Annotation:Up in the Morning Early (1)

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X:1 T:Up in the Morning Early [1] M:6/8 L:1/8 Q:"Slow" S:McGibbon – Scots Tunes, Book 1 (c. 1746) Z:AK/Fiddler’s Companion K:Gmin (D/4=E/4^F/)|G>AG B>c (B/4c/4d/)|FcF {d}c(B/A/)(G/^F/)|G>AG (B/4c/4d/) c/>B/A/B/|TG3 {B/c/}d2:| |: (F/4G/4A/) | B>cB/c/ TB>AB/F/ | c>d(c c)(d/c/)T(B/A/) | B>cd/e/ f>gf/e/ | Td3 {f/e/}f2F | B>cB {d}Tc2B|(cd)f g2b | d>cB c(B/A/)(G/^F/) |TG3 {B/c/}d2 :| |: (3D/=E/^F/) | (G/^F/G/)A/B/G/ (B/A/)(B/c/d/)B/ | (c/B/)A/(=e/f/)d/ {d}c(B/A/)(G/^F/) | G(g/f/)(e/d/) (e/d/)(c/B/)(A/B/) |TG3 {B/c/}d2 :| |: (F/E/) | D/B/F/B/d/c/ B/A/G/A/B/G/ | (c/4d/4c/4d/4 e/)d/e/d/ c/d/c/B/c/A/ |B(FE) TD(f/e/)(d/c/) | Td3 {d/e/}f2 (F/4G/4A/) | BFd/e/ {d}Tc2B |c (c/4B/4c/4d/4) (e/4d/4e/4g/4) g>ab|(d/f/b/)d/T(c/B/) (A/B/4c/4)|TG3 {B/c/}d2 :| |:(D/4=E/^4F/)|G(e/c/)T(B/A/) G/>A/B/>c/ (B/c/4d/4)|F/c/(d/c/)(f/d/) {d}c(B/A/G/^F/)|G (g/4a/4/b) ag (^f/g/)(d/c/)(B/A/) |TG3 {B/c/}d2 :| |:(F/4G/4A/)|B/F/D/F/(B B)A/G/A/B/|(c/d/e/f/)(e/d/) {d}c(B/A/)(G/F/)|B/(f/g/)(a/b/)g/ (g/b/)(a/g/)(f/e/) | Td3 {d/e/}f2F | B/f/(g/f/)(e/d/) {d}Tc2B|c (c/4d/4c4d/4) (e/4f/4e/4/f/4) g>a(b/4a/4b)|d>c (B/4/c/4d/) c/B/ c/>B/ (A/4B/4c/) B/A/|TG3 {B/c/}d2:| "Brisk"D | G>AG Bcd | F>GF cBA | G>AG dcA | TG3d2 :| |: F | B>cB B2B | c>dc c2c | B>cd/e/ fge | Td3 f2F | B>cB Tc2B | cdf g2b | dcB cBA | TG3d2 :|]

UP I(N) THE MORNING EARLY [1]. AKA – “Cauld Blaws the Wind Frae East to West,” "Cold and Raw," “Up in the Morning’s No for Me.” Scottish, English; Air (6/8 o r 6/4 time) or Jig. England, Northumberland. E Minor (Kerr): A Minor (O’Farrell): G Minor/Dorian (Gow). Standard tuning (fiddle). AABB. Frank Kidson (Groves) says the tune is a version of an old melody called “Stingo” (AKA “Cold and Raw”) that had sustained much alteration in Scotland. John Glen (Early Scottish Melodies, 1900) argues that Chappell misrepresented Scottish sources and indications in English publication that the melody was of ‘Northern’ origins, concluding “it is entirely doubtful which country produced the melody.” He believes that the “Stingo” or “Cold and Raw” melody, in any case, is inferior to the Scottish “Up in the morning early.” It is based on an imported Italian chord progression from the 16th century called passamezzo antico (although slightly altered), and is said by some to be the song “Johnny Cope” was created in parody of. Jack Campin believes the melody to be part of a ‘wildly ramified tune family’ that includes “Lulle/Lull Me Beyond Thee” and “Stingo” in Playford, and “Katharine Oggle/Oggie” as well as a “Johnny Cope.”

“Up in the Morning Early” appears in the Bodleian Manuscript (in the Bodleian Library, Oxford), inscribed “A Collection of the Newest Country Dances Performed in Scotland written at Edinburgh by D.A. Young, W.M., 1740,” and also in Edinburgh fiddler and writing master Young's later MacFarlane Manuscript (c. 1741, No. 51, pp. 100-101), "Written for the use of Walter Mcfarlan of that ilk." Fiddler James Gillespie entered it into his own Gillespie Manuscript of Perth (1768, p. 38). It was printed in William McGibbon’s Third Collection (1755), and cellist wikipedia:James_Oswald_(composer) included the melody in his Caledonian Pocket Companion, published in London in 1760.

A song by this name (set in D Minor) appears in the George Skene manuscript, 1715. Words and music for “Up in the Morning” appear Johnson’s Scots Musical Museum (vol. II, 1788), said to have been written by the poet Robert Burns, identified as an old song with additions. It goes:

Cauld blaws the wind frae north to south,
The drift is drivn sairly;
The sheep are cowerin’ in the heugh,
O sirs, ‘tis winter fairly.
Then up in the mornin’s no for me,
Up in the mornin’ early;
I’d rather go supperless to my bed,
Than rise in the mornin’ early.

The sun peeps owre yon southland hills
Like any timorous carlie;
Just blinks a wee, then sinks again,
An’ that we find severely.
Now up in the mornin’s no for me,
Up in the mornin’ early;
When snaw blaws in at the chimley cheek,
Who’d rise in the mornin’ early?

A cosy house and cantie wife
Aye, keep a body cheerly;
An’ pantries stowed wi’ meat and drink,
The answer unco rarely.
But up the the mornin’—na, na, na!
Up in the mornin’ early;
The gowans maun glent (daisies must shine) on bank an’ brae,
When I rise in the mornin’ early.

The title “Up in the Morning Early” appears in Henry Robson’s list of popular Northumbrian song and dance tunes (“The Northern Minstrel’s Budget”), which he published c. 1800.

People did get up early in the morning, considering it was an age where artificial lighting was costly and relatively scarce and that most activity was relegated to daylight. Jack Campin found the following passage in the memoirs of Elizabeth Grant of Rothiemurchus. She grew up in a manor in the Highlands in the early 19th century, and in the following passage she writes of the year 1812, when, at age fifteen, she and her sister arose under the direction of her governess:

In winter we rose half an hour later, without candle, or fire, or warm water. Our clothes were all laid on a chair overnight in readiness for being taken up in proper order. My Mother would not give us candles, and Miss Elphick insisted we should get up. We were not allowed hot water, and really in the high- land winters, when the breath froze on the sheets, and the water in the jugs became cakes of ice, washing was a cruel necessity, the fingers were pinched enough. As we could play our scales well in the dark, the two pianofortes and the harp began the day’s work. How very near crying the one whose turn set her at the harp I will not speak of; the strings cut the poor cold fingers so that the blisters often bled. Martyr the second put her poor blue hands on the keys of the grand-pianoforte in the drawing room, for in those two rooms the fires were never lighted till near nine o’clock – the grates were of bright steel, the household was not early and so we had to bear our hard fate.

Additional notes

Printed sources : - Aird (Selection of Scotch, English, Irish and Foreign Airs, vol. 5), 1797; No. 116, p. 44. Gow (Complete Repository, Part 3), 1806; p. 4. Johnson (Scots Musical Museum vol. 2), 1788; p. 147. Kerr (Merry Melodies, vol. 3), c. 1880's; No. 298, p. 32. Laybourn (Köhlers’ Violin Repository, Book 3), 1885; p. 193. McGibbon (Scots Tunes, Book 1), c. 1746; pp. 8-9. O’Farrell (Pocket Companion, vol. III), c. 1808; p. 56.

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