I{I Ch2\IÀI) \rO gE

/F'IC qlIAF,RenB4çLeIaûnd

Dz)--).,,r
72/lfl
i t - r: v-

,24 {*

rJ
I

$*
ITIC ()R DI sy.
4

lrischeFolksongssind durch die historischeEntwicklung(Rebellentumund Unabhângigkeitskampf in den letzten

800 Jahren)und die keltischeMythologiegeprâgtenationaleBalladen,Rebellenlieder, Worksongs,Liebes-und
Wiegenlieder,Klage-und Trinklieder.Besondersdie àlterentraditionellen
Liederwerden reichhaltigverziefi (,,sean-
nôs"= im traditionellen
irischenSingstil)vorgetragen.

O 1.TheLittleDrummer
Moderato

O ne fine

(Am)

quav and

pass them by-;

soon caught his eye

2. He went to his comradeand to him did say:
"Twenty-fourladiesI saw yesterday.
Oh and one of them ladiesshe has me heartwon
and if she deniesme I'm surelyundone."
6. "Be otf, littledrummer,now what do you mean?
I'm the lord'sdaughterof Ballykisteen.
Oh I'm the lord'sdaughterthat's honoured,do you see?
Go off, littledrummer,you'remakingtoo free."

3. "Go to this ladyand tell her your mind, 7. He put on his hat and he bade her farewell,
tell her she's woundedyour poor heart inside. saying,"l'llsend me souldownto heavenor hell,
Go an tell her she's woundedyour poor heartfull score, for with this long pistolthat hangsby my side.
and if she deniesyou what can she do more." Oh l'll put an end to my own drearylife."

4. So early next morningthis young man arose, 8. "Comeback,littledrummer,and don't take it ill
dressedhimselfup in a fine suit of clothes. for I do not want to be guiltyof sin,
With a watch in his pocketand a cane in his hand, to be guiltyof innocentbloodfor to spill.
salutingthe ladies,he walkeddown the strand. Come back,littledrummer,I'm here at your will.

5. He went up to her and he said,"Pardonme. 9. And we'll hire a car and to Banshawe'll go.
Pardonme, lady,lor makingso free. Therewe'll be marriedin spiteof our foes.
Oh, me fine honouredlady,you have my heartwon Oh for what can they say when it's over and done
and if you deny me I'm surelyundone." but I fell in love with the roll of your drum."

EditionltlC0ltl)l S y.2609 @ 1996 by {;. ltlc0ltl)l & CO..Munchen

 5

O 2. CockOf The North

1.Oh- cock of the - north with a dream in your

G

through the door with these eyes like and his

kit bag's all- full of the he's won

2. A borrowedold broomand a tall orangetail 4. And here in our beds we will lie and we'll sleep
and a bell and a clam and the jaws of a whale and we'll lie and we'll listento the soundsof the deep
and my kitchenis full of the smellof the sea and as warm as the summerwe'llsleepwinterslong,
and see all the fine treasuresmy love bringsto me. oh my love has come home, like King Solomon'sson.

3. Come gatheryour treasuresby gardenand room 5. = 1. Strophe

and bringthem alongto our sweet littlebloom
for the sun in the morningwith a blazean your chest,
oh my love has come home from the north by north-west.

O 3. Lovels Pleasing

\---l

wish in vain I
ne'er can be rill

wish- | was a maid- a \--l

ap - ples grow an vy tree

2. Oh love is pleasingand love is teasing 3. And love and portermakesa young man older,
and love is pleasurewhen first its new. and love and whiskeymakes him old and grey,
But as love growsolder,sure love growscolder and what can't be cured love has to be enduredlove,
till it fades away like the morningdew. and now ! am boundfor Amerikay.

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6

O 4. LockHospital
Bearb.:R. Voss

As I w a s a - w a l k - i n g down by the Lock Hos-pi - tal

So play the drums slow - ly, so play the pipes low - ly
F

cold was the morn I n g and dark- was the I

s ound the death march AS you car- ry hi m a and
C F C

spied a y o u n g s q u a d- d i e wrapped u p in white lin - en wrapped

o ver his cof - fin throw a bunch of white lau - rel for
c F G C
a

up in white lin - en as cold as the day

he's a young sol - dier cut down in hi s prime

2. Oh father,dear mother,come sit you down by me, 3. Get six of me comradesto carryme coffin,
sit you down by me and pity my sad plight, get six of me comradesto carry me on high,
for me body is injuredand sadlydisordered, and let everyonehold a bunchof white roses
all by a younggirl me own heart'sdelight. so no one will noticeas we pass them by.

Refrain Refrain

4 . All over his headstonethese wordsthey were written:

"All you youngfellowstake warningfrom
me.
Bewareof the flashgirlsthat roamthroughthe city
for the girlsof the city were the ruin of me."

Refrain

O 5. Oh,WhereAre YouGoing
Moderato

"Oh, where are you go - Ing, pret-ty fair maid, so

my ear-ly? Come tell to me now _
C D G C D7 G

tell you the truth, kind S i r- , " she sai d, " l ' ve lost- my grey spot- ted

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&CO.,Mûnchen
 7

O 6. TheBlackVelvetBand

1 .H e r
G Em D7
3
a
- - - a
-
hair hung ov - er her shoul der, tied up with a black vel - vet band
2. As I went walkingdown Broadway,not intendingto stay very long,
I met with a frolicksomedamsel,as she came trippingalong.
3. A watchshe pulledout of her pocket,and slippedit rightinto my hand,
on the firstday that I met her, bad luckto the blackvelvetband.
4. Beforejudge and jury next morning,both of us did appear,
a gentlemanclaimedhis jewellery,and the case againstus was clear.
5. seven longyearstransportation, rightdown to "Van Dieman'sLand",
far awayfrom my friendsand companions,betrayedby the blackvelvetband.

O 7. TheWestcoastOf Clare
Bearb.:R. Voss

Em Em

-
\-,' \-Él ----
1 . Sor - row and sad ness bit ter - ness, grief
Em D
a
^ J
rrr l:
-
\--l
Memo- ries have of won't leave peace My

mind is run - ning back to the west - coast of Clare

G Em Em
a
a
a

Think - ing- "p you_

\--l
and the times we had there
\--l

2. I walkedthe SpanishPoint,I knew I'd lind you there.
I stoodon the whitestrandand you were ev'rywhere.
Did it memoriesfade, but the mood stillremains.
I wish, I couldgo back and be with you again!
4 . I walk alongthe shore,the rain in my face.
My mind is now with grief,I know,there is no trace.
I thinkof this again,when far-offlands I roam:
"Walkingwith you by
this cold Atlanticfoam."

3. In Miltownthere'sa park, it's there,that I sat down. 5. Sorrowand sadness,bitterness,grief.

I see you ev'rywhere,your face is all around. MemoriesI have of you, won't leaveme in peace.
The searchof time's past containssuch sweetpain. My mind is runningbackto the westcoastof Clare,
I banishedlonesomefaults,but they'llreturnagain. thinkingof you and the time we had there.

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I

O 8. TheTownI LovedSo Well

T und M: PhilipMichaelCoulter

1 .I n m y ry_ ways_
F

have- loved well where our

c

school played ball_ by the gas yard- wall and we

F c G 7 c

smoke- and the smà-u -

Go - ing
G

i n th e rain run- ning up- l he dark- lane_ , past the

G

jail down be - hind the foun- tain Those were

C F

man- y, ways_ ,
C

town_ l- loved so_

2. Therewas musicthere in the Derryair like a languagethat we allcould understand,
I rememberthe day that I earnedmy first pay and I playedin a small pick-upband.
There I spent my youth,and to tell you the truth,I was sad to leaveit all behindme.
For I'd learnedaboutlife and I'd found a wife in the town I lovedso well.

3. But when I've returnedhow my eyes have burnedto see how a town could be broughtto its knees
by the armouredcars and the bombedout bars,and the hangson to every breeze.
Now the army'sinstalledby the old gas yard wall and the damnedbarbed-wiregets higherand higher.
With theirtanks and their guns,oh, my God what havethey done to the town I lovedso well.

@ by FOURSEASONSMUSICLDT.
fûr Deutschland,Ôsterreich,Schweiz:
EditionltlCOltl)l Sy.2609 GR A N DH MU S ICGMB H ,Ham bur g
 I

O 9. TheGardener's
Son

1 . W h e n I w a s a m a i d -e n _ f a i r a n d y o u n g ,l _ flor ished in my prime, prime, titl

C c Am Em G A m G

prop er tall young man came_ and _ stole this heart_ of_ mine, mine, and
Am Em Am
2. The gardener'sson beingstandingby,
a
a three giftshe gave to me, me:
the pink,the rue,the violetblue,
and the red, red rosy tree,tree,
stole the heart_ of _ m rn e the red, red rosy tree.

O lo. HenryJoy

1 .A n - UI ster- m a n -
am proud to- be, from the An- trim gl ens I come. And
Am Em C Am F Am C
^

r,

t hough l_ la bour- by the- sea, I have fol - lowed flag and drum I have
Em
n G C F Dm G

heard the mar - tial_ tramp of_ men, I've seen them fight and die oh-
C A m E m A C Am F Am
^

lads ! | well mem - ber_ when l_ fol - lowed Hen - r y _ Joy

2. Ah, ladsfor lreland'scausewe foughtfor homeand sirewe bled.

Thoughour arms were few, our heartsbeat true and five to one lay dead.
And manya lassiemissedher lad and mothermournedher boy
for youthwas strongin dashingthrongthat followedHenryJoy.

3. In Belfasttownthey builta tree,and the enemymusteredthere.

I watchedhim come as the roll of the drum soundedon the barracksquare.
He kissedhis sisters,went aloftthen waved a last goodbye.
Ah, ladshe died,I returnedand criedthey havemurderedHenryJoy.

Edition RICOIIDI Sy.2609 @ 1996by C.RICORDI

&CO.,Mûnchen
10

A ir s s ind aus d ru c k s s ta rk eMe l o d i e nm i t l i edhaftemC harakter,w eshal bsi e oft al s Grundl agefûr Li eder und
B alladendie n e n . l n l rl a n d u n te rs c h e i d eman
t drei A rten von A i rs: 1. Gol trai de= Lamentati on(K l age lieder ) ,
2. S uant r ai d e= L u l l a b y (Wi e g e n l i e d e r)u nd 3. Geantrai de= Laughter (frôhl i cheMel odi en).A i rs wer den
ef ûhlv ollun d ,,s e a n -n ô s(=" i m tra d i ti o n e l l en
i ri schenS ti l verzi ert)vorgetragen.

O 11.TheSouthWind
Am D7
t
a
a

lt D7
l-' l I

O 12.TheMermaid
Andante

G7 G7

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 11

O 19.TheFoggyDew

O l4.Kilcash
Bearb.:R. Voss

, - t.
l-
- r ) f O -
t l

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12

, si ch i m 19. Jahrhu ndedin

Po l k a,ei n P aai l anzi m l ebhaften214-Taklhat
Die um 1830 i n B ô h m e ne n ts ta n d e n e
vielen Lândernder Erde verbreitet.So entstandenauch ,,irischePolkas".Es handeltsich hierbei um schlichte,
eingângigeMelodien,die trotzdes flottenTemposrelativleichtzu spielensind.Sie werdennon legatogespielt.

- O -
oio .æ

O 15.TheGlensidePolkas
Bearb.:R. Voss
o R e i h e n f o Al gAeB: B A A B B C C D D C C D D
\ Y G

a
a
! -

c (Em)

EditionRlc0ltl)l Sy.2609 O 1996by ti. ltlc0ttDl & CO.,MÛnchen

 13

O 16.BelfastPolka

D.C. al Fine

O 17.MaggieWood'sPolka

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&CO.,Mûnchen
14

Set Dancesbzw. Long Dancessind Solotânzemit lângerenMelodien(verglichenmit den ûbrigenirischenTànzen),

ohne festgelegteTaktartund Stilrichtung.Deshalbgibt es keineneinheitlichen Tanzstil.Set Dancessind meistens
aus zwei Sâtzenzusammengesetzt der 1. Satz wird im 2.,lângerenSatz weiterentwickelt
(,,set"): bzw. variiert.Alla-
Breve-und 4l|-Takt-Melodienwerden meistenswie Hornpipes gespielt,
d.h. die Achtelnoten werdennichtgerade,
punktieft(,,Swing")
ausgefûhrt.

O 18.KingOf TheFairies
Bearb.:R. Voss

Em

EditionRICORDI Sy.2609 &ICO . ,M ùnchen

O 1996by C .R IC OR D
 15

O 19.MadamBonaparte
n=n

] ^ ^ ^ ^
^ - - -
-

O 2o.TheHunt
a
r.1 .l
a = a' a

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16

f,rrneg
Slidessind beliebtim County Kerry (West-lrland),teilweiseauch im Norden lrlands.Bedingtdurch den 6/8-Takt
haben die Melodienzwar den Charakterder Jigs, sind allerdingseinfacherzu spielen,da im Gegensatzzu den
Jigs hàufigerViefielnotenvorkommen.Die ersten beiden Achtel einer Achtel-Dreiergruppe werden gebunden
gespielt.Die Zàhlzeit1 wird deutlichbetont.

O 21. DanO'Keefens
Slides
c7

G7

Dm Dm

Dm

a J

. ûbrigeTakte entsprechend!

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 17

O 22.KerrySlide

a - -

O 23.DennisMurphy'sSlide

c7 G7
lt.. À,
I,I I , l l .
Y I t ----------'-
) t .

EditionRICORDI Sy.2609 @ 1996by G.RICORDI

&CO.,Mûnchen
18

Man unterscheidetSingle Jigs und Double Jigs. Single Jigs sind Tânze im 2/4-Takt (meistensim punktieilen
Rhythmus),manchmalauch im 6/8-Takt.DoubleJigs stehen meistensim 6/8-Takt.Jigs bestehenaus zwei mal
acht Takten,wobei jeder Teil wiederholtwird. Sie werden ziemlichflott, mit deutlicherBetonung aut Zâhlzeiteins
gespielt.lm 6/8-Taktwerdendie beidenerstenAchtelder Dreiachtelgruppen in der Regelgebundenausgefuhrt.

O 24.TheCollaraine
Jig

EditionRICORI)I Sy.2609 &CO.,Munchen

@ 1996by C.RICORDI
 19

O 2s.TheSwallow'sNest
Bearb.:
R.Voss

EditionRICORDI Sy.2609 O 1996by t;. RICORDI

& C0.,Mùnchen
20

Jig
O 27.Morrison's

O zg.Thelrishwasherwoman Bearb.:R. Voss

Edition ltlCOlll)l Sy.2609 O 1996by G.ltlc0ltDl & CO..MÛnchen

 21

O 29.RoaringJelly

- - l- l-
a - I l \ | | I ---a-
a \ ---
,|

. Akkordemit alternativen
BaBtônenD bzw. E auf der D-Saite!

<\ /r

O 30.The KerryJig
Bearb.:R. Voss

EditionRlCOttDl Sy.2609 @ 1996by C.RICORDI

&CO.,Mûnchen
22

fruryJtqs(ôePJrys)
Slip Jig, auch Hop Jig genannt,der ungewôhnlichste irischeTanzstil,hebt sich durch seinen etwas schwedàllig
wirkenàen9/B-Taktam deutlichstenvon den ûbrigen irischenTànzen ab. Die betontenTône liegenauf den Zàhl-
werden auf Blas- und Streichinstrumenten
zeiten 1, 4 und 7. Die beidenersten Achteleiner Achtel-Dreiergruppe
gebundengespielt.

O 31. Up ln TheGarretlAm

O 92.BarneyBrallaghan
D7

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O 1996by C.RICORDI
 23

O gg.Looping

O 94.Up And DownAgain

O gs. Deidre'sFancy

O 36.Hardiman,
TheFiddler

Edition lllCOllDl Sy.2609 O 1996by G.IiICORDI

& CO.,Mûnchen
24

DudelsàckenschottischerBauart gespielt
lrischeMârsche(Marches)wurden frûher wie in schottlandauf lauten
irischen
zu denleiseren
(imGegensatz ,,Uillean dieim Sitzen
Pipes",
\ll |
| \.trçYçl lùGrta &u
9t:Ï:lyÎ.ilÎl):,Yi"
sino in lrland auch ^i'l?Jijt:it^X:t*:
Alla-Breve-Takten Mârscheim 6/8- und
sie schad akzentuiertgespielt.Neben 214-,4t4-und
9/8-Taktbekannt.

O gr. BobAnd Joan

O 98.Johnnycope

Sy.2609 @ 1996bYG.ltlcoltDl & CO.,MÛnchen

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 25

O 39.TheWavesOf Torey

rIF

O 4o.GodSavelreland

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26

wobei die Achtelnotennicht

Alla-Breve-Takt,
Hornpipessind frôhliche,schlichte Melodienim 214-, 414- oder
oderpunktierl
triolisch
sondern Aus GrÛnd^enieri::"t"::î j""*î!jtrjj';:#:
gespielt.werden.
,,gerade,, werden
mitReels Hornpipes in semâBistem rempo
iïff;:. ilË;.."oiir." ilili i;;ù-ô;Âhnrichkeit
gespielt.FrùherwurdenSingleHornpipesnurVonFrauen,Doub|eHornpipesnurVonMânnerngetanzt

Hornpipe
O 41. Washerwoman's Bearb.:R. Voss

O 42.Thesoldier'sJoy

&CO.,MÛnchen
O 1996bYC.RICORDI
EditionRlCOtlDl Sy.2609
 27

O 4g.TheHarvestHome
a
-rT
a = a' a

. FlotteSpieler
kônnendie kleinenNotenmitspielen;einfachersind Viertelzu spielen(staccato)!

O 44.PiperThroughrhe Meadowstraying
n=n

D.C. al Fine

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&Co.,Mûnchen
28

lttqLg
Reelsgehôrenzu den schwierigsten der irischenTanzafien,da die Melodienhâufignur aus kurzen Notenwerten
bestehenund zudem noch sehr schnellgespieltwerden.SingleReelsstehenim 1/1- oder 214-Takt,DoubleReels
(Q). Die Melodiensolltenzunâchsllangsamund rhythmischexakt gespieltwerden.
meistensim Alla-Breve-Takt
Erstwenn man die Phrasenziemlichauswendigspielenkann,sollteman das Temposteigern.

O 45.DanBreen'sReel

D.C. al Fine

O 40.Ladycarbery
D7
a

D7

a
- -

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 29

O 47.The FairmoyeLasses

D.S. al Coda

O 4g.TheMason'sApron

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30

Die Kompositionen des blindenirischenHadenistenTurloughO'Carolan(1670 - 1738) wurden von drei musika-

lischenEinflussengeprâgt:der irischenFolklore,der ûberlieferten Harfentradition
und der Musik der zeitgenôssi-
schen italienischen
KomponistenVivaldi,Corelliund Geminiani.Die wunderschônenInstrumentalstûcke im typi-
schen,Carolan-Stil"
habenihrenfestenPlatzin der irischenFolklore,obwohles sichhierbeieigentlichum Barockmusi
handelt!

3;\
O 49.JohnDrury(Secono
Âir) TurloughO'Carolan
Bearb.:R. Voss
Moderato

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O 50.SheebegAnd Sheemore TurloughO'Carolan

Bearb.:R. Voss
Andantino
G

.t /
e- a

O 51. Eleanorplunkett TurloughO'Carolan

Bearb.:R. Voss
Andantino
C

Am Gm

t )
- a

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32

Vielezeitgenôssische
irischeMusikerund Komponisten, u.a.auchPop-und Rockmusiker, komponierenMelodien
undTânzeim traditionellen
irischenStil.Da ich schonseit meinerJugendzeiteineengeBeziehung zur irischen
Folklore
habe,sindauchvielemeinerEigenkompositionen von ihr beeinfluBt.
HiereineAuswahlvon Tânzen,die
ich speziellfûr das Spielauf der Blockflôtekomponierthabe.

O s2.Fiddler'sHornpipe

O 53.GoodMorningReel

EditionRICORI)l Sy.2609 &CO.,Mûnchen

O 1996by {i. RICORDI