Ravel was asked by Professor Amédée L. Hettich of the Paris Conservatoire to contribute a vocalise—a wordless vocal exercise—to his ongoing publication of vocalises by various composers, which would eventually number over 100. Fauré’s Vocalise-étude (1907) inaugurated the series, with Ravel’s following soon after, also in 1907. The collection eventually included contributions by Honegger, Ibert, Roussel, Copland, and Messiaen.

Originally titled Vocalise-étude en forme de habanera, Ravel’s contribution employs the characteristic habanera rhythm—alternation of triplets and duplets—over which he spotlights the vocalist’s technique. The habanera, originally a song and dance form of nineteenth-century Cuba named after Havana, became extremely popular in Spain and elsewhere in Europe—Bizet’s adaptation in Carmen is one of its best known examples.

Ravel’s use of the habanera was no doubt tied to his love of Spanish music, familiar to him since childhood through Spanish songs sung to him by his Basque mother who had spent time in Madrid. His Spanish phase produced such works as L'heure espagnole, Alborada del gracioso, Boléro, and Rapsodie espagnole. His Vocalise became popular as Pièce en forme de habanera in an arrangement for violin and piano, which spurred versions for numerous other melody instruments.

—©Jane Vial Jaffe