An Introduction to America’s Music

CHAPTER 11 | THE BIG BANG IN BRISTOL 269

songwriter: A. P. Carter

date: recorded in New York, 1935

performers: Sara Carter, vocal and guitar; Maybelle

Carter, vocal and guitar; A. P. Carter, vocal

genre: country music

meter: duple

form: verse and chorus

timing section text comments

0:00 introduction A bar and a half of solo guitar establishes the key

and tempo: alternating bass notes on the beat and

strummed chords between the beats. Throughout,

Sara’s second guitar is almost inaudible.

0:04 verse 1 I was standing by the

window...

Sara’s low voice is somewhat emotionless, in

contrast to the sentimentality of the lyrics, which

set a scene of bereavement.

0:24 chorus Can the circle be unbroken... Three-part hymn-style, block-chord harmonization.

0:43 instrumental

chorus

Maybelle plays the melody, ornamented with

hammer-ons, on the bass strings, alternating with

energetic strummed chords on the higher strings.

1:02 verse 2 Lord, I told the undertaker... The return to Sara’s solo voice signals a

continuation of the story told in the verses.

1:22 chorus Can the circle be unbroken... The harmonized group singing gives the chorus

the quality of commenting on the story.

1:40 verse 3 I followed close behind her... The use of a solo voice suits the subjective,

fi rst-person narrative.

1:59 chorus Can the circle be unbroken... The group singing suits the more communal idea

expressed by the lyrics.

2:17 instrumental

half chorus

Only the second phrase ( bars 5–8) of the chorus.

2:26 verse 4 Went back home, Lord... The story ends with no resolution.

2:45 chorus Can the circle be unbroken... Slight ritardando signals the end.

Listen & Refl ect

1. On their own, the four verses and four statements of the chorus sung here would fall about
   thirty seconds short of the typical three-minute running time of a 78-rpm single. The two
   guitar interludes form one solution to the problem of fi lling out the record. What would be
   some other possibilities, and what musical differences might result from them?

WHAT TO LISTEN FOR

• same music for verse and chorus


• alternation of solo voice on verses
  and vocal harmony on choruses


• Carter-style guitar playing


• occasional triple-meter bars

CD 2.6 Listening Guide 11.2 “Can the Circle Be Unbroken” THE CARTER FAMILY

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