Haste to the Wedding
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Time signature: 6-8
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A lively Irish Jig, dating from the mid 1700's (or earlier)
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PAGE IS UNDER CONSTRUCTION
Everything needs to be checked.
Everything needs to be checked.
Accordion Notation
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Strong beats per bar = 2
Beat symbol = Semicolon ( ; ) or equivalent |
Either row = Buttons 3 to 9*)
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There are several versions of this tune, including those given below. These differences are also evident in the embedded youTube videos.
VERSION 1: "Haste to the Wedding" as a Dance Jig
This version follows an AABB pattern. The accordion notation for each part was mainly created by listening to an excellent youTube fiddle tutorial by Lauren of "The Tune Project".
Part A is played and immediately repeated, and then Part B is played and immediately repeated. The smaller < symbol shows where to stop & go back and the > symbol shows where each repeat begins for each part. The larger > and < symbols are for repeats of the whole AABB segment, and can be as many as you feel like doing.
>
Part A
> "5
| "5 “4 “5 - "5 "8* "7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4 "5 - "5 "6 "4 | "3* "4 "3* - "3* "4 "4* |
| "5 "4 "5 - "5 "8* "7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4 "5 - "7 "8 "7 | "6 "7* "6 - .6 <
Part B
> "8
| "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8 "8* |
| "7 "8* "8 - "8 "8* "7 | "8* "7 "8* - "7* "7 "8* |
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4 "5 - "7 "8 "7 | "6 "7* "6 - .6 < <
This version follows an AABB pattern. The accordion notation for each part was mainly created by listening to an excellent youTube fiddle tutorial by Lauren of "The Tune Project".
Part A is played and immediately repeated, and then Part B is played and immediately repeated. The smaller < symbol shows where to stop & go back and the > symbol shows where each repeat begins for each part. The larger > and < symbols are for repeats of the whole AABB segment, and can be as many as you feel like doing.
>
Part A
> "5
| "5 “4 “5 - "5 "8* "7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4 "5 - "5 "6 "4 | "3* "4 "3* - "3* "4 "4* |
| "5 "4 "5 - "5 "8* "7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4 "5 - "7 "8 "7 | "6 "7* "6 - .6 <
Part B
> "8
| "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8 "8* |
| "7 "8* "8 - "8 "8* "7 | "8* "7 "8* - "7* "7 "8* |
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4 "5 - "7 "8 "7 | "6 "7* "6 - .6 < <
VERSION 2: "Haste to the Wedding" as a Song Jig
This version follows an AB pattern. The notation for each A and each B is the same as in version 1 above; only the repetition pattern (AB) is different.
A.
"5 | "5 “4 “5 - "5 "8* "7 | "7* "6 "7* - "7 "6
Come haste to the wed-ding ye friends and ye neigh-bors
"5* | "5 "4 "5 - "5 "6 "4 | "3* "4 "3* - .3*
The lov-ers their bliss can no lon - ger de - lay.
'4 '4* | "5 "4 "5 - "5 "8* "7 | "7* "6 "7* - "7 "6
For - get all your sor-rows, your cares and your la-bors
"5* | "5 "4 "5 - "7 "8 "7 | "6 "7* "6 - .6
And let ev-'ry heart beat with rap-ture to - day.
B.
"8 | "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8
Come, come, one and all, at - tend to my call,
"8* | "7 "8* "8 - "8 "8* "7 | "8* "7 "8* - "7* "7 "8* |
And rev-el in pleas-ures that nev-er can cloy____
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
Come see rur - al fe - li - ci - ty,
| "5 "4 "5 - "7 "8 "7 | "6 "7* "6 - .6
Which love and in-no-cence ev-er en - joy.
VERSION 3: Based, in part, on "Ireland's Best Session Tunes 1"
Tune 56, page 26.
Part A ( with > repeat < ) followed by Part B (with repeat)
>
Part A
> "6 "5*
| "5 “4 “5 - .5 “7 | “7* “6 “7* - “7 “6 “5* |
| “5 “4 “5 - “3 “4 “5 | “4* “4 “4* - “3* “4 “4* |
| “5 “4 “5 - “5 “8* “7 | “7* “6 “7* - “7 “6 “5* |
| “5 “5* “5 - “7 “8 “7 | “6 “7* “6 - "6 <
Part B (with > repeat < )
> "7 "8*
| "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8* "9* |
| "8 "7 "8 - "6 "7 "8 | "8* "7 "8* - "7* "7 "8* |
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4* "5 - "7 "8 "7 | "6 "7* "6 - "7 < <
VERSION 4: Based, in part, on "Irish Session Tunes"
The Blue Book, Item 11.1, Page 16).
Note the alternate endings (1 & 2) for Part A and for Part B.
The first time through Part A, choose ending 1, and at end of the repeat of A, choose ending 2.
Ending 2 for Part A leads you to Part B, where you repeat this process.
Ending 2 for Part B leads you to EITHER return to Part A for another round, or to END of tune.
>
Part A
> | "5 “5* “5 - .5 "7 | "7* "6 "7* - "7 "6 "5* |
| "5 "5* "5 - "5 "4 "5 | "4* "4 "4* - "3* "4 "4* |
| "5 "5* "5 - .5 "7 | "7* "6 "7* - "7 "6 "5* |
| .5 "8 - "7 "8 "7 | 1( "6 "7* "6 - "6 "6* 5* ) | <
2( "6 "7* "6 - .6 "8 ) |
Part B
> | "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8* "9* |
| "8 "7 "8 - "8 "7 "8 | "8* "7 "8* - "7* "7 "8* |
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
| .5 "8 - "7 "8 "7 | 1( "6 "7* "6 - .6 "8 ) | <
2( "6 "7* "6 - .6 "3 ) | <
Repeat whole as often as desired in each version
Tune 56, page 26.
Part A ( with > repeat < ) followed by Part B (with repeat)
>
Part A
> "6 "5*
| "5 “4 “5 - .5 “7 | “7* “6 “7* - “7 “6 “5* |
| “5 “4 “5 - “3 “4 “5 | “4* “4 “4* - “3* “4 “4* |
| “5 “4 “5 - “5 “8* “7 | “7* “6 “7* - “7 “6 “5* |
| “5 “5* “5 - “7 “8 “7 | “6 “7* “6 - "6 <
Part B (with > repeat < )
> "7 "8*
| "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8* "9* |
| "8 "7 "8 - "6 "7 "8 | "8* "7 "8* - "7* "7 "8* |
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
| "5 "4* "5 - "7 "8 "7 | "6 "7* "6 - "7 < <
VERSION 4: Based, in part, on "Irish Session Tunes"
The Blue Book, Item 11.1, Page 16).
Note the alternate endings (1 & 2) for Part A and for Part B.
The first time through Part A, choose ending 1, and at end of the repeat of A, choose ending 2.
Ending 2 for Part A leads you to Part B, where you repeat this process.
Ending 2 for Part B leads you to EITHER return to Part A for another round, or to END of tune.
>
Part A
> | "5 “5* “5 - .5 "7 | "7* "6 "7* - "7 "6 "5* |
| "5 "5* "5 - "5 "4 "5 | "4* "4 "4* - "3* "4 "4* |
| "5 "5* "5 - .5 "7 | "7* "6 "7* - "7 "6 "5* |
| .5 "8 - "7 "8 "7 | 1( "6 "7* "6 - "6 "6* 5* ) | <
2( "6 "7* "6 - .6 "8 ) |
Part B
> | "8 "7 "8 - "8 "7 "8 | "9* "8* "9* - "9* "8* "9* |
| "8 "7 "8 - "8 "7 "8 | "8* "7 "8* - "7* "7 "8* |
| ;8 - ;7 | "7* "6 "7* - "7 "6 "5* |
| .5 "8 - "7 "8 "7 | 1( "6 "7* "6 - .6 "8 ) | <
2( "6 "7* "6 - .6 "3 ) | <
Repeat whole as often as desired in each version
Embedded youTube VIDEOS
Eight videos in the following keys Db=1 D=4 F=1 G=2
Some of these videos are short, so you may need to choose the "Loop" option on youTube.
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Key: D
A dance from "Children of Lir", an Irish ballet that may have inspired "Swan Lake". Music by: ? Posted by: Royce Lerwick |
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Key: D
MusicL Green Ginger Band Caller: Diana Campbell Posted by: Owen Benson Filmed at the Jane Austen Festival in Bath, UK, 29th June 2019 |
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Key: D
Players: Aaron Albrecht, Charlie Walden and Patt Plunkett Posted by: Charlie Walden |
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Key: D from time 3:30 to End
Group: Huella De Infinito? Posted by: Huella De Infinito The opening 3.5 minutes is beautiful, but is definitely not a jig. The jig begins at time 3:30. A great video with emphases on different instruments and players. |
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Key: D
Accordionist: Posted by: anahatamelodeon |
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Key: F
Artist: Posted by: threelegsoman Click here for his guitar chords (in "D" with capo on fret 3). Then click SHOW MORE on the youTube web page. |
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Key: G slower from time 0 to 1:07
faster from time 1:08 to end Performer: Harry Hibbs Posted by: quickaccent2006 |
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Key: G
Group: The Corrs Posted by: The Corrs (official) |
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Key: Db
Group: McNulty Family Posted by: Oldirishladdie The McNulty was an Irish American Group that was very popular in NL in the mid-1900's, and frequently performed on the Big-Six Radio Show. Click HERE for additional info on the McNulty Family. Their lyrics for this song are given towards the bottom of this page. |
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Background Information & Links - Jigs
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cloy = disgust someone with an
excess of sweetness or sentiment felicity = intense happiness |
Come haste to the wedding ye friends and ye neighbors,
The lovers their bliss can no longer delay. Forget all your sorrows your cares and your labors, And let every heart beat with rapture today. Come, come one and all, attend to my call, And revel in pleasures that never can cloy. Come see rural felicity, Which love and innocence ever enjoy. Let envy, let pride, let hate & ambition, Still crowd to, & beat at the breast of the great, To such wretched passions we give no admission, But leave them alone to the wise ones of state, We boast of no wealth, but contentment & health, In mirth & in friends, our moments employ Come see rural felicity, Which love and innocence ever enjoy. With reason we taste of each heart stirring pleasure, With reason we drink of the full flowing bowl, Are jocund & gay, but ’tis all within measure, For fatal excess will enslave the free soul, Then come at our bidding to this happy wedding, No care shall obtrude here, our bliss to annoy, Come see rural felicity, Which love and innocence ever enjoy. |
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“Haste to the wedding, and haste to the wedding”
I sang as I sat at the window alone. But Brohn, Oh dear, the thought I was dreadin’ – I’d not get a man and a place of me own. I’d polish the fuser; I’d tidy the kitchen, Me dress would look white as a stack in the snow, And here by the window my skirt I was stitchin’, For I’m very neat with the needle to sew. What is the use of me mendin’ me finers Until it is fit for a queen on her thrown. Oh dear, there isn’t a sign of me gettin’ a man and a place of me own. “Haste to the wedding, and haste to the wedding” I sang as I sat at the window alone. But Brohn, Oh dear, the thought I was dreadin’ – I’d not get a man and a place of me own. T’was nearly made up once between me and Larry, That lived on the mountain a port by the bounds, With 45 acres of land and a quarnie, He’d take me and welcome with 95 pounds. When he couldn’t get it, He said we’d regret it, Then he got wed to a widow in town. Oh dear, I lost my repetitise sensible man with a house of his own. “Haste to the wedding, and haste to the wedding” I sang as I sat at the window alone. But Brohn, Oh dear, the thought I was dreadin’ – I’d not get a man and a place of me own. I found in my first cup of tea the next Monday A lucky red tea leaf some stranger could call. I tried seven times, he travelled on Sundays; I wondered for what it was commin’ at all: Who was it but Lancey last Sunday for Nancy, Buried his mother last May in Kilcone. Now dear, I’ll marry me fancy, The boy of me heart with a place of his own. “Haste to the wedding, and haste to the wedding” Not long I’ll be sittin’ and singin’ alone. Soon dear, with young Auntie Ridden, I’ll run like a queen in a house of me own. |