Chords for Traditional Tunes on The Uilleann Pipes - Finbar Furey, 1989

Well there's a man here beside me now and he's neither stranger to television nor to traditional
music.
I'd like to give a very special welcome to Finn Barthiory.
Hi _ _ _ _ _ _ _ _ _ _ _ Finn Barthiory, very welcome.
Thanks very much indeed.
Now as a piper you take a special interest
in the care and the making even of reeds for pipes, isn't that right?
Yeah well I find that
I was talking to you earlier on [G] about the young pipers in Ireland at [Gb] the moment because
[Bb] reed making is a dying art at the moment in Ireland and until somebody sort of gets a little
school together where they can teach the kids how to make [Ab] reeds the pipes are going to suffer
really badly because you're getting a lot of young pipers going on the road at the moment
and they don't know how to make a reed.
They play great pipes but they can't make reeds for the
pipes.
The first thing [E] I was taught when I [G] was _ picked this instrument up first was to [Eb] make a
reed and Danny Dowd was one of the [E] great [G] helpers I had.
Danny taught me [Eb] first.
Let me show you [F] the
Chanta reed here for instance.
Now this is my favourite reed.
_ Anybody even looks at it [G] badly. _ _ _ _ _
[Eb] They're that tender you know, they're like a _ [G] good [Eb] woman, you look after them you know,
they look after you.
[G] Anyway _ you know it's very easy at [Gb] the moment for the young kids now [E] making
reeds because years ago we had to do, when I [Fm] first started off making reeds, we had to
make the staple out of copper and then bend it over and that's this part [Ab] on the inside
and whip it out.
It's the inner pipe.
This part here and now [Gb] you can buy it [F] in tube and in the brass and you can
it works the exact same and the only thing you have to worry about [G] is the [Eb] staple here, the belt
and years ago they used to make the reeds that were _ elder for the pipes but now it's all Spanish
cane and California and Cajun.
We don't know what we're doing you know, we're being spoiled.
_ [Ab] Well [G] who did you learn the pipes from then when you started off?
Your father was a fiddler.
[Gb]
Well I had, I was a very lucky young fellow actually you know, we grew up in Ballyfermuth when we were
[Fm] kids and we were on the road before that.
[E] My father _ being a musician and busker if you like.
Yeah.
And I had three teachers in Ballyfermuth.
That was my father first of all and a man by the
name of Johnny Keenan, that's Paddy [Gb] Keenan's father and another [F] great pal of mine who [C] taught me an awful
lot about [Gb] pipes and a man I [F] owe an awful lot to is a man called [Gb] Tommy Moore _ and Tommy [Em] was a great
piper himself.
So [Gb] myself and Paddy in a way were very lucky to have [E] these three teachers _ to help
us and of course we had Felix Dorden [Eb] dropping over and Felix used to stay in the house with my father
and mother so the house [Em] was always full and the odd time Seamus [Eb] Ennis would be there for the weekend
you know.
[Gm] So it was [E] one of these houses the music didn't stop.
I see.
Well you're going to give us a
blast now of one of those tunes that you learned long ago.
What's this going to be?
I'm going to play a piece
called Spalding and we're going to slow down [N] the pipes.
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_ _ _ _ _ We're going to play a piece called The Silver Chip and Seamus is going to play the main piece.
_ Seamus if I may ask you, fair play to you, _ you're very good.
You're going to play the piece,
you're going to listen to the piece and you'll get a bit of a gift.
I hope I'll get a bit _ _ of a gift.
_ _ We'll see about that.
_ _ We'll see about that.
Fair play to you.
We'll see about that _ _ _ _ Seamus.
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