CHANTS D'AUVERGNE A SINGER'S GUIDE TO AUVERGNAT PRONUNCIATION - ELIZABETH BRODOVITCH LORI MCCANN - ELIZABETH ...
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©2021 Elizabeth Brodovitch and Lori McCann
Chants d’Auvergne
A Singer’s Guide
To Auvergnat Pronunciation
Elizabeth Lori
Brodovitch McCanniv
Table of Contents
©2021 Elizabeth Brodovitch and Lori McCann
Acknowledgments ................................................................................................................ iii
Introduction............................................................................................................................. 1
The Manual ......................................................................................................................... 1
Auvergne and the Chants d’Auvergne .................................................................................... 3
The Region of Auvergne .................................................................................................... 3
Joseph Canteloube and the Chants d’Auvergne.................................................................. 4
The Auvergnat Dialect ........................................................................................................ 5
Inconsistencies of Dialect Text Transcription in the Heugel Scores .................................. 6
Phonetic Transcriptions of the Chants d’Auvergne ............................................................ 6
Chart of Auvergnat Sounds .................................................................................................... 9
Special Features of Auvergnat .............................................................................................. 17
Diacritical Marks .............................................................................................................. 17
Tonic Stress ...................................................................................................................... 18
Vowels .............................................................................................................................. 18
Consonants ........................................................................................................................ 23
Additional Features of Auvergnat .................................................................................... 32
Singing in Auvergnat ........................................................................................................ 33
The Songs ............................................................................................................................. 37
Cast of Characters ............................................................................................................. 38
Preparing the Songs: To the Singer .................................................................................. 39
Series One ......................................................................................................................... 41
La pastoura als camps .................................................................................................. 41
Baïlèro .......................................................................................................................... 45
L’aïo dè rotso................................................................................................................ 50
Ound’onorèn gorda? .................................................................................................... 53
Obal, din lou Limouzi ................................................................................................... 56
Series Two ........................................................................................................................ 59
Pastourelle .................................................................................................................... 59
L’Antouèno ................................................................................................................... 64
La pastrouletta è lou chibalié ....................................................................................... 67
La delaïssádo ................................................................................................................ 71v
N’aï pas iéu de mîo ....................................................................................................... 74
Lo calhé ........................................................................................................................ 78
©2021 Elizabeth Brodovitch and Lori McCann
Series Three ...................................................................................................................... 82
Lo fiolairé ..................................................................................................................... 82
Passo pel prat (Grande) ............................................................................................... 86
Lou boussu .................................................................................................................... 89
Brezairola ..................................................................................................................... 93
Malurous qu’o uno fenno.............................................................................................. 97
Series Four ...................................................................................................................... 100
Jou l’pount d’o Mirabel .............................................................................................. 100
Oï ayaï ........................................................................................................................ 102
Pour l’enfant ............................................................................................................... 107
Chut, chut .................................................................................................................... 110
Pastorale ..................................................................................................................... 114
Lou Coucut.................................................................................................................. 120
Series Five ...................................................................................................................... 124
Obal, din lo coumbèlo................................................................................................. 124
Quand z’eyro petitoune............................................................................................... 128
Hé! Beyla-z-y dau fé ................................................................................................... 132
Postouro, sé tu m’aymo .............................................................................................. 137
Tè, l’co, tè! .................................................................................................................. 142
Uno jionto postouro .................................................................................................... 145
Lou diziou bé............................................................................................................... 149
Appendix A: Vocabulary .................................................................................................... 155
Appendix B: Songs by Category ........................................................................................ 170
Appendix C: Canteloube’s Pronunciation Notes ................................................................ 175
Bibliography ....................................................................................................................... 17617
Special Features of Auvergnat
©2021 Elizabeth Brodovitch and Lori McCann
Diacritical Marks
Canteloube’s transcriptions include acute, grave, dieresis, and circumflex diacritical marks over
vowels. Cedilla diacritical mark appears under consonant ç. Accent marks over vowels signal
pronunciation and/or stress (longer vowel duration) in consecutive vowel combinations.
Acute accent over e signals close [e]: gaïré ['ɡa:iɾe]. Grave accent signals open [ɛ]: tènio
[tɛn 'jɔ].
Acute and grave diacritical marks over e in consecutive vowel combinations indicate both
vowel stress and pronunciation, generally as open [ɛ]: sèï [s̻ ɛ:i], batèu [ba 'tɛ:u]. Occasionally, a
word appears with both accents in the same song: iéu [je:u], ièu [jɛ:u], suggesting the influence
of vocalic harmonization. See Contradictory Use of E Acute and Grave Accent Marks.
Acute or grave accent marks over a and o indicate vowel stress in consecutive vowel
combinations. The accent marks make no difference to pronunciation: tráu [tɾa:u], tàul [ta:ul],
louón [lwɔn], comiò [kɔ 'mjɔ].
Dieresis ï signals i pronunciation as a short, unstressed final vowel of diphthongs or
triphthongs: aïmé [a:i 'me], fièïro ['fjɛ:iɾɔ], fèdoï ['fɛdɔ:i].
Circumflex î / ï̂ signals vowel stress: rîou [ɾi:u], poï̂ s [pɔ 'is̻ ]. Circumflex ô signals vowel
pronunciation: baô [ba:o]. Circumflex accent does not appear over e in the Chants d’Auvergne
texts as with French ê.
Additional Discussion: In his pronunciation instructions, included in the opening
pages of the Heugel editions, Canteloube uses circumflex accent to indicate vowel
stress: “...au (âou), iu (îou), eu (êou), ou (ôou).” However, in the scores he uses
only acute and grave diacritical marks for letter e where, for example, ieu appears
as iéu or ièu but never as iêu.
Acute accent over letter u appears in a single song (Pastorale, Series 4, Song 5): sú [ɕy], oúrilhas
[ɔ:u 'ɾiʎa(s̻ )], claú [kla:u]. The examples suggest typographical inconsistency as
ourilhas/oúrilhas spellings both appear in the song, and claú/tráu appear in the same verse line.
Sú appears as su in all other songs. See OU, ÓU, OÚ, Additional Discussion.
Canteloube’s diacritical marks, while not always consistently applied, distinguish
Auvergnat vowel pronunciation from French: Auvergnat aï [a:i], French ai [ɛ]; Auvergnat
áu [a:u], French au [o]; Auvergnat oï [ɔ:i], French oi [wa], etc.
For Canteloube’s use of c cedilla (ç), see Auvergnat Consonant Palatalization and
C, CE, Ç.9
Chart of Auvergnat Sounds
The following chart lists the letters of Auvergnat in alphabetical order. Refer to this chart to
©2021 Elizabeth Brodovitch and Lori McCann
check the sound of a spelling. Five phonetic symbols are marked with an asterisk (*) and are
discussed in the Special Features section. Parentheses in phonetic transcriptions indicate
optional pronunciation. Note that in this Chart of Auvergnat Sounds, only the spellings
occurring in the Chants d’Auvergne song texts—in initial, medial, and final position—are
listed.
LETTER SPELLING IPA POSITION IN WORD EXAMPLE IPA
a [a] stressed: initial, medial, as, baco ['as̻ ] ['ba kɔ]
a final coupa [ku 'pa]
a [a] [ɔ] unstressed: pre-tonic, pastoura [pa 's̻ tu ɾa]
final [pɔ 's̻ tu ɾɔ]
ai, aï [aːi] diphthong pècairé [pɛ 'kaːi ɾe]
gaïré ['ɡaːi ɾe]
aô [a o] two syllables aôbré ['aːo bɾe]
au, áu [aːu] diphthong auro, tráu ['aːu ɾɔ] [tɾa:u]
àu, aú tàul, claú [ta:ul] [kla:u]
ay [aːi] diphthong daysso ['daːi s̻ ɔ]
aou [aːu] diphthong Aoubèrgno [aːu 'bɛɾ ɲo]
b b [b] initial, medial bèïré ['bɛːi ɾe]
aôbré ['aːo bɾe]
c [k] initial, medial coucut [ku 'kyt]
c before a, o, ou, u, l, r
c [(k)] final: silent or minimal bonc [bɔŋ(k)]
c [s̻ ] before e: see s cendré ['s̻ en dɾe]
[ɕ] palatal esh*: [ʃʲ]
çi [ɕ] palatal esh: see s çirca [ɕiɾ 'ka]
çi [ʃ] [s̻ ] variants çirca [ʃiɾ 'ka] [s̻ iɾ 'ka]
ç [s̻ ] before o garçon [ɡaɾ 's̻ ɔ(n)]
ch [ʧ] before i, e chibalié [ʧi ba 'lje]56
Song 3c. Over There in the Limousin County
Over there in Limousin, little lady, if there are pretty girls, there are pretty girls here as well, yes
©2021 Elizabeth Brodovitch and Lori McCann
indeedy.
My fine fellow, as gorgeous as the girls may be on your side of the world, our lovers in Limousin
are way better; they really know how to sweet-talk a girl.
Over there in Limousin, missy, for sure you have some charming fellows. But around here in
Auvergne, where I come from, we men know how to love you—and are faithful into the bargain!
Obal, din lou Limouzi [ɔ 'bal din lu limu 'ʑi]
v.1
Obal din lou Limouzi, pitchoun’ Là-bas, dans le Limousin, petite,
[ɔ 'bal din lu limu 'ʑi pi 'ʧun]
Over there in the Limousin little girl
Sé l’io dè dzèntoï drolloï, S’il y a de jolies filles [là-bas],
[s̻ e ljɔ dɛ 'dz̻ ɛntɔ:i 'dɾɔlɔ:i]
If there are some pretty girls
O bé, o bé, Ah oui, ah oui,
[ɔ be ɔ be]
Oh indeed oh indeed
Oïçi to bé! Ici aussi bien!
[ɔ:i 'ɕi tɔ be]
Here likewise
v.2
“Golon, ton bèlo què siascou “Galant, aussi jolies que soient
[ɡɔ 'lɔ(n/ŋ) tɔm 'bɛlɔ kɛ 'ɕas̻ ku]
Fine fellow as beautiful that may be
Lèï drolloï dè toun poï̂ s, Les filles de ton pays,
[lɛ:i 'dɾɔlɔ:i dɛ tum pɔ 'i(s̻ )]
The girls of your country
Lous nostrès fringaïrès Les amoureux de chez nous
[lus̻ 'nɔs̻ tɾɛ(s̻ ) fɾiŋ 'ɡa:iɾɛz̻ ]
The our lovers57
Èn Limouzi, En Limousin,
[ɛn limu 'ʑi]
In Limousin
Saboun miliour counta flourèt’, Savent mieux conter fleurette,
['s̻ abu(m) mi 'ljuɾ 'kunta flu 'ɾɛt]
Know how better to tell sweet nothings
O bé! Ah oui!
[ɔ be]
Oh indeed
v.3
“Obal, din lou Limouzi, pitchouno, “Là-bas dans le Limousin, petite,
[ɔ 'bal din lu limu 'ʑi pi 'ʧunɔ]
Over there in the Limousin little girl
Sé soun golon/s, [C’est vrai qu]’ils sont galants,
[s̻ e s̻ uŋ ɡɔ 'lɔ(n/ŋ)(s̻ )]
If they are gallant
Oïçi èn Aoubèrgno, Ici en Auvergne,
[ɔ:i 'ɕi ɛn a:u 'bɛɾɲɔ]
Here in Auvergne
Din moun poï̂ s, Dans mon pays,
[dim mum pɔ 'i(s̻ )]
In my country
Lous omès bous aïmoun Les hommes vous aiment,
[luz̻ 'ɔmɛ(s̻ ) buz̻ 'a:imu(n)]
The men you they love
È soun fidèls! Et ils sont fidèles!
[ɛ s̻ un fi 'dɛl(s̻ )]
And are faithful
PRONUNCIATION NOTES
1. poï̂ s: circumflex accent over ï indicates vowel stress: [pɔ 'i(s̻ )].
2. saboun, aïmoun: marked as optional, final n of third-person plural verbs (they know, they
love) may be silent: ['s̻ a bu(n)], ['a:imu(n)]. Pronounce final n of soun (they are): [s̻ un].58
3. golon: in verse two, noun golon may stand alone as a form of address: [ɡɔ 'lɔ(n/ŋ)]. The
slight pause created will add interpretive emphasis as the young woman opens her
©2021 Elizabeth Brodovitch and Lori McCann
dialogue with the caller. Or, for an easier legato, the singer may choose to elide dental n
to following t: golon, ton bèlo [ɡɔ 'lɔn‿tɔm 'bɛlɔ].
4. Auvergnat s/z: are marked as laminal [s̻ ] and laminal [z̻ ]. See Special Features, S and Z.
5. lous: pronounce final s of plural definite article lous (the): Hearing the article’s final s
tells the listener that the following adjective or noun is plural, as often their final s is not
pronounced: [lus̻ 'nɔs̻ tɾɛ(s̻ )].
6. nostrès, fidèls, golons: marked as optional [(s̻ )], pronounce final s of plural nouns and
adjectives, as well as singular noun poï̂ s, minimally or not at all: [fi 'dɛl(s̻ )], [pɔ 'i(s̻ )].
7. lous omès, bous aïmoun, fringaïrès èn: pronounce final s in liaison before a, e, o, or ou
as [z̻ ]: [luz̻ ‿'ɔmɛ(s̻ ) buz̻ ‿'a:imu(n)], [fɾiŋ 'ɡa:iɾɛz̻ ‿ɛn].
8. Limouzi: pronounce intervocalic z before i or u as palatal ezh [ʑ] ([ʒʲ]): [limu 'ʑi] =
[limu 'ʒʲi]. Singers will hear [z] on recordings: [limu 'zi]. See Special Features,
Intervocalic Palatal Z-Ezh and Palatal S-Esh for pronunciation notes. Access online
recordings of palatal ezh [ʑ] and and palatal esh [ɕ] with keywords IPA-Audio.
9. siascou, oiçi: pronounce s and ç before i as palatal esh [ɕ], ([ʃ ʲ]): ['ɕas̻ ku] =
['ʃ ʲas̻ ku], [ɔ:i 'ɕi] = [ɔ:i 'ʃ ʲi]. Singers will hear [s] on recordings: ['sjasku], [ɔ:i 'si].
See Note 8.
TEXT NOTES
1. pitchoun’, pitchouno: refers to a girl. The masculine version is pitchoun.
2. golon: carries the somewhat old-fashioned sense of gallant or swain or beau.
3. flourèt’: Auvergnat flouretà (French fleurette [singular], propos galants, English
gallantries) describes the flowery courtesies to ladies artfully practised by prospective
lovers.
4. fringaïrès: lovers or big talkers, show-offs.
5. As in the preceding bourrée, sing full vowel duration of all final syllables in each verse to
match the final emphatic beats of the dance: È soun fi dèls!
MUSICAL NOTES
In the third bourrée of this set, Canteloube continues to employ the quarter-eighth pulsating
figure in the lower instruments and to write appealing solo interludes which clearly imitate
bagpipe figures. As in the second bourrée, brass and full orchestra join in for a final outburst at
the end of the song. These two bourrées are very similar in phrase structure and setting. For
further notes on the Auvergnat bourrée and Canteloube’s arrangement of this set of three bourrée
dances, see L’aïo dè rotso, Song 3a, Musical Notes.155
Appendix A: Vocabulary
©2021 Elizabeth Brodovitch and Lori McCann
Unless otherwise cited, the Grand dictionnaire général auvergnat-français, edited by Karl-Heinz Reichel, remains
the principal source. Additional sources, cited by their editors’ names, include dictionaries or glossaries compiled by
Barthe, Béronie, Bonnaud, Levy, and Smith and Bergin. On-line sources include Glosbe, Mon Occitània, OccitaNet
(citing Bonnaud), panOccitan, Verbix.
Songs are identified by Series and Series’ song number: for example, “4-2” refers to Series 4, Song 2. For
frequently-used words such as é (and), one song source is cited, followed by etc. Abbreviations include masc.
(masculine), fem. (feminine), sing. (singular), plur. (plural), inf. (infinitive), p.p. (past participle).
French translations are italicized, as is additional Auvergnat vocabulary. Choices of English and French pronouns
(she/he/it, elle/il/on, etc.) correspond as closely as possible to the context of each song.
Unlike French infinitives which end in r or re (chanter, bâtir, prendre), final r generally does not appear in
dictionary listings of Auvergnat infinitives (chantâ, bastï, prene).
Narrative tense (also called the simple past or literary tense) refers to verb conjugations used in story telling and
literary writing for descriptions of past actions and states of being, now completed.
Subjunctive tense (may, could) indicates possible situations where the outcome is uncertain.
a: she has, elle a, 5-4, present, Reichel inf. aveire
a: you have, tu as, 1-2, present, see as
aï: I have, j’ai, 1-2, 2-1, 2-4, 2-5a, 3-1, 4-2, 4-4, 4-5, present
aio, aïo: water, eau, 1-2, 1-3a, 2-1, 4-5
aïo dè rotso: clear spring water, eau de source, 1-3a
aïma: to love, to like, aimer, 1-3b, Reichel inf. amâ
aïmábo: he was loving, liking, il aimait, 2-4, imperfect
aïmaro: she will love, like, elle aimera, 1-3a, future
aïmé: I love, like, j’aime, 2-4, present
aïmèssé: would or might love, like, aimasse, 2-5a, imperfect subjunctive narrative tense
aïmoun: they love, like, ils aiment, 1-3c, present
al: at the, au, 1-3b, 2-4
amos: souls, âmes, 5-1
amour, amours: love(s), amour(s), 2-1, 5-2
amourous: lovers, amoureux, 2-5a, 5-1
an: to, à, 5-4
ana: to go, aller, 2-3, 2-5a, Reichel inf. anâ, see ona
aôbré: tree, arbre, 1-1
(m’)appelavoun: they named (me), ils (m’)appelaient, 5-2, imperfect, Levy inf. apela
aquèl: this, this one, ce, celui, 5-4, masc. demonstrative adjective/relative pronoun, see oquèl
aquèlo: this, this one, cette, celle, 2-4, fem. demonstrative adjective/relative pronoun, see oquèlo
arcados: arches, arcades, 2-1
arresto: stop, arrête, 5-6, imperative, Reichel inf. arestâ
as: it is, il est, 2-5b, Reichel inf. esse, see ès
as: you have, tu as, 4-5, 5-8, see a
atso: here, there, ici, là, voilà, 3-4, 5-6, Reichel atï, atse170
Appendix B: Songs by Category
©2021 Elizabeth Brodovitch and Lori McCann
Baïlèros (Calling Songs)
• Baïlèro (Shepherd’s Song) Series 1, Song 2
4/4 (quarter = 66) Bb Major
Calme et contemplative: Calm and contemplative
Calling song between shepherdess and shepherd across a river
Most famous of all the Chants d’Auvergne
• L’Antouèno (Song For Antoine) Series 2, Song 2
4/4 (quarter = 60) Bb Major
Rude et sonore: Rough and resounding
Comic calling song
• Pastorale (Country Scene) Series 4, Song 5
4/4 (quarter = 72) B Major
Modéré, mais pas trop: Moderate, but not too much
Like Baïlèro (Series 1, Song 1) and including the Baïlèro, lèro, lèro! refrain
• Là-haut, sur le rocher (Up there on the High Rock) Series 5, Song 3
3/4 (quarter = 60) Ab Major
Modéré et trés expressif: Moderate and very expressive
The only song of the collection in French
Bourrées (Dances)
Trois Bourrées (Three Bourrées) Series 1, Songs 3a, 3b, 3c
• L’aïo dè rotso (Water from the Spring) Song 3a
2/4 (quarter = 88) G Major
Assez animé: Rather lively
Fast tempo and very popular with multiple versions in French folk song literature
Instrumental link with extended oboe solo: Lent et très libre: Slow and very freely,
then Vif et rythmé: Lively and rhythmic.
• Ound’onoren Gorda? (Where Shall We Go?) Song 3b
3/8 (dotted quarter = 66) A Major
Vif: Lively, bright
Orchestra imitates the cabrette (local bagpipe)
Instrumental link with extended clarinet solo: Lent et très libre: Slow and very freely,
then Vif et très libre: Lively and very freely176
Bibliography
Books and Journals
© 2021 Elizabeth Brodovitch & Lori McCann
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