Browsing Tag

quebecois music

I’m a raving fangirl for Quebecois traditional music, and have had the great pleasure of meeting several musicians who perform in the genre. I’m also learning to play a bunch of the tunes in the Quebecois trad repertoire. I post a lot about all of this, and this tag is for those posts!

Music

Quebecois tunes now in my sights

One of the big intimidating things for me as a newbie to Quebec tunes is that there are so! goddamn! many! of them–a problem equally applicable to Irish/Celtic tunes in general, but I’m growing to appreciate the sheer number of tunes available to an interested student!

And thanks to being pointed recently at this beautiful repository of tunes goodness and a few other fine links as well, I’ve now happily ID’d an initial lineup of tunes I can focus on. These are ones that I have confirmed recordings for, mostly–a LOT of La Bottine Souriante, but also some Genticorum, some De Temps Antan, and even Le Vent du Nord!

These tunes are:

  • Gigue a Trois–this is a Le Vent du Nord tune, by M. Demers! \0/
  • Gigue André Alain–a.k.a. 6/8 de André Alain, this is the first of the two that Alexandre of Genticorum taught me! Including it here for completeness
  • Gigue du Diamante Bleu–Alexandre mentioned this one when he was trying to remember what Gigue du Père Mathias was called. So clearly I must investigate whether it’s similar!
  • Gigue du Père Mathias–And this is the other one that Alexandre taught me! This one’s fun! Also including for completeness since I’ve played with this one already.
  • Hommage à Philippe Bruneau–La Bottine recorded this one! But I’ve found two different PDFs of this, and they appear to be two different tunes. I need to determine which one is actually the one that La Bottine recorded.
  • Jigue/Gigue de Salon–on the grounds that Pascale Gemme of Genticorum wrote it! Don’t have a recording, I think, unless it’s uncredited in one of the instrumental sets on the Genticorum albums.
  • Le brandy–La Bottine recorded this one, and if the mighty La Bottine recorded it, it requires my undivided attention.
  • Le Chat Noir–This has Andre Brunet and Éric Beaudry’s names on it on the Montreal Session site, to wit, category Highly Relevant to My Interests!
  • Le pommeau 1–Alexandre wrote this one! Genticorum recorded it on La Bibournoise.
  • Le reel des menteries–Written by Normand Miron, who I know of course from the Charbonniers. I have a couple different recordings which should have this tune in them.
  • Les Patins de Pauline–By Andre Marchand, recorded by La Bottine Souriante recorded on Chic & Swell. And, well, you don’t get more venerable than M. Marchand, I think…
  • Nuit sauvage–… unless perhaps you are Michel Bordeleau! Again, recorded by La Bottine!
  • Reel au relenti–By the aforementioned M. Brunet! No recording, but for M. Brunet, I make an exception.
  • Reel de Caribou–We’ve played this in session! Though I need to determine which of the conflicting PDFs I have is more like what we’ve played.
  • Reel de la tuque bleue–Recorded by Les Frères Labri.
  • Reel de Siamois–Again, Andre Marchand! Recording on Le Bruit Court dans la ville.
  • Reel des vieux garçons–Must check this against the same recording as Reel de Siamois; same as first tune on that recording?
  • Sheepskin and Beeswax–BEST LA BOTTINE EVER! \0/ This gets played in our session crowd, and it was played when Genticorum was here last year, and oh gods this one is awesome. Recorded on La Mistrine as well as the opening “Ouverture” track on La Bottine’s live album En spectacle.
  • The Woodchopper’s Reel–I think this is in our session repertoire!
  • Valse Bernadette–Another La Bottine, on Tout comme au jour de l’an.
  • Valse d’hiver–Yet another La Bottine, on La traversée de l’Atlantique.
  • Violon guérisseur–Genticorum! \0/ This is on the most excellent Nagez Rameurs.
  • Reel du Pendu–The last of the La Bottines I’m targeting! Again, conflicting PDFs, must match up against my recordings!

This, I think, should keep me happily occupied for months. SO EXCITING! And hopefully also stomp-inducing, because oh my yes I’m going to see if I can get footwork going on these things while I’m playing!

February 11, 2013 by
Music

Some shinies from Memoire et Racines!

Collecting these all in one place so I can refer back to them later!

Y’all remember how I was gushing about getting to go to Memoire et Racines last summer, right? Well, I’ve had the delight of finding several videos from the show–a couple from a performance that Dara and I actually saw, and a few more of a performance we didn’t.

Videos behind the fold!

Continue Reading

February 6, 2013 by
About Me

Demandez, et vous irez recevrez!

As y’all know, O Internets, I am a big raving fangirl for Quebecois trad music. I am also NOT a native French speaker. And one of the points of vexation of being a fangirl for a genre of music sung in a language I do not properly speak (YET!) is that I desperately, desperately want to sing along with these eminently catchy ditties. Quebec trad is hugely singable–that’s one of the big things I love about it–and participatory as well. The vast majority of the songs are set up in a call-and-response structure, so you can’t help but sing along with them. At least, if you’re me!

But I can’t in fact properly sing along with a lot of the songs yet, because I can’t make head or tail of song lyrics just by listening, not yet. So it helps immensely for me to see written-out lyrics for songs I’m interested in. If I see the words, my brain is better able to understand them as words while I’m listening to the songs. I’ve set lyrics on a lot of the songs in my collection in iTunes, just so that when I listen to them on my phone during my commute, I can look at the lyrics on the screen while I’m listening.

Which means of course that I have to have the lyrics at hand to begin with.

Now, Le Vent du Nord is very, very good about posting not only French lyrics for their songs on their their Bandcamp site (go! GO LISTEN! RIGHT NOW!), but English translations as well. Actual understanding of French, I find, is optional when enjoying Quebec trad–but because I am in fact me, my language geekery is engaged. I can’t properly appreciate this music if I don’t understand the words. Plus I just love languages; I mean, I’m a writer. Words are what I do.

But not all of the bands I’m following have lyrics so readily available. In which case I need to start consulting liner notes of the albums I have physical copies for–such as all of the albums by Genticorum, about whom I have enthused before, and who are arguably now my second favorite Quebec band. <3 Last night I was transcribing lyrics of a few of their songs out of the liner notes for their album Le galarneau, only to discover that aw, crapweasels, a couple of the lines in “Les parties de Grégoire” were not actually included in the notes!

AUGH, I said. Now, with all this listening I’ve been doing to Quebec music, my ear is improving. But I’m still not to the point yet of being able to pick out more than a word or two at a time in unfamiliar lyrics. I recognized “boire” at the end of one line in question, but damned if I could make out the rest, aside from being half-sure that the first word in that line was either “tant” or “quand”.

Google Fu failed me. So it was time to invoke drastic measures: asking the band!

However, this was very easy as I follow all three of the Genticorum boys on Facebook, and one of them even supported my Faerie Blood Kickstarter, and so he very quickly filled me on the line I was missing: “T’en iras-tu sans boire?” Which means, “Will you leave without drinking?”

Language geekery engaged as I realized that “t’en” sounded a lot like “tant” to my ear–and moreover, it took me a few minutes to realize that this sentence had an unfamiliar verb construction in it! “Iras”, I realized, was the future tense, second person informal for “aller”. But there’s that sneaky “t’en” in there too. So I looked up “en aller” on french.about.com and was immediately rewarded with this super-helpful page describing the five verbs in French that mean “to leave”.

Four of these were already familiar to me, since I’d gotten them as vocabulary words in SuperMemo. But I’d been having trouble distinguishing between them, in no small part because SuperMemo gives all its spoken definitions in French, and I hadn’t managed to distinguish the various examples by ear yet. But I hadn’t gotten “s’en aller”! So this page was a huge boon to helping these verbs all suddenly make sense to me.

In conclusion: Quebecois trad music, fun and linguistically educational!

Also, go buy Genticorum’s latest record. Because they’re all excellent musicians and awesome people. Tell them I sent you!

AND OH HEY! For bonus giggles, this YouTube video over here shows a different band performing the same song. This has four additional verses at the beginning that Genticorum’s recorded version lacks, but you can definitely hear the “t’en iras-tu sans boire?” line in there!

January 31, 2013 by
Music

And now, in praise of supremely awesome people

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:

Oh Dear I Think My Screen Just Got a Little Blurry *^_^*;;

Oh Dear I Think My Screen Just Got a Little Blurry *^_^*;;

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. 😀 )

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:

Le soleil dessus l'eau

Le soleil dessus l’eau

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.

November 13, 2012 by
Music

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’!)

October 8, 2012 by
Music

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 )

October 3, 2012 by