The Meeting Of The Waters lyrics and chords
The Meeting Of The Waters Song Lyrics With Easy Guitar Chords And Sheet Music. Music written by Thomas Moore. A song from Co. Wicklow Ireland about where two rivers meet ''The Avoca'' and ''The Avonmore'' . Guitar chords are in chordpro. Recorded by John McCormack, Maureen Hegarty and Tommy Fleming who also sings another folk song called The Cliffs Of Dooneen Song.
[D]There is not in this[G] wide world a[A7] valley so[D] sweet
As that[G] vale in whose[D] bosom the bright waters[A7] meet,
Oh! the[G] last rays of fee[D]ling and life must de[A7]part
Ere the[D] bloom of that[G] valley shall[A7] fade from[G] my[A7] heart.
Ere the[D] bloom of that[G] valley shall[A7] fade [G] my[D] heart.
Yet it was not that Nature had shed o'er the scene
Her purest of crystal and brightest of green
'Twas not her soft magic of streamlet or hill
Oh! no, it was something more exquisite still.
'Twas that friends, the beloved of my bosom were near
Who made every dear scene of enchantment more dear
And who felt that the best charms of nature improve
When we see them reflected from looks that we love.
Sweet Vale of Avoca! how calm could I rest,
In thy bosom of shade, with the friends I love best
Where the storms that we feel in this cold world should cease
And our hearts, like thy waters, be mingled in peace.
As that[G] vale in whose[D] bosom the bright waters[A7] meet,
Oh! the[G] last rays of fee[D]ling and life must de[A7]part
Ere the[D] bloom of that[G] valley shall[A7] fade from[G] my[A7] heart.
Ere the[D] bloom of that[G] valley shall[A7] fade [G] my[D] heart.
Yet it was not that Nature had shed o'er the scene
Her purest of crystal and brightest of green
'Twas not her soft magic of streamlet or hill
Oh! no, it was something more exquisite still.
'Twas that friends, the beloved of my bosom were near
Who made every dear scene of enchantment more dear
And who felt that the best charms of nature improve
When we see them reflected from looks that we love.
Sweet Vale of Avoca! how calm could I rest,
In thy bosom of shade, with the friends I love best
Where the storms that we feel in this cold world should cease
And our hearts, like thy waters, be mingled in peace.
Here's another set of easy guitar chords in the key of G
[G]There is not in this[C] wide world a[D7] valley so[G] sweet
As that[C] vale in whose[G] bosom the bright waters[D7] meet,
Oh! the[C] last rays of fee[G]ling and life must de[D7]part
Ere the[G] bloom of that[C] valley shall[D7] fade from[C] my[D7] heart.
Ere the[G] bloom of that[C] valley shall[D7] fade [C] my[G] heart.
Lyrics And Chords K - M
[G]There is not in this[C] wide world a[D7] valley so[G] sweet
As that[C] vale in whose[G] bosom the bright waters[D7] meet,
Oh! the[C] last rays of fee[G]ling and life must de[D7]part
Ere the[G] bloom of that[C] valley shall[D7] fade from[C] my[D7] heart.
Ere the[G] bloom of that[C] valley shall[D7] fade [C] my[G] heart.
Lyrics And Chords K - M
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 900 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 , The meeting of the waters tin whistle notes included.
All of the sheet music tabs have been made as easy to play as was possible.
The price of the ebooks is €7.50 , The meeting of the waters tin whistle notes included.
Mother Ireland - The Album
There's a little bit of Irish in every heart, they say, and a little bit of heaven in all Irish song. As a race, the Irish have gone forth and multiplied and with them (or in spite
of them?) the modern cult interest in the diverse forms of Irish music has evolved. The characteristically incisive, dry Irish wit, the charismatic twinkle in the eye, so to speak, has always served to mask a deeper, more soul-felt affection, a smouldering, self-imposed, romanticised idealising of Ireland as a long-lost (if however nebulous) Never-Never Land; but with the Irish mass-exodus to America and elsewhere occasioned by various catastrophic mid- 19th century famines, nostalgic longings for the dear old country became an even more firmly- rooted feature of Irish song vocabulary.
On records, Scots-Irish ballad singer, Covent Garden star attraction and Americanised purveyor of things Irish. John McCormack (1884-1945) heads our list. Born in Athlone and trained initially in Dublin, he won the "Feis Ceoil" (Irish national singing competition) in 1904, before completing his studies in Italy. Although essentially British property until around 1914 (when he effectively forsook opera for the concert platform),American citizen McCormack's coast-to-coast US concertising and world-distributed recordings for the Victor company quickly made him the highest-paid recitalist of his day. Women especially loved this quintessentially chubby Irish émigré tenor who, without condescension, filled the highest of high-brow classical programmes with the tritest of romantic ballads and sham-Irish ditties. His recorded legacy of well over 600 songs and arias of many styles is linked by a coherency of articulation, and even when this great artiste sounds caricatured by the "chisel" of his own Blarney (which, now and again, he surely does!), he redeems all by a consistent rightness of tone. Thus, we find him as at home with Herbert Hughes as with material from his own sentimental early musical talkie vehicle Song O'My Heart (1929), which ranged from the fervently patriotic P.J.O'Reilly-Raymond Loughborough Ireland, Mother Ireland to the timelessly lyrical Rose Of Tralee (this last a resurrection of a mock-Irish, mid-Victorian item by the London-born violinist and theatrical conductor Charles Glover (1806-1863).
Many other singers of Irish birth or extraction, either classically-trained or distinguished especially in the field of opera, have made significant contributions to the discography of Irish song. Most prominent is the soprano Margaret Sheridan (1889-1958). Born in Castelbar, Co. Mayo, Maggie won the mezzo-soprano category of the Dublin "Feis" in 1908. Chosen by Gigli to partner him in his 1919 Covent Garden Andrea Chénier, she went on to wow Milanese La Scala audiences billed as Margherita Sheridan in other verismo operas until the early 1930s. While Hughes's Lover's Curse rings with spine-tingling and dramatic authority, Moore's Meeting Of The Waters displays the plaintive and unaffectedly lyrical quality which was her hallmark. Dubbed "The Lancashire Caruso", Tom Burke (1890-1969) was another case in point, a character whose true worth has largely been obscured and misrepresented by myth and scurrilous rumour. Born in Leigh, Lancashire, Tom starred at Covent Garden and was revered in Italy and the United States far more than is generally realised. By turns stentorian and lyrical, his Minstrel Boy remains unrivalled. By no means least, Cavan O'Connor (1899-1997) proudly merits a place in the pantheon of popular Irish song interpretation, albeit it may to some extent have been a millstone, a largely commercial type-casting which was to obscure a much greater talent.
Born of an Irish father and an English mother near Nottingham, Cavan's earliest years were marked by struggle. Soon after the start of the Great War, he lied about his age, taking the "King's shilling" to fight in France in 1915 but, mercifully, was soon invalided out of the army. In 1920, he won a scholarship to the Royal College of Music (London) and was set for a career in opera before being overtaken by the more lucrative new medium of "rhythm singing". A talented, sweet-voiced harmoniser, he was a quick learner and in demand both as a refrain vocalist on commercial recordings by leading British dance orchestras and also as a soloist in his own right. A prolific recorder who sang under more than 40 pseudonyms, Cavan was heard regularly on such programmes as Irish Half Hour broadcast from Bangor (North Wales). His concert appearances throughout Britain featured many ballads of Irish denomination during a career which spanned more than 65 years. The Ireland of song effectively haunted him: the audience would not let him go until he had sung "I'll Take You Home Again Kathleen".
Biographical information on a few of the singers represented here has proven tantalisingly hard to unearth. While Jack Daly was a popular Irish hall and radio artist restricted almost totally to Great Britain (he recorded many sides for the Regal-Zonophone label), American- Irish tenor Seamus O'Doherty did more or less the same across the Pond, and whereas Frank Munn and Colin O'More sang and recorded in America, records made by both artists were also issued in England (Munn's offerings confined principally to musical comedy, O'More specialising both in Irish folk ballads and certain selections from opera). Joseph White, dubbed "The Silver-Masked Tenor", was a friend and admirer of McCormack. The father of a more recent star of television, the popular light-tenor Robert White, Joseph broadcast on early US radio and guested as vocalist with leading American dance-orchestras.
The majority of the Irish Muse's other, more folk-orientated protagonists on disc have, for individual reasons, attained greater immortality. Irish step-dancer, dance-teacher, writer, film-star and (latterly) TV actress (of Doctor Finlay's Casebook fame) Barbara Mullen (1914-1979) was born in Boston but brought up in Ireland from the age of five. Her mother remained in the States to run a bootleg whiskey business during the Prohibition, while her actor father, Pat, resumed an acting career in his native land which culminated in Robert Flaherty's 1934 film classic Man Of Aran. An outstanding exponent of Irish folk-song, the baritone James MacCafferty (1900-1967), a native of Derry (Co. Londonderry), was a pupil of Plunket Greene and Herbert Hughes. The first singer to broadcast on BBC Radio's Northern Ireland station (in 1924), in 1935 he toured the United States and recorded a soundtrack for a landmark documentary film on Donegal.
He regularly gave recitals throughout Britain and made over 400 broadcasts during a career which lasted until the early 1950s. Another highly influential Irish exponent of the Irish folk medium, Richard Hayward (1892-1964) was born in Larne, Co. Antrim. Hayward's childhood interest in traditional Irish music led to the extensive Irish travels and many colourful travel-books he published during his maturity. Later prominent in the Ulster Players and a founder of the Belfast Repertory Theatre and Belfast Radio Players and also a noted film-director, Hayward became a regular broadcaster on Radio Eirann (2RN), frequently in partnership with Delia Murphy (1903-1971). Born in Claremorris, Co. Mayo, Murphy was an arts and commerce graduate of University College, Galway, but she studied traditional Irish song as she heard it sung by travelling folk singers. Through Herbert Hughes she met McCormack. She reputedly helped John with his Irish pronunciation (McCormack spoke little or no Irish) and won herself an HMV recording contract in the process! In 1941, Murphy's husband, Dr Thomas Kiernan, was appointed Irish Ambassador to the Vatican.
Irish song and a strictly ballad-concert context link teacher Harry Plunket Greene (1865-1936) with pupil Sydney MacEwan (1908-1991). Doyen of late-Victorian baritones, and a preceptor and an acknowledged authority on interpretation in song, Greene hailed from Co. Wicklow; he had no real voice but as a communicator was outstanding. Glasgow-born MacEwan had Irish ancestry, an innately lyrical voice and a flair for Irish song which equipped him for the world concert-tours and broadcasts which made him a household name for thirty-odd years.
An Outline of Irish Song
Traditional Irish song may now be seen as having two essential strands: folk (either authentic or arranged) and commercial. Clearly, at points the two merge, often inextricably. In fact, they found their first real confluence in the figure of Thomas Moore (1779-1852). An avid collector of traditional tunes (although certainly not the first of that noble line), the mercenary applications of his endeavours did not escape him. Born the son of a Dublin grocer, and a talented poet admired and befriended by Byron (he was later Byron's first biographer), Moore rose to become a darling of the salons. In the guise of a folk-singer, to his own accompaniments, he sang his own songs (verses he tailored to fit traditional tunes) before gentry both British and American. The songs were published mainly in ten volumes as Irish Melodies, between 1807 and 1835. In an evolutionary thread from Moore, via novelist, playwright, songsmith and balladeer Samuel Lover (1796-1868) and such traditional song collectors and Irish literary revivalists as Alfred Perceval Graves (1846-1931) and Sir Charles Villiers Stanford (1852-1924), we arrive eventually at the arrangements of Herbert Hughes (1882-1972), a Belfast-born composer whose charming work is housed in sundry volumes of Irish Country Songs, the first published in 1909. Yet these, though often hauntingly beautiful and authentic in their apparent simplicity, may be seen on closer inspection to incline quite heavily towards the more commercial outpourings of stage-Irish or Tin-Pan Alley.
From the broader church of this latter category come various well-known, indeed time-honoured ditties.
Cleveland-born Vaudeville pianist-composer Ernest R. Ball (1878-1927) was the purveyor par excellence of stage-Irish material, the Charles K. Harris (or Irving Berlin) of the sentimentally contrived mock-Irish ballad. Staff-composer and arranger for the American publisher Witmark from 1907 to 1927 and a founder-member of ASCAP, he collaborated with, among others, fellow-vaudevillian John "Chauncey" Olcott (1858-1932). Born in Buffalo, New York State, composer, tenor minstrel, author and actor Olcott was no more Irish than Ball, but "Mother Machree" and My Wild Irish Rose remain models of their kind.
Probably still best-loved among stage-Irish song- writers, however, (William) Percy French (1854-1920) stands head and shoulders above the rest. Born in Castlebar, Mayo, French was the genuine article. Mathematician, author, painter and singer of his own songs (in London tours and elsewhere), he was the perfect embodiment of quick-fire Irish patter. Frequently, in songs by French founded on traditional melodies, the rhythmic inventiveness and incisive wit of his lyrics is enhanced by the skilful, economical arrangements of W.A. Houston Collison (1865-1920). Who could resist, for example, the meandering mental juxtapositions of "Come Back, Paddy Reilly" and "Teaching French in Killaloo", the sublime silliness of "Abdul Abulbul Ameer" and "Phil The Fluter's Ball" or the pathetic bog-Irishness of Mountains of Mourne (1896), which parodies a lovely traditional tune set earlier during the century by Moore as "Bendemeer's Stream"?
© John Adams 1998