X:1 T:Danseuse, La S:Delma Lachney (Avoyelles Parish, La.) M:C L:1/16 Q:"Moderately Quick" N:There is a lot of variation in the first few measures of the 2nd strain. Parts are N:sometimes doubled, sometimes not. Lachney's touch on the fiddle is light. D:Vocalion 5303 (78 RPM), Delma Lachney and Blind Uncle Gaspard (1929) D:https://www.youtube.com/watch?v=2lhx8FNlYjs Z:Andrew Kuntz K:F f2ff c2cc A2cc d2cc|A2cc ddcA F2A2 c2cc|c2((3fgf e2)A2 c2cc c2((3BcB | A2)G2 G2F2 F4 D2F2||:[D4B4][D8B8] D2F2|[F4d4][F4d4][F2A2][F2d2][F4c4]|[M:2/4]A2F2 ABce| [M:C]f2AB c2cc c2((3fgf e2)AA |A2((3BcB A2)G2 G2FFF4|1ccde f2cc f4F4:|2 ccde f2f2f2z2||
Harry Smith (Folkways FA2952, 1952) attempts to contextualize the recording in his anthology:
The distinctiveness of the Arcadian violin-guitar combination is immediately noticeable, for not only is the melody itself of a type rather foreign to the Anglo-American pattern, but the steady and regular unison rhythm (as opposed to the slightly contrapuntal relationships (on Appalachian tunes) is very typical of Louisiana. Taylor Grigg's Louisiana Melody Makers (Victor 1928-1930) were a contemporary string group with a highly perfected rhythm of this sort, and very pure examples can be found among recordings made in New Orleans within the last ten years. The distinctive regional playing of the Texas and Oklahoma string bands (Light Crust Dough Boys, Bob Wills, Bill Boyd, Jimmy Revard, etc.) during the depression and until World War II, developed as an off-shoot from Louisiana about 1920, possibly when oil workers from there went to Texas.
- "Arcadian" is Smith's word referring to what is usually called Cajun or Creole.