Music Appreciation: Early One Morning by Percy Grainger
Well, I didn’t intend to miss all of July (and most of August…). Sorry about that. Between band and travel, July simply flew by in a flash and August has been time to regroup. But here I am, finally, with a new post!
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I’ve talked about Percy Grainger before, and I think I’ve waited a respectable time before talking about another piece of his. “Early One Morning” is a beautiful little folk song setting. If you’ve ever heard the traditional tune, it’s a fairly cheery-sounding song. Of course, if you know the lyrics, they describe a sorrowful lass mourning the loss of her beau (which is a rather standard subject in old English folk songs).
Early one morning,
Just as the sun was rising,
I heard a young maiden,
In the valley below.
Oh, don’t deceive me,
Oh, never leave me,
How could you use
A poor maiden so?
Remember the vows,
That you made to your Mary,
Remember the bow’r,
Where you vowed to be true,
Oh gay is the garland,
And fresh are the roses,
I’ve culled from the garden,
To place upon thy brow.
Thus sang the poor maiden,
Her sorrows bewailing,
Thus sang the poor maid,
In the valley below.
We begin with a somewhat ominous-sounding chord from the clarinets, bassoons, and a tuba; Grainger lets us know right away that we’re not going to hear the same lilting ditty we’re used to with this tune, at least not right away. The euphonium presents the first, soulful statement of the melody in a deliciously minor key. Given that, overall, the lyrics to this song really aren’t all that cheery, it makes sense that Grainger wouldn’t sound too happy here. The accompaniment has some movement, but it’s more of a low, subtle moaning than any sort of typical accompaniment beat.
The euphonium sings the chorus starting at 0:23 (Oh, don’t deceive me), followed by the bassoon providing the second line at 0:27 (Oh, never leave me). The euphonium takes over to finish the chorus. Listen the accompaniment starting around 0:34 and how it starts to shift away from the dark moodiness we’ve been hearing so far.
At 0:41 we shift slightly into another key. It’s not obvious at first, but then the horns, followed by the trombones, come in with simple (yet very lovely) lines at 0:43.
The flute brings a refreshing bit of happiness in the melody at 0:50. Now we get to hear the tune closer to how it’s normally performed: in a major key. The accompaniment, while still mostly held chords by the trombones and first clarinet, doesn’t sound as dismal as before.
The oboe takes over at 1:05 for the first line of the chorus. Listen to the horns underneath, as they play the three-note motif we heard back at 0:43. The second line is given to the clarinet (1:09), though the horn continues with the idea of the three-note motif. The flute comes back in for the remainder of the chorus, with the clarinet playing a harmonic line underneath (1:12). The horn echoes the last line of the chorus, though a bit modulated. It provides the briefest transition into the new verse.
Now the trumpet solo takes over the verse (1:24). The clarinets and saxes provide a chordal accompaniment that rises steadily upward in pitch. The horn inserts a lovely bit of suspension at 1:38 before the upper winds come in for the chorus. This is the closest we’ve come to having the full ensemble play at once. If you look at the score, you’ll see Grainger isn’t afraid of having people rest for long periods of time. (As a composer/arranger, I have to remind myself that it’s okay to do that.) The trumpet comes back in for the second line of the chorus at 1:44, then the winds play again to finish out the theme.
While the melody folks finish, the accompaniment is simultaneously building up for the final verse and chorus. Some of the winds and trumpets give us the theme and there’s a wonderful, suspended countermelody happening in some of the saxes and other trumpets, among others (1:57). There are some beautiful, squishy chords happening throughout all this in the accompaniment; try to listen beyond the melody to hear what else is going on.
Grainger generally keeps the same instrumentation throughout the chorus, adding a floating trumpet line over the melody that he marks “much to the fore” (2:12). At the end of the second line of the chorus, listen for the quick rhythm in the bass line (2:19), but keep your ears open for the continuation of the trumpet line (especially the reach up to concert A at 2:23) as the entire ensemble hits the apex of the piece. Everyone then comes back down toward finishing the melody.
At 2:29, the maiden apparently can’t handle it any more, and starts bawling. Click To TweetAt 2:29, the maiden apparently can’t handle it any more, and starts bawling. We go back to the not-so-merry version of the chorus at 2:29, this time in the bass voices. The horns get their own “much to the fore” section here as well, quoting the “oh, don’t deceive me” line at a slower pace than what’s happening below. There are some angry-sounding chords in the rest of the ensemble while this is going on. But in time, the anger subsides, and the maiden lets out a couple more sobs that resolve into a final, major chord.
Thank you for joining me, and I hope to send out my next post a bit quicker than this one. If you like my blog, please take a moment to spread the word. The individual posts have “share” buttons that can be used to send content to various social media platforms. Thank you to those who have already shared – it means a lot to me!
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