One of the things I’ve always loved about Great Big Sea fandom (and a lot of you who have read my posts over the years can back me up on this) is that it’s filled with genuinely wonderful people. I have been deeply privileged to discover that the same can be said for the extended community of Quebecois music fans–because I’m tellin’ ya, people, we have some fabulous people in our local Quebec music session crowd. Dejah Leger, I am looking AT YOU.
Yesterday, during my general blue funk in which I worked from home (on the grounds that it was generally better for all parties concerned if I didn’t have to deal with people face to face), I started getting hints that the funk was doomed to fall.
First wave: cell phone pic from the aforementioned Dejah Of Awesomeness, from the Le Vent du Nord house concert in Portland on Sunday night.
Second wave: friend request on Facebook from Réjean Brunet. As in “the accordion player and bassist for Le Vent du Nord”. To wit: EEK? *^_^*;;
Third wave: Dejah dropping me a massive hint that I should come to session tomorrow night. Because she has a Thing, and I have to show up at session to get it, and she ain’t saying what it is. Uh oh. *^_^*;;
And this afternoon, this happened:
People, do you see that? Do you see that boulder that just smacked me upside the head (that French-speaking, violin-playing, astoundingly thoughtful boulder)? I talk a good talk with the whole fangirly thing, I can blather about hypersonic squee with the best of ’em. But that? That made an actual audible squeak pop out of me. Let’s count the various ways this is choking me up here.
One, somebody (wherein ‘somebody’ is pronounced ‘Dejah’ and HI DEJAH I SEE WHAT YOU DID THERE you beautiful person you) spread the word to the boys of Le Vent. And while we’re on the topic of Awesome People Who Are Awesome, Susan of whom I’ve already sung many praises fessed up to emailing the boys as well, to wit: awww. *^_^*;; (And yes, I know, I’m using that emoticon a lot! It’s been that kind of a day!)
Two, M. Demers made a point of bringing me that wall post. For those of you who aren’t Francophones, he’s basically writing on behalf of the entire band, telling me that they’d heard about our car troubles and that we missed the show, and that they hope they can see us at a future show next time they come out west. And that he thinks we’ll like the symphony show in Vancouver if we can come to that.
Internets, this means Le Vent du Nord reached out to me, on purpose, just because I missed their show. I do not have words for how touched and honored I am by this. And I’ve written three entire novels, am about to finish a fourth, and will soon be starting on a fifth. I’m GOOD at words. Verbosity is my goddamn superpower.
Three, holy crap he wrote to me in French. Which triggered an immediate “oh shit what the hell do I say in reply?!” bit of panic–but here’s the great part of this. What I wrote in reply was composed almost entirely of words I already knew, which I’ve picked up in daily language study with SuperMemo. I had to look up verb conjugations (because great jumping gods, French verb conjugations are a lot more complex than English ones), and how to say “our car broke down”. But the rest of it? Right out of my head. Because let’s hear it for SuperMemo!
(My brain would have fallen right out of my head if I’d been called upon to actually say this in person, but that I can throw words together with only cursory assistance from Google Translate and the reverso.net grammar checker is, I think, a reassuring step in the right direction. :D )
And oh yeah–what I said in reply, again for those of you who aren’t Francophones, was: “Hello Olivier, thank you very much, thank you a thousand times, for thinking of us! Yes, our car broke down. I was very unhappy to miss your show. I really wanted to see you play, and I very much want to see the show in Vancouver! I love the Symphonique album. Again, thank you very much!”
But anyway, the point here is, he wrote to me in French. Which meant he had enough data to be reasonably sure I’d figure out fast what he was saying. Also a reassuring step.
And the upshot of all this: do you guys hear that tectonic shift in the earth? Can you feel that rumble?
That’s the sound of Le Vent du Nord becoming my new official Favorite Band.
Those of you who know how much I love Great Big Sea know that if I’m saying this, I’m not saying it lightly. Do not mistake me. It’s not like I’ve stopped loving Great Big Sea; it’d be biologically impossible for me to stop loving my belovedest of B’ys, especially after seeing them perform in Newfoundland this year. I will always love them too.
But let me emphasize again: touched and honored. Enough that I’m tearing up a bit, little happy tears, as I’m writing this. If a band’s music makes their fans happy, that’s a thing of beauty and a joy forever, to be sure. This level of amazing thoughtfulness, though–not only from the band themselves but also from others who love them too–takes that joy up a whole extra order of magnitude. It’s a joy that springs from people being good to one another. A joy that rebounds right back to me, and makes me want to work all the harder to improve my French, not to mention learning to play more of the tunes of Quebec myself. And a joy that’ll kindle a little sun right in my heart, every time I hear “Manteau d’hiver” or “Lanlaire” or “Vive l’amour” or “Cre-mardi”.
And if all of this wasn’t enough, towards the end of my workday, it seemed like Puget Sound itself was giving me a sign that it approved of the turn my day had taken. I happened to look out the window by my desk at the exact right time to see a breathtaking sunburst of light over the water:
Go, people! Buy Tromper le temps! And while you’re at it, buy Dejah’s album too!
Because when beautiful music is made by supremely awesome people, the sun itself will sing.
Fun with reels and podorythmie!
It was inevitable, O Internets, that when I fell in love with the podorythmie in Quebec music, I would of course eventually have to try it myself. Those of you who have seen me post about the monthly Quebec music sessions I’ve been going to know that I’ve already tried it a time or two at those. The REAL fun, though, is if you can do it while simultaneously either singing or playing an instrument!
As I am not only a neophyte at Quebec trad but still fairly heavily out of practice on my flute in general, I ain’t expecting to get this down right out of the gate. Tonight, though, while playing with Gigue du Père Mathias, I HAD to try it. Just to see if I could.
So far what I’ve observed about podorythmie is that it’s generally done with reels (or gigues, or stuff that’s generally in 4-based time signatures). I have maybe one or two recordings where the tunes being played are clearly jigs, yet simple podo is happening underneath them–most of it, though, it’s 4-based stuff. And the very simplest rhythm I’ve been able to note thus far is a ta-ga-DAP pattern. The DAP falls on each downbeat, with the ta-ga leading into it as pickup notes (sixteenths, if you break ’em down).
Getting the pattern down with my feet is pretty easy, with the caveat of my having neither proper board nor proper shoes, so I cannot actually hear myself making the satisfying rhythm that I get in so many of the tracks I’ve got in my collection now! (Note: getting proper shoes IS an eventual goal, but I want to see if I can learn this first! ;D ) I can, however, at least get down the rhythm and the motions, and I can feel each strike of my foot against the floor even if it’s muffled.
Then comes the tricky part–trying to work in the tune to play on top of it. Since Gigue du Père Mathias is a tune I’ve now managed to memorize (and is actually the first 4-based fast tune I’ve picked up, the rest I know are all jigs so far, or waltzes, or Da Slockit Light which is I believe an air), I thought I’d try to layer that in on top of the root rhythm. I had to try it very, VERY slowly. But I thought maybe I could apply the same principle I do to trying to sing while playing guitar–i.e., don’t think about ‘your hands have to do this’ vs. ‘your feet have to do this’, but instead, get into a sort of zen space where all parts of you are uniting to make the song happen.
I think this might actually work! I tried just vocalizing the tune over my feet, and that worked okay. Then I tried actually playing it–and it took me a few tries before I got the hang of it–but I was eventually able to do the whole A part! Also, paradoxically, I did it a little better once I speeded things up a bit.
I can already tell though that this is going to be super-extra-bonus fun for a wind player. By which I mean, “oh god oh god where the hell am I going to breathe?!” It’s amusing enough to be a flute player trying to tear your way through a reel at top speed without making your legs go at the same time!
But WOW this is going to be fun. And hard. But FUN. The challenge is ON!
(STILL need a proper podorythmie icon. Must find a proper picture. And the caption will have to read ‘my fandom wears the Smiling Boots’!)
An evening of flute practice
As y’all know I’m a writer first and a musician second, but Musician!Anna is really only a few steps behind Writer!Anna, and if the instruments yell loud enough I have to pick them up. No questions asked and no quarter given. Tonight, the instruments yelled loud enough. So I grabbed Norouet and Shine for some tunes practice! (For those of you who may just be tuning in, Norouet is my current main wooden flute, and Shine is my piccolo, my oldest working instrument, from way back in my days of middle school.)
It’s been too long, so my fingers found Norouet a bit big and awkward to deal with (which of course means I damn well need to play Norouet more). So I mostly punted over to Shine instead just to review all the various tunes I know.
Started off with Road to Lisdoonvarna, including the variation I’m trying to play with. And by variation, I mostly just mean, several little additional twiddles I’m throwing in there, just to vary up the rhythm a bit and make it more interesting to listen to when I swing back around for a third repetition. Along with this, since I still typically play ’em in a set even though our Renton session imploded, I did Swallowtail Jig and Morrison’s. Morrison’s STILL gives me fits. I can’t play it at speed without losing my breath control. Augh.
Also stumbled my way through Banish Misfortune, Blarney Pilgrim, and Si Bheag Si Mhor, the other tunes from the Renton session I am still more or less able to play without having to consult sheet music.
After that, though, I jumped from Ireland over to Quebec, to practice the two tunes I was taught by Genticorum’s flute player! These tunes, y’all may or may not recall, are 6/8 de André Alain and Gigue du Père Mathias. Playing with these tonight, I determined that 6/8 de Andre Alain is more or less in my fingers. The Gigue, not so much. This is probably pretty much a direct result of how I was working with Alexandre de Grosbois-Garand on the first tune for most of our lesson, and we barely bounced off the second one.
That said, I DO have a phone recording of him playing through both of the tunes. And I have just determined that I was more or less able to follow what he was playing, at least in the slow bit of the recording. The fast bit where he kicks into full, proper tempo? Um, yeah. I gotta work on that part. *^_^*;;
The real, important takeaway here though is that yes, I apparently can learn tunes by ear if I have an opportunity to work through them a few times–either with a suitably slow recording, or with somebody with an instrument sitting with me who’s willing to fling me a few measures at a time until I can reliably echo what’s being played. And let me clarify–I can do this on the flute. And specifically on Shine, since that’s the instrument that goes back clear to my formative years, so it’s the one whose fingerings I don’t have to think about. I don’t have that level of comfort yet with flutes that don’t have keys.
(And the other takeaway here is that holy hopping gods Alexandre can play him some flute. Y’all go buy Nagez Rameurs for a proper demonstration of this! Did I mention the part where that album’s up for an award, and going head to head with Le Vent’s latest AND La Bottine’s latest as well? BEST AWARD NOMINATION LINEUP EVER. <3 )
Because Susan continues to have all the Awesome
So y’all know how I was gushing about my friend Susan arranging a Le Vent du Nord concert in Uxbridge?
Well, she commissioned some art by Kevin Bolk of the boys, and made some posters of that art to promote the concert, and she was handing them out as incentives to raise money for Doctors Without Borders. She also set aside a few to be used as she saw fit–and she saw fit to send ME one, because she’s just ENTIRELY AWESOME LIKE THAT.
So now I have this darling thing hanging just behind the monitor of my Mac at work. I love it so. I particularly love that Chibi!Simon’s guitar is pointed in the wrong direction, but I choose to believe that this means that Chibi!Simon is CLEARLY ambidextrous, and can play a guitar no matter what direction it’s pointing in! In fact, I would even hazard a guess that Chibi!Simon, in the grand tradition of Anime Characters Everywhere, would be able to whirl his guitar around his head in a stunning transformation sequence, playing it the entire time. And then he’d do it again with his bouzouki. Or possibly even play both instruments at once.
And it goes without saying that I totally fangirl Chibi!Olivier and his tiny violin! This, O Internets, is a situation in which the playing of a tiny violin is, in fact, GOOD. ;D
De Temps Antan at the Royal Room in Seattle, 8/14/2012
Continuing my quest this year to get to see as many Quebecois bands perform as possible, this week I finally had the pleasure of seeing De Temps Antan perform for the first time! I’ve gushed about these boys in blog and journal posts before, of course–but as always, getting to see a group in live performance is another order of magnitude above experiencing their recorded music, or online videos, or what have you.
I was particularly grateful for this chance to see them since the show was, as far as I know, kind of wedged in at the last minute. They’d been scheduled to do a mid-day performance in Kent, which I was sadly unable to make due to it being right smack in the middle of my workday. But booking fortune was kind and produced a one-set show at the Royal Room, a place I’d never been to, on Rainier Ave South. Dara and I had a bit of an adventure getting down there as miscommunication on my part of the proper address–and Google not being terribly helpful with the directions–caused us to overshoot and go to East Rainier Avenue South, instead.
Pro-tip for those of you who aren’t local: NOT THE SAME STREET.
But! All was well after all because we scooted in just under the wire. When we arrived, the boys of the band were still sound-checking, so we wound up not missing anything at all!
De Temps Antan only have two albums at this point, so it wasn’t terribly surprising that their single set was slanted in favor of stuff that appears on their second album, Les Habits de Papiers. A good many of the songs they performed were tune sets as well, showcasing André Brunet on the fiddle as well as Éric Beaudry’s prowess on guitar and bouzouki, with Pierre-Luc Dupuis chiming in on accordion or harmonica. Notable among the instrumentals was M. Brunet’s breaking out of a new waltz, which was lovely. I do fangirl me some Olivier Demers-brand violin, to be sure, but M. Brunet? Also a very respectable fiddler. Since De Temps are a trio and comparatively sparse on the instrumentation, it falls to each member of the group to pull as much vigor as possible out of his instrument. The result is a crackling energy that makes it very, very easy to forget that they do not, in fact, have more than three guys on the stage!
When it comes to instrumental prowess, though, with these boys I have to throw my affections over to M. Beaudry, and I’m not saying that just because I love me some bouzouki. Now that I’ve seen him do it live, I have all the more respect for what this man can do with a guitar and a zouk. I was particularly struck by his finger work on the guitar, swift, adroit runs that called his guitar’s deep ringing voice out and made it sing. And as for his bouzouki, wow. I’ve swooned before for what he whips out on the zouk in this video. Seeing him doing it live, and hearing that zouk roar in a way I have to date only heard out of my belovedest Dara and her Kohaku (heart), was amazing. Especially given his flying podorythmic feet, which he unleashes along with his hands on the instruments AND his singing. (I have just enough experience trying to sing and play at the same time on a zouk or a guitar, without even trying to throw my feet into the mix, that I admire the hell out of anybody who can pull that off!)
Vocally, all three members of the group are also very strong. M. Dupuis is the dominant vocalist, with a rich, expressive voice that he uses to great effect. I’ve read up some on his stint in La Bottine Souriante, and have seen some references to him having taken over briefly as La Bottine’s lead singer because of his style being a bit of a callback to the redoubtable Yves Lambert. I can buy that. M. Dupuis’s voice hits me in the same way M. Lambert’s always did, full and round. Maybe not as powerful, but that’s okay! I’ve always liked to say that M. Lambert’s voice hit me like 900-calorie cheesecake. M. Dupuis is maybe more like 600 calorie cheesecake. But the long and short of it is, cheesecake is still tasty, and Pierre-Luc can tear his way through a song.
M. Brunet is also a fine singer, though he doesn’t take over lead vocals as much as the other two. He mostly got to shine vocally on “Dominic à Marcel”, a ditty with something of a Southern twang to it–by which I mean, US Southern. The boys in fact referenced Mississippi, introducing this one! It’s a style that works when you throw it together with Quebecois music, to be sure.
Here, though, I also have to throw my affections over to M. Beaudry. He’s not as forthrightly expressive in his vocals as his bandmate, but he’s still got some strength and resonance to his voice, and I love, love, LOVE hearing him whip out “Grand Amuseur de Filles” or “Jeune et Jolie”.
I noted with pleasure that the boys presented us with not one but two new songs, including one M. Dupuis noted would be included on their next album (and yes, mes amis d’Internets, I perked up considerably at the magic words “next album”). One of these was the aforementioned waltz, but the other one was this, captured by Dara on video!
[youtube https://www.youtube.com/watch?v=zqM90wABqyI&w=560&h=315]
And much to my massive, massive delight, they closed with a one-two-three punch of my three favorite songs of theirs–“Grand Amuseur de Filles”, “La turlutte du Rotoculteur”, and then right into “Pétipétan”. The first delighted me immensely when André and Éric leapt up out of their chairs and had a bit of a standing stomp-off, grinning at each other. The second was great when all of us in the room started singing along on the turluttes. And the last, whee! This being one of the few De Temps songs I can actually do a bit of response on, I happily jumped in on that too!
We did get one encore, which was also great fun. Afterwards, Dara and I had the brief but happy pleasure of chatting a bit with M. Brunet, since we were able to tell him that HEY! We’d just seen him perform with Bernard Simard et Compagnie in Joliette! And with the help of Dejah and Devon Leger, I also chatted very briefly with M. Beaudry, expressing how Dejah was helping me with my French, how I was learning some of the differences between Quebec and Acadian French (h/t to !), and how we’d been trying to transcribe the lyrics to “Grand Amuseur de Filles”. I’m pretty sure my nervous fangirl babbling got a bit ahead of M. Beaudry’s English–he leaned over at me a couple of times with this “quoi?” look on his face, and Devon Leger helpfully translated for me (many thanks to Devon for that)!
It was only yesterday though that I thought to check the new and updated De Temps Antan website, where I discovered that why yes, they had in fact finally gotten around to posting a lyrics sheet for the second album–including the song in question. Which, I suspect, contributed to M. Beaudry being confused at me. *^_^*;;
But! All in all, a great time, even given that I was a bit worn out from dental surgery recovery and a cold, a sub-optimal state to be in when you’re trying to watch a band whose music makes you want to get up and dance. (I settled instead for trying to practice a bit of my own podorythmie between tables). I really hope I get to see these boys perform again, and I very much look forward to their next album!
The Great Canadian Adventure, Day 5–MEMOIRE ET RACINES!
I’m going to do an entire post about Memoire et Racines, because I am here to tell you, Internets, that deserves an entire post to itself even if we only made it to one day’s worth of awesome!
And this is going to get long, so this is getting a fold!
Continue reading “The Great Canadian Adventure, Day 5–MEMOIRE ET RACINES!”
The roundup post of All the Musics!
Internets, I came back from this vacation with a grand spanking total of 13, count ’em, 13 CDs! Most of these were bought in Newfoundland, but considering that Quebec threw me discs by Bernard Simard et Compagnie (and any band that includes Olivier Demers is by definition GODDAMN RELEVANT TO MY INTERESTS) AND three out of the five members of the Charbonniers, it must be said that Quebec put up a damn good fight.
Behold, the musical awesomeness!
Picked up at Memoire et Racines:
- Au fil du temps, by Bernard Simard et Compagnie. Because see previous commentary re: GODDAMN RELEVANT TO MY INTERESTS. M. Simard is of course a former member of Le Vent du Nord, but even more excitingly, Olivier Demers is also in this group! And not only Olivier–they’ve ALSO got André Brunet of De Temps Antan, and I’m almost certain it’s not legal in Canada OR the US to have that much awesome fiddle in one band! To round ’em out, they’ve got Frédéric Beauséjour who I recognized from La Voleé d’Castors, and a final gentleman whose name I don’t know yet but who made a HELL of an impression on Dara and me for amazing saxophone solos during their stage show!
- L’album blanche, by Les Mononcles. Because THESE guys include Michel Bordeleau, André Marchand, and Normand Miron, who of course I already love from the Charbonniers! The CD vendor at the festival told me this album was essentially those gentlemen only with instruments, and I said, “SOLD!” They’ve got a fourth musician with them on a standup bass and I am very, VERY excited about listening to this one. Also, yes, I see what they did there with the album title. Ha!
From the Archambault in downtown Montreal, the one which happened to be right by our hotel and which proved to be an awesome store of awesomeness full of ALL THE THINGS I MIGHT EVER HOPE TO BUY:
- Trésors du Québec en musique, by Les Frères Brunet. Because the Brunet boys, occupying as they do two of my favorite Quebec bands, need a fighting chance to see if they can yank my musical affections away from the Beaudrys. :D
- Le galarneau, by Genticorum! Because as previously expressed here on this blog, the Genticorum boys are awesome, and this was the only album of theirs that I didn’t have yet!
Bought at Le Pays de la Sagouine in New Brunswick:
- On y va!!! by Reveil, so that I could do a proper comparison of Acadian music with Quebecois! This was one of the albums recommended to me by the nice lady at the shop who was encouraging when I stumbled my way through explaining, in French, that “J’aime la musique traditionelle” and “J’apprends un peu francais!”
Bought from O’Brien’s Music while Dara and I were wandering around St. John’s on the 2nd:
- Dance and Sing, by the Navigators. Because they’d been recommended and I can’t get them on the US iTunes store!
- The self-titled The Forgotten Bouzouki, which appears to be about Greek bouzouki music, not Irish, but it’s important to be in touch with where the bouzouki originally came from! Plus the album looked potentially awesome.
- The Eastern Light, by the Dardanelles. Who were already on my radar as recommended, so I was going to buy them anyway–but I was all the more glad I did after they put on a hell of a show at the festival in St. John’s! Important side note: this album DOES appear to be available on the US iTunes store, for those of you who don’t actually live in Newfoundland and/or can’t order it from O’Brien’s!
Bought from Fred’s Records while Dara and I were wandering around St. John’s on the 2nd:
- Live at O’Reilly’s Vol. 1, by Shanneyganock. These guys were already on my radar, but this particular album came recommended, so I nabbed it while I had the chance!
- What a Time!, by Ryan’s Fancy. This is a double-album, forty-year retrospective look at Ryan’s Fancy, who have of course also already been on my radar as a seminal influence for Great Big Sea. Looking forward to giving this one a listen, quite a bit!
Bought on George Street:
- Rise Again: Volume 1, by the Irish Descendants. Nabbed this one after Dara and I were having dinner on George Street last night in a pub called Kelly’s, where we stumbled across an unexpected solo act by Con O’Brien of the Irish Descendants! MAN, that gent can sing, and he was quite amiable to me and Dara when we came up to chat and get the album!
Nabbed from the Fred’s table at the NFLD folk festival:
- The self-titled A Crowd of Bold Sharemen, because Fergus O’Byrne from this group led a participatory workshop that Dara participated in, and he closed it off with a damn fine rendition of “General Taylor”.
- Mosaïk, by Vishtèn. Because people keep telling me I need to listen to this group, and since they showed up at the festival and gave an excellent workshop on Acadian (chair-based) step-dancing, and then gave an excellent concert, and well, YEAH.
Things I have NOT yet observed in Quebecois music
As a followup to my previous post, I would also now like to present to you this list of things I have not yet observed in Quebecois music, but which I’d pay good money to hear. Or commission. I’m just SAYIN’. ;)
- Bouzouki players. Because who says the violin players get to have all the fun in these songs? Yes, I know, the Irish bouzouki is a modern instrument. But this only goes to prove my point that if we wish to have bouzouki players appearing in the lyrics of songs that’ll be sung in a couple more hundred years, clearly we must start writing them NOW. Hell, if I can pull an entire novel with a bouzouki player in a lead role out of my brain, surely somebody out there can whip up a song or two about a bouzouki player and his or her general awesomeness!
- Zombies. Because I have the following now stuck in my head:
Dans la ville de Seattle
Il y a une zombie fille
Gris comme la poussière
Traînante dans le sommeil
Il y a trois capitaines
Elle veut manger leurs cerveauxI blame this on the Charbonniers’ excellent “Dans la ville de Paris”, the first complete Quebecois song I have learned how to sing. (NOT the first French song–that honor belongs to “Trois Navires de Ble”!) Because I mean, damn, the girl’s trying to get her dad’s attention after three days of being stuck in a tomb? What ELSE is she about to do but eat his brains, I ask you?
Also, I blame it on my general obsession with zombies, but as you know, Internets, I AM a giant nerd. - On the general theme of ‘galant, tu perds ton temps’, I wish to see queer belles who, after blowing off the nearest capitaines who are trying ever so hard to get their attention, promptly snog each other.
- On the flip side of the previous, a couple of capitaines snogging each other wouldn’t go amiss, either!
- And speaking of Galant Tu Perds Ton Temps, While I am 99.99 percent certain that those girls are not actually singing about “Monsieur Pants” in the song “Les promesses du galant” (which actually queues up if you go and visit their website, if you want to hear what I’m talking about), I now totally want to hear a song all about Monsieur Pants. claimed to me that he must surely be a Quebecois folk hero, renowned for traveling the province and donating his pants to needy belles. Or perhaps at least ATTEMPTING to donate his pants to allegedly needy belles who then proceed to laugh themselves silly about his outrageous pants, which seems rather more in keeping with the entire actual genre. That this is not a song that exists makes me sad, Internets!
- I have yet to see a song about a barista refusing the advances of overcaffeinated computer geeks. But then, that may be a song that’ll work way better in Seattle.
- Another song that’ll work way better if set in Seattle: a ditty about my marketboys. But then, I probably better still write that one, when I build up enough French! It’ll work something like:
What will you sell me, boys of the market?
What will you sell me, handsome boys?
(Fill in a name here) sells me oranges(…. and you keep adding in a new line for a new boy every verse!)
(New name) sells me bananas
(New name) sells me apples
And (new name) sells me the berries, the red red berries, the red red berries of May
Yeah. :)
The things I learn from Quebecois music
I’ve been having great fun, O Internets, learning that yeah, Quebecois trad is pretty much only a skip over from Celtic trad in general when it comes to the overall themes that show up in the songs. As I have frequently joked, the themes of Celtic music are Whiskey, Sex, and Death, and a lot of that applies to Quebec trad as well–though you could make a decent case for Religion also being a theme of the genre, in this case, and for swapping out Whiskey for Wine!
With that in mind, I have been taking note of overall character archetypes and themes I’ve spotted in songs I’ve been trying to translate, or which I have been learning off of translated lyrics from various bands’ websites or from lyrics wikis. I present for your amusement and edification the following things I have spotted in Quebecois trad music:
People:
Band members (inserting themselves into their own songs)
Belles (sleeping)
Belles (waking up)
Belles (who are daughters of rich fathers, and pretending to be daughters of the town executioner)
Belles (who want their lovers to murder their mothers)
Belle (who really seriously want their parents to BACK OFF ALREADY when it comes to their chosen galants)
Belles (with unfortunate choices in galants who do not clue in when they’re supposed to making with the snogging)
Dragons (who are actually human soldiers as opposed to mythical giant lizards)
Fishermen (who have issues with their boats tipping over)
Galants (who may or may not be wasting their time trying to win the affections of les belles)
Galants (who are kind of thick-headed when it comes to seeing opportunities to snog their belles in the woods)
Husbands (who lament the scolding of their wives)
Innkeepers (who have issues with their tables not having enough legs)
Knights (transformed into dragons by cranky witches)
Lawyers (who belles do not for the love of GOD want to marry, except their fathers are pressuring them into it)
Mothers (who somehow manage to be concerned about their sons even after being murdered and having their hearts removed, Edgar Allan Poe much?)
Parents (cranky about their daughters accepting the affections of unsuitable galants)
Parents (anxious about the chosen dangerous professions of their sons)
Priests (pursued by women)
Priests (pursuing women)
Priests (who are actually disguised gallants)
Princesses (who are doleful about their knights getting transformed into dragons)
Roofers (who have issues with falling off of roofs)
Shepherdesses (cranky about the shooting of their ducks)
Soldiers (successfully wooing belles)
Soldiers (NOT successful at wooing belles)
Sons of kings (who make shepherdesses cranky for shooting their ducks)
Vintners (who are very bad at making wine)
Vintners’ assistants (who are very GOOD at making wine)
Violin players (who are preferred lovers, not that there’s any bias in that song or anything)
Witches (going around transforming nice young knights into dragons, I mean, the NERVE of some people)
Wives (cranky about their husbands drinking too much, messing around with other women, or both of the above)
Wives (who are not terribly good at household chores, and trust me, you don’t want to know what this one girl wound up doing to her cat)
Wives (who want to poison their husbands)
Animals:
Blue Jays
Cats
Dogs
Dragons (who are actually transformed knights)
Ducks (STILL not sure what the heck they were doing next to the wedding bed in that song)
Hawks
Horses
Nightingales (singing)
Partridges
Pigeons
Robins
Snow Geese
Locations:
Bedrooms (in which locale the activity of the song ought to be obvious)
Churches (in which priests are frequently pursued and/or pursuing, or which young lovers are illicitly meeting)
Inns (all SORTS of shenanigans going on in inns)
Kitchens (more shenanigans)
Mills (yet more shenanigans, lots of mills in these songs)
Woods (oh my yes with the shenanigans)
Things:
Boats
Bottles (generally presumed to be containing wine)
Food
Guns
Poison
Swords
Violins
One week and counting down to the Great Canadian Adventure!
PEOPLE OF ATLANTIC CANADA AND QUEBEC! There are but seven scant days until 
solarbird
We are looking very, very forward to meeting up with cowframlingemlyonessescrunchionslethendy
Internets, I AM EXCITE! Almost as much for the chance to see Les Charbonniers de l’Enfer as I am Great Big Sea, really–because this’ll very likely be my only shot to see the Charbonniers, and did I mention the part where HOLY CRAP THOSE MEN CAN SING? And did I also mention the buying of French Canadian SF/F, and of tasty maple sugar products (I am informed that maple sugar ice cream is a thing that exists and THIS MUST BE SAMPLED IT IS REQUIRED), and of taking the Haunted Hike tour through downtown St. John’s (research opportunity WOO!), and of going to the Duke of Duckworth pub, renowned to me in song and story and Twitter updates?
Save us some bagels and Growers cider! We’ll be there next week!