Sung by Barry Gleeson at the Góilín Singers Club, Tom Maye’s Pub, Dorset Street, Dublin, 12 March 2004.
From the Brian Doyle Collection
You’ve heard of St. Denis of France he never had much for to brag on
You’ve heard of St. George and his lance who killed d’old heathenish dragon
The saints of the Welshmen and Scot are a couple of pitiful pipers
And might just as well go to pot when compared to the patron of vipers
St. Patrick of Ireland my dear.
He sailed to the Emerald Isle on a lump of pavin’ stone mounted
He beat the steamboat by a mile which mighty good sailing was counted
Says he The salt water I think has made me unmerciful thirsty
So bring me a flagon to drink to wash down the mullygrups burst ye
Of drink that is fit for a Saint.
He preached then with wonderful force the ignorant natives a teaching
With pints he washed down each discourse for says he I detest your dry preaching
The people in wonderment struck at a pastor so pious and civil
Exclaimed We’re for you my old buck and we’ll heave our blind Gods to the divil
Who dwells in hot water below.
This finished, our worshipful man went to visit an elegant fellow
Whose practise each cool afternoon was to get most delightful mellow
That day with a barrel of beer he was drinking away with abandon
Say’s Patrick It’s grand to be here drank nothing to speak of since landing
So give me a pull from your pot.
He lifted the pewter in sport believe me I tell you it’s no fable
A gallon he drank from the quart and left it back full on the table
A miracle everyone cried and all took a pull on the Stingo
They were mighty good hands at that trade and they drank ’til they fell yet by jingo
The pot it still frothed o’er the brim.
Next day said the host It’s a fast and I’ve nothing to eat but cold mutton
On Fridays who’d make such repast except an un-christian-like glutton
Said Pat Stop this nonsense I beg what you tell me is nothing but gammon
When the host brought down the lamb’s leg Pat ordered to turn it to salmon
And the leg most politely complied.
You’ve heard I suppose long ago how the snakes in a manner most antic
He marched to the county Mayo and ordered them all into the Atlantic
Hence never use water to drink the people of Ireland determine
With mighty good reason I think for Patrick has filled it with vermin
And snakes and such other things.
He was a fine man as you’d meet from Fairhead to Kilcrumper
Though under the sod he is laid let’s all drink his health in a bumper
I wish he was here that my glass he might by art magic replenish
But since he is not why alas my old song must come to a finish because all the liquor is gone.
Song words attributed to: William Maginn (1794-1842)
To celebrate St Patrick’s Day in 1901, the Gaelic League in London organised a mass at Holy Trinity Church, Dockhead, Bermondsy in which the responses where in Irish. This service proved very popular among the London Irish community and grew to become a regular feature of the calendar. In 1905 the event moved to Westminster Cathedral.
In the ITMA Collection there are three original booklets from those early masses in 1901, 1902 and 1905. As well as the mass rites in latin, Irish and English, they feature the music and words to familiar hymns in the tradition like Dóchas Linn Naomh Pádraig and Gabhaim Mólta Bhríde and remind us that the celebration of St. Patrick’s Day has been an international event for over one hundred years.
Shown below is the cover of the booklet from the first Gaelic service at Westminster Cathedral, 1905.
Irish dance continues to serve as an enduring emblem of St. Patrick’s Day festivities, lending colour and spectacle to parades across the globe.
It is therefore perhaps unsurprising to know that there is a dance and tune specifically named after our patron saint and the festival.
St. Patrick’s Day is a traditional set dance that is believed to have originated in Limerick, and has endured as a popular dance among the Irish diaspora. One of the most common versions of the set dance is credited to the early 20th century composer, Stephen Comerford.
Orfhlaith Ní Bhriain writes that the aim of the set dance is to highlight “the virtuosity and technical prowess of the individual dancer”. (Terminology of Irish dance, 2008). There is no better exemplar of this, than the late Celine Tubridy. Watch her version of the St. Patrick’s Day set dance featured at the Willie Clancy Summer School in 2004. She is accompanied by her husband Michael Tubridy on flute.
We also thank Orfhlaith Ní Bhriain and Mick McCabe for permission to share an excerpt on the St. Patrick’s Day step dance from their 2018 publication From jigs to Jacobites (https://trad.dance/)
Written, researched and presented by ITMA Staff
Michael Tubridy was born in 1935 in Kilrush, Co. Clare. He plays tin whistle, flute and concertina and is also a step dancer. He was a member of Ceoltoirí Chualann, led by Seán Ó Riada, and was a founder member of The Chieftains. He also played with the Castle Céilí Band.
As a child, one of his first musical influences would have been his mother’s brother who lived nearby and would visit every Sunday morning. There was a fiddle in the house that he would take down for his uncle to play. He had no formal lessons in his youth, but learned to pick up tunes and musical ideas from other musicians in the bands he played with.
In my interview with Michael Tubridy on the 29th of March, he recalled going to the horse races near his home. One of the stalls had a gramophone that played the tune Off to California on a loop. When he got home that evening he went out onto the family farm with his tin whistle and tried to bring out the tune he had been listening to all day. At that time, he was not certain he would ever hear it again.
He also told me that the flute he plays was made by a man named Wylde, who had worked with Rudall and Rose in London, and dates from the 1830’s/1840s. He bought this instrument for thirty shillings when working in London and continues to use it to this day.
Michael’s style of playing is not forceful, yet it creates a strong rhythm which is maintained by the subtle use of ornamentation and articulation. He does not overpower the sweetness of the melody, and remains faithful to the pure traditional music he heard as a child.
Later in his life, he pursued an interest in Irish traditional step dance. This gave him a unique perspective on the collective unit of both the music and the dancer – each complementing and guiding one another. His wife Céline, a wonderful step-dancer, taught him the dances she had learned – both as a child in Northwest Donegal from the travelling dance masters, and later from Dan Furey and James Keane.
As a dancer myself I was delighted to get the opportunity on my placement to work on the digital edition of Michael Tubridy’s dance book A Selection of Irish Traditional Step Dances. This book was first published in 1998 with 9 dances and a DVD. A digital version of the first edition was made available on the ITMA website in 2015, and a 2nd edition of the book with a further 9 dances was published in 2018. It is a guide to step dancing featuring the steps of renowned Clare dancing masters James Keane and Dan Furey, using a unique system of notation of Michael’s own invention.
Michael told me in the interview that at the time he was developing the notation his wife Céline was teaching a dancing class. He explained the notation to the class and it gave him great encouragement to continue when a Danish girl was able to dance the steps directly from the page.
Nine dances from the first edition of the book were already on the ITMA website, and for my placement I would work with ITMA staff to publish the next nine dances from the second edition, and create a page on the site that would pull all of the resources together in one place. Michael had very generously given ITMA permission to publish the book alongside the videos, making both the instructional video and the notation available for anyone who wanted to learn a dance. It was exciting to be part of this endeavour which I knew would go a long way to help keep the step dancing tradition alive.
Pat Murphy, the videographer, had given ITMA two videos containing all the material for the second set of dances. My first task was to identify the start and end times of each dance in the video and this information helped ITMA staff to edit the original video into nine separate ones. I also detailed the spoken instructions and individual steps as they were presented in the video footage itself. I learned that these time-codes would make it easier for users to learn the dances, as it would allow them to go directly to a particular step within a dance.
The next task was to upload the material to YouTube and then create a page for each dance in the Content Management System of the ITMA website. The link to the YouTube video was included on this page, along with a link to a PDF of the dance notation and the metadata about the recording of the video. The final step was to bring all of these pages together into one place.
The result is a page on the ITMA website featuring videos of all eighteen dances – each performed in full and then slowly with voice-over instructions – the notation for each dance and a download of the full book itself.
Dan Furey / unidentified photographer
I am very familiar with reading scores for vocal or instrumental music but the notation for the steps of the individual dances has helped me see Irish dancing differently. I decided to use the notation from Michael Tubridy’s book and learn a step dance myself. As a former contemporary Irish dancer I was used to dancing on my toes, with my feet turned out and hands by my side. The whole body is one with the music. In traditional step dance however, it is what the feet are doing that is of the utmost importance.
I learned a dance called An Gabhairín Buí. This was a dance that Michael and Céline had learned from Dan Furey and it is danced around two sticks placed on the ground.
It turned out that the tiles in my kitchen were the perfect measurement for me to practice, and I cut myself a pair of sticks for the video recording.
Thank you to Michael Tubridy, ITMA Librarians, Treasa Harkin and Róisín Conlon, and Stephanie Ford for their guidance in this musical project.
This blog was created in association the Department of Music at Maynooth University. Students undertook a five week placement as part of their course and gained experience in research and web publishing.
ITMA are delighted to make available a digital edition of Micheal Tubridy’s A selection of Irish traditional step dances (2018).
The steps in this book come from people who learned their dancing in the old school, in the early part of the 20th century, and this form is generally described as Traditional Irish Step Dancing. It is a form of dancing which is not really competition orientated, even though the odd competition is held, so there is no need for a stiff body posture. The arms may hang loosely by the side, the body be held in its natural upright position, and the legs should always be bent slightly at the knees, to give a bounce or spring or easy style to the step.
Michael Tubridy, from the introduction to the 2nd edition
In 1998 Brooks Academy published the first edition of this book, which used a unique notation system devised by Michael to describe step dances which he and his wife Céline had learned from dance masters Dan Furey (1910−1994) and James Keane (1917−2000). Both men, from Labasheeda, Co Clare, perpetuated an older style of traditional step dancing. Michael and Céline brought this local tradition to another generation through teaching in Ireland and abroad. In 2007 they released an instructional DVD Step Dancing with Céline and Michael Tubridy. In 2018 Micheal published a second edition of the book and another DVD, with a further 9 dances.
Michael Tubridy has generously allowed ITMA to publish the DVD recordings and his notation, and this page brings together the learning tools for all 18 dances from the book.
For each dance there is a video recording at normal dance tempo first, followed by a performance at a slower tempo for learning purposes. Individual steps are isolated and slowed to highlight certain phrases of the dance. Voice-over instructions can be heard from Michael and Céline throughout the videos. Links to the individual steps are available when viewed on the ITMA YouTube channel.
Each dance also has a PDF download of the steps in notation, as it appeared in the printed book. A PDF download of the full book is also available.
ITMA would like to thank Michael Tubridy, and his late wife Céline, for permission to publish this material on its website.
