and sticking with the three primary harmonies, effectively turning these second sixteen bars into
the second verse. Similarly, during the chorus Poole and the Ramblers forgo the meter change in
the original and once again repeat the same material, turning the entire song into a simple verse-
chorus form. All of these changes bring Poole’s version farther away from the relatively complex
formal and harmonic language of Tin Pan Alley and more in line with the more elemental musical
language of contemporaneous country music.
[3.10] Where Poole and the Ramblers adhere most closely to the original is, once again, in their text,
which, outside of a few minor changes, essentially follows McGuire’s word for word; and taking
just the opening verse (Example 11), we again find further instances of the pertinent lyrical
constructions, including the x-formulas I go away from some place and I tell you, and the r-formula I
cry. As shown in the appendix, the twenty lyric formulas appear throughout much of the group’s
repertoire, most of which is derived from earlier material, showing not only how pervasive these
lyrical conventions are in the originals but also how extensively Poole relied on sources specifically
characterized by the themes of movement and anxiety, which resonated so well with an audience
experiencing the profound social and economic changes of the early twentieth century. Indeed,
whereas late nineteenth-century popular songs concern a wide variety of subjects—including
dancing, sporting, bicycling, acrobats, and so forth—and often invoke the spirit of the “Gay
Nineties,” and, as Charles Hamm describes it, “a carefree, warmhearted world, with their lilting
wal rhythms and their texts” (1979, 296–97), Poole and many other early country musicians are
unmistakably drawn to those songs specifically expressing the themes of movement, anxiety, and
loss.
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(Some early country musicians, notably Fiddlin’ John Carson, were also drawn to
nineteenth-century sources because they had the power to evoke nostalgia for an idyllic,
romanticized, idealized South—complete with its fixed racial stratifications—and to “assuage . . .
white working-class audiences’ anxieties about the social and economic progress of African
Americans and the erosion of traditional racial hierarchies” [Huber 2008, 94].)
[3.11] The final examples from early country music come from Darby & Tarlton, a duo from
Georgia. Like the Carter Family and Charlie Poole, Darby & Tarlton frequently reworked older
songs into the newer country idiom: for instance, their song “The Maple On the Hill” of 1930 is a
reworking of “We Sat Beneath the Maple On the Hill,” published in 1880 by Gussie L. Davis, one of
the first successful African American Tin Pan Alley composers (Meade 2002, 212; Southern 1997,
242–44). Example 12 shows a 1928 reprint of Davis’s song, and Example 13 shows reductions of
both Davis’s original and Darby & Tarlton’s recording. The verse of the original is, once again, in
the seemingly inevitable AABA form (Example 13a), here sixteen bars long; and the chorus
(“refrain” in the original) uses essentially the same melodic material as the A sections but with a
somewhat different harmonization. Darby & Tarlton retain the periodicity of the first two phrases
(Example 13b), with a half cadence in bar 4 and a perfect authentic cadence in bar 8, but reset them
with the three primary harmonies; more specifically, though, they rework the song into a
realization of the passamezzo moderno, the most prevalent periodic scheme in early country
music, and use this form throughout, with a melody unrelated to the original.
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The component
that Darby & Tarlton follow most closely is, once again, the text, as illustrated in Example 14,
which shows where they use the lyrical material from the original in their own adaptation. Like
many Tin Pan Alley compositions, Davis’s “Maple On the Hill” is a love song, and, unsurprisingly,
the chorus contains the x-formula I love you, or human love human (“Will you always love me
darling”), a line retained in the second verse of Darby & Tarlton’s song.
[3.12] What Darby & Tarlton illustrate most compellingly, however, is the growing influence of
blues on country music in the early twentieth century. This influence is especially apparent in the
large number of their original songs that combine blues lyric formulas with the twelve-bar blues
form—which, during this period, quickly begins to gain more parity with the AABA form and the
passamezzo moderno as a common resource among country musicians. Their “Rising Sun Blues,” for
instance, uses the twelve-bar scheme and teems with blues lyric formulas (Example 15), including
those expressing the travel motif—everywhere I go, I go away from some place, and I’m leaving town;
and the same lyrical-formal combinations appear in “Heavy Hearted Blues” and “Freight Train
Ramble,” shown in the same example.
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These songs also conform to the conventional phrase
rhythm of early blues, and the placement of x- and r-positions and caesuras, as shown in Example