Annotation:Take me tender and you'll have me always
X:1 T:Take me tender and you’ll have me always M:C L:1/8 R:"Vivace" B:The Dublin Magazine, September, 1842 S:Paddy Conneely, the Galway piper Z:AK/Fiddler’s Companion K:C _B/A/||:BCC_B GABG|AFGF DEFD|GCC_B GABG|1 AFGE D2 C_B/A/:|2 AFGE D2C2|| defe dcBc|defd c2 Bc|defd cedc|BGFD C2C2| defe dcBc|defd cdef|gefd cedc|BGFD C2C2||
TAKE ME TENDER AND YOU'LL HAVE ME ALWAYS. Irish, Reel (whole time). Dublin dentist and collector biography:Henry Hudson (1798-1889) writes, in his note to the tune in The Dublin Magazine (September, 1842):
The seventh of the key is sometimes the subject of very odd “treatment” in these Irish tunes. At one moment the flat interval is taken, and then you seem just about to walk comfortably into the adjacent key of the fourth of its bass. The next moment the sharp seventh cuts in, and then, taking it as the major third of the dominant, to the same bass, your ear finds itself led back into the key; and thus a balancing between the two results keeps up a strange uncertainty as to how the matter may end.
The first bar of this tune, with its flat seventh, is in full preparation for the false result; but the sequel of the air leads to a different conclusion. In the printed copy the (B) in the staring notes is flat; but in the original MS it is natural; and thus, although the harmony of the flat seventh is just about to prevail, yet, lets there should be any thing known about it beforehand, the sharp seventh precedes it in the introductory notes, with a predetermined equivocation.
[Galway piper] Paddy Coneely, whose setting of it we give, translates its Irish name thus:--“Take me tender, and you’ll have me always.”
