프랑스어로 부르는 방식

The language has changed. The codes for singing it have changed too. When an artist arrives in the studio, it is hard to guide them on what will suit their vocal style. It has not been formalised.

Adeline Toniutti takes this from a conversation with her manager. In Anatomie du Chant she groups these ways into four families. That is the point: not “articulate French”, but choose how you sing it.

The five pivot points remain the same instrument. The family is the colour you ask for.

Adeline이 교실과 방송에서 「미국식으로 부르기」라고도 부르는 것이다.

Big-voiced singers take on anglophone ways. A more nasal placement. Syllables are cut like an American diphthong. Céline Dion, Natasha St-Pier.

다섯 피벗 포인트에서 가르치는 트왕을 그녀는 「미국식으로 부르기」라고 한다. Céline Dion과 Diane Dufresne가 프랑스어에 넣는다.

The palate stays raised. This is not nasalising to “do Céline”. Nasalising the sound, palate down, larynx dropping: that is the counterfeit of twang, and it puts the folds at risk. To find the flow of that French, Adeline sometimes has people sing a French song in English “yaourt”, onomatopoeia, until the line runs. At the Star Academy château, Claudia Tagbo’s yaourt with Michèle Laroque made the whole room laugh. The exercise is there to find that cutting of syllables.

순수한 모음. 비브라토는 없거나 절제. 텍스트의 자연에 가깝다. Mylène Farmer, Françoise Hardy.

No rolled “r” to make a period colour. No American diphthong. French stays near the spoken sentence, but it is still singing: the five pivot points hold the gesture, the vowel stays clean. The tongue between the molars, the nasals thought upward: the same pivot point 5, another dose.

Whispering is not advised. Adeline would rather have you speak with accents that favour a good placement, for an organic result with minimum effort: Québécois, Marseillais, or an actress like Chantal Ladesou. A technical virtue, and it loosens the room.

That meets the American-Québécois style without forcing it: the accent puts the voice where it carries, without squeezing.