Chords for Liam O Flynn --- King Of The Pipers

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_ _ The two songs you've just heard there were played by a man who needs little or no introduction
in the world of Irish traditional music, Liam O'Flynn on the pipes.
And Liam is one of a
long line of pipers such as Patsy Tughe, Seamus Ennis, Johnny Doran and Leo Rolson, who earned
their living exclusively as pipers.
And indeed, in Liam's case, he has carved quite an international
reputation for himself as a soloist, both in the traditional sense and in the contemporary sense.
Liam, the two tunes you played there, I know the first one was the Scarlet Cravat, wasn't it?
[Abm] The Sailor's Cravat.
The Sailor's Cravat.
And the second one was?
A tune called I'm Waiting for You.
Now, I detected a certain influence of Leo Rolson in that.
Yes, yeah.
Actually, those two tunes I learned were among the first tunes I learned from Leo
Rolson.
And Leo was my first teacher [C] on the pipes.
[Gb] [Abm] And I suppose the name Rolson is, it's really
[F] synonymous with ill and piping.
[Ab] Pipes go back for generations and generations in the Rolson family.
[G] And Leo's contribution to piping, I think, is very difficult to estimate.
[Eb] _ [G] He was obviously,
he's a teacher of the pipes, _ a great player of the pipes, _ and a master pipe maker.
_ And I think any
ill and piper playing these pipes, playing that is concert pitch pipes, will tell you that a Rolson
set of [Eb] concert pitch pipes is really [G] the best you can get.
And of course, he was, you know, he taught a whole generation of pipers, yourself, Paddy Maloney,
Finn Barpure. _
All the guys who are on the circuit nowadays, like Leo has made the contributions, hasn't he?
He actually, even Willie Clancy took [Eb] lessons from him.
[N] Is that so?
Yes, Willie was [G] in the Rolson quartet. _
_ Leo had an ill and pipes quartet.
Imagine [Eb] keeping that [Abm] lot in tune.
_ _ Fair play to you.
Tell me, will you play another tune for us now?
Yeah, I'll play a horn pipe.
_ Sometimes, imagine horn pipes tend to _ get, _ they're not, I don't think
they're played really as much as they should be.
I'm especially fond of this one because
it sort of shows off the instrument and the full range of the pipes very well.
And it takes the piper right up to the highest note on the chanter, which is a bit of a dangerous
area anyway to be _ [G] _ [Ab] _
taking in.
But it does [G] _
demonstrate the full range of [Abm] the instrument.
It's called the Queen of the Fairies.
Queen of the Fairies, [D] right. _ _ _ _ _ _
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me, I noticed when you were playing the tune there, you went down to three times.
Normally it's sufficient to go around it twice.
Why did you do that?
I think it is a very unusual tune.
_ The structure is kind of unusual in that it does cover the
full range of the pipes.
And I think, you know, the tune can carry it.
It's a very, very substantial tune, isn't it?
It is, it