Spanish Lady

for Mountain Dulcimer

Traditional Irish Song arranged by Aubrey Atwater, 2010
This traditional Irish song captured my attention on folk radio. What struck me was the beautiful
melody and rhythm in conjunction with the quirky counting chorus, and the story: a young man is
smitten by a woman of questionable reputation washing her feet by candlelight on a late-night street
in Dublin. Ive heard different theories about the counting chorus: that it is mouth music or scorekeeping for a game, but mostly that she is counting money. As always with the old songs, there are
many variants of Spanish Lady, as well as other traditional songs with the counting chorus and the
floating verse of Round and round goes the wheel of fortune.
The version I fell in love with is from Maighread N Dohmnaill, Trona N Dohmnaill & Dnal Lunny.
You can hear it here: www.youtube.com/watch?v=BLxeKPt0Hvs
They, in turn, got it from Irish source singer Frank Harte (1933-2005):
www.youtube.com/watch?v=oMojRMcN20Y
I am now a link in this chain and you can hear and see me sing and play Spanish Lady here:
www.youtube.com/watch?v=3jPZIO2unZw
I have tabbed this out in D-A-D mountain dulcimer tuning, but I actually play this in C-G-C-C (bass to
first string) with four equally-distant strings, one of my favorite ways to play. If you have not
experimented with four equally-distant strings, this is a good opportunity to get your feet wet. I play
this way a lot, letting the second string drone, forming the chord shapes like I would with three strings,
but skipping over what is now the second string. There is something so haunting and lovely about that
dronal effect and the rich addition of that extra stringyoull be hooked!
The quirky rhythm escaped me until I started to tab the song for a student, realizing it is a mixture of
6/4 and 4/4. These are the kinds of fascinating nuances that make songs unique and emotionally
compelling. I want to thank bandmates Heidi Cerrigione and Kevin Doyle for helping me understand
this rhythm.
My strumming is percussive and strong, and the beginning instrumental part has an intentionally
different chord order in one sectiona way to mix things up a bit but not necessarily on a conscious
level for listeners.
My vocal style, as for any singer, is an expression of my generation, heritage, and creative influences:
traditional Appalachian and Celtic styles blended with influences such as Joni Mitchell, Mary Black,
and of course, Jean Ritchie. Enjoy! Feel free to write to me at www.atwater-donnelly.com
Lyrics to Spanish Lady:
As I was walking through Dublin City, about the hour of twelve at night
It was there I spied a fair pretty maiden washing her feet by candlelight
First she washed them, then she dried them, over a fire of amber coals
And in all my life I never did meet a maid so neat about the soles

Chorus:
She had twenty eighteen sixteen fourteen, twelve ten eight six four two none
She had nineteen seventeen fifteen thirteen, eleven nine seven five three and one
I stopped to look but the watchman passed, said he, Young fellow, now the light is late
And away with you home or I will wrestle you, straight away to the Bridewell gate.
I got a look from the Spanish lady, hot as a fire of amber coals
And in all my life I never did meet a maid so neat around the soles
(Chorus)
As I walked back through Dublin City, as the dawn of day was oer
Who should I spy but the Spanish lady, when I was weary and footsore
She had a heart so filled with loving, and her love she longed to share
And in all my life I never did meet a maid who had so much to spare
(Chorus)
Ive wandered north and Ive wandered south, to Stoneybatter and Patricks Close
Up and around by the Gloucester Diamond, back by Napper Tandys house
Old age has laid its hand upon me, cold as a fire of ashy coals
And gone is the lovely Spanish lady, neat and sweet about the soles
Round and around goes the wheel of fortune, where it rests now wearies me
Oh fair young maids are so deceiving, sad experience teaches me
(Chorus)

About the Author

From Foster, Rhode Island, award-winning musician,
vocalist, writer, and clogger, Aubrey Atwater presents
captivating programs of folk music, dance, and spoken
word. Aubrey has performed and taught throughout
the United States as well as England, Ireland, and
Canada. She sings and plays the mountain dulcimer,
old-time banjo, guitar, mandolin, and Irish tinwhistle,
and thrills audiences with her highly percussive
freestyle clogging. In a scholarly, yet humorous way,
Aubrey conveys traditional heritage, showing great
passion for folk history and its key players. Aubrey is
particularly well-known as a mountain dulcimer player
and instructor. She teaches a wide variety of unique
workshops, playing styles and tunings that are both
deeply traditional as well as modern and innovative.
She counts long-0time friend and mentor Jean Ritchie
as a profound influence on her musical and personal
life. Part of the acclaimed duo Atwater-Donnelly,
Aubrey has eleven recordings and six books to her
credit. To learn more about Aubrey, her collaborators,
and projects, visit www.atwater-donnelly.com

Atwater-Donnelly Discography and Books

DVD
Going Up Home: The Passion of Atwater-Donnelly (2007): Written and directed by Aubrey and Elwood's son
Uriah, this documentary looks into the exceptional lives of Aubrey and Elwood. Enjoy interviews, performance
clips, and more as you are inspired by the passion of Atwater-Donnelly! 57 min. color.
CDS
The Weavers Bonny (2009): This stunning new recording includes mostly traditional Celtic and American folk
songs as well as clogging, Irish step, and tap dance, Aubrey and Elwood are joined by Cathy Clasper-Torch,
Kevin Doyle, John and Heidi Cerrigione, and Uriah Donnelly. Instruments include: mountain and hammered
dulcimers, violin, cello, guitar, harmonica, banjo, tin whistle, mandolin, autoharp, piano, bass, percussion, and
feet as well as vocals, sometimes in up to five parts. This just may be Atwater-Donnellys most beautiful and
exciting recording to date!
The Halfway Ground (2007): Glorious five-part harmony and lively instrumentation, The Jerimoth Hill band is
Elwood on lead vocals and guitar, Aubrey on mountain dulcimer, banjo and mandolin; Cathy Clasper-Torch on
fiddle and cello; Heidi Cerrigione on autoharp; John Cerrigione on bass; Uriah Donnelly on piano and guitar.
Kevin Doyle on djembe.
When Winter Calls (2005): Beautifully recorded live concert filled with deeply-rooted songs of winter, travel,
longing, worship, rest, light, and celebration, Gorgeous, seasoned voices blend with skillful instrumentation on
mountain dulcimer, old-time banjo, guitar, harmonica, tin whistle, feet, limberjacks, and spoons.
The Blackest Crow (2004): A treasury of traditional American and Celtic folk songs, as well as original pieces,
Beautiful vocals and thoughtful presentation, played on guitar, mountain dulcimer, old-time banjo, tin whistle,
mandolin, fiddle, harmonica, piano, bones, bodhran, wooden spoons, and feet.
And Then Im Going Home: Atwater-Donnelly Live (2001): Aubrey and Elwood perform live in intimate
coffeehouses, Hear the beauty and emotion of their well-matched voices as well as their unique
instrumentation on mountain dulcimer, banjo, guitar, whistle, harmonica and bodhran, Their ease, warmth, and
humor are well-conveyed,
Daily Growing: Aubrey Atwater Live in the Classroom (1999): A live, solo project during a school residency in
London, England, Children sing with Aubrey on traditional folk songs which will appeal to all ages, including
adults, Instruments include mountain dulcimer, guitar, and banjo, This delightful recording is educational and
fun.
Where the Wild Birds Do Whistle (1997): Beautifully recorded Appalachian, Celtic, and original songs with
vocals, banjo, guitar, tin whistle, mountain dulcimer, bodhran (Irish drum), Djembe (African drum), accordion,
harmonica, jaw harp, fiddle and more,
Like the Willow Tree (1994): Traditional Appalachian and Celtic songs with two originals by Elwood Donnelly,
Instruments include vocals, banjo, guitar, tin whistle, mountain dulcimer, bodhran (Irish drum), Djembe (African
drum), accordion, fiddle, bass, horn, and toy xylophone, This is one of the most well-received CDs in A-Ds
career.
Simple Sentences (1992): Solo recording of original songs by a young Aubrey Atwater, Instruments include
vocals, guitar, tin whistle, percussion, and mountain dulcimer,
Culled From the Garden (1991): Irish, Scottish, and English songs, Instruments include vocals, guitar, tin
whistle, harmonica, and bodhran,
Labor and Love (1988): Atwater-Donnelly's first recording of Irish, Scottish, and English folk songs,
Instruments include vocals, guitar, tin whistle, harmonica, toy xylophone, percussion,
BOOKS
The Weavers Bonny Songbook (2009): This companion songbook contains musical notation, chords and
lyrics for the songs and instrumentals on Atwater-Donnelly's The Weavers Bonny
The Halfway Ground Songbook (2007): This companion songbook contains musical notation, chords and
lyrics for all twelve songs on Jerimoth Hill's The Halfway Ground.
Song By Song (2001): 85 songs and tunes as well as method for mountain dulcimer, old-time banjo, and Irish
tin whistle, Back-up chords are included throughout and there is a special ballad and song lyric section,
By Our Words: The Poetry of Three Generations (2003): Approximately twenty poems each written by Aubrey
Atwater, her mother Nina Dodd, and her late grandmother, Mary Rose His.
Don't Bother the Phoebe (1999): Forty-nine poems written by Aubrey Atwater,
Be Careful, Don't Walk Barefoot on My Kitchen Floor (1995): 96 poems by Aubrey Atwater.