Source: Bray, Telfer & Wuensch. 1986. Reflections of Canada (Volume 2). Used with permission of The Frederick Harris Music Company, Limited. All rights reserved.
Text and English Equivalent for Un Canadien Errant

French	English
1. Un Canadien errant, banni de ses foyers, Parcourait en pleurant des pays étrangers.	1.Once a Canadian lad, exiled from life and home, Walked in a foreign land, tearful and so alone.
2. Un jour triste, triste et pensif, assis au bord des flots, Au courant fugitif il adressa ces mots:	2.Down by a river wide, he spent so many days, The water rushing by heard him proclaim this phrase:
3. "Si tu vois mon pays, mon pays malheureux, Va, dis à mes amis que je me souviens d’eux.	3. "If you reach Canada, my home and native land, Please speak to all my friends, so they will understand.
4. O jours si pleins d’appas vous êtes disparus, Et ma patrie, hélas! Je ne la verrai plus!	4.Happy days of my youth, gone are they ever more, My country’s far away, I shall not see its shore.
5. Non, mais en expirant, O mon cher Canada! Mon regard languissant ver toi se portera."	5.Canada, my dear land, as I in exile lie, My thoughts will be of you until the day I die."

Teaching-Learning Experiences for Section Two

Un Canadien Errant
SSA/SAT arrangement by Nancy Telfer appears in
Reflections of Canada (Volume 2)
published by Frederick Harris Music Co. Limited.
This folk song has been arranged for SA voicing by Kenneth Bray,
in Reflections of Canada (Volume 1)
also published by Frederick Harris Music Co. Limited.
An SATB arrangement by Howard Cable is published by
Gordon V. Thompson Limited (E.I. 1060).
Objectives
(Refer to page 41.)
1. Develop an ability to pronounce and understand French. (Interpretation/Appreciation/Decision Making)
2. Develop an understanding for the term sotto voce. (Musical Literacy)
3. Develop an understanding of the musical terminology used by the arranger to indicate tempo changes (andante sostenuto, accel., rall., moderato, ten. and poco accel.) and dynamic shadings (pp, p, mp, mf, f, ff). (Musical Literacy) (C)
4. Research Nancy Telfer. (IL)
5. Research the origins of Un Canadien Errant. (Interpretation/Appreciation/Decision Making) (IL)
Preparatory Exercises

1. Sing on solfa syllables/numbers. Transpose up to Ab, A, Bb, B and C.
Undisplayed Graphic

2. Sing on solfa syllables/numbers. Transpose up to Ab, A, Bb, B and C.
Undisplayed Graphic

Creative/Productive

1. Introduce the material in this order:

melody on a neutral syllable
melody in French
as written (three parts).

2. Provide the students with a model (teacher/student) of the desired French pronunciation and inflection.
3. The second six-measure phrase is identical to the first six measures. Have students compose an alternative second phrase which is stylistically compatible with this folk song. Have them perform their version for their classmates.
Cultural/Historical

1. Research Nancy Telfer.
Nancy Telfer is an Ontario composer who specializes in the field of choral music. Her experience as a music educator in the public schools is evident in her skilful settings for youth choirs. Since turning to full-time musical composition in 1979 she has written over 170 works. Telfer is in demand as a judge and adjudicator and has conducted many workshops on Canadian -choral repertoire.
Encyclopedia of Music in Canada (Second Edition), University of Toronto Press.
2. Research the origins of Un Canadien Errant.
"A French-Canadian student, M.A. Gerin-Lajoie, composed Un Canadien Errant shortly after the unsuccessful rebellion of 1837-38 in Lower Canada. Many of the rebels had fled to the United States to avoid being tried and killed or being shipped off to Van Diemen's Land (now Tasmania). Life was especially difficult for the exiles who were on the American side of the St. Lawerence River: Canada was so close, yet so far away!" (p. 34)
Source: Bray, Telfer, & Wuensch. 1986. Reflections of Canada (Volume 2), The Frederick Harris Music Company, Limited. Reprinted with permission.
Critical/Responsive

1. Videotape various students conducting the last three measures. Analyse the degree to which the student conductors have achieved a unified and aesthetically pleasing ritardando.
2. Analyse a videotape of your choir's performance of this piece with a view to assessing the degree to which the expressive intent of the composition is being portrayed to the audience.