The Merry Plough Boy Lyrics And Chords
Also included is the tin whistle notes in the key of D and the sheet music.. Written by Jeremiah Lynch . Recorded by Dominic Behan, The Dubliners , The Wolfe Tones , Dermot O'Brien , Eire Og , and Johnny McEvoy [ song lyrics ]. The sheet music notes are included and the guitar chords are in D with a version in G in chordpro. The youtube video is from 1974 and features The Dubliners with Ronnie Drew on vocals. This old ballad was out in the 1960's and it was then I learned it, at school. Yes, in them days we learned how to sing ballads in the classrooms in Ireland.
![iRISH SONG [ FOLK ]](/uploads/4/3/3/6/43368469/editor/7166142.jpg?1555161571)
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The Merry / Jolly Plough Boy Song Words And Guitar Chords In D Major
Well[D] I am a merry[A] ploughboy And I plough the fields by[D] day Till a[A] sudden thought came through my mind That I should[A7] run a[D]way. For[D] I'm tired of this[A] civilian life Since the[G] day that I was[D] born So I'm[A] off to join the I.R.A. And im off to[G]morrow[D] morn [Chorus] And[D] were of to[A] Dublin in the green in the green Where the helmets glisten in the[D] sun Where the bayonets[A] flash and the rifles crash To the echo of a[A7] Thompson[D] gun I'll leave aside my pick and spade I'll leave aside my plough And I'll leave aside my old grey mare For no more I'll need them now I'll leave aside my Mary She's the girl I do adore And I wonder if she'll think of me When she hears the cannon roar And when the war is over And dear old Ireland's free I will take her to the church to wed And a rebel's wife she'll be Well some men fight for silver And some men fight for gold But the I.R.A. are fighting for The land the Saxon's stole The Merry Ploughboy Tin Whistle Notes are by Jean-Baptiste Meynard, and so is the youtube video. F G A A B A A E E F G G A A F G F E A C A B A E A B A E F G F D F G A A B F G A A A E E F G G A A F G F E A C A B A E A B A E F G E D F G A A B A A E E F G G A A F G F E A C A B A E A A A E F G F D 
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Here are a set of chords in the key of G
Well[G] I am a merry[D] ploughboy
And I plough the fields by[G] day
Till a[D] sudden thought came through my mind
That I should[D7] run a[G]way.
For[G] I'm tired of this[D] civilian life
Since the[C] day that I was[G] born
So I'm[D] off to join the I.R.A.
And im off to[C]morrow[G] morn
[Fhorus]
And[G] were of to[D] Dublin in the green in the green
Where the helmets glisten in the[G] sun
Where the bayonets[D] flash and the rifles crash
To the echo of a[D7] thompson[G] gun
Well[G] I am a merry[D] ploughboy
And I plough the fields by[G] day
Till a[D] sudden thought came through my mind
That I should[D7] run a[G]way.
For[G] I'm tired of this[D] civilian life
Since the[C] day that I was[G] born
So I'm[D] off to join the I.R.A.
And im off to[C]morrow[G] morn
[Fhorus]
And[G] were of to[D] Dublin in the green in the green
Where the helmets glisten in the[G] sun
Where the bayonets[D] flash and the rifles crash
To the echo of a[D7] thompson[G] gun
The merry ploughboy guitar chords and tab
Here's the sheet music for The Merry Ploughboy
Dermot O'Brien - The Merry Ploughboy Album
An Irishman in a foreign land was trying to describe the dances of his native country. "There was a time in Ireland," he said, "and a poor time it was, when the one pair of shoes had to last you your lifetime and only Englishmen were allowed to laugh. And the people were in a sorrowful fix for a great while.
"But by and by, to save shoe leather, a lightness came into the feet of them so that they could tread on a cobweb without disturbing the spider. And it is the way of nature that when a man has to keep his face straight the merriment in him will break out somewhere else. So the good nature of the Irish made its way down to their feet.
"In course of time they set it to music and ever after that and up until the present day the sight of an Irishman dancing a jig or a reel would restore the life to a corpse seven days dead. And if ever you have the good fortune to attend a ceili-for that's the name we have in Ireland for an evening's dancing-you will see for yourselves that no pair of feet ever touch the floor except when they're sitting down. Which explains why all the shoemakers die in the poorhouse and nobody goes home before daylight.
"And if there is anyone present who thinks there is one word of a lie in what I'm after telling you." said the Irishman to his astounded listeners, "let him signify his disbelief by ordering me a drink." And he was drunk for a week afterwards.
All the same it was a valiant effort to distil the essence of the galety, grace and effervescence of Irish dancing at its best. The music, however, presents no such difficulty. It's here.
This is just as well because the essence of it is indefinable, and an attempt to isolate the elements produces a series of baffling contradictions. It is wild yet disciplined; artless, yet subtle; direct, yet infinitely complex. It is a different thing in the hands of every musician, or group of musicians, who came to grips with it.
It has been arranged for large orchestras with results which, in my opinion, are more impressive than invigorating, yet it responds nimbly to the ministrations of a fiddle, a banjo and drums. And many a light-footed evening has sped away in a stone-flagged country kitchen without a band at all. A good lilter by the fireside can produce a serviceable tune with his mouth.
But of all instruments none can breathe such an infinite variety into the cadences of an Irish dance tune as the accordion. An Irish dance consists of a linked series of complex movements and the accordion is matchless in its ability to produce a corresponding variety in the music.
The accordion can take the original tune-a thin, clear line of dancing melody-and make of it a high, piping pattern of sound transform it in the next chorus into an ornate progression of double-handed chords, breaking into a lilting, syncopated series of delicate turns which seem to be literally shaken out of the bellows.
It is time to say-in case this is your first encounter with Irish dance music-that Dermot O'Brien is the accordionist par excellence. There is an honorable line of self-taught traditional-style accordionists with an inherent instinct for the turns and rhythms of Irish music. These qualities are inherent in Dermot O'Brien and allied to them are the virtues of a thorough musical education and the high gloss of a vast experience. O'Brien belongs to the new line of Irish musicians and stands right at the forefront of it. Beginning as a musician he acquired the skill of the entertainer. Ballrooms, shows and television have shaped his musical personality.
On this album he returns to the music he was reared on, although it would be misleading to suggest that he is ever very far away from it. Let's say that here he gives it his undivided attention.
Playing Irish dance music, ceili music-is like stalking a shy animal. The fewer people involved in the enterprise the better. And experience suggests that the ideal number is four. So, we have here the accordion of Dermot O'Brien with piano, double-bass and drums.
If ceili music is ever played better than it is here I hope I may live long enough to hear it. It is not given to everyone to enjoy the music through dancing: here one is able to enjoy the dancing through the music. This is the music for good natured feet.
Frank Hall.
Songs from the album include, Mursheen Durkin, Leaving Of Liverpool, Johnson's Motorcar, Home Boys Home And Come To The Bower
An Irishman in a foreign land was trying to describe the dances of his native country. "There was a time in Ireland," he said, "and a poor time it was, when the one pair of shoes had to last you your lifetime and only Englishmen were allowed to laugh. And the people were in a sorrowful fix for a great while.
"But by and by, to save shoe leather, a lightness came into the feet of them so that they could tread on a cobweb without disturbing the spider. And it is the way of nature that when a man has to keep his face straight the merriment in him will break out somewhere else. So the good nature of the Irish made its way down to their feet.
"In course of time they set it to music and ever after that and up until the present day the sight of an Irishman dancing a jig or a reel would restore the life to a corpse seven days dead. And if ever you have the good fortune to attend a ceili-for that's the name we have in Ireland for an evening's dancing-you will see for yourselves that no pair of feet ever touch the floor except when they're sitting down. Which explains why all the shoemakers die in the poorhouse and nobody goes home before daylight.
"And if there is anyone present who thinks there is one word of a lie in what I'm after telling you." said the Irishman to his astounded listeners, "let him signify his disbelief by ordering me a drink." And he was drunk for a week afterwards.
All the same it was a valiant effort to distil the essence of the galety, grace and effervescence of Irish dancing at its best. The music, however, presents no such difficulty. It's here.
This is just as well because the essence of it is indefinable, and an attempt to isolate the elements produces a series of baffling contradictions. It is wild yet disciplined; artless, yet subtle; direct, yet infinitely complex. It is a different thing in the hands of every musician, or group of musicians, who came to grips with it.
It has been arranged for large orchestras with results which, in my opinion, are more impressive than invigorating, yet it responds nimbly to the ministrations of a fiddle, a banjo and drums. And many a light-footed evening has sped away in a stone-flagged country kitchen without a band at all. A good lilter by the fireside can produce a serviceable tune with his mouth.
But of all instruments none can breathe such an infinite variety into the cadences of an Irish dance tune as the accordion. An Irish dance consists of a linked series of complex movements and the accordion is matchless in its ability to produce a corresponding variety in the music.
The accordion can take the original tune-a thin, clear line of dancing melody-and make of it a high, piping pattern of sound transform it in the next chorus into an ornate progression of double-handed chords, breaking into a lilting, syncopated series of delicate turns which seem to be literally shaken out of the bellows.
It is time to say-in case this is your first encounter with Irish dance music-that Dermot O'Brien is the accordionist par excellence. There is an honorable line of self-taught traditional-style accordionists with an inherent instinct for the turns and rhythms of Irish music. These qualities are inherent in Dermot O'Brien and allied to them are the virtues of a thorough musical education and the high gloss of a vast experience. O'Brien belongs to the new line of Irish musicians and stands right at the forefront of it. Beginning as a musician he acquired the skill of the entertainer. Ballrooms, shows and television have shaped his musical personality.
On this album he returns to the music he was reared on, although it would be misleading to suggest that he is ever very far away from it. Let's say that here he gives it his undivided attention.
Playing Irish dance music, ceili music-is like stalking a shy animal. The fewer people involved in the enterprise the better. And experience suggests that the ideal number is four. So, we have here the accordion of Dermot O'Brien with piano, double-bass and drums.
If ceili music is ever played better than it is here I hope I may live long enough to hear it. It is not given to everyone to enjoy the music through dancing: here one is able to enjoy the dancing through the music. This is the music for good natured feet.
Frank Hall.
Songs from the album include, Mursheen Durkin, Leaving Of Liverpool, Johnson's Motorcar, Home Boys Home And Come To The Bower
