and legend with the realities of history. "The harp that once," brings us to Tara, the seat of the High Kings, where until 560 A.D. festivals of music were held. But the hearts "that once beat high for praise, now feel that pulse no more." "Avenging and bright" tells one of the sorrowful tales of Ireland, Deirdre lamenting the fate of the sons of Usnach. At the beginning of the Christian era Conor Mac Nessa, King of Ulster, was in love with Deirdre. But she eloped with Naisi, one of the sons of Usnach to Scot- land. Conor sent Fergus MacRoy to Scotland offering them pardon, but when they returned they were at- tacked and murdered. One of Moore's great friends in his student days at Trinity College, Dublin was Robert Emmet whose memory lives mainly through his speech before execution. Emmet was only 25 when his rising of 1803 ended in failure. An escape to France was ar- ranged for him, but he returned to Dublin to bid fare- well to his lover Sarah Curran and was captured there by the English.
He was tried and hanged publicly the following day in Thomas Street. After his execution, Sarah left Ireland and died of a broken heart in exile, "far from the land where her young hero sleeps." The music is by Frank Lambert.
Emigration, always high among the Irish race, was most drastic after the Great Famine of 1846-47 when in 50 years the population fell from 8,500,000 to 4,000,000. The loneliness of the emigrant who will "not forget old Ireland, were it (i.e. America) fifty times as fair," and of those he leaves behind is the theme of "The Irish Emigrant," by Lady Dufferin (1807-67). The music is by G. Baker.
After the famine America became the center for Irish conspiracy. Fenianism was born there through the secret oathbound Irish Republican Brotherhood. It was condemned by the Catholic Church; its plans became known to the English; its rising of 1867 was a failure, but the IRB lived on to help lead the country to freedom through the ruins of 1916.
"Glory Oh! glory Oh! to the bold Fenian men" was the song of the old woman plucking nettles "Down by the Glenside." It was written about 1918 by Peadar Kearney, uncle of Brendan and Dominic Behan, and author of "The Soldier's Song," Eire's national anthem. With the rising of Easter Week 1916 and the execution of its leaders, "a terrible beauty was born," in the words of W. B. Yeats. The new fire was not allowed to go out. Independence was won. When the truce brought the guerilla war with the British to an end in 1921, the young men of Ireland were already singing an old ballad with new words in memory of Kevin Barry who "gave his young life, for the cause of liberty." He was "just a lad of eighteen summers," a medical student at University College, Dublin. Wounded and captured during an attack, he was hanged as a reprisal, Barry's memory is sacred. Despite his youth, he would not betray his comrades but walked to death "softly smiling, that old Ireland might be free."
Song list from the album.
Side 1:
KILLARNEY
(Balfe/Falconer)
THE ROSE OF TRALLEE
(Glover/Spencer)
THE STAR OF THE COUNTY DOWN
SLIEVENAMON
(Anon/Kickham)
THE GENTLE MAIDEN
(Anon/Boulter)
THE BANKS OF MY OWN LOVELY LEE
(Shanahan)
KITTY OF COLERAINE
(Anon/Shanly)
THE METTING OF THE WATERS (Anon/Moore)
Side 2:
ROISIN DUBH
(Anon/Anon)
THE HARP THAT ONCE
(Anon/Moore)
AVENGING AND BRIGHT (Anon/Moore)
SHE IS FAR FROM THE LAND
(Lambert/Moore)
THE IRISH EMIGRANT (Baker/Dufferin)
DOWN BY THE GLENSIDE
(Peadar Kearney)
KEVIN BARRY