FAQ

Vocalic Harmonization in French Singing

Published on January 17, 2021 by Nathalie Doucet4 Comments

What is Vocalic Harmonization?

Maybe you have heard this term before, or perhaps it is new to you. When I coach people for the first time, it always seems like they are familiar with Vocalic Harmonization, but they are not sure how to use it. It is a term used in linguistics when applying the rhyming of closely related vowels in the same or words that follow each other. It is also known as “vowel harmony”. The practice of vocalic harmonization is most often used in the French vocal repertoire for linguistic refinement and ease of vocal production. Most frequently in French singing, we harmonize [ɛ] with [e] and [œ] with [ø]

For example: “aimer” [ɛˈme] becomes [eˈme] or Heureux [œˈrø] becomes [øˈrø]

As you can see in the examples above, the unstressed, open vowel-sound closes to rhyme with the following stressed, closed vowel, not the opposite. Remember, it is the final syllable that is stressed in French, except when that syllable is a schwa-sound [ə] because a schwa can never be stressed. In this case it is the syllable before the schwa that gets the stress.

les, tes, ses, mes, ces…

the possibility of vocalic harmonization also exists in closing the [ɛ] in short words such as les, tes, ces, etc. (these are articles or possessive adjectives). When a closed vowel immediately follows these, they can be closed to an [e].

For example: les étés [lɛz‿eˈte] would become [lez‿eˈte]

The article “les” is harmonized to the closed [e] in “étés”

These harmonized syllables must never be accented or overly closed, and at times they only are slightly closed on the way to their closed neighboring vowel-sound, and over-closing the harmonized vowel can result in obscuring the text. The idea is that it should feel natural and sound authentic since vocalic harmonization occurs in everyday speech but not deliberately. Many native French speakers do not even realize that they are doing this.

Some French words are almost always harmonized. For example, the following words would have all open vowels in the first syllable if we followed the diction rules, but they are sung and spoken with vocalic harmonization:

aimer (to love) [ɛˈme] becomes [eˈme]
baiser (to kiss) [bɛˈze] becomes [beˈze]
heureux (or heureuse) (happy) [œˈrø] becomes [øˈrø]

Vowel harmonization should not be systematic. It is a completely optional choice left to the singer. In cases where it can help the legato line, it is recommended to harmonize the vowels as sometimes it is easier to get through a phrase with fewer vowel changes.

For example:

Let’s take a look at “Lydia” by Fauré. In this text we find this line: “Laisse tes baisers de colombe”

The “tes baisers” can be sung as all closed [e] but the “laisse”” remains an open [ɛ] because the vowel following it is not a closed vowel.

[lɛsə tɛ bɛˈze] becomes [lɛsə te bɛeze]

Speak it out loud both ways and see the difference for yourself.

I would also go further and say if you have an article or possessive adjective (les, des, mes, tes ses) and the following word begins with a closed [o] or any vowel that has a closed feeling such as [i], [ø] [õ] [y] or [o], you can apply vocalic harmonization.

Again in in “Lydia by Fauré:

“Lydia, sur tes roses joues” you can harmonize the “tes” which would typically be [tɛ] to a closed [te] to match the closed [o] sounds of [rozə]. But, the “mes” in “mes amours” in the same song stays [ɛ] because a closed vowel-sound does not follow it.

Here is the text of Fauré’s Lydia where I will highlight the vocalic harmonizations:

Lydia, sur tes roses joues
Et sur ton col frais et si blanc
Roule étincelant
L’or fluide que tu dénoues;
Le jour qui lui est le meilleur
Oublions l’éternelle tombe
Laisse tes baisers de colombe
Chanter sur ta lèvre en fleur.
Un lys caché répand sans cesse
Une odeur divine en ton sein;
Les délices comme un essaim
Sortent de toi, jeune déesse
Je t’aime et meurs, ô mes amours,
Mon âme en baisers m’est ravie
O Lydia, rends-moi la vie,
Que je puisse mourir toujours!

In this recording of Véronique Gens and Roger Vignoles, you can hear the use of vocalic harmonization as highlightede above.

Véronique Gens and Roger Vignoles

Try not to over-use vocalic harmonization. Remember, it should not obscure the text, and it should be helpful to the singing. If you are not sure if something should be harmonized or not, ask your French diction coach, or listen to several recordings to see what the consensus is. Just know that some coaches don’t apply vowel harmony and there are differing opinions on the matter. Since it happens in everyday speech, and I have seen it help so many singers in their legato and ease of singing, I generally encourage vocalic harmonization when appropriate.

Studying in Europe: Is it for you?

Published on January 10, 2021 by Nathalie DoucetLeave a comment

I have been living in Europe for over 11 years, and very often, people want to have a consultation with me to ask me questions about studying in Europe. Typically, they consider doing their Master’s degree and want to know information on schools, costs, programs, and work opportunities after their studies. Looking forward to life starting up again after Covid-19 is more under control, it is good to plan ahead, and many of you are already planning to audition in Europe (online). I put together a list of things to consider.

As a North-American singer, the idea of going to study in a foreign land can be very seductive. The rich history, the languages, the exotic feeling of living overseas-all these aspects seem like a dream, but thinking about making a move to Europe is one thing; doing it is another. By studying in Europe, you will be setting the course for your career. Living abroad, even for a couple of years, will significantly affect your future. All the experiences you will have will contribute to your artistic life and how you see the world. You will expand your cultural horizons and develop a more global mindset. You will hone in on your people skills and independence. The everyday challenges of dealing with a completely different culture and language will help you grow in so many ways. Living in a foreign country will take you out of your comfort zone by performing daily tasks such as getting groceries and setting up your bank account. These mundane chores can become mini-adventures when you live abroad. The prestige of a foreign degree can also improve your international prospects. Most European countries invest highly in their higher education systems, which lower costs while maintaining a high-quality education standard.

Tuition:

Compared to North America, the tuition fees in Europe are very low. Some European schools don’t even have tuition fees-it is free of charge! When there is a tuition fee in most countries, they are higher for international students than the domestic student, but still generally not as high as North America’s fees. Even with this as a big plus point, there are other costs to consider. Tuition fees in Europe don’t typically cover other expenses such as student insurance, books, and other supplies.

Click here for information on tuition fees in Europe.

Living and other expenses:

In addition to the program fees, studying abroad involves considerable costs:

Airfare and other travel expenses: Weekends away to visit neighboring countries, trips home to see family, factor all this into your budget. It can make a significant dent in your finances.
Student visa: Almost everyone who holds a non- EU/EEA nationality needs a visa when they want to stay in Europe for a longer time. Students are often required to apply for a student visa (or temporary resident visa for students). With this visa, you can stay in your host country for a fixed period. Click here to find out more on visa costs.
Health insurance: This is a must because you don’t want to find yourself sick or injured in a foreign country without health insurance.
Food: Although you can always find markets in Europe that have a “no frills” assortment, checking the cost of living is very important so that you are not surpised at the prices when you get here.
Rent: This varies from country to country (For instance, in Amsterdam, it is quite expensive and there are not many apartments available). Click here for a helpful link on housing.
Internet: This is a must for your school work and communicating with your loved ones.
Entertainment: There is so much to see and do in a new country and in exciting cities like Vienna, Paris, Amsterdam and Berlin. You can catch a world-class artist performing on any given night, have a night at the opera or a live concert by your favorite band. Although there is student pricing and rush tickets, you will want to budget a big chunk of your finances for these kinds of activities. They will richly contribute to your artistic growth and are a necessery part of your training.

Scholarships:

Some schools in Europe offer scholarships, but they are not worth as much as in North America. Some scholarships may be available from your home government for students who want to study abroad. You can organize fundraising performances or crowdfunding to help out before you leave. If you think that you will want to get a side job to help cover costs, there are strict rules about that when you are on a student visa. Each country has its specific set of rules, so make sure you check what is possible before you go out and get a job. Click here for a helpful link with information.

Travel on the continent is easy:

One of the clear advantages of studying abroad is being near many of the world’s most exciting destinations thanks to cheap flights, trains and busses and short travel times. It is easy to take a train, spend a day, or make it a weekend trip, to a neighboring country, catch an opera or a concert, see some museums or soak in the atmosphere and enjoy the sites.

Building a network:

You will build a network by studying abroad, meeting people you would probably never have met at home. You will sing for people with influence in Europe. You will secure ties with professors and classmates that will undoubtedly be useful in the future. Many networking opportunities will come to you by being selected to participate in a masterclass or doing auditions. It is then your task to keep up with your network after your studies to continue to build upon them. These connections will turn out to be a valuable asset in the early days of your professional career!

Language:

Although you can easily choose to study in English, you will inevitably learn a new language through immersion. By being surrounded by a language, you will probably pick it up, but if you study the language and immerse yourself, there is an excellent opportunity to become fluent. Be sure to broaden your circle of friends and not always spend time with people who speak your native language. Most importantly, dare to speak the language, dare to make mistakes, and don’t take yourself too seriously. Part of learning a new language is all about making mistakes and learning from them. As singers, you will be so grateful that you dove into a new language; it will be an asset for the rest of your life!

Culture shock and depression

Culture shock is a real thing. It is a negative side-effect of living abroad. When you first land in your chosen country of study, there will be signs written in a very different language from English, different customs, and you will feel like you are on another planet. You will suddenly find yourself missing random things, like food that you never knew you liked so much in the first place, your bed, your friends back home. Yes, the first few months may feel like you are on an extended vacation doing some sightseeing, but then you start getting homesick, and you miss family and your culture. For instance, it is not so easy, or cheap, to fly home for Thanksgiving and so you spend it with classmates in your flat. It is fun, but you may feel an underlying feeling of homesickness. These feelings are all very normal. You may feel a little depressed, but it will pass. Keeping busy and getting to know people will make it soon feel a little bit more like “home”.

Once the “newness” of being here wears off, you may start to notice distinct cultural differences. Some you can adapt to, and others that are more difficult. Every culture is different, and although it will broaden your horizons to experience them, it doesn’t mean that you will adopt them as your own. Always remember that you are a guest in the country and it is not your job to change people around you to bend to your ways, you have to find a way to live with the cultural ways of your host country. You will also find that when you return to your home country, whether for a visit or for good, you will experience what is known as reverse culture shock, which is “the emotional and psychological distress suffered by some people when they return home after several years overseas. It can result in unexpected difficulty in readjusting to the culture and values of the home country, now that the previously familiar has become unfamiliar”. I have experience with this, especially having been in Europe for such a long time. When I return to Canada for a visit, I feel like a tourist.

If you can, I hope you do study abroad. There is so much to gain and so much to learn from doing so. However, if you are seriously considering this kind of move, please take your time, do your research. Don’t let the romantic idea get in the way of your reality. I recommend that if you choose to study abroad, take your studies very seriously. It is fun to be on a different continent, but the schools where I have worked take your commitment to your studies very seriously. Your goal is to be happy and satisfied with your learning and life experience while being a great ambassador for your home country!

What Are the Takeways of Singing in a Masterclass

Published on October 25, 2020 by Nathalie DoucetLeave a comment

Series: Frequently Asked Questions-Part 1

I have reached out on the social media platforms for singers to ask me their burning questions. From these, I will create the “Frequently Asked Questions” series. If any of you have any questions, feel free to send me a message and maybe they will appear in a future post!

Question: “Should I apply to sing in masterclasses? What can I expect?” -Anonymous Soprano

What is a Masterclass, and why take part in one?

In the world of music, we love masterclasses! A masterclass is essentially a class given to advanced students of a particular discipline by an expert of that discipline while fellow students or an audience observes. The main difference between a class and the masterclass is how it is set-up. It is a cross between giving/taking a lesson and performing. In a singing masterclass, the student will typically perform an aria or a song, and then the master will share advice on how to sing the aria or song.

When the masterclass is open to a general audience, the master can give more “general-public friendly” advice to the singer. The goal is to simultaneously entertain an audience who is made up of fans of the master and singing aficionados as well as give the singer nuggets of information that they can take with them. A private masterclass given at educational institutions, with students in the audience is less about the “show” and more about the work.

There are several reasons singers choose to participate in a masterclass.

You are a fan of the singer/coach/director/conductor giving the class: You admire their work, their career and, you identify with them on an organic level. You genuinely want to learn from them.
Networking: Although this should not be the main reason to participate in a masterclass, it is a significant consideration. A high profile masterclass can put you in a spotlight, suddenly singing for a vast audience that may include future employers. Beware: If the masterclass performance goes well, that is great, but if it goes badly, it just happened in front of that same audience. Nota bene: These days, masterclasses can be streamed online or filmed and distributed.
It is something singers like to put on their résumé under the title “Masterclasses”: To be quite honest, when I read a résumé, I am not entirely interested in your masterclass experience, so I don’t consider this section too much.
Requirement: You are asked to sing in the class by your studio program or your institution

If you don’t want to sing in a masterclass, or maybe you are just not ready yet to be selected, attending it can be just as rewarding if not more because you don’t have to cope with the pressure of performing and you can absorb all the information. As an auditor, think of doing the following:

Bring a notebook and write down notes, advice from the master and points that can help you in your journey.
Learn repertoire, note the pieces performed, maybe even find repertoire you aspire to sing.
Let the atmosphere inspire you and leave the class motivated.
Connect with like-minded people.

How to prepare to sing in a masterclass

After being chosen and deciding that you want to sing in a masterclass, you should consider the following to be adequately prepared. Remember that although you are there to learn, you also want to do everything you can to show yourself in the best possible light.

Choose repertoire you know well: Polish your selection and make sure you have had a lot of experience singing it. Being in a masterclass situation can sometimes throw you off. You don’t want the extra pressure of singing an underprepared piece.
Know your translation: Be capable of fluently translating the text starting at any given point of the piece.
Be prepared to stop at any time. The master will (hopefully) stop you often. Make sure that even if you are stopped after every two bars, it doesn’t throw you off.
Be prepared to take criticism: This is very important. Although masterclasses are meant to be a learning environment, this does not mean you will only get positive feedback from the master. Be prepared to take this criticism gracefully. Be open to try new things suggested by the master, and do it all with a smile even when you disagree.
Don’t expect to retain all of what you have done in your 20-minute session. Although you will hold on to some tips and information, many of the new concepts that worked in the moment, might not work again unless you apply it long term with a teacher. They will be in a file stored away in your brain, and perhaps they will pop out of nowhere when you are ready for them in the future.
Most important: Already have a solid grasp on your vocal technique. While the master teacher gives their pointers and advice, the expectation is that you can produce a change quite quickly without completely unraveling, and this can only be achieved, if your technique is solid enough to try new concepts.

Things that can happen in a masterclass

While singing in a masterclass you may have the lesson of your life; the master gets you to sing as you have never sung before. In 20 minutes, they say all the things that get you to make the most wonderful sounds you have ever made. Afterward, you take this to your teacher, and you are not able to reproduce the sounds you made before. The reason for this is simple enough: the concepts introduced to you in a 20-minute session with a master need to be followed-up weekly to integrate it into your vocal technique. In the class, the master is helping you along, coaching you through the concept, but unless this is followed-up long-term, it will probably not stick. If your regular teacher is attending the masterclass, they can help you translate this concept into your current technical journey.
The master may tell you that you are not the voice type you present yourself to be, maybe not directly, but a statement like: “Are you sure you are a mezzo-soprano?” or “I think you are potentially a dramatic soprano voice” and this raises many questions for you. Just because a master says this, does not mean you should run out and change your fach. They may be right, but you should discuss it with your voice teacher and your coach to see what they say about this. They are your team, they see you every week, and they know your voice inside and out. They will guide you through this. While in the masterclass, accept these statements without too much comment (the last thing you want to do is start a discussion because it will eat into your allocated time) and then speak with your trusted team afterward.
Although masterclasses are generally positive and very worthwhile experiences, the master teacher may be very demanding, and they can seem impatient. It is important to keep your composure at all times. Years ago, I played for a masterclass where the master teacher was not particularly interested in one of the voices. He was very hard on the student and it did not yield good results-in fact-we were all uncomfortable. The singer, however, never lost his composure and gained the admiration of the audience.

What you can expect to take away from a Masterclass:

I often give masterclasses and I have also played in hundreds of them. They can be a celebration where singers and singer friendly people come together to explore new things:

Nuggets of valuable information: You will retain many of the concepts presented to you, such as stylistic advice, diction advice, and technical tips. This information from people at the top of their field will be with you forever! I suggest making notes immediately after the class so that you don’t forget what was said. Nota bene: recording is sometimes prohibited, so always ask the organizers if you may record the session.
An unforgettable experience: Meeting and singing for someone you respect is a surreal experience. It can feel both wonderful and crazy. You may catch yourself thinking: “I can’t believe I am singing for [insert name]” the whole time.
A performance opportunity: This is simple enough. In any masterclass situation, you get to perform in front of an audience.
Inspiration and motivation: If the master teacher is good, you will feel inspired. They will bring out things in your singing and artistry. It will then motivate you to work on them. After inspiring masterclasses, the students run to a practice room to continue the work.

All conservatories, universities, and summer programs have some form of masterclass series. Even in this present time of the global pandemic, Masterclasses survive online, and it is even easier to get top-level people to give the classes. An online experience can be just as informative and exciting as it is in person.

It is important to connect with people at the top of their profession such as elite singers, teachers, coaches, directors and conductors. You will learn so much by singing in this kind of situation about where you are in your current journey. You will also learn by auditing a masterclass about how you will handle it when you participate in a masterclass in the future. The reward is what you make of the experience!