03/13/25

L’Alouette chanta le jour (Mon père m’y marie)

Song Title: L’Alouette chanta le jour                            Source: Frémeaux & Associés (Canada)

Strophe Rhyme Line Text Translation
A a 1 Mon père m’y marie avec un marchand de velours (bis) My father married me with a velvet merchant 
a (s) 2 Le premier jour de mes noces, ils m’ont joué un vilain tour The first day of my marriage, they played a nasty trick on me 
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 2 Le premier jour de mes noces, ils m’ont joué un vilain tour (bis) The first day of my marriage, they played a nasty trick on me 
a (s) 4 Je ne fus pas si tôt couchée, que l’alouette chanta le jour I did not go to bed so early, that the lark sang during the day;
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 5 Disait en son langage, lève toi car il est jour (bis) Said in his language, get up for it is day
a (r) 6 Faut il donc qu’une jeune mariée s’y lève avant le petit jour  Should a young bride therefore gets up there before dawn
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 7 Faut-il qu’une jeune mariée s’y lève avant le petit jour (bis) Is it only necessary to have a bride if he gets up before the dawn
a (s) 8 Y’a du monde à la boutique qui veut marchander le velours  There are people at the store who wants to bargain for velvet
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 9 Le diable emporte la boutique et les marchands de velours (bis) The devil takes away the store and the velvet merchants
c 10 Les blancs chevaux de chez mon père, ils sont bien mieux soignés que moé  My father’s white horses, they are much better cared for than me
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette
A a 11 Ils ont du foin d’l’avoine un coup d’étrille chaque jours (bis) They have oat hay one brush per day; 
a (r) 12 Et moi qui suis jeune mariée, faut m’y lever avant le jour  And I, who am a young bride, I have to get up before daybreak
b 3 O gué lon la Vive la roulette, gué lon la Vive la roulette Hurray for roulette

Song type: Chanson en laisse

Performers: Le Trio Lyrique; a vocal & piano group formed in 1932, members are baritone Lionel Daunais, contralto Anna Malenfant, tenor Ludovic Huot, pianist & arranger Allan McIver

Notes: This version performed by Le Trio Lyrique was recorded in Montreal, February 16, 1947. This song was from a compilation of folk songs that are entirely orally transmitted, but the author of these songs are unknown. The songs from Quebec have origins in Brittany and Normandy, but eventually got modified during transmission, according to regions and the time so some song titles are bound to change. Examples include “Mon Père m’y marie” and its variants: “Le Marchand de velours”, “L’Alouette chanta le jour”, and “Gai lon la, vire la roulette”. Even though the title and some text were altered, it still shares the same theme. English translation was done using an online dictionary and the help of Google Translate.

Instrumentation: woodwinds, strings & 3 voices

Rhyme scheme: It’s mostly monorhyme with each strophe consisting of the aaab rhyme pattern, except for 5th strophe/stanza which is more aacb.

Rhyme type: suffisante with the ou+r combination for strophes 1, 2, and 4; then riche with j+ou+r combinations for strophes 3 and 6.

Context: marriage

Narrative: The text is on the story of a bride from the day she gets married off by her father to living the first day as a newlywed with a velvet merchant (“marchand de velours”) and she complains she wasn’t treated well to her expectations and very dissatisfied. She even compares herself to her father’s horse in her treatment and how even a horse gets a better treatment than her.

Lyrics retrieved from:

Suggested sources:

03/13/25

Fur Trade

Fur Trade: A Key Canadian History

[3] The fur trade has played a critical role in shaping Canada’s history, beginning in the early 1600s and stretching over nearly 250 years. This busy trade involved primarily European traders, mainly the French and British, who worked closely with Indigenous peoples. The Indigenous communities were essential to making the trade successful. The soaring demand for beaver pelts drove explorers further into the heart of the Canadian wilderness, paving the way for new trading routes and settlements. What’s fascinating about the fur trade is how it promoted strong economic relationships between Indigenous and European communities, sparking cultural exchanges that influenced both sides.  In addition, music played a key role for traders to express their culture and for Indigenous peoples to come together [2].

Indigenous Women in the Fur Trade

[1] Indigenous women were essential to the success and sustainability of the fur trade. Their contributions went far beyond just managing the household; they were critical to both survival and commerce. These women took on critical tasks, such as making clothing, preserving food, and creating valuable trade goods, all of which helped their families and trading partners thrive. One important aspect of their involvement was through what’s known as mariage à la façon du pays, or “marriage according to the custom of the country.” These marriages promoted connections that allowed European traders to access Indigenous resources and social networks, which were key to successful transactions. These unions weren’t just formal agreements; they brought families together, established mutual support, and nurtured relationships across cultures. The dynamics of power in these partnerships were quite remarkable. Indigenous women wielded major influence and were adept at negotiating deals that benefited their communities. They ensured their perspectives were considered in trade discussions. Acting as cultural bridges, these women not only reinforced family bonds but also played a crucial role in shaping the fur trade and its impact on Canadian society.

Trade Goods and Cultural Exchange

The fur trade was an exchange between European traders and Indigenous peoples, deeply shaping cultural interactions. Key items like iron axes, flintlock muskets, and glass beads played major roles. Iron axes changed how Indigenous communities made tools and processed wood, while glass beads became popular decorations. These goods weren’t just materials; they represented new tech that made daily tasks easier. Reciprocity was at the core of these trade relationships, with both sides adapting to fit each other’s needs. Indigenous peoples often welcomed European goods, changing their practices and economies in the process. As competition heated up between French and English traders, their strategies evolved. The French built on existing Indigenous trade networks, while the English, represented by the Hudson’s Bay Company, aimed to establish direct access through trading posts. So, the fur trade wasn’t just about economics; it sparked a rich cultural exchange [4].

Music’s Role in the Fur Trade

[4] Music played an essential role in the fur trade, acting not just as a source of entertainment but also as a way for both traders and Indigenous peoples to express their culture. It created a unique space where diverse groups could come together, promoting social bonds that crossed cultural lines. A standout song from this time is “The Red River Valley,” [2] which beautifully captures the feelings and experiences of those involved in the fur trade. Dating back to the mid-19th century, the song touches on themes of love and longing, striking a chord with those who had to leave the lively trading center at Red River. The lyrics often reflect the connections built between Indigenous communities and European settlers, displaying how music can weave together shared stories and emotions of both joy and sorrow amidst the complexities of trading life.

References

[2] Daniel Robert Laxer. Listening to the Fur Trade. McGill-Queen’s Press – MQUP, 2022.

[3] Foster, John, and William Eccles. “Fur Trade | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 23 July 2013, www.thecanadianencyclopedia.ca/en/article/fur-trade. Accessed 4 Mar. 2025.

[4] Inouye, Frank T., and Harold A. Innis. “The Fur Trade in Canada.” Ethnohistory, vol. 4, no. 4, 1957, p. 465, https://doi.org/10.2307/480329.

[1] Kenyon, Walter. “Trade Goods: Indigenous Peoples | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 7 Feb. 2006, www.thecanadianencyclopedia.ca/en/article/indian-trade-goods. Accessed 4 Mar. 2025.

Related Sources

Glover, Fred. “Fur Trade in Canada (Plain-Language Summary) | the Canadian Encyclopedia.” The Canadian Encyclopedia, 15 Jan. 2020, www.thecanadianencyclopedia.ca/en/article/fur-trade-in-canada-plain-language-summary. Accessed 4 Mar. 2025.

Berthelette, Scott. “Women and the Fur Trade | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 30 Jan. 2023, www.thecanadianencyclopedia.ca/en/article/women-and-the-fur-trade. Accessed 4 Mar. 2025.

Suggested Sources

[2a]YouTube Recording of Red River Valley (2014): https://www.youtube.com/watch?v=hrCK_EVjcZ0

[2b]YouTube Lyric Video of Red River Valley (2019): https://www.youtube.com/watch?v=MFgKB5p8F7U

03/13/25

Parlez-nous à boire

Song title: Parlez nous à boire — The Balfa Brothers

A song in the film Southern Comfort (1981)

Strophe Rhyme Line Text
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés 
B b 3 Si que tu te maries avec une jolie fille 
b 4 T’es dans les grands dangers, ça va te la voler 
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés
B b 5 Si que tu te maries avec une vilaine fille 
b 6 T’es dans les grands dangers, faudra tu fais ta vie avec
A a 1 Oh parlez-nous à boire, non pas du marriage 
b 2 Toujours en regrettant, nos jolis temps passés 
Interlude
A a 1 Oh parlez-nous à boire, non pas du marriage 
b 2 Toujours en regrettant, nos jolis temps passés 
B c 7 Si que tu te maries avec une fille bien pauvre
d 8 T’es dans les grands dangers, faudra travailler tout la vie
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés
B e 9 Si que tu te maries avec une fille qu’a de quoi
f 10 T’es dans les grands dangers, tu vas attraper des grands reproches
C g 11 Fameux, toi grand vaurien, qu’a tout gaspillé mon bien 
g 11 Fameux, toi grand vaurien, qu’a tout gaspillé mon bien
A a 1 Oh parlez-nous à boire, non pas du marriage
b 2 Toujours en regrettant, nos jolis temps passés

 

Style: Cajun French Music

Type: Enumerative

Narrative: A song telling people to drink and not get married. Because no matter what kind of girls you marry, you are in great danger.

Translation:

Oh parlez-nous à boire, non pas du marriage

Oh, let’s talk about drinking and not about marriage

Toujours en regrettant, nos jolis temps passés

Always regretting our pretty time past

Si que tu te maries, avec une jolie fille,

If you marry a pretty girl,

T’es dans les grands dangers, ça va te la voler.

You’re in great danger, someone’s going to steal her.

Refrain

Si que tu te maries avec une vilaine fille 

If you marry an ugly girl,

T’es dans les grands dangers, faudra tu fais ta vie avec 

You’re in great danger, you’ll have to live with her

Refrain

Si que tu te maries avec une fille bien pauvre 

If you marry a very poor girl,

T’es dans les grands dangers, faudra travailler tout la vie 

You’re in great danger, you’ll have to work all your life.

Refrain

Si que tu te maries avec une fille qu’a de quoi 

If you marry a rich girl,

T’es dans les grands dangers, tu vas attraper des grands reproches 

You’re in great danger, you’ll get great reproaches

Fameux, toi grand vaurien, qu’a tout gaspillé mon bien (bis)

Damned you, great good-for-nothing, you spilled all my possessions. (twice)

Source:

03/13/25

La chanson de la Grenouillère

Song title: La Chanson de la Grenouillère

Source: Recording from The Canadian Museum of History

Strophe Rhyme Line Text
A a 1 Voulez vous écouter chanter, Une chanson de verité
b 2 Dix-neuf des gens d’arrière,
B a 3 là-bande des bois brûlés sont arrivés
c 4 comme des bravieri.
C d 6 En arrivant de la gare nordière,
e 7 nous avons pris trois prisonniers.
D f 8 J’avance armée, Puis quittons son armée
f 9 Deux sur la bande, Quatre ou cinq sont sauvés.
g 10 Les gouverneurs qui s’écroient l’Empereur,
g 11 ils l’attagisent avec rigueur
h 12 Les gouverneurs qui l’étaient enragés,
h 13 elles détachaient les soldats tirés.
E i 14 Le premier coup,
g 15 c’est l’Anglais que a tiré l’ambassadeur.
j 16 Il a menté tué.
k 17 Si vous avez vu ces Anglais, des tous ces bois brûlés après,
B l 18 de bête en bête, les Anglais tuent vite les bois brûlés
m 19 en chantant des cris des joies.
D n 20 Il a composé la chanson
n 21 Pierre et Falcon, ce bon garçon
A o 23 À l’altifète que composé, chantons la gloire
p 24 que nous avons gagné.
B o 25 À l’altifète qui compose, sur la victoire
p 24 que nous avons gagné.

Note: I used any2text.com to transcribe this song as I cannot understand French and was not able to find the lyrics online.

*I am not confident about the strophes labelling here nor some of the lyrics as I know AI isn’t too accurate

 

English Translation from here: Lyrics Source (also cited in suggested sources)

Would you care to hear sung  

A song of truth? 

Last June 19th,  

The band of Bois-brûlés arrived — 

A band of brave warriors. 

  

When we got to la Grenouillère, 

We took three prisoners. 

We had surrounded  

Almost all of their army below the hill; 

Only four or five of them escaped.    

  

The governor, imagining himself an emperor, 

Responded harshly. 

The governor, filled with rage, 

Told his soldiers — Fire! 

The first shot  

Was fired by the English. Our ambassador,  

Was nearly killed. 

  

You should have seen the English  

And all the Bois-brûlés chasing them!  

From hill to hill,  

The English fell. The Bois-brûlés 

Shouted for joy!    

  

Who composed this song?  

Good old Pierriche Falcon!  

It was written  

And composed to sing of the glory  

That was ours. 

It was written  

And composed to sing of the victory  

That was ours

Commentary

1 “La Chanson de la Grenouillère,” or “The Song of Frog Plain,” goes beyond a catchy tune—it’s a powerful ballad with deep historical roots, crafted by Métis poet and Northwest Company clerk Pierre Falcon (1793–1876). This song pays tribute to the Métis victory at the Battle of Seven Oaks on June 19, 1816, which stands as a key moment in Métis history. Falcon’s song is an early celebration of Métis identity and strength, displaying their resilience in the face of adversity. The lyrics vividly recount the battle, emphasizing the courage of the Métis fighters and the strategic blunders of their opponents. One of the emphasizes in the song is how the Métis outmaneuvered the enemy, eventually leading to their major victory.

1 The Battle of Seven Oaks happened during a time of rising tension between the Hudson’s Bay Company (HBC) and the Northwest Company (NWC), both vying for dominance in the fur trade around the Red River Valley. The Métis, who were allied with the NWC, were frustrated with the HBC’s restrictive practices that threatened their livelihoods and way of life. When the dust settled at Seven Oaks, the HBC had lost 21 men, including Governor Robert Semple, while the Métis faced only minor losses.

Right from the start, the song invites listeners to tune in to a “song of truth,” promising an authentic retelling of the battle. The Métis warriors, fondly called “Bois-Brûlés,” are depicted as heroic and clever, making tactical moves to capture prisoners and outflank their foes. In contrast, the governor is portrayed as a bit of a braggart, thinking of himself as an emperor, which proves to be a costly mistake. This portrayal really drives home the song’s message about Métis unity and their determination to resist outside control. The song’s lyrics radiate bravery and defiance, detailing the courage displayed by the Métis in the face of violent confrontations. For instance, the line “le premier coup, c’est l’Anglais qui a tiré l’ambassadeur,” which translates to “the first shot is the English who shot the ambassador,” captures an important moment in their fight for survival and rights. This imagery paints a vivid picture of the physical battles while also simplifying psychological impacts of conflict on the Métis community.

2 “La Chanson de la Grenouillère” is typically sung in a folk style that reflects the oral traditions of the Métis culture. You’ll often hear it sung a cappella or possibly accompanied by simple instruments like the fiddle or guitar—both of which are essential to Métis musical heritage. The melody is lively and rhythmic, making it perfect for community gatherings where singing and dancing unite people and strengthen their bonds.

Related Sources

Cass-Beggs, Barbara. Seven Metis Songs of Saskatchewan. 2025. BMI Canada Limited, 1967, pp. 5–26.

Chartrand, Margaret, and Denise Ménard. “Pierre Falcon.” Www.thecanadianencyclopedia.ca, 21 Feb. 2008, www.thecanadianencyclopedia.ca/en/article/pierre-falcon. Accessed 12 Mar. 2025.

Giroux, Monique. “Singing for Frog Plain.” Ethnologies, vol. 37, no. 1, May 2017, pp. 43–64, https://doi.org/10.7202/1039655ar. Accessed 12 Mar. 2025.

Ingraham, Mary I., and Robert C. Rival. Reflections on Malcolm Forsyth. 2025. University of Alberta, 2019, pp. 49–77.

Suggested Sources

Canadian Museum of History. “La Chanson de La Grenouillère.” Teachers’ Zone | Canadian Museum of History, 1957, www.historymuseum.ca/teachers-zone/think-like-a-historian-working-with-primary-source-evidence/audio/la-chanson-de-la-grenouillere/. Accessed 12 Mar. 2025.

References

  1. Barkwell, Lawrence. “Bataille de La Grenouillère | l’Encyclopédie Canadienne.” Www.thecanadianencyclopedia.ca, 7 Feb. 2006, www.thecanadianencyclopedia.ca/fr/article/seven-oaks-incident-de. Accessed 12 Mar. 2025.
  2. Canadian Geographic. “Music and Dance.” Indigenouspeoplesatlasofcanada.ca, 25 Sept. 2018, indigenouspeoplesatlasofcanada.ca/article/music-and-dance/. Accessed 12 Mar. 2025.
  3. Canadian Geographic. Indigenous Peoples Atlas of Canada. 2025. Canadian Geographic, 2018.
  4. Wright, Heather. “La Dernière Bataille de La Grenouillère – Histoire Canada.” Histoirecanada.ca, 1 Jan. 2019, www.histoirecanada.ca/consulter/paix-et-conflit/la-derniere-bataille-de-la-grenouillere. Accessed 12 Mar. 2025.
03/13/25

Pagayez

Strophe Rhyme Line Text
A a 1 Pagayez chers camarades, pagayez
a 2 Encore loin pour faire la fin de la journée
b 3 J’suis voyageur des eaux et coureur des bois
b 4 Depuis l’nord Manitoba aux Illinois
A’ c* 5 J’connais toutes les rivières, tous les ruisseaux*
c* 6 Depuis l’île d’Orléans, jusqu’à la terre haute*
B 7 Courir, courir, courir, courir, courir dans l’bois
8 Aussi longtemps, aussi longtemps, aussi longtemps
A d 9 Dans la ville de Montréal, y a une belle brune
d 10 À laquelle je donnerais toute ma fortune
e 11 Elle a les yeux couleur du fond d’un lac glacé
e 12 C’est en bas ses couvertures, j’veux me réchauffer
A f* 13 Si j’avais un dernier souhait, pour toute ma vie*
f* 14 Je d’manderais à la pleine lune nous réunir*
g 15 Avec sa lumière, faire une corde pour attacher
g 16 Ce grand bois avec le coin de son foyer
B 7 Courir, courir, courir, courir, courir dans l’bois
8 Aussi longtemps, aussi longtemps, aussi longtemps
A i 17 Allez mes braves, allons se mettre sur le chemin
i 18 Faudra pas qu’l’hiver vienne nous prendre avant la St-Quantin
j 19 Si la tempête nous attrape pas, je ferai un vœu
j 20 De passer le mois de janvier auprès de son feu
A’ k 21 Allez mes braves, allez amis, allons, allez
k 2 Encore loin pour faire la fin de la journée

Artist: Zachary Richard (b. 1950)

Rhyme scheme: rimes plates

*These rhymes are based on the singer’s pronunciation of the words. “Ruisseaux” rhymes with the pronounced “hau” and “vie” rhymes with the pronounced “réuni”.

Rhyme type: pauvres

Context: This is not a folk song, but speaks of themes related to the lives of voyageurs and coureurs du bois.

Narrative: The song is about a group of voyageurs who are paddling along a body of water. One of them sings about a woman he misses who lives in Montreal. He wishes they could be reunited. The voyageurs continue their journey, attempting to beat a winter storm before they can stop paddling for the day.

Musical/Stylistic Elements: Many elements in this contemporary song evoke ties to the voyageurs and their folk music.

In the second couplet (Dans la ville de Montreal), a chorus of men begin to interject with the main singer, singing “Hé,hé,hé”. This sound in particular is very ingrained as belonging to voyageur culture (the slogan for Winnipeg’s Festival du voyageur, for example, is “Hé, ho!”).

Another element that enriches the narrative of the story is in the opening seconds. A woman sings/speaks, and, while I am not 100% sure, I believe these are Indigenous words. The union the voyageur sings of, would then be between a European man and an Indigenous woman, something that was common and led to the birth of the Metis identity.

The instrumentation very clearly belongs to the rock genre. I hear guitars, bass, and drums along with the aforementioned backup singers.

Suggested sources:

Related Contents:

  • Radio-Canada, ed. “D’où Vient Le ‘Hé Ho!’?” Ici Manitoba, February 16, 2019. https://ici.radio-canada.ca/nouvelle/1153321/festival-voyageur-louis-boys.

Related links:

Les voyageurs

Zachary Richard

Translation 

Paddle dear friends, paddle

Still further to go before we can end our day

I’m a voyageur of the waters and a coureur des bois
From the north of Manitoba to Illinois

I know all the rivers, all the streams

From L’Île d’Orléans, to the highlands

Run, run, run, run, run in the woods

For as long, for as long, for as long

In the city of Montreal, there’s a beautiful brunette
To whom I would give all my fortune

She has eyes the colour of the bottom of a frozen lake
Her blankets are downstairs, I want to warm up

If I had one last wish, for all my life

I’d ask the full moon to reunite us

With its light, I’d make a rope to join

These large woods with the corner of her house

Run, run, run, run, run in the woods

For as long, for as long, for as long

Go my brave ones, let’s get back on the trail

We don’t want winter to reach us before St-Quantin

If the storm doesn’t catch us, I’ll make a wish

To spend the month of January by her fire

Go my brave ones, go my friends, let’s go, go

Still further to go before we can end our day

03/13/25

Marcel Bénéteau

Marcel Bénéteau fait revivre la musique traditionnelleMarcel Bénéteau is a retired associate professor in the Department of Folklore and Ethnology of French North America at the University of Sudbury, a bilingual post-secondary institution in the North of Ontario. He was born outside Windsor, Ontario, in the small community of River Canard (French: Rivière-aux-Canards). This area is home to one of North America’s oldest continuously inhabited French communities. In the 18th century, French-speaking settlers from France and Québec came to this area to build a strategic fur-trading post, Fort Detroit (see Les voyageurs). Later, in the 19th century, more Québecois joined the town, and, in the present day, the two Francophone communities remain somewhat culturally distinct. Bénéteau’s mother’s side of the family is descended from the so-called Fort Detroit French.

Bénéteau’s primary research focus is on the history and culture of French settlers in the Detroit region. His career began as a musician when he was approached by a Radio-Canada producer, Paulette Richer, who encouraged him to sing folk songs in French. At that time, the French folk song repertoire mainly comprised songs from Québec. Inspired by efforts in the Maritimes to revive Acadian folk songs, Bénéteau made it his mission to rediscover the folklore of the Detroit region, completing a Master’s in Folklore Studies at Laval University.

He has collected over 2,000 folk songs from the Detroit region, a mission which he considers a race against time as the people who know these songs tend to be older. He has recorded numerous albums of these songs (see example below). He has often claimed that folk songs enable us to discover a way of speaking and telling stories in a French that has been linguistically preserved.

Suggested listening:
“La vie des matelots.” YouTube. Accessed February 28th, 2025. https://www.youtube.com/watch?v=3eaeLiUClVk.

Suggested Sources:
“Marcel Bénéteau: Notice Biographique.” Presses de l’Université de Laval. Accessed February 28th, 2025. https://www.pulaval.com/autrices-et-auteurs/marcel-beneteau#:~:text=Marcel%20B%C3%A9n%C3%A9teau%20est%20professeur%20agr%C3%A9g%C3%A9,de%20la%20r%C3%A9gion%20du%20D%C3%A9troit.
“50 ans de CBEF: les souvenirs de Marcel Bénéteau, l’animateur.” Radio-Canada Ohdio. Accessed February 28th, 2025. https://ici.radio-canada.ca/ohdio/premiere/emissions/matins-sans-frontieres/segments/entrevue/172488/marcel-beneteau-ancien-animateur-agro-mag-cbef-insecurite-linguistique.
Longobardi, Constance. “Marcel Bénéteau fait revivre la musique traditionnelle.” l-express.ca. Accessed February 28th, 2025. https://l-express.ca/marcel-beneteau-fait-revivre-la-musique-traditionnelle/.
“Folk Music.” Voyageur Heritage: Community Journal & Resource Guide. Accessed February 28th, 2025. https://voyageurheritage.wordpress.com/music/.

Related links:
Detroit
Les voyageurs

03/13/25

L’Aumône refusée

Link: On Canvas (no online copy)

Lyrics from Liner notes to CD (via Discogs)

Song title: L’Aumône refusée

Source: Marcel Bénéteau, À la table de mes amis (2000)

 

Strophe Rhyme Line Text Translation
1 a 1 Père et mère qu’élevez des enfants, (bis) O father and mother who raise children,
b 2 Corrigez-les dans leur jeune âge. (bis) Correct them at a young age.
a (p) 3 Pour moi j’ai bien élevé les miens, (bis) As for me, I’ve raised mine well,
c 4 Tout doucement, comme un bon père. (bis) Very gently, like a good father.
2 d 5 Chez mon fils bourgeois j’été, (bis) I went to my gentleman son’s house,
a 6 Pour le lui demander l’aumône. (bis) To ask him for alms.
d (p) 7 La table était tout bien garnie, (bis) The table was laid out really well,
e 8 Garnie de tartes et de pâté-es. (bis) Laid out with pies and pastries.
3 f 9 Héla! Grand Dieu, qui est ceci, (bis) Alas! Great God, who is this,
g 10 Qui est toujours rendu à ma porte? (bis) Who is always coming to my door?
c 11 Mon bon bourgeois, c’est votre père, (bis) My good gentleman, it’s your father,
a 12 Qui vient vous demander l’aumône. (bis) Who comes to ask you for alms.
4 f 13 Qu’on l’ôte ces pâtés-là d’ici, (bis) Take these very pastries away from here,
h 14 Qu’on mettre le pain dessus la table. (bis) Put the bread on top of the table.
a 15a Qu’on lui donne un morceau de pain  Give him a piece of bread,
a 15b Qu’on lui donne tout comme un chien.  Give it to him like a dog.
g 16 Par dessour la sol de la porte. (bis) Below the threshold of the door.
5 d 17 Quand c’ le bonhomme fut retiré, (bis) When the good man had left,
h 18 Ils ont mis les pâtés sur la table. (bis) They put the pastries on the table.
d (p) 19 Le premier qu’il a entammé, (bis) As he was beginning the first one,
i 20 Un crapaud lui saute au visage. (bis) A toad jumped into his face.
6 f 21 Héla! Grand Dieu, qui est ceci (bis) Alas! Great God, who is this
i 22 Qui me déchire tout le visage? (bis) Who’s tearing off my face?
j 23 C’est une pénitence de Dieu, (bis) It’s a penance from God,
c 24 Pour avoir envoyé votre père. (bis) For sending off your father.
7 f 25 Vite, Saint Malcom, allez me le qu’ri, (bis) Quickly, Holy Malcolm, go get him,
c 26 Vite, pour aller chercher mon père. (bis) Quickly, to go and get my father.
d 27 Quand c’ le bonhomme fut arrivé, (bis) When the good man had arrived,
k 28 Trouva son fils réduit en cendres. (bis) He found his son reduced to ashes.

 

Notes on the text: According to the liner notes, this is a Medieval song preserved in about a dozen versions throughout Quebec and Acadia; this version comes from Stella Meloche in Detroit, who learned it from her uncle.

 

Type: Strophic, narrative, ethical fable

 

Context: Perhaps could be sung at a soirée or other family gathering, considering it extols the value of hosting? Bénéteau’s presentation of the album might also suggest this.

 

Narrative: 

Begins with an exhortation to parents in the first strophe; the next 6 illustrate a fable of a poor father and his well-to-do son. When the father comes to ask for some help and finds his son’s table already set with a decadent meal, the son acts annoyed and hides his food, slipping his father bread beneath the door ‘like a dog.’ As the son sits down to enjoy his pastry, a toad jumps onto his face and begins to destroy him; he sends for his father, but it’s already too late – by the time his father arrives, he’s reduced to ‘cendres!’

While the fun narrative is probably the focus here (the song lasts nearly 6 minutes), there is certainly an ethical element to it – the values of hospitality, sharing what you have, and family are all extolled. There’s also a theological element; the son takes God’s name in vain (not cool!) and ends up being stricken down by God for his complacency. Interestingly, I couldn’t find any ‘Saint Malcom’ in the Roman martyrology; perhaps this is a unique feature of the story, but as the only named character in the plot, I would expect there to be some context for this mention.

The text is generally not rhyming (with some exceptions in the beginning) and is repeated throughout – I think this heightens the tension of the narrative. Bénéteau also builds further tension with instrumental interludes between key plot developments, and a regular but surprisingly nonmetrical rhythm.

Information on Bénéteau himself is rather scarce; what I can find is that he’s a professor in Sudbury of Franco-American studies, and has catalogued thousands of Francophone songs from the Detroit region.

This song is performed in a more intimate, narrative style. Instrumentation includes guitar, Bénéteau’s voice, a background fiddle, jaw harp at the end, and what sounds like a mandolin, but they don’t all play at once. The emphasis is definitely on the text and the narrative; even the mastering of the recording brings this out.

 

The music deserves a bit of analysis as well, because of the interesting nonmetrical rhythmic scheme:

I think this could either be read as a sort of elided 6/8, or simply as groups of 2 and 3 pulses. The latter idea could be supported considering the musicians were familiar with Gregorian chant, only I’m not sure whether the idea of subdividing Gregorian chant into 2 and 3-pulse groups would predate the composition of this song. Either way, the rhythms ensure the music flows very nicely and the repetition never gets lugubrious, which is remarkable for a text this long.

02/13/25

Le ciel se marrie avec la mer (translation)

[Couplet 1]

La mer a mis sa robe verte

The sea has put on her green dress

Et le ciel bleu son œillet blanc

And the blue sky his white carnation

Elle a voulu être coquette

She wanted to be flirtatious

Pour dire au ciel en s’éveillant

To tell the sky when you awaken

 

[Refrain]

N’oublie pas mon cœur, ni la fleur, ni le jonc

Don’t forget my heart, neither the flower nor the bulrush

N’oublie pas surtout que demain nous nous marierons

Above all, don’t forget that tomorrow we will get married

 

[Couplet 2]

Les pieds dans les sables des dunes

Feet in the sand of the dunes

Je les ai vus qui s’embrassaient

I saw them kissing

À l’ombre des joncs des lagunes

In the shade of the bulrushes of the lagoon 

Et puis la mer qui lui disait

And then the sea said to him

 

[Refrain]

N’oublie pas mon cœur, ni la fleur, ni le jonc

Don’t forget my heart, neither the flower nor the bulrush

N’oublie pas surtout que demain nous nous marierons

Above all, don’t forget that tomorrow we will get married

 

[Couplet 3]

Une fleur à la boutonnière

A flower in the buttonhole

Le lendemain se mariait

The next day they got married

Le ciel au bras de la mer fière

The sky in the arms of the proud sea

D’avoir du soleil en bouquet

To have a bouquet of sunshine

 

[Outro]

Il y avait leurs cœurs et les fleurs et le jonc

It had their hearts and the flowers and the bulrush

Chaque jour depuis mille fois, revit cette chanson

Every day since, a thousand times, reliving this song.

02/9/25

La poulette grise

Song title: C’est La Poulette Grise      Source: https://www.youtube.com/watch?v=L2n6uRii3og

Strophe Rhyme Line Text
A a 1 C’est la poulette grise
  a 2 Qui a pondu dans l’église
B b 3 Elle a pondu un petit coco
  c 4 Pour son petit qui va faire dodiche
  b 5 Elle a pondu un petit coco
  b 6 Pour son petit qui va faire dodo
  b 7 Dodiche, dodo
C d 8 C’est la poulette noire
  d 9 Qui a pondu dans l’armoire
B b 10 Elle a pondu un petit coco
  a 11 Pour son petit qui va faire dodiche
  b 12 Elle a pondu un petit coco
  b 13 Pour son petit qui va faire dodo
  b 14 Dodiche, dodo
D e 15 C’est la poulette blanche
  e 16 Qui a pondu dans la grange
B b 17 Elle a pondu un petit coco
  c 18 Pour son petit qui va faire dodiche
  b 19 Elle a pondu un petit coco
  b 20 Pour son petit qui va faire dodo
  b 21 Dodiche, dodo
E f 22 C’est la poulette brune
  f 23 Qui a pondu sur la lune
B b 24 Elle a pondu un petit coco
  c 25 Pour son petit qui va faire dodiche
  b 26 Elle a pondu un petit coco
  b 27 Pour son petit qui va faire dodo
  b 28 Dodiche, dodo Dodiche, dodo

 

02/5/25

Gossip

Written by: Lisa Leblanc

Gossip
Toutes les matins
Quand les portes rouvrent
Gossip
Mettre mes belles hardes
Prendre une tite drive
Gossip
Rain or shine
Top shape ou malade
Gossip

Ah ah, ça pas d’allure
Ah ah, ça pas d’allure
Ah ah, ça pas d’allure
Tu y’as-tu vu l’allure? Tu y’as-tu vu l’allure?
Well, Sainte-Bénite, on aura toute vu
Ah, ah, ah, ben ça se peut tu?
As-tu vu ci, as-tu vu ça?
Savais-tu pour ci?
Savais-tu pour ça?

Gossip
As-tu su pour chouse?
Y’est rendu au foyer
Gossip
A l’est pas méchante
A l’est juste tannante
Gossip
Y’a pogné son orignal
Y’était fou comme d’la marde
Gossip
Gossip

Ah ah, ça pas d’allure
Ah ah, ça pas d’allure
Ah ah, ça pas d’allure
Tu y’as-tu vu l’allure? Tu y’as-tu vu l’allure?
Well, Sainte-Bénite, on aura toute vu
Ah, ah, ah, ben ça se peut tu?
As-tu vu ci, as-tu vu ça?
Savais-tu pour ci?
Savais-tu pour ça?

Gossip

Le connais-tu?
C’est le cousin à la mère
À la tante à ton père
C’est la mère adoptive
Au boyfriend à la cousine de ton oncle
La connais-tu ?
C’est Lucille à Prosper
À Edmond à Thérèse
Le connais-tu?
C’est Euclide à Fernand
À Yvette à Bruno

(Gossip)
À qui la fille?
J’l’ai jamais vu icitte
(Gossip)
Par chance qui est fin
Parce que y’est laid comme un pou
(Gossip)
Y sont laissés
A pouvait pu le stander
(Gossip)
Le bon djeu le veut pas
Pi le djab non plus
Le bon djeu la veut pas
Pi le djab non plus

Gossip
J’vas au Tim Hortons pour savoir
Quoi-ce qu’est la gossip
Un café doub doub avec 3 timbits
Gossip
Gossip
J’veux savoir la gossip

Source: https://lyrics.lyricfind.com/lyrics/lisa-leblanc-gossip