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Dance Cold and Raw 1274

Jig · 24 bars · 2 couples · Longwise - 4   (Progression: 21)

Devised by
Unknown (1718)
88/66/66 = 83% (1 turn), 57% (whole dance)
  • Skip-Change, Slip-Step
Published in
Recommended Music
Extra Info
Dancers should know that the text for bars 17–20 was changed in 2008.

The original text in Playford (1718) specifes …

Dancers should know that the text for bars 17–20 was changed in 2008.

The original text in Playford (1718) specifes that for [9–12] the M pass their P Rsh, but for [17–20] only says “the women doing the like”, leaving unclear which shoulder to use.

RSCDS book 5 (published in 1928), the Pocket Editions of 1954 and 1986, and the 2006 edition of book 5, use the wording “2nd and 1st man stand still while 1st woman dances round and below her partner into 2nd woman’s original place, and 2nd woman dances round and below her partner into 1st woman’s original place. (1st woman dances in front of 2nd woman).” This is not unambiguous, but seems to imply that the women dance LEFT shoulder round their partner. TACnotes (5th edition, 2008) says this explicitly.

The revised “combined A5 edition” of Books 1–6, uses the wording “1st woman dances across the set below her partner, behind him and across to 2nd woman’s original place. At the same time 2nd woman dances below her partner, behind him and across to 1st woman’s original place. 1st woman dances in front of 2nd woman to begin.” This makes explicit that the women dance RIGHT shoulder round their partner. This flows far better into the hands round that follow.

This entry to SCDDB (Cribs and diagram) follows the currently official 2008 text.

It has been pointed out that in bars 17–20 both the Edinburgh and Graziani videos show 2nd woman passing in front of 1st woman (the opposite of the official Book 5 instructions). This variant seems to work well.

Cold and Raw

The tune “Cold and Raw”, also called “Stingo”, was published in John Playford’s The English Dancing Master, 1651. There was also a ballad called “Cold and Raw” as Sir John Hawkins (1719–1789), the English musicologist, pointed out in his General History of the Science and Practice of Music, published in 1776.

“The Queen” (Mary II) “having a mind one afternoon to be entertained with music sent Mr Gostling to Henry Purcell and Mrs Arabella Hunt, who had a very fine voice and an admirable hand on the lute, with a request to attend her; they obliged her command. Mr Gostling and Mrs Hunt sung several compositions of Purcell who accompanied them on the harpsichord. At length, the Queen beginning to grow tired asked Mrs Hunt if she could not sing the old Scots ballad of ‘Cold and Raw’? Mrs Hunt answered, Yes; and sung it to her lute. Purcell was all the while sitting at the harpsichord unemployed and not a little nettled at the Queen’s preference of a vulgar ballad to his music.”

Purcess used the tune to that “vulgar ballad”, note for note, as the bass for the queen’s birthday song of 1692 and in the same manner that John Hilton had used it in his 1652 version of “Northern Catch”. In 1728 “Cold and Raw” or “Up inthe Morning Early” was the basis for one of the songs of John Gay’s The Beggar’s Opera.

In that great age of plagiarism, whose spirit was that of “anything you can do I can do better”, an attitude certainly open to question, there are two versions of “Up in the Morning Early”.

John Hamilton (1761–1814) is generally credited with the authorship of the song to the ancient air “Cold and Raw”, printed in The Dancing Master as “Stingo”. Hamilton was a teacher of music, composer and music seller in Edinburgh.

Cauld blaws the wind frae north to south,
  The drift is driving sairly;
The sheep are cow’rin’ in the heuch,
  O, sirs, 'tis winter fairly.
Then up in the morning’s no for me,
  Up in the morning early.
I’d rather gae supperless to my bed
  Than rise in the morning early.

Loud roars the blast amang the woods,
  And tirls the branches barely;
On hill and house here how it thuds!
  The frost is nipping sairly.
Now up in the morning’s no for me,
  Up in the morning early;
To sit a’ nicht wad better agree
  Than rise in the morning early.

The sun peeps ower yon southland hills,
  Like ony timorous carlie;
Just blinks a wee, then sinks again,
  And that we find severely.
Now up in the morning’s no for me,
  Up in the morning early;
When snaw blaws in the chimley cheek
  Wha’d rise in the morning early?

Nae linties lilt on hedge or bush,
  Poor things, they suffer sairly;
In cauldrife quarters a’ the nicht,
  A’ day they feed but sparely.
Now up in the morning’s no for me,
  Up in the morning early;
A pennyless purse I wad rather dree
  Than rise in the morning early.

A cosie house and a cantie wife
  Aye keeps a body cheerly;
And pantries stow’d wi’ meat and drink
  The answer unco rarely.
But up in the morning – na, na, na!
  Up in the morning early;
The gowans maun glint on bank and brae
  When I rise in the morning early.

James Johnson included four of Hamilton’s songs in The Scots Musical Museum (Volue 6, 1803): “Go to Berwick, Johnny”, “Farewell Ye Fields” (“Miss Forbes’ Farewell to Banff”), “Nelly’s Dream” (“Bright the Moon aboon yon Mountain”), and “Tell Me, Jessy, Tell Me Why.”

Thus, it is indeed strange that Johnson should have selected the version of “Up in the Morning Early” by Robert Burns for Volume 2 of 1788, unless Burns just happened to have written his version earlier than did Hamilton. However, Burns himself stated that “the chorus is old; the two stanzas are mine.”

Cauld blaws the wind frae east to west,
  The drift is driving sairly.
Sae loud and shrill’s I hear the blast –
  I’m sure it’s winter fairly!
Up in the morning’s no for me,
  Up in the morning early!
When a’ the hills are covered wi’ snaw,
  I’m sure it’s winter fairly!

The birds sit chittering in the thorn,
  A’ day they fare but sparely;
And lang’s the night frae e’en to morn –
  I’m sure it’s winter fairly.

Cold and Raw 2/4L · J24
1c+2c dance BtoB ; turn RH
1M dances Rsh round 2W to 2M place while{4} 2M, passing behind 1M, dances Rsh round 1W to 1M’s place ; all clap and Circle4 L
1W+2W dance Rsh round P (who is not opposite her), 1W passing in front, to finish in exchanged places (2,1) ; all clap and Circle4 L
Cold and Raw 2/4L · J24
1s+2s dance DoSiDo & turn partners RH
1M dances RSh round 2L to 2nd Man’s place as 2M dances RSh round 1L ending in 1st Man’s place, 1s+2s clap & circle 4H round to left
1L dances RSh round partner to 2nd lady’s place as 2L dances RSh round partner to 1st Lady’s place, 2s+1s clap & circle 4H round to left

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Watch on YouTube

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RSCDS Edinburgh Strictly Scottish 1993

Added on: 2021-01-09 (Murrough Landon)
Quality: Demonstration quality

Watch on YouTube

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Graziani family, Bologna, 2020

Added on: 2020-06-12 (Murrough Landon)
Quality: Good

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