Cherokee Waltz/Valse de Chérokis

Here are the tabs for another waltz. The "Valse de Chérokis" is named after the kind of tree that the singer plans to cut up so he and his sweetie can cook up some duck.

I like this waltz because its melody so thoroughly emphasizes its beat in the tune. Plus, it has a nice little hitch in that melody. For me, this waltz is like watching a baseball player with a hitch in his swing. It makes everything a bit harder, but when it all connects, the result is magnificent.

You can listen to a nice version of this waltz on Mark Palms's GoneCajun website.

Here are the tabs. As usual, this is only a basic melody and red numerals should be played singly. Also, I'm trying something a bit different this time. In an attempt to show the tie between the melody and the beat, I've grouped notes together with dashes when they are played on the same beat. Thus, in the first measure of the tune, the 3 and 3' would be played on the first beat of the waltz (the bass button on the left hand), then the 4-4 would be two quick E notes played on the second beat (the first press of the chord on the left hand), and the final 4 (E) would be played on the final chord. Be aware, though, that the melody and the beat diverge in the turn:

The Tune (play twice):

3-3'

4-4

4

|

3'

3'

3'

|

3'-4

4'

4'

|

5-4'

4

4

3-3'

4-4

4

|

3'

3'

3'

|

3'-4

4'

4

|

3'

3

3

The Turn:

4-4'	5	5	|	5	4'-4	3'	|	3'	4'	5	|	5'	5	5
4-4'	5	5	|	5	4'-4	3'	|	3'	4'	4	|	3'	3	3

Raymond François offers the following lyrics for the "Valse de Chérokis", but I prefer replacing the "Oh, Ye yaille" with "Oh, Catin":

Oh, Ye yaille, viens donc me r’ join’ chez Baieonne,
On va s’ couper des chérokis et manger du canard d’inde,
Oh ‘tite fille, 'gard donc bien hier au soir,
Comment ton vieux neg’ a r'gardé pour toi quand meme.

Oh, Ye yaille, viens donc me r’ join’ chez Baieonne,
On va ramasser des écopeaux et bouillir des écrevisses
Oh, Ye yaille, rappelle toi donc hier au soir,
Comment ton vieux neg’ a r'gardé pour toi, tite fille.

Eunice Two Step

I'm sure that, for a lot of people, "Jolie Blonde" is the first song that comes to mind when they think of Cajun music. Not me.

I don't think there's any song in the Cajun repertoire that evokes the rhythm and sound of Cajun music better than the "Eunice Two Step."

As one of Amédé Ardoin's songs, the "Eunice Two Step" definitely has the pedigree to be the classic Cajun two step.

Here are a set of basic tabs to the "Eunice Two Step" offered by Bryan Lafleur. Bryan notes that the song can also be played using the lower octave (e.g. 3/7' instead of just 7', etc.)

The Tune (play twice):

7	5	5	6'	7'	7'	___	6'	5	6'	7'	7'	___	6'	5	5
6	7	7	7	6	6	7	7	7'	____	6'	5

The Turn:

7	5	5	6'	7'	7'	6'	7'	6'	5	5
6	7	7'	6'	7'	6'	5	5
6	7	7'	6'	5'	7'	5'	5'	6'	7'	6'	5

Richard Guidry offers the following lyrics from the liner notes to Ray Abshire's Arrête pas la Musique:

Eh, yé yaïe! Jolie fille, tu connais chère bébé,
Si ton nègre te donne le doigt, tu fais trop la canaille.
Tu connais, chère bébé, quoi faire donc t'es comme ça?
Moi, j'suis pris dans autant de chagrin que moi, j'suis toujours dedans.

Quand ton sucre, il est là, toi tu fais ta vieille canaille.
Quand ton sucre, il est pas là, braillez, braillez pour moi.
Tu connais je peux pas dormir, je peux pas manger, je peux pas m'assire.
C'est par rapport de les 'tites filles, 'tites filles de grand Gueydan.

Allons, Mardi Gras!

As all good Cajuns and Creoles know, the conclusion of the Christmas holiday leads straight to the Mardi Gras season. Twelfth Night (January 6) marks the official beginning of Mardi Gras. In New Orleans, this means the beginning of King Cake parties and formal balls for all the various Krewes.

In Southwest Louisiana, it marks the start of costume preparation and planning for the annual courir.

For you, it means it's time to dust off the old squeezebox and start practicing the "Mardi Gras Song."

Of course, there is no "official" Mardi Gras song since the tune and words vary from community to community. But Nathan Abshire and Dewey Balfa's version of the Mardi Gras song has become as close to "official" as you're likely to get. Plus, no one's likely to fault you for playing like Nathan or Dewey.

There's nothing terribly fancy about the Mardi Gras song; it's played over and over again while the Mardi Gras beg and cavort. Skilled musicians will offer wrinkles and ornamentation to keep themselves and their dancers amused. And more polished versions are available from a number of recorded musicians like Michael Doucet and Steve Riley. Be sure to refer to their work.

Here's the tune:

4

5'/7

5'/7

5'/7

6'/7

6/7

7'

6'/7

6'

5'

5

4/7

5/8

5'/9

5'/9

5'/9

6'/7

6/7

7'

7

8

7

7'

6

5'/7

7

7

8

7

7

8

8

9'

7

6

6

7'

7

8

7

7'

6

5'/7

4/7

5'/9

5'/9

5'/9

6'/7

6/7

7'

6'/7

5'/9

5/8

4/7

The lyrics for the Mardi Gras song--like the tune--vary somewhat from town to town. However, if you refer to the Mardi Gras website offered by LSU-Eunice, you'll find the words for the Basile Mardi Gras song. You can also download the song as sung by the 1999 Basile Mardi Gras just prior to their courir.

La Valse Criminelle

After a long hiatus, we're happy to offer another set of tabs for all you hungry Cajun music enthusiasts.

This time, we're offering tabs and lyrics for "La Valse Criminelle." These tabs were offered by Bryan Lafleur during our CD drawing. Bryan names "La Valse Criminelle" as his favorite song to play and notes that "it is played mostly in octaves, but those 6' and some 5 are hit with the ring finger."

As with all tabs, be sure to refer to recordings (or, better yet, live performances) to get the full feel of the song. Horace Trahan offers a nice version of this waltz on his Ossun Blues CD and Kevin Naquin and Hubert Maitre recorded it on their Dans le Coeur O'ssun CD.

Here are the tabs:

The Tune (play twice):

7

5

6'

3'

3'

___

6'

3'

3'

__

3

3

___

5

3

3

3'

3'

6'

3'

7'

5'

5'

5

7

5

6'

3'

3'

___

6'

3'

3'

__

3

3

5'

6/7'

5'

5

The Turn:

7

5

5

7/10'

7/10'

7/10'

7/10'

5'

5

7

5

5

7/10'

7/10'

6'

6'

5'

5'

5

7

5

5

7/10'

7/10'

7/10'

7/10'

5/7'

___

6'

6'

5'

5'

5

Raymond François offers the following lyrics from Yé Yaille, Chère!:

Je croyais pas t'avez le coeur si criminel, oui, que ça.
'Gardez donc quoi t'as fai, ma criminelle.

Jamais d'ma vie j'aurais cru t'avais le coeur noir comme ça,
pour casser not'famille ma criminelle.


Horace Trahan offers these alternate lyrics--which are also quite close to those of Kevin Naquin--in the liner notes for Ossun Blues:

Criminelle, la promesse ça t'as fait, mon cher bébé,
Tu m'as dit, ouais, toi, tu m'aimais.
Prépare-toi, chère, viens me joindre à la maison.
Plus personne pour m'aimer et m'embrasser.

Criminelle, comment ça se fait tu viens pas, ouais, me joindre?
Je suis tout seul après jongler, mon cher bébé
Prépare-toi, chère, viens me joindre à la maison.
Plus personne pour m'aimer et me caresser.

Home Sweet Home/Allez-Vous-En

This week's tablature is for "Home Sweet Home" or "Allez-Vous-En." One of the first recordings of this song is from Amede Breaux. That version is available on Arhoolie's Pioneers of Cajun Accordion, 1929-1935, and the liner notes designate that recording as an example of "the first Cajun super trio" of guitar, fiddle, and accordion.

The album notes also describe the song as "A nice slice of Cajun humor . . . by the fiddler as he parodies American Schmaltz!"

"Home Sweet Home" may originate partially out of schmaltz, but unlike the corny American song of the same name, this one evokes a genuine emotion and feeling. And in its unadorned beauty, it's also reminiscent of the style of music played at bals de maisons long ago.

Creole Accordionist Joe Hall (pictured) seems particularly fond of this number, as it appears on both his Joe Hall and Mitch Reed and his La Danse Finit Pas albums. On the latter album, Joe takes some interesting liberties with the song, starting off with a traditional take on the lilting tune but then proving that the same song can accommodate a more lively interpretation.

The following tablature is based on a more traditional version of the song. As usual, red numerals indicate notes that are played singly while the remainder should be played in octaves. This old Creole song does well with relatively little ornamentation, but I still prefer to add a little, and either Hall's or Breaux's versions--or the one by "Bois Sec" Ardoin and Canray Fontenot--should be consulted for inspiration.

The Tune:

3	3'	4	4'	5	5	4'	4
4	4	3'	4	4'	4	3'	6'	5'	5	3
3	3'	4	4'	5	5	4'	4
4	4	3'	4	4'	4	3'	6'	5'	5	3

The Turn:

5	6	6	6'	5'	5	4	3
4	4'	4'	4'	4'	4	4	4	4	5'	5	3
5	6	6	6'	5'	5	4	3
4	4'	4'	4'	4'	4	4	4	4	5'	5	6

At the conclusion of the song, follow the final note of the turn with:
6/7 -- 8 -- 9

Ann Savoy offers the following lyrics for "Home Sweet Home" in Cajun Music: A Reflection of a People:

O, c'est l'heure chacun s'en va, chere,
Ouais, c'est l'heure chacun s'en va mais donc, ches lui, yaille.

Oh, c'est l'heure que moi j'm'en va, chere,
C'est chacun se retoune, chez lui aller se coucher.

Catin, Prie Donc Pour ton Neg

This tablature for "Catin, Prie Donc Pour ton Neg" comes courtesy of Wilfred Fraanje. This is an oldie--but anyone who appreciates Cajun music knows that the old ones are most often the really good ones. Wilred suggests referring to Oakdale Carriere's rendition of the song from the Lomax field recordings. It's included in Louisiana Creole and Cajun, Volume 1.

If you're looking for an old, forgotten song to put in your repertorie, this might be the one for you.

The song begins with the tune, repeated twice, and then moves on to the turn, which is also repeated twice. Following this, the first two lines of the song are sung, followed by either the tune or turn. Then comes the next two lines of the song, followed again by either the tune or turn. And the song then continues in this fashion.

As usual, numbers in red should be played singly, while the others should be played in octaves.

The Tune

6	7	8	/	6	6'	6'	7'	8'	5'	/	5	5	5	6	7	5	/	5	4'	4'	6'	7'	5'
5'	5	5	6	7	8	/	6	6'	6'	7'	8'	5'	/	5	5	5	6	7	8	/	5	4'	7	6	7	6	/	6-	6	7	8

The Turn:

6-	5	6	7'	/	4	4	4	4'	4'	5'	/	5	5	5	5	7'	7	/	4'	4'	4'	7'	4'	5'	/
5'	5	5	5	6	7'	/	4	4	4	4'	4'	5	/	5	5	5	6	7	8	/	5	4'	7'	6'	7'	6'	/	6-	5	6	7'

Wilfred offers the following lyrics for "Catin, Prie Donc Pour ton Neg":
O yé-aie a-you moi j`vas aller
O catin tout le monde est contre moi

O `tit fille, tu connais oui toi même
O catin, tu connais je suis orphelin

O `tit fille chaque fois tu t`mets à genoux
O catin, prie donc pour ton nègre

O `tit fille, tout ca qu`ils m`ont fait
O jolie, tu connais que je le mérite pas.

Kaplan Waltz/Valse de Kaplan

This week's tablature is for one of the most famous of Cajun waltzes, the "Kaplan Waltz." The song is, of course, named for the southwest Louisiana town of Kaplan, but this waltz is probably just as often associated with Nathan Abshire as it is with the community after which it was named.

Along with the "Pine Grove Blues," his version of the "Kaplan Waltz" has become a Nathan Abshrie trademark. Whenever it's played, it evokes mention and memories of this Louisiana great.

The tablature I'm presenting is based upon that of Steve Riley, who in turn based his version of the song on Nathan Abshire's. To really master this song, I would suggest reviewing Steve Riley's Beginner Cajun Accordion DVD. For each of the songs he covers, he begins with a one-finger melody, then moves to octaves, and then, finally, to a fully ornamented version of the song. Here, I'm presenting the song strictly in octaves (play red numbers singly). I'll leave it to you and Steve to address ornamentation.

The Tune:

3	3'	4	4'	5	4'	4
3	4	3'	3	3'	4	3'
3	2'	3	3'	4	3'	3
--	--	--	--	--	--	--
3	3'	4	4'	5	4'	4
3	4	3'	3	3'	4	3'
3	2'	3	3'	3	3'	3

The Turn:

4'	5
5'	6	5'	5	5'	5	4'	4	4'	4	3'	3	2'	3	3'	5	4'	4	4'	5
5'	6	5'	5	4'	4	4'	4	3'	3	2'	3	3'	3	4	5	¾

Along with the numerous versions of the "Kaplan Waltz," there are numerous sets of lyrics. These lyrics run the spectrum from charming to downright icy. Here's a sweeter set of lyrics:

Jolie fille, moi j'vais aller
Moi, j'vais aller, jusqu'à Kaplan, bébé,
J'vais jamais quitter, ma chèr catin
Ouais, à cet'heure, moi j'm'en vais dans l'grand Kaplan.

Or there's this version from Raymond François's Yé Yaille, Chère, which is more characteristic of the Cajun tradition of using a sweet-sounding waltz to say something decidedly unkind:

Hé ma criminelle! La misérable!
Hé, j'veux p'us te voir!

Oh, mais tu vas voire ton erreur!
Ca s'ra trop tard pour toi r'venir!
J'veux p'us t'voir, villaines manières!

Colinda

This week's song demonstrates the depth of interactions that have created the cultures unique to south Louisiana. The song, "Colinda," has long been a subject of debate due to its murky origins.

While the song--as it is performed today--assumes that "Colinda" is the name of a woman who is being entreated to dance, the original song was probably an invocation to join a slave dance called the "Calinda." Thus, instead of today's "Allons danser, Colinda," the original was something more akin to "Allons danser la Calinda."

Shane K. Bernard and Julia Frederick offer a thorough history of "Colinda's" origins in their essay "'Colinda': Mysterious Origins of a Cajun Folksong" in Accordions, Fiddles, Two Step, and Swing: A Cajun Music Reader (Lafayette: Center for Louisiana Studies, 2006).

Bernard and Frederick point out that the song, in both its earlier and current form, centers upon dancing as a forbidden act. In the current version, the singer invites the woman Colinda to dance the old two-step waltz and make the community's matrons angry.

However, in the original version, the "Calinda" is understood to be a scandalous dance. Because of its purportedly lascivious nature, many slave owners forbade their slaves from dancing the Calinda.

In addition to its sexual associations, Bernard and Frederick also note the dance's possible ties to cult rituals, voodoo, and--in parts of Haiti today--zombiism.

Tracing the dance backward through time, the Calinda arrived in Louisiana from the Carribean. It had earlier arrived in the Carribean from Africa. And, ironically, from there, the dance possibly traces its origins back to Europe and to a troubadour from the Provence region of France.

Thus, while the Cajuns left western France and made their way from the North Atlantic to Acadie and later to Louisiana, the source material for "Colinda" travelled from the south of France, through Africa, across the South Atlantic, to the Carribean, and finally to Louisiana.

There aren't too terribly many recordings of this song, but Michael Doucet has one--ironically--on his children's album, Le Hoogie Boogie: Louisiana French Music for Children. His version does not feature an accordion, but it will give a sense of the song's rhythm and beat.

The tune for "Colinda" goes as follows. Remember, as always, that this is only a skeleton for the song. As usual, the song should be played primarily in octaves except where indicated with red numerals.

5 - 6 - 7'- 4 - 4 - 4 - 4
6 - 7'- 4 - 4'- 4 - 4 - 3'
5 - 5'- 6'- 7'- 7'- 7'- 6'
5 - 4 - 4 - 3'- 7'- 6'- 5

The contemporary lyrics to this song are as follows:

Allons danser, Colinda! Allons danser, Colinda!
Allons danser, Colinda, pour faire fâché les veilles femmes!

C'est pas tout l'monde qui connais tous les vielle valses de deux temps,
pendant ta mère est pas là, allons danser, Colinda!

Keep Your Hands Off of It

In answer to Gary's request for a Cajun Blues song, this week's tablature is the Lawrence Walker classic "Keep Your Hands Off of It."

Unlike most of the songs in the Cajun repertoire, this one is sung in English. Of course, as an English-language Cajun song that incorporates rhythms from the African-American Blues tradition, "Keep Your Hands Off of It" perfectly epitomizes Lawrence Walker.

Kevin Fontenot and Ryan Brasseaux point out that Walker himself straddled the two worlds colliding in south Louisiana. His ancestry partook of both Cajun stock as well as that of "les américains," and he spoke English and Cajun French equally well.

This song also showcases Walker's frequent fusion of musical genres, invigorating and complementing the Cajun sound with additions from the outside world.

Walker's work remains popular to this day and finds its way into the repertoires of many of today's most popular Cajun acts.

And Wilson Savoy offers a detailed explanation of how to play this Walker classic on his Cajun Rhythm, Syncopation, and Improvisation Accordion DVD (available through Almena Films).

Here, then, is the skeleton of "Keep Your Hands Off of It." Typically, the G (and sometimes C) chords on the left hand would be used to punctuate the end of each line. Be sure to review Wilson Savoy's DVD for a demonstration as well as in-depth discussion of how you might go about adding ornamentation to this easy little Blues.

The Tune

6'	7'	3' 7	3 6	3' 5	2 5	3' 7	3'	3 6	3' 5	2 5	2 5

The Turn

7'	6'	6	6'	6	6'	6	7'
7'	7'	7	6	5'-	6'-	5'	4	5

For more information on Lawrence Walker, see Fontenot and Brasseaux's biography of Walker in Accordions, Fiddles, Two-Step and Swing: A Cajun Music Reader.

J'ai Passé Devant ta Porte

This week, we're once again adding to our repertoire of waltzes. Raymond François reports that this tune was sung as early as the sinking of the Titanic.

To be truthful, I was never that into the whole Titanic mystique. I chose this song because of my son. While listening to Steve Riley's Dominos CD, he heard the recording of 5-year-old Steve Riley singing "J'ai Passé Devant ta Porte." He promptly decided that if Steve Riley could learn it and sing it at 5 years old, then he could, too. And he did.

This is a simple song without a turn. However, the fact that it's so simple is just more reason to listen to numerous versions of it to get an idea of all the possibilities for ornamentation.

And if you're looking for a really in-depth discussion of this song, check out Steve Riley's new Beginner Cajun Accordion DVD from Almena Films.

The song should be played primarily in octaves, except where red numbers indicate single notes.

Here is the tune:

7'	6	6'	/	5'	5	5'	6'
6	6'	5'	/	5	5	5'	6'
7'	6	6'	/	6'	6	6	7'	7
7'	6	6'	/	6'	5'	5'	5

The traditional lyrics for this waltz are:

J'ai passé devant ta porte.
J'ai crié "bye-bye" la belle.
'Y a personne qui m'a repondu!
O yé yé, mon coeur fait mal!

Moi, je m'ai mis à bien observer.
Moi, j'ai vu des chandelles allumé.
'Y a qu'quechose disait j'aurait pleuré.
O yé yé, mon coeur fait mal!

Lafayette Playboy Waltz

I just realized that we've been two-stepping and jigging for well over a month. Time for a waltz, and I've chosen the "Lafayette Playboy Waltz." Named after Aldus Roger and the Lafayette Playboys, this is a sweet, lilting waltz.

This version of the "Lafayette Playboy Waltz" comes courtesy of Dirk Powell's Learn to Play Cajun Accordion DVD series.

As usual, I am only providing a skeleton to the song. Remember to play in octaves (with the exception of the triplets that end each line). I've designated triplets with hypens between notes. Remember also that ornamentation is determined both by personal choice and by cultural convention. Therefore, it would be wise to use this tablature alongside either Powell's DVD or another recorded version of this waltz.

The Tune:

4

4'

5

/

5'

5

4'

/

4

3'

4

/

4'

4

3'

/

6'-5'-5

3

4

4'

5

/

5'

5

4'

/

4

3

3' 4

/

4'

4

3 3'

/

7'-6'-5'-5

3

The Turn:

4

4'

5

/

5'

6'

6

/

6'

5'

5

/

4

3'

4

/

4'

4

3'

/

7'-6'-5'-5

6

The lyrics to this waltz come courtesy of Raymond François's Yé Yaille, Chère!:

Tu m'as dit, bébé, que tu m'aimais et aujourd'hui, 'garde donc-là, tu veux pas me voir.
Moi j'vois pas dans l'monde quoi moi je t'ai fait pour tu m'haies aussi temps comme t'après faire.

Moi j'vois pas, 'tite fille, quoi moi j'vas faire. J'suis, moi, tout seul après prier pour tu t'en reviens.
Tu m'as dit, 'tit monde, tu m'aimais pas et moi, j'croyais aujourd'hui tu veux pas me voir.

La Porte d'en Arrière/The Back Door

The tablature for this week is for D. L. Menard's famous song, "La Porte d'en Arrière."

D. L. Menard is known as the "Cajun Hank Williams" because of the country artist's influence upon his music. "La Porte d'en Arrière" has become Menard's trademark song.

If you've been living under a rock and have never heard Menard perform, you should be sure to tune in to the "Rendezvous des Cajuns" radio show on KRVS. Usually, around the holiday season, the show features a tribute to Hank Williams, and D. L. Menard is always a part of the show.

This particular arrangement comes courtesy of Big Nick (aka Tom Nickel) of Big Nick and the Cydecos. In addition to being a Cajun and Zydeco enthusiast, Big Nick has spent considerable time creating a set of online Box Lessons for beginning accordionists. Nick goes through the basics of the instrument, playing in octaves, and triplets/ornaments. He also goes through a number of Cajun and Zydeco standards, piece by piece, so that you can quickly add them to your repertoire.

Here is the tune (Note: The last two lines differ a bit from Big Nick's version). Numbers in red should be played singly, and numbers in black should be played in octaves. The "fractions" are blends (some people refer to them as chords), and the two numbers listed should be played together. For instance, a 6/7' should be played by pulling buttons 6 and 7 simultaneously:

5	7	7'
6/7'	6/7'	5'	5	7	7'	6/7'	6/7'	5	5	5'	6
6/7'	6/7'	5'	5	7	7'	6/7'	6/7'	5	5	5'	6
6	6	5'	5	6	6	5
6/7'	6/7'	5'	5	7	7'	6/7'	6/7'	5	5	5'	6
5'	6'	7	7'	6'	5/7'
5'	6'	7	7'	6'	5'	5	5	7	7'	7	5

The lyrics of D. L. Menard's classic go as follows:

Moi et ma belle on avait été au bal
On a passé dans tout les honky tonks
S'en a revenu lendemain matin
Le jour était apres s'casser
J'ai passé dedans la porte d'en arrière.

L'apres midi mois j'étais au village
Et j'm'ai saoulé que j'pouvais plus marcher
Ils m'ont ramené back à la maison
Il y avait de la compagnie, c'était du monde étranger
J'ai passé dedans la porte d'en arrière.

Mon vieux père un soir quand j'arrivais
Il a essayé dechanger mon idée
J'ai pas écouté, moi j'avais trop la tête dur
"Un jour à venir, mon neg', tu va avoir du regret
T'as passé dedans la porte d'en arrière."

J'ai eu un tas d'amis quand j'avais de l'argent
Asteur j'ai plus d'argent, mais ils voulont plus me voir
J'etais dans le village, et moi j'mai mis dans tracas
La loi m'a ramassé, moi j'suis parti dans la prison,
On va passé dedans la porte d'en arrière.

High Point Two Step

This week, we'll finish out the songs on Volume One of Dirk Powell's Learn to Play Cajun Accordion Instructional DVD. "The High Point Two Step" is the first two step that Powell covers, and the tablature goes as follows:

The Tune:

3	3'	4	4'	4'	4'	4'
4'	4	4'	5	4	4	4
4	4	4'	5	3'	3'	3'
4'	4	3'	3

The Turn:

6	6'	6	5'	5'	5'	5'
6	6'	5'	5	4	4	4
5	5'	5	3'	3'	3'
5	5'	5	4	4	4	or	4'	4	3'	3

When playing the song, the tune should be repeated twice before moving on to the turn. The turn should then be played twice, with the last line changed the second time through.

As always in Cajun music, the song should be played in octaves. Also, please remember that these tablatures should be treated like skeletons for the songs. Ornamentation is a matter of personal taste and cultural tradition, and the best way to get a "feel" for the song is to listen to it in performance. I would suggest referring back to Dirk Powell's performance on his DVD or to the version by Steve Riley and the Mamou Playboys on their self-titled debut album.

The lyrics to the "High Point Two Step" are as follows:

O tout les soirs, bébé,
Moi, je suis la après garder, mais, ayou toi t'as était?

Mais, moi, j'amerais que tu t'en reviens, petit monde,
Ouais, une autre, une autre fois avant je mourir.

--lyrics courtesy of Dirk Powell's Learn to Play Cajun Accordion DVD, Volume One.

Wafus Two Step/Walfus Two Step

This week, we're presenting the tablature for the "Wafus Two Step." This song, also known as the "Walfus Two Step," has an unclear history. Raymond François admits that he was never able to find a clear explanation of the name "Wafus." Some artists have interpreted "Wafus" as a corrupted variant of "Waffle." So, the song has also been known as the "Waffle Two Step" and the "Pancake Two Step."

Offering another explanation on the Cajun Accordion Discussion Board, Bryan Lafleur suggests that the name "Wafus" is a shortened version of "Walter Fusilier," who--Lafleur reports--had a nightclub outside of Oakdale.

The tablature I'm presenting here corresponds to Dirk Powell's version on Volume Two of his Learn to Play Cajun Accordion DVD set. However, I've made a few changes of my own in the turn.

(Note: All of the following should be played in octaves except for notes in red. These might be played singly. These tablatures are intended only as a skeleton for a song. Since ornamentation is based on personal choice and cultural tradition, I have left it to individual players to ornament their own versions of the song. Ideally, a tablature is best used in conjunction with and in comparison to recorded performances of the song.)

The Tune:

4	4'	5	5	4'	4
3'	4	4'	3'	4'	4
4	4'	5	5	4'	4
3'	4	4'	7'	6'	5'	5	3 (or 6)

The Turn:

5	5'	5	7	6
5	5'	5	6'	(hold last note)
5	5'	5	7	6
5	5'	5	6	(hold last note)

Raymond François offers the following lyrics for this Two Step in Yé Yaille, Chère!:

Eh, 'tite fille, c'est la primière fois!
Oh, yé yaille! Tu m'as dit que t'maimais!
Oh, 'tit monde, aujourd'hui tu m'as fais comme ça!
Oh, yé yaille! Ça m'resemb' tu m'as quittais!

Eh, 'tite fille, c'est la primière fois!
Oh, yé yaille! Tu m'as dit tu veux m'quitter!
Oh, 'tit monde, aujourd'hui tu m'tourne le dos!
Oh, yé yaille! Moi, je vois pas quoi moi je t'ai fait!

Fi Fi Poncho

I'm taking a bit of a break from covering songs on Dirk Powell's DVDs this week. Instead, I'm covering the tablature for a fun little instrumental called "Fi Fi Poncho." This piece is really a study in rhythm, because it's the rhythm that makes this song. After all, you can play the entire song using only 4 notes, so you have to nail the rhythm for the song to sound right.

The song goes as follows, and the tune should be repeated twice before going into the turn. When returning to the tune after completing the turn, you might choose to syncopate the first note in the third and fourth lines just for some variety. The entire song should be played in octaves.

The Tune:
5' - 5' - 5' - 5 - 5' - 4'

5 - 5 - 5' - 5 - 5' - 4'

5' - 6 - 5' - 5 - 5' - 4'

5 - 5 - 5' - 5 - 5' - 4'

The Turn:
5 - 5' 5' 5' 5' 5' 5' 5' 5' - 5 5 - 5' - 4' 4'

5 - 5 5 5 5 5 5 5 - 5' 5' - 5 - 4' 4'

In the turn, I've tried to use hyphens to break long strings of notes into comprehensible sections. But to get this song, there is really no replacement for listening to it and committing the rhythm to memory.

There is considerable variation among different versions of the song, especially in the turn. So feel free to play around until you get it to your liking.

Nathan Abshire offers a version of "Fi Fi Poncho" on his The Cajun Legend: The Best of Nathan Abshire CD. However, I prefer the version by Joe Hall and Mitch Reed on their Joe Hall and Mitch Reed album. Meanwhile, the Pine Leaf Boys cover this tune on their latest Blues de Musicien album; they've titled their version "Mon Coeur Fait Mal" and have added lyrics to the tune.

Johnny Peut Pas Danser/Johnny Can't Dance

In accord with popular demand, this week's tablature is for "Johnny Peut Pas Danser." Raymond E. François reports that the song originated from an elementary school song book. He also notes that the song is popularly performed with many variations.

The following variation comes from Dirk Powell's instructional DVDs.

(Note: All of the following should be played in octaves except for notes in red. These might be played singly. These tablatures are intended only as a skeleton for a song. Since ornamentation is based on personal choice and cultural tradition, I have left it to individual players to ornament their own versions of the song. Ideally, a tablature is best used in conjunction with and in comparison to recorded performances of the song.)

Part 1 (Play twice)
6' - 3' - 3' - 3'
6' - 5' - 5 - 7 - 7' - 6' - 5

6' - 3' - 3' - 3'
6' - 5' - 5' - 7' - 7 - 5

Part 2 (Play twice)
6' - 6' - 7' - 7' - 6' - 7' - 7'
6' - 5' - 5 - 7 - 7' - 6' - 5

6' - 6' - 7' - 7' - 6' - 7' - 7'
6' - 5' - 5' - 7' - 7 - 5

There are typically no lyrics to "Johnny Peut Pas Danser." My favorite version is by Aldus Roger & the Lafayette Playboys. However, there is a version of the song performed by Michael Doucet that includes lyrics. Among other places, Doucet's version can be found on his children's album, Le Hoogie Boogie: Louisiana French Music for Children. Please note, though, that Doucet's lyrics are not exactly compatible with this version of the song.

For some perspective on the variation possible with this song, compare Ray Abshire's version on his For Old Time's Sake CD to Roger's or Powell's.

Convict Waltz/La Valse de Quatre-Vingt Dix-Neuf Ans

Here is the first of the tablatures for Cajun songs. Since many people begin learning the Cajun Accordion using DVDs, I've decided to begin with a tablature for a song on Dirk Powell's Learn to Play Cajun Accordion DVD set.

"The Convict Waltz" or "La Valse de Quatre-Vingt Dix-Neuf Ans" was popularized by the late Iry LeJeune, who almost singlehandedly brought the accordion back to Cajun music.

(Note: All of the following should be played in octaves. These tablatures are intended only as a skeleton for a song. Since ornamentation is based on personal choice and preference, I have left it to individual players to ornament their own versions of the song.)

4 - 4' - 5 -- 4' - 4 - 3'

4' - 5 - 5' -- 5 - 4' - 4

4 - 4' - 5 -- 4' - 4 - 3'

4' - 5 - 5' -- 4 - 3' - 3

The lyrics for this simple but beautiful waltz are as follows:

Oh, moi, je m'en vas
Condamné pour quatre-vingt-dix-neuf ans.
C'est juste rapport à les paroles toi, t'as dit
Qui m'ont fait souffer aussi longtemps comme ça.

Oh, c'est tous les soirs,
Moi, je me couche avec des larmes dedans mes yeux.
C'est pas de toi, bébé, je m'ennuie autant,
C'est de ces chers petits enfants qui misèrent.

Oh, c'est plus la peine,
Tes menteries vont te rester sur ta conscience.
La vérité va peut-être te faire du mal,
Mais quelqu'un va toujours te récompenser.

--Lyrics courtesy of Cris sur le bayou: Naissance d'une poésie acadienne en Louisiane.