Japanese - Spanish

Language Differences
In phonetic terms both languages, the Japanese and the Spanish languages share various similitudes. Both languages are syllable-timed languages with a 5 vowel system. They coincide in four of them, just having a small difference of pronunciation in their respective "u" vowel (the Spanish U is a close back rounded vowel while the Japanese U is a close back compressed vowel). For the native Spanish speakers, the Japanese U, is similar to the "uv" in the Spanish word  uv a ('grape' IPA: [ˈu.βa]), where the [u] is compressed due influence of the /β/ voiced bilabial fricative. In the case of the native Japanese speakers, the Spanish U is pronounced as a う with the lips protruded, in the same way as the お. Despite this difference, both vowels are the enough similar to don't hold any problem in one language or in the other one.

The main difference in the vowels aspect is the absence of the Diphthong in the Japanese Language, being one of the aspect that need take care when you attempt to make a Japanese Vocaloid sing in Spanish. While in the case of the Spanish there isn't the patalization phenomena of the Japanese.

In the aspec of the consonants, although both languages don't share the same consonant phonemes, many of them are perceived as allophones of the other language, or at least are the enough similar to be used as them. The main difference in this aspect is the realization of the liquid consonants in both language (remember the Japanese language has an undefined liquid consonant), and the absence of the Rolling R in the Japanese Phonetic System.

Diphthongs
One of the things that more work requires when a Japanese Vocaloid sings in Spanish is the Diphthong. The Japanese Language often is referred as a pure vowel language, without diphthongs or glides (unless you consider the palatalized consonants as glides). This added to the problem of the choppy vowel combination of some voicebanks causes the user will need work around this for achieve a smooth pronunciation, requiring use all the available techniques for work the choppy vowel combination.

Lexically talking, the Spanish classifies its 5 vowels in two groups: the "strong vowels" (a,e,o) and "the weak vowels" (i,u). The diphthong only occurs between an strong vowel and a weak vowel, or between two weak vowels, causing the weak vowel becomes a semivowel or glide.

In the practice there also occurs diphthongs between the the "strong vowels" of the Spanish. This occurs often in the fast speech and generally the most affected vowels are the [e] and [o], which become non-sibilant vowels. When this occurs, the [e] and [o] tend get some characteristic of a [i] and [u] respectively.


 * Example:
 * The word poeta ('poet' IPA:[ˈpoeta]) is a 3 syllables word [ˈpo.e.ta]. However isn't rare that in the colloquial speech or fast speech is realized as a 2 syllables word [ˈpo̯e.ta], when this occurs the non-syllabant [o̯] can be replaced unconsiently by a [w̝] or a raised voiced labiovelar approximant (which is a semivowel with a pronunciation between a [w] and a [o̯])

Knowing this, is possible apply the glides [j] and [w] for the case of th [e] and [o] respectively (probably it going to be need to adjust the accent or attack of the glides to get a smooth pronunciation).

Liquid Consonant
The Japanese R (represented as [4] in the Vocaloid Phonetic System) is an undefined liquid consonant with various rothic and lateral allophones, often varies between a /ɺ/ alveolar lateral flap and a /ɽ/ alveolar retroflex flap. The native Spanish speakers perceives it as an intermediate sound to their /ɾ/ alveolar tap or "ere" (rhotic liquid consonant) and their /l/ alveolar lateral approximant or "ele" (lateral liquid consonant). Due this, is necessary work the phoneme [4], to achieve a better distinction between both Spanish liquid consonants.

In the case of the alveolar tap is possible intercalate an alveolar plosive ([d], [t]) between the [4] phoneme and its vowel. This makes the sound of the [4] harsher.


 * Example:

In the case of lateral approximant, the phoneme [4] alone works well as a Spanish [l]. Anyway, is possible utilize the Gemination Techniques for extend a bit the phoneme [4], giving it a more lateral release if is required.


 * Example:

Consonant Clusters
Now, for the consonant clusters, in the Spanish language the are few consonant clusters. Of the few ones, one of the most common are the clusters of a consonant followed by liquid consonant, which occurs at the beginning of a syllable. The initial consonant can be /b/, /k/, /d/ (always followed by /ɾ/), /f/, /g/, /p/ and /t/. Due their nature those can be a kinda difficult needing to be worked carefully to achieve a good pronunciation.

Rolling R
The alveolar trill or Rolling R isn't a natural phoneme in the Japanese Language. Despite this the native Japanese Speakers occasionally produce it, realizing their own R as a trill. This phenomenon is called 'rolled tongue' (巻き舌 makijita) and generally is used as a vulgar or derogatory nuance in speech.

Exists various technique, developed in parallel, among the Japanese and Spanish users for achieve this articulation using a Japanese Vocaloid. Despite the differences basically all aims to the same: the use of successive short syllables containing the phoneme [4]. When is doing correctly the successive short flaps will blend in a thrill, generating a Rolling R.

The Japanese users for achieve this effect usually uses the technique of add a short note containing sucessive ル ru (around 3 to 5) in front the flap the they wishes to turn in a trill.


 * Example:

The use of short ru syllables seems to steem from the onopatopeya ルルルル (rurururu) which usually is used to represent the rolling R. Although it works well, the use of the phoneme [M] can cause a "u-colored" sound in the Rolling R, sounding funky in certains occasions. When this occurs, is possible replace the [M] vowel for the vowel which accompanies the trill, sounding more natural in certain occasions. Example: if your rolling ra sounds weird, replace the sucesive ru repetions for sucesive ra repetitions.

Instead the Spanish user generally uses short note repetitions of the alveolar tap [4 d "vowel"] for achieve the same efect.


 * Example:

Now, in the case of a trill at the end of a syllable, is posible the vowel of the short repetitions can be heard. To avoid this simplely the last repetition must end in consonant.

Is important take atenttion of the words that contains a trill next to a [d] phoneme (Ej: Da rd o IPA:['därðo]). Occurs the [d] tends to blends with the trill in a similar way how the [4] blends with the [d] in the case of the alveolar tap.

Due this technique uses short notes for get the wished effect, it's strongly affected by the tempo. For this reason it's necessary adjust the Velocity (Vel) and the note length to get a good pronunciation.

Consonant's Short Pronunciation Trouble
A common problem reported by the Spanish users is that some consonants at the end of the syllable are too short. This is due the Spanish speakers tends to extend a bit certain consonants at the end of the sillables, particularly the nasals like /n/ and /m/, the /l/, the silibants as /s/ and the /θ/.

For fix this the user can use the Gemination Techniques used by the Japanese users. Adding a short syllable containing the intended consont to extend with vowel [e], allows make use of these tricks. Then for get rid of the [e] vowel the user can silence it dropping the Dynamics (DYN) to 0.

マイリスダメー！/ MyList dame! (Don't My list Me)
During the whole song rolls the R, this particularly notorious in the "ru" and "ra" syllables.

おひめさまになりたいのッ！ / Ohime-sama ni naritai no! (I want to be a princess!)
At the start of the song Rin says: "¡Arriba!" with a marked and prolonged rolling R.