Manual of Articulatory Phonetics

MANUAL OF ARTICULATORY PHONETICS by WILLIAM A. SMALLEY

M A N U A L

OF

A R T I C U L A T O R Y P H O N E T I C S

Revised Edition

by WILLIAM A. SMALLEY Cartoons by George Ivan Smith

PRACTICAL ANTHROPOLOGY Box 307, Tarrytown, New York 10591, U.S.A.

Part One (Lessons 1-14) Copyright © 1961 Part Two (Lessons 15-Appendix B) Copyright © 1962 Revised Edition Copyright © 1963 Cartoons Copyright © 1964 by William A. Smalley 2M [8M]67

PHOTOLITHOPRINTED BY CUSHING - MALLOY, INC. ANN ARBOR, MICHIGAN, UNITED STATES OF AMERICA 1968

NOTICE CONCERNING TAPE RECORDINGS Each of t h e t h i r t y - t h r e e r e g u l a r lessons of the Manual of A r t i c u l a t o r y Phonetics has been recorded, and tape copies are a v a i l a b l e f o r purchase as needed. Appendix l e s s o n s , and lessons numbered -with R (as 2$R) are not recorded. Each taped lesson i s a v a i l a b l e on a 7" r e e l a t 7 1/2 inches per second, double t r a c k . The recordings range from f o r t y t o s i x t y minutes per lesson. Lesson 33 i s a s p e c i a l summary l e s s o n , which some students w i l l want t o buy f o r review and reference when t h e course i s complete. Copies may be obtained i n q u a n t i t y or i n d i v i d u a l l y at the price indicated. Prices Complete s e t # 113>.$0 Add $ 13.50 f o r d e l i v e r y outside t h e U.S.A. For p r i c e s on i n d i v i d u a l tapes i n any combination, terms of payment, discounts f o r C h r i s t i a n missionaries and missionary t r a i n i n g programs, and other information, w r i t e P r a c t i c a l Anthropology, Box 307, Tarrytown, New York 10^92, U.S.A. Prices are subject t o change without n o t i c e .

Orders Please address all orders for tapes only to Sound Recording Service 977 Creekdale Drive Clarkston, Georgia (30021) USA

\

ii

Manual of Articulatory Phonetics. Revised Edition

$ 'f.OO

Thirty-three phonetics lessons, plus two chapters on the phonemic transcription of English consonants and vowels. 512 pages. OTHER BOOKS INTEGRATED WITH THIS MANUAL In addition to the tape recordings described on the previous page, two other aids to the student and teacher have been prepared and integrated with the Manual. $ 1.50

Workbook Supplement Blank facial diagrams (for articulators to be drawn in), transcription forms, transcription exercises with blanks to be filled in, forms for tallying transcription errors, forms for the transcription of English vowel and consonant phonemes. 106 pages. Teacher's Guide

$ 2.50

Suggestions for the classroom use of different kinds of exercises in the Manual, efficient handling of the phonetics drill section, lesson plans for each of the lessons. 104- pages. PRICES ARE SUBJECT TO CHANGE WITHOUT NOTICE. 3. saurayx

'young man'

dalxli

•reason'

D

16. gaisuwa.

'greetings *

gafara

•forgiveness'

D

17. duwatsti

•stones'

lxttafi

•book'

D

18. talauci

'poverty*

asuba

•dawn time'

D

19. xnuwa

'shade'

makaho

'blind man'

D

20. allura

•needle'

fartanya

»hoe'

S

Recorded Exercises 2.11-2.21. Level or Glided Pitch In this set of exercises you are asked to distinguish between level pitch and glided pitch. A glided pitch is a pitch which moves either up or down. A level pitch is one which is level throughout its duration. You will be allowed space to make your oral response and the tape will correct you. In RE 2.11-2.16 each drill will have a constant frame. This means that whereas the pitch differs from one item of the exercise to the next, other features of the utterance are constant throughout. In this case the frame which is constant consists of the consonants and the vowels.

38 RE 2.11. Differential! LEVEL or RISING 1. w e l l

L

7. wejH

R

2 . wejH

R

8. itelK

R

3 . we}l

R

9 . y&L

R

U. w e l l

L

10. w e l l

L

S>. w e l l

L

1 1 . W^LL

R

6. well

L

12. w e l l

L

RE 2 . 1 2 . D i f f e r e n t i a l ! LEVEL or FALLING 1. mine

L

7. mine

L

2 . mine

L

8. mq.ne

F

3 . m^ne

F

9. ifts^ne

F

k» "mine

F

10. 'toine

F

5 . mine

L

1 1 . ih^ne

F

6.^mine

F

12. mine

L

RE 2 . 1 3 . D i f f e r e n t i a l ! RISING or FALLING 1* «*

R

3.NP

F

2. W*

R

U. "to

F

39

Hearing Pitch D i s t i n c t i o n s 7. y&

H

11. ui

8. ujf

R

12,^

9. ?6

R

10, \q?

F

15. >H>

F

R

16. uj^

F

13.\p

F

17. -an/

R

111, \m

F

18. yff

R

RE 2. lit. Dii'f e r e n t i a l t LEVEL, RISING, or FALLING 1» some

F

7. so?ie

R

13. sonfe R

2. some

L

8. ^ m e

R

lU. some R

3 . sojjfi

R

9. some

L

15. "some F

km some

L

10. "some

F

16. some L

5. some

L

11. some

L

17. \me

F

12. some

L

18. V e

F

>• sojae

RE 2.15-2.16 contain longer sequences. In these exercises we now give you longer stretches of utterance, but w e control them so that you listen only to the last syllable of each utterance. You are to respond to the last syllable of each utterance with the same responses that you had in the immediately preceding exercises, that is, LEVEL, RISING, or FALLING., Do not be confused by the syllables preceding the last one. They will be kept constant, as the frame. Listen only to the pitch on the last syllable. RE 2.15. Differential* LEVEL, RISING, or FALLING !• Will you come hez*e he^e

R

2. Will you come here

L

Lj-0

Lesson 2

3 . W i l l you comefXere

F

1 2 . Will you come here

L

h. Will you come IXere

F

1 3 . Will you come here

L

5. Will you come hep^

R

i l l . Will you come|\ere

F

6. Will you come here

L

1 5 . Will you comefoere

F

7. Will you come h e i ^

R

16. Will youcomefhere

F

8. W i l l you come there

F

1 7 . W i l l you come here

L

9. W i l l you come hepe^

R

1 8 . Will you come he?4

R

10. Will you come he^e"

R

19. Will you comejsnere

F

1 1 . Will you come Yi&yi

R

20. Will you come here

L

RE 2 . 1 6 . D i f f e r e n t i a l t LEVEL, RISING, or FALLING 1. I d i d n ' t seefeghn

F

8 . I d i d n ' t see John

L

2 . I d i d n ' t see John

L

9. I d i d n ' t see Jcjan

R

3 . I d i d n ' t see ^Joh^

R

10. I d i d n ' t see John

R

U. I d i d n ' t seefSohn

F

1 1 . I d i d n ' t see John

L

5. I d i d n ' t see, John

R

12. I d i d n ' t see

F

6 . I d i d n ' t seePfehn

F

1 3 . I d i d n ' t see j'jqhn

F

7. I d i d n ' t see Jobn^

R

l b . I d i d n ' t see Jo!

R

frohn

Ui

Hearing Pitch D i s t i n c t i o n s 15. I d i d n ' t seeigphn

F

18. I d i d n ' t seejjohn

F

16. I d i d n ' t see John

L

19. I d i d n ' t see John

R

17. I d i d n ' t see John

L

20. I d i d n ' t see John

L

RE 2.17t :Mano. 1 D i f f e r e n t i a l s LEVEL,, RISING, or FALLING 1. / g g g /

•spirit'

F

2. / g e e /

•cotton t r e e 1

L

3. /gee/

'green snake'

L

k. /geeV 'Gio (a neigh-1 F boring t r i b e )

t

5. / g e e /

•country d e v i l '1 R

6. /geeV

•rattle'

F

RE 2.18» Mano. D i f f e r e n t i a l * LEVEL, RISING , or FALLING 1. /koV

•arm, hand'

F

2. / s o /

'cloth'

I

10.

3. W

'leopard'

L

11. /k55/

•first daughter*

R

k. / l o 5 /

'week'

L 12. / l 3 o /

•hunger'

R

5. / y o o /

'brotherin-law'

F 1 3 . /noo/

'better'

FR

6. / b 5 3 /

'two-cent piece'

F

l i u /wee/

'how much'

RF

15. / l o o /

' t o l i e down'

L

' o n e ' s own mother'

RF

7. /woo/ 8. / d o o /

•one'

15. / g o 3 /

'water s n a i l '

RF

9. / p o 3 /

•load'

/td6y 'chicken'

F F

\ cJano is spoken in Liberia and Guinea. The informant recorded in this lesson is See Diagbe from Gbuuyi, Liberia. The material was recorded with the cooperation of Dr. Charles White and Miss Mildred Black of the Methodist Mission, Ganta, Liberia.

1±2

Lesson 2

RE 2.19t Vietnamese. 1 D i f f e r e n t i a l t LEVEL, RISING, or FALLING 1. /c±/

«to be only'

R

8. /cia/

'nine'

R

2. / n l /

' i s n ' t that so?'

R

9. / s i n /

'please'

L

3. /th£/

'then'

F

10. /n$w/

"much, many'

F

h

U. / m i /

'wheat'

F

11. /t £w/

'lack'

R

5. / x i /

'when'

L

12. / t i w /

»be d i g e s t e d '

L

6. / & /

'go'

L

1 3 . /b$n/

'understand'

R

7. / c i /

'older s i s t e r '

R

RE 2.20t Vietnamese. D i f f e r e n t i a l ! LEVEL, RISING, or FALLING 1. / g e /

«chair«

R

U. / t h e /

'ability'

R

2. / t h e /

'manner'

R

5. / v l /

' t o return home'

F

3 . /.

'One I day, however, i 'Saljly bought ai ' h a t i w i t h ai 'birrfi on it.

I t w a s ; ' n o t [ a j ' l i v e ! b i r d . | b u t i t I'lookedj v e r y r e a l . I

L

Sally

I

was i'vejtyi'hapipy about t h e h a t with t h e ! ' b i r d I on i t . 1 '"Have you heard what I , ' b o u g h t to'dgy?" S a l l y asked Sain. "You bought a ; ' h a t , , I suppose, B Sam s a i d , 'aljways buying h a t s .

I t ' s aj'bad

"ffomen are

'habit."

I

i

'.liLi'd-011'"^ "think you are v e r y ^ ' n ^ c e , Sam," S a l l y answered. "And i t ' s aj 'vejry f'n^ce h a t .

.

I t has a j ' b i r d l o n i t . "

"Do you have t o | 'feed t h e b i r d 'regularity?" Sam asJced, but I I I

'Salhy didn't!'arjswer him.

"The!' l a s t j hat you bought, " Sam

continued, "had some j'flowjers on i t . it.

'Thisi h a t has a i ' b i r d j o n

JThej ' t h i r d ! ' h a t i s going t o have anj'anjimal on i t , I sup-

I pose.

'Whyjdon't you buy a j ' h a t l t h a t has a ! ' c a t j on i t ,

example?"

(Continued i n Lesson 8)

> for

Controlled Intonation

95

RE 6.6. Review of Pitch Glides (Self Test) Number your paper from 1 - 5. Listen to the tape, and mark your paper with a symbol to represent the pitch contour of each item, as followst / or R for RISING \

orF for FALLING or L for LEVEL

A \

or RF f o r RISING AND FALLING /

or FR for FALLING AND RISING

You w i l l h e a r f i v e warmup u t t e r a n c e s , each given t h r e e t i m e s . Write t h e p i t c h you hear for each u t t e r a n c e by using one of the codes above. You w i l l then h e a r t h e answers for these warmup examples on t h e t a p e , followed by a repeat demons t r a t i o n of the warmup so you can check your mistakes. Then number from 1 - 2 0 and take t h e t e s t i n t h e same manner. The answers w i l l then be given a t the end of t h e t e s t . Don't peeki Warmup 1. 'never

F

h. gow'pz,y

RF

2. HiJ

R

5 . ,sz,mAn

FR

3 . Ouch;

L

Test 1. w e l l

F

5. good

RF

2 . no

R

6 . mine

R

3 . John

R

7. some

F

U. yes

L

8. gas

L

Lesson 6 9. semp

FR

15. *wewga

F

10. zwz-r)

R

16. szym«pr,y

RF

1 1 . I "don't

F

17. 'gowtsy

L

12. H e ' l l 'run

FR

18. cA'nok

R

13. Who's 'there

R

1°. 'wahant

L

lU. I'll 'see you

L

20. slide

R

RE 6.7. Differential! LOW RISE or HIGH RISE In RE 6.7 you will distinguish between two English pitch contours. The frame will be will you come here, with the first three words on a level pitch. You are to listen to the last word and are to respond with LOW RISE or HIGH RISE. Judge the height by comparing the pitch to that of the preceding words. If it is lower, count it low, but if it is higher, call it high. The tape will correct you as usual. If you have a great deal of difficulty with this exercise, try humming the pitch. Have a friend listen to you hum to see whether or not you are really mimicking the tape. Then go back and try the oral responses again. If this does not work, try speaking in mimicry of the tape. Say what the tape says, and with the same intonation. A demonstration will be given you before you begin. If you prefer, you may draw the contours instead of responding orally. If you do so, number from one to twenty, and draw in the frame. Then as you hear the tape, draw in the pitch of the final syllable. Tour possible responses will be as follows t [

] LOW RISE

[

j

J HIGH RISE

You can tell whether or not you were correct by listening to the correct answer given on the tape, and comparing it with your drawing, or you can correct your answers by referring to the transcription of the drill. Don't peekl 1. will you come here

LR

U. will you come jhere

H R

2. will you come here

IS

5. will you come! here

HR

3. will you come;here

HR

6. will you come here

L R

Controlled I n t o n a t i o n

97

7. w i l l you come'here

ER

10. -will you come here

LR

8. w i l l you come

LR

1 1 . w i l l you comejhere

HR

LR

12. w i l l you come here

LR

ftere

9 . w i l l you come here

RE 6 . 8 . D i f f e r e n t i a l ! LOT FALL or HIGH FALL Follow t h e same procedure as f o r t h e preceding e x e r c i s a . The p i t c h on t h e l a s t word w i l l now be f a l l i n g . Don't peekj 1* w i l l you come: here

HF

7 . w i l l you come here

LF

2 . . w i l l you come here

LF

8 . w i l l you come here

LF

3 . w i l l you comejhere""

HF

9 . w i l l you come [here A

HF

km w i l l you come here

LF

10. w i l l you comelhere"

HF

LF

1 1 . w i l l you come here

LF

5. w i l l you comei here

i

1

s

6 . w i l l you comejhere

HF

s

12. w i l l you come here 1

LF S

RE 6.9. Differential! Various Contours In RE 6.9 we add an additional complication of a long rise and long fall on the frame my book. The possibilities of responses aret LONG

HIGH

FALL

SHORT

LOW

RISE

Choose one from each column. Or you may draw the contour if you prefer. In each case of a long fall, it will start high, and in each case of a long rise, it will start low. Don't peek!

Lesson 6

98 1, ray «ba6c

LONG L R

1 1 . my 'bop&

LONG L R

2. ray "book

SHORT L R

12. my 'book

SHORT L F

3 . my!'book

SHORT H R

1 3 . my| 'book^

SHORT H F

li. my. 'book'

SHORT H F

l i u royj 'book^

SHORT H F

5 . my 'book

SHORT L F

l g . myi"fb>ok

LONG H F

6. myHbgok

LONG H F

16. my i'book

SHORT H R

7. my;'book"

SHORT H F

17. j ^ ' b o o k

SHORT L F

8. myj'book^

SHORT H R

18. n%_fbook

SHORT L R

9. my 'book

SHORT L R

19. my /book

SHORT L F

10. my 'book

SHORT L R

20. _my_,«book/

LONG L R

RE 6.10. D i f f e r e n t i a l ! Various Contours RE 6.10 i s the same as the preceding, except t h a t t h i s time the words of t h e frame change. The pitch of t h e frame does not change. Don't peeki 1. ray boak

LONG L R

5. h e f c r i e s

LONG H F

2. one cat

SHORT L F

6 . t h i s fcar^

SHORT H F

3 . how lovely

SHORT L F

7. she:gulped^ SHORT H F

SHORT L R

8. the phone

i>

s

U. never mind

SHORT L F

Controlled I n t o n a t i o n

99

LONG L R

1 5 . up^ s t a i r s

SHORT L F

10, some,gum

SHORT L R

16. t o y j t r a i n N

SHORT H F

11. Christine

SHORT L R

17. bright;light SHORT H P.

12. my;ear

SHORT H R

18. he fell

9. In.hepe

SHORT L R

t

13. up! h i l l

SHORT H F

19. tired|ou^

LONG L R

Ik. M a i n f s W e t

LONG H F

20. long nose

SHORT L F

RE 6 . 1 1 . D i f f e r e n t i a l * Various Contours RE 6 . 1 1 i s l i k e RE 6 . 9 , except t h a t the frame i s h i g h e r . This gives you a d i f f e r e n t point of reference f o r deciding on t h e h e i g h t of the f i n a l p i t c h . Use the same responses as i n preceding e x e r c i s e s . Don't peek! l. - my r i'boe(k

LONG L R

w

9. myj'book

SHORT L R

t

I

'

SHORT L R

10. my!'book

SHORT L R

3 . my 'book'' SHORT H R

ll.l^'bQolc

LONG L R

It. my «book s

SHORT H F

12. ~my~!«book

SHORT L F

5 . my 'book

SHORT L F

2 3 . my 'book

SHORT H F

6. my 'bV)k

LONG H F

2iu my 'book

SHORT H F

1 5 . my 'book k

LONG H F

SHORT H R

1 6 . my 'book

SHORT H R

2. ^ri'book 1

7. my 'book

•>

N

_y

8. my 'book

N

SHORT H F

Lesson 6

100 17. my ;«book

SHORT L F

19. my ['book

SHORT L F

18. my ''book

SHORT L R

20. myi'bo/k

LONG L R

RE 6.12. D i f f e r e n t i a l ! Various Contours RE 6.12 i s l i k e RE 6.10, except t h a t t h e frame i s h i g h . Use t h e same responses as i n preceding e x e r c i s e s . Don't peekl ^"myjbo^k

LONG L R

1 1 . Chrisltine

SHORT L R

2. one!cat

SHORT L F

12. my e a r

SHORT H R

3 . how!lovely

SHORT L F

13. u p h i l l

SHORT H F

lu never[mind 1 ./

SHORT L R

111. Main S t r e e t

LONG H F

5. he c r \ e s

LONG H F

l £ . "up!stairs

SHORT L F

SHORT H F

16. t o y t r a i n

i

6 . t h i s car

N

N

SHORT H F

7. she gulped ^ SHORT H F

17. b r i g h t l i g h t

SHORT H R

8. TEelphone

SHORT L F

18."Ke]fell

SHORT L R

9. i nlihere Uier/

LONG L R

19. t i r e d ' ,

LONG L R

SHORT L R

20. long!nose

SHORT L F

•7

10. some!gum

i

s

i

RE 6.33. Transcriptiont Pitch Contours RE 6.13 is a transcription exercise. It is made on the same pattern as the preceding exercises, but no response is recorded on the tape. Draw the contours as your response. Draw the frame as well as the final syllable. Check your answers against the text of the exercise.

101

Controlled Intonation

l.liaW

Ik,

2. had| a

15. followed

go; site

s

i

3. Utftle

U5. her t o

k» lamb i t s

17. school) one 1

s

5. f l e e c e was

18. dayj which

6. white

19. was

7. snow and

20. gainst; t h e

A

i i

8. e v e W

2 1 . r u l e s 1 rfc

9. where)that

22. made tlie

i

lO.~Ma{ry-

23. children

1 1 . went!the

2U. laugh;and 1

s s

1 2 . lamb was

13. sure %6

25. the;end

102

LESSON SEVEN Voiceless Aspirated and Unaspirated Stops If you pronounce the interjection Oh-oM deliberately and carefully, you should be aware of a "break" or "catch" in the middle. This break or catch is called a glottal stop. Or, if you cough deliberately, the "catch" at the beginning is a glottal stop. Most speakers of English use the glottal stop constantly in some interjections and frequently also as an "attack" or "opening" for words beginning with a vowel phoneme. In addition, many dialects of American English have glottal stops as a substitute or replacement-'- for aft]in certain combinations with other sounds. An example of this is the "Brooklynese" bottle [«ba?}.], or kitten [k^r-'n], Americans from all parts of the United States say some variety of ['sen'nts] or [•se'ents] for sentence. The glottal stop is symbolized by ['], the top part of a question mark without the dot. Recorded Exercises 7.1~7.3t English. Demonstration* Uses of Listen to the tape demonstration of some English uses of the glottal stop. Mimic the tape. RE 7.1 1 . [«*>o*>o]

Oh-ohl

8 . [ik^'n]

kitten

2. [»m»m]

negative grunt

9 . ['s&'n]

sittin'

3 . ['MnPrn]

negative grunt

10. [«bz,'n]

bitten

U. [ " £ ? £ ]

negative grunt

1 1 . [»ba?}.]

bottle

5. ['senPnts] sentence

12. ['kree'}.]

cattle

6 . [«sasPrdey] Saturday

1 3 . ['me'l.]

metal

7. [«mt'n]

Ik. [«3*»|]

little

mitten

T!n t e c h n i c a l terms ( f o r t h o s e who understand them by now), [»] i s an allophone of / t / i n some English d i a l e c t s . Do not l e t t h e s e English examples a f f e c t your phonemic t r a n s c r i p t i o n of English. G l o t t a l stop i s not a s e p a r a t e phoneme i n most d i a l e c t s of English; although i t i s i n many languages. I t should be indicated i n phonetic t r a n s c r i p t i o n but not i n phonemic t r a n s c r i p t i o n of English.

Voiceless Aspirated and Unaspirated Stops

103

RE 7.2. Demonstration! Glottal Stop at Medial Word Boundary The first column indicates pronunciation with the glottal stop, and the second without it. Both are common pronunciations. The tape recordings read from left to right so that you can hear the same phrase with and without glottal stop. l a . [,t h vw "aeplz]

3b. [jt^mr «eeplz]

two apples

2a. [,may "z-yrz]

2b. [,moy U y r z ]

my ears

3 a . [»sowfi ,'aHrmz]

3 b . ['sowfi

sofa arms

Ua. ['p^aHpA ,*z.z]

lib. [•p^ofipA ,j.z]

papa i s

$a. [fsAm " A y s ]

5b. [tSAm 'Ays]

some i c e

6 a . ["aenA "aesks]

6b. ["aeriA »eesks]

Anna asks

7a. [ t « r t y " e g z ]

7b. [,Grz,y «egz]

t h r e e eggs

8a. [|drdz,y "asnk&ij.z]

8b. [idrdz,y «ean

d i r t y ankles

9a. [tblpw »'ayz]

9b. [ f blvw »oyz]

blue eyes

10a. [ f yelow " o t o w ]

,aHrmz]

10b. [ t yelow «otow]

yellow auto

RE 7 . 3 . Demonstration* I n i t i a l G l o t t a l Stop 1. [•'eepl.z]

apples

6.

["aeHsks]

asks

2. ["z,yrz]

ears

7.

[»*egz]

eggs

3 . [•'aHrrnz]

arms

8. [«->ayz]

eyes

U. [ , 9 z.z]

jLs

9.

$, [ " A y s ]

ice

10.

[•'3Hnkhl.z]

ankles

[«*otow]

auto

For English-speaking people glottal stop is hardest to hear in initial position. Listen again carefully to RE 7.3. You will get more drill on initial glottal stop later. Producing Glottal Stops In producing the glottal stop the vocal cords are briefly closed, and air pressure from the lungs builds up behind them. The sudden opening of the glottis releases the air. Note that in a glottal stop the air stream is cut off at the larynx, below all of the articulators. This means that for the duration

ldt

Lesson 7

Sammy 7»1* Glottal Stop in the sequence [a?a]

Sammy 7«2» Glottal Stop in the sequence [m?m]

of this stop the position of the articulators is irrelevant to the sound. The position is governed by preceding and/or following sounds. Compare Sammies 7*1 and 7*2. Most students have very little difficulty producing glottal stops, but for those who do, we provide the following exercises. RE 7.U« Mimicryi Producing Medial [»] Mimic the tape, pronouncing the words, and exaggerating or lengthening the [»] in Column b . l a . [so»»o]

l b . [so"»o]

2a. [ s a " a ]

2b. [ s a ^ ' a ]

3a. [ s i " i ]

3 b . [si«*»i]

ha.. [su"u]

lib. [su'^'u]

5a. [se' 9 e]

5b. [se»'»e]

RE 7>5» Mimicryi Producing Final [»] In order to learn to produce a glottal stop in final position, start with the sequence of RE 7.U and add a third column without a final vowel.

Voiceless Aspirated and Unaspirated Stops la.

105

[so"o]

l b . [so»'«o]

lc

2a. [ s a " a ]

2b. [set"* a]

2c. [«so?]

3 a. [si«->i]

3b. [si»'»i]

3c

Ua. [su«'u]

Ub. [ s u ' ^ u ]

Uc. [«su']

5a. [se'^e]

5b. [se* 9 «e]

5c. C'se»]

[«so»]

[•si']

RE 7.6. Mimicryt Producing Initial [»] Learn to pronounce an initial glottal stop in the same way, except that this time you leave off the first syllable of Column b to form Column c. [so"o]

l b . [so» , »o]

l c . [19.0]

2a. [so'^a]

2b. [ s o " « a ]

2c. [ " • a ]

3a. [ s i " i ]

3 b . [si«»»i]

3 c . [»*•!]

Ua. [ s u ^ u ]

Ub. [ s u " » u ]

Uc. [«'»u]

5a.

5b. [ s e ' ^ ' e ]

5c

la.

[se"e]

[•••e]

Eliminating Initial [»] As you -will see in the To'a'ba'ita (Solomon Islands) data in RE 7.12, languages occasionally require a phonemic distinction between initial [*] and lack of it before vowels. Such contrasts in medial and final position are much more common, and are easier for English-speaking people to learn. In the next exercises we will concentrate on producing clear initial vowels without a glottal stop. RE 7.7. Mimieryt initial Presence and Absence of [»] Listen to the tape and mimic The exercise reads across. Follow in your text. As you mimic items in Column a be sure you feel the [•] in your throat. As you mimic items in Column b be sure there is no [*] in your throat. la. ['©•]

lb. [o«]

2a. [»o»]

2b. [a»]

3a. [•!•]

3b. [!•]

106

Lesson 7 Ua. [»u»]

Ub. [u»]

5a. [»e«]

5b.

[••]

RE 7 . 8 . Miroicryi Producing I n i t i a l Vowel Another way t o l e a r n t o make an i n i t i a l vowel without a g l o t t a l stop i s by making a s l i g h t [h] j u s t as you begin the vowel. This opens the g l o t t i s . Listen t o , and p r a c t i c e t h e c o n t r a s t between Column a (with [*]), Column b (with [ h ] ) , and Coluran c (with i n i t i a l vowel). Say Column c l i k e Column b , except t h a t t h e r e i s no audible [ h ] . Let t h e [h] open your g l o t t i s f o r you, but do not sound i t . la.

[f»o]

l b . [«ho]

l c . [»o]

2a. [ i ' a ]

2b. [«ha]

2 c . [to]

3a.

[t'i]

3b. [»hi]

3c

Ua. [i»u]

Ub. [«hu]

Uc. [iu]

5a. [t»e]

5b. [«he]

5c

[ii]

[«e]

Another v a r i e t y of t h e same exercise i s t o b r e a t h e i n s l i g h t l y f o r Column b i n place of t h e [ h ] . Breathe i n t o open the g l o t t i s and then say the vowel. Recognizing G l o t t a l Stops I n t h e following exercises you should l i s t e n f o r any g l o t t a l stop which may be pronounced. Each of the exercises w i l l focus on a d i f f e r e n t p o s i t i o n i n t h e word. I n RE 7.9» when t h e r e i s a [ ' ] i t w i l l be medialj i n RE 7.10 i t w i l l be f i n a l j and i n RE 7.11 i t w i l l be i n i t i a l . Do not watch t h e t e x t of t h e exercises i n your books. RE 7 . 9 . D i f f e r e n t i a l ! GLOTTAL or NO 1 . [«ma'o]

GLOTTAL

7 . [«ka«ka]

2 . [«ma»]

NO

8.

9 . [»ka?aka]

GLOTTAL GLOTTAL

NO

['kakaka]

3.

[•ma»m]

NO

U.

[»ma?am]

GLOTTAL

1 0 . [«kaka?a]

5.

['ma? a ]

GLOTTAL

11.

6.

[•kanaka]

GLOTTAL

12. [•fala«t a]

[»faLa'at h a] h

NO

GLOTTAL

NO

Voiceless Aspirated and Unaspirated Stops

107

13.

. one one[three

12. t h r e e t h r e e t h r e e

i

I

6. one two three

13. three'one(three

7. two one [three

lU. t h r e e ; t w o ' t h r e e

1 1 i

i

'

p

8. three itwojthree

15. two oneithree

9. two |three three

16. one one i three

RE 8.5. Mimicryt Three Levels Follow exactly the same procedure as the preceding exercise, except that this time the syllables of your frame are nonsense syllables [ha k^e mu]. The final syllable remains high. Note that there is no correlation here between the syllable and the tone as there was in the preceding exercises. The syllables retain the same position throughout the drill, no matter what the tone. Do not be concerned about your pronunciation of the vowels, but be careful of the aspiration on the

1. [hc^k^e'.muj 1

I

i

I

2 . [ha kh e mu] h

3 . [haj k e mu] ! i

U. [ha k h e;mu]

6. [hajhfre jmuj

11. [ha k^e mu]

7 . [Ealkhermu]

12. IKaj kfoe frail

!

I

I

I

8 . [ha k^elnm] '• 1

9 . [ha kfoeimu]

1 3 . [ha kftejmuj ! 1

l l ; . [ha kfoejmuj

123

Longer Sequences of Pitch RE 8.6. Buildupt Three Levels

There now follows a series of exercises in which you will be working with the same kinds of pitches as the preceding ones, but this time your sequences will be longer, and you will build up to those sequences by adding a syllable at a time. The tape gives three repetitions for each item. The text of the first item in this exercise is written out in full, showing each step of the buildup. The remaining items have only the final utterance transcribed for you here. In this exercise the buildups will begin with the final syllable of the long utterance and add preceding syllables one by one. The tape has the full buildup recorded for each item. This drill corresponds to RE 8.2 in that there is a correlation between the syllables high, mid, low and the pitches they contain. Mimic the tapej watch the transcription. 1. mid low;high I

i

high; mid lowIhigh i

i

mid;high;mid low|high i i

low mid'high jmid low Ihigh low low mid;high;mid low|high

| '

T"

high;low low mid;highjmid low'high

i

i

2. high ;mid low mid mid mid;high high 3 . high'lowihigh high ;mid mid low high

I

I

1

U. mid;high,low midIhigh |low mid mid '

|

[

'

'

i

^ ~

i

5. mid mid mid;high high;mid low low

12k

Lesson 8

RE 8.7. Buildupt Three Levels Follow the same buildup procedure with this exercise, which is patterned after RE 8.3. 1. one [three three i i

two one jthree t h r e e

i

I

two two one [three t h r e e

~

1

i

1

i

one two two one ithree t h r e e r~ —;i Ii t h r e e lone two two one ithree t h r e e 1 I I I i

,

,

i

two [three .one two two one fthree t h r e e I ! 1 ! :

i

I

i

2. three lone two jthree [one two two jthree 3. one one 'three jtwo jthree lone one one U. three jtwo two two iJthree three i lone one i 5» two [three lone one jthree lone two jthree RE 8.8. Buildupt Three Levels Continue in the same fashion. Be sure you get good aspiration on your stops, but do not be concerned about the pronunciation of the vowels. 1. [ha k^e mu] i

[th Iha l^e mu]

125

Longer Sequences of Pitch [so t n i j h a kfoe ma] i i [sejso t h i ! h a kfoe mu] [ l u sejso t ^ i ; ha k^e ma] [ g i ; ! ^ s e j s o t n i | h a k^e mu] 2. [t"u na i zi Ida b o j l e j h i me] ! ' ' 3 . [yoIge n i bu!k^u wa li!p&e] !

'

!

I

U. [da ye l u p o Qi nti. wujsa] \ • \ ! '

I

J

5. [go khjjnu da wojt^e f i zu] RE 8 . 9 . Buildupt Three Levels This exercise i s of the same p r i n c i p l e as the preceding one except t h a t the p a t t e r n of buildup i s reversed, building from t h e beginning of t h e f i n a l u t t e r a n c e r a t h e r than from t h e end. The consonants used t h i s time are not r e s t r i c t e d t o Engl i s h ones. I n t h i s e x e r c i s e , t h e r e f o r e , you w i l l have t o pay close a t t e n t i o n not only t o t h e t o n e , but a l s o t o t h e nonEnglish consonants. 1. [xej~sa~;po]

[xej sa; poi bo t ^ i zu Qel [xejsaipo bo t n i zu ,9ei*u]

[xejsa;po bo] [xejsa; po i bo t ^ i ] i

F

It

[ x e | s a ' p o bo t i zu]

Lesson 8

126

2. [pa 6e *i jte d u g u ^ a k^ij •

i

i

i

3 . [ke gi kfr-ujxujga ">± k^afgi] h. [si ea | t h i ; du t h o ?ta~[so du] 5. [pfrp be pi be;vilpoifalp^o] RE 8,10. MimLcryt Rising and Falling Pitch In this d r i l l the word rise w i l l be said with a rising pitch, and the word f a l l with a falling pitch. 1. ii^e f a l l rgse ri

9. rfse cse f i l l rise

rise!rise 2 . riaej i

10. r a t t - T a l l r±/i

3. W l

rise^fall

11. * a l l r i s ^ ' f a l l

h. f&n|fVu[fsai

12 . r^"fasLLJl*all

5. " t o . r i s e i r i s ^

13. ri/e~~rall rise'

6. "faTLff'all rise'

Ik. fall|">all! r a i l

7.

15.

ri^e"faU.!?all !risi"f\rL

rise] rifte

16. risB| rise f a l l [.

RE 8.11. Mimicry t Rising and Falling Pitch You w i l l now do the same kind of d r i l l on nonsense syllables.

Longer Sequences of Pitch

l. [fc rifV]

9. D^Nio^a]

2. DRefno toft

10. [toi nKrfW]

3. fo£Vh$o]

1 1 . [ w £ ^ n$)
2. ris^erf low mid

10. rise^jrisje" Imid

3 . lowTfajJlL mid

11.

Wirhigh Imid

i N U. mid r i s ^ m i d

12. mid low mid 1 1 i

i

13. high|mid mid 5 . f a l l mid mid 6. f&rLJhighjmid

lU. l o w f f ^ l , ] ^

7 . mid mid mid

1 5 . highjriseImid

8. low low mid

16. faU. jhigh|mid

RE 8.15. Mimicryt Levels and Glides Now you w i l l do t h e same t h i n g with nonsense s y l l a b l e s . I n i t i a l low tone w i l l be the constant frame. 1. [pi pajfli]

5. [£i!^e!si]

2. [p_ha | jo_ | ea]

6 . [bi ;xo z i ]

3 . [be ku stf]

7. [fu

h.

8. [vu ' a roj

[ma l A f ^ o ]

t#ojleT

230

Lesson 8

9. [wa palni nefl

13. [do p u ^ a ] \

10. [tu[phj ye]

lU. [©e me^ga]

11. [ t h o bi wu]

15.

[siHtefkL]

-J 12. [do feu ka]

M\

16. [zi!vo to]

RE 8.16. Buildupi Levels and Glides This drill is like RE 8.lU except that it builds up to longer sequences.

1. lowffall ndd

_J X T low ("fall mid ndd

low

ndd mid ri

low

mid mid r i s e " high

low["&kH mid mid ^ s e ^ hhigh i high

_J N low

P^r

mid mid ri&e' high highlrise'

2. hiXLThm. risef high i mid low \fh%L [ f o i l 3 . m i d j h i g h X a l l r i s ^ l l o w mid; high Iris,

(not recorded)

h. high|midjhigh Ball :risjej low mid jhigh

(not recorded)

5. ri&gilow mid|high ^h]ris€ £ a l l low mi mid

(not recorded)

!

I

131

Longer Sequences of Pitch RE 8.17. Buildup* Levels and Glides

This time t h e d r i l l w i l l be l i k e RE 8.15, except t h a t you w i l l b u i l d up t o longer sequences. 1. [ba l e fa] [ba l e f a j x i ] [ba l e f a j x i su] [ba l e f a j x i sujmo7]

r u

[ba l e fa ixL su jm/| Wj

1

1/1/

[ba l e fa jxi su Imo/jbo 2. [teirq/&/frjL\^a go k i za] 3 . [yi fou g o / z e ; p h e wi [g^e t W ]

(not recorded)

km [b (a and b) seem more nearly like a

Affricates 11a. beach

137 [bj,yts] (or [bz,yc])

l i b , cheap [tistyp] (or [ctyp])

12a, bridge [brtdz] (or [ b r z j ] )

12b, jeep

[dzj,yp] (or [ftyp])

13a. etch

[ s t s ] (or [ec])

13b. chip

[tsr,p] (or [ct-p])

lUa. edge

[edz] (or [ e ^ D

lkb. jyp

[dzz. /,og«ment/

augMEMT

2a. / ' r i y f r /

REEfer

2b. / , r z , y » f r /

reFER

3a. /•tormint/

TQRment

3b. /,tor«ment/

torMENT

Ua. /'prntt/t/

PERmit

Ub. /,pr«mz,t/

perMIT

Sa. /. [ a t s a ] A

R

10. [dza] R •• RE 1 1 . 6 . D i f f e r e n t i a l t ALVEOPAIATAL or RETROFLEXED

R

1. [asa]

A

5. [&]

A

A

2. [aga]

R

6. [Jo]

A

10.

3 . [aza]

R

7 . [za] « 8. [sa]

R

h 1 1 . [atS ] R

9. [aS] •

••

A k» [ a t s a ] R 12. [aj] •• RE 1 1 . 7 . D i f f e r e n t i a l ! VEIAR or RETROFLEXED

R

A

1. [ak*a]

V

5. [xa]

V

9. [ag]

V

2 . [aga]

V

6. [sa]

R

10. [az]

R

• 1 1 . [ax]

V

12. [akx]

V

[atha] R 7. [za] R • k. [ada] 8. [dza] R R • RE H . 8 » Vietnamese, Mimicry* [ | & t ] 1

3.

Listen through the exercise, and then mimic the tape as the words are read down each column. Concentrate particularly on the retroflexed initial consonants, but do your best to get the tone and the remainder of the syllable as well. la. /|£aw/ 'six'

lb. /|aa/ 'go out'

lc. /tan/ 'white'

2a. /saan/ 'morning' 2b. /zaaw/ 'vegetable' 2c. /taay/ 'fruit' •"•Data for this and succeeding exercises from William A. Smalley and Nguyfn-van-Van, Vietnamese for Missionaries.

Dental, Retroflexed, Grooved and Flat

171

3a. /saay/ •incorrect'

3 b. / z o / *

'clear'

3 c /tin/

«egg»

Ua. /gaair/ 'follow' • 5a. /soy/ ' b o i l ' .

Ub. /zo*y/ • 5b. /Z±A/ .

'already' Uc. /tiAk/ 'precede' • ' t o wash' 5 c /tarn/ '100' .

6a. /So/

'notebook'

6c. /tanm/ «in'

7a. /S£A/

'correct'

7 c /ten/ 'on'

8a. /Sffi/

'future'

8 c /taa/1 'tea' 9c. /to/ 'return'

RE 11.9* Vietnamese. Mimicryi [s g] Continue, as in the preceding exercise. 1. /s«e/

'future'

5. /sa^m/

'finish'

2. /sae/

'conveyance'

6. /saaw/

' t o be after'

3 . /suAn/

'go down'

7. / s a k /

'high tone'

U. /stsh/

'correct'

8. / s u p /

'soup'

RE 11.101 Vietnamese. Mimicryi [t £ t11]

i. M/

'leave'

8. /-Pi/

'order, rank'

2. / t i / • 3. / t o / 1

'exclude'

9. /ttAk/

'precede'

•return'

10. /t^'ti'tiAk/ 'last Wednes-

h

*

U. /tTtPn/

'large container'

5. /tu n m/

'center'

6. / t i /

'fourth'

7. /ti/

'leave, go'

d a y !

11. / t i w /

'digested'

12. / t ^ w /

'lack, be short'

33. /yoy't h iw/ 2

'introduce

1U. /taay/

'fruit'

^Tuo dots under the [o] mark a difference of vowel quality which you will study later. 2 A single dot under a vowel in Vietnamese examples is a tone mark, following the Vietnamese system of representing tone.

Lesson 11

172 RE 11.11. Review* F r i c a t i v e s

Practice mimicry of t h e following sequences, as you read along i n your t e x t . Work e s p e c i a l l y on [x g ] . 1. [apxa]

10. [axQa]

19. [avba]

2. [afxa]

1 1 . [axba]

20. [adba]

3 . [aQxa]

12. [axva]

21. [agba]

U. [abxa]

1 3 . [axda]

22. [afepa]

5. [avxa]

111. [axga]

23. [afefa]

6. [aebca]

1 5 . [apfea]

2U. [ab©a]

7. [agxa]

16. [afba]

25. [abxa]

8. [axpa]

17. [a9ba]

26. [abva]

9. [axfa]

18. [axba]

27. [abda]

RE 11.12. S u b s t i t u t i o n The following drill uses a long frame, substituting a different sequence in it each time. The steady repetition of the frame through the whole exercise helps to give intensive practice to the articulations. On the first utterance there is a buildup to help you learn the sequence. On succeeding ones a buildup should not be necessary because only a small part of the sequence is new. !• [,t"a.ja.psa.'ma.xa.san.'za] 6. [It"a»sa.psa.'za.ta.s'an.'za] 2.

• kxa. l a

7.

1

3.

'ppa.na

8.

«gga.da

U.

•ca.Ja

9.

•psa.ya

5.

•tsa.dza

10.

tsa.za

'dza.tsa

RE 11.13. Buildups Mimic the tape and follow in your book begin with the first syllables in each case 1. [•t^a.bba.vax.ga.pa]

The buildups will

2. [•za.la.ba.da.ta]

Dental, Retroflexed, Grooved and Flat

173

3. [•da.tsa.k^a.ba.kxa]

7. [»path.bag.ma|.dax]

k» [»K a.va.pa.bza.pa.3

8. [«fag.dal.pat.ka?]

5 . [ , psax,k h ca5.ba.ca]

9. [«dap.sab.vak Q .tsad]

6 . [»*a.gal.garo.dza]

10. [»k h a.goa.kaps.5o-pf 3

RE H.lU. Transcription Listen to the tape, and transcribe the full utterances without looking at the text below. When you are satisfied with your transcriptions, check them with the text of the exercise. 11. [»daBthal]

1. [kxag]

6. [ma'tsaf]

2. [psam]

7. [tea'sag]

12. [tkanxap*1]

3 . [tadz] • •• h. [sabv]

8 . [bga'ksan] • 9. [ca"apx]

1 3 . ['sapmats] • llu flafk^ab]

«•

5. [zagz]

10. [za»tsas]

•

•

1 5 . [Tgga?pam3

RE U«l5» Reading Read off t h e following items before you hear them p r o nounced on the t a p e . Then l i s t e n t o the tape t o compare with what you have j u s t s a i d . ! • ["dama]

7 . ['pcckxam]

1 3 . ['ga'.p^ci]

2 . [<xaba]

8. [«lasag3

3iu [•pan.va]

3 . ['F^ata/l

9 . C'p h a*ad]

15. [«tsdb.la]

U. ['naka]

10. ['ggabap]

16, [«p h ax.pan]

5. [«xappa]

1 1 . ['maf.xa}

17. [«c'ces.gakh]

6. [»t h aban]

12. [ ' t a s . d a ]

18. f'dcf.laks]

nk LESSON TWELVE Vowels and Vowel Glides We come at last to the beginning of the study of vowels. For them we need a new framework of reference, for the points of articulation useful in describing consonants do not fit vowels. The characteristic which distinguishes vowels from consonants phonetically is the fact that there is no stoppage or friction in the oral cavity or throat of the kinds previously defined. The articulation of vowels is, therefore, more open than that of consonants. Different vowel qualities are produced primarily by changing the shape of the oral and pharyngeal cavities by altering the position and configuration of the tongue, lips, and velic. Sammies 12.1-12.3 show different positions for the tongue on three different vowels, and Sammy 12.3 shows also the different lip position for one of these vowels. Sammy 12.k shows these three tongue positions superimposed on each other. You can see that for the different vowels the highest part of the tongue is in different positions. For [e] the highest part of the tongue is in the front part of the mouth. For [a] it is in the central part of the mouth, and for [o] it is in the back part of the mouth. Wherever its position, front to back, the tongue may take different heights, to give high tongue position, mid tongue position and low tongue position. We also have the distinetion between rounded and unrounded lips. This can be charted, as in Table l2.1. We have entered on the chart the three vowels pictured in the Sammies, and in future lessons you will be taught to distinguish vowels for other parts of the chart. Note the relation between the position of the vowel in the chart, and the position of the highest part of the tongue in the Sammy. For the time being the velic is closed and the vowels are voiced. Front Central Back Unrounded Unrounded Rounded High

e

Mid Low

0

a

Table 12.lt Chart of Basic Vowel Articulations The names of the vowel symbols are [s] "epsilon" (from Greek) /'epsitlaHn/, [a] "script §_" or "written a_", and [o] o.

Vowels and Vowel Glides

175

Sammy 1 2 . l t [e]

Sammy 12.2* [a]

Sammy 12.3s [o]

Sammy 12»kt [s a o] superimposed

Vowel Glides Later on i n t h i s lesson ire w i l l p r a c t i c e t h e pronunciation of t h e t h r e e vowels charted above. F i r s t , however, we need t o

Lesson 12

176

introduce and drill another characteristic of vowel articulation. Just as it is possible for pitch to change or slur from one frequency to another, a characteristic which we called a pitch glide, so vowel articulations may change or slur from one position to another. Such changes we call vowel glides. Vowel glides may be off-glides or on-glides. That is, they may glide out of a certain vowel quality or into a certain quality. In other words, they may begin with a vowel and glide from there, or they may glide into a vowel. In the material which follows we will present off-glides first, and then the corresponding on-glides. RE 12.It English. Demonstration! Some Off-glides Listen to the following words as pronounced in my speech. For some of you it will be necessary to deliberately notice the differences from your own speech. After you have heard the exercise through once, mimic the tape. Those who do not normally pronounce the words in this way will need to mimic the "northern" speech. Pay particular attention to the movement of your tongue on the vowels. See if you can characterize the movement. Note also any movement of the lips. la. I

/ay/

lb. OwJ_

/aw/

lc. art

/art/

2a. buy

/boy/

2b. bough

/bear/

2c. bark

/bark/

3a. my

/may/

3b. cow

/kaw/

3c. cart /kart/

Ua. tie

/toy/

Ub. Dow

/daw/

itc tarp /tarp/

5b. loud

/lawd/

5 c lark /lark/

5a. lied /layd/

Disregarding the initial consonant (if any) in each case, in the first column the tongue begins relatively low and flat in the mouth (in [a] position), and moves upward and forward. In the second column the tongue moves upward and backward, and the lips round at the same time, in the third column the tongue curls upward (retroflexes). Each of these movements will be taken up below. The point now is that the tongue is in motion, and we call that motion a glide. The direction of the motion determines the kind of glide. [y] Off-glide, Tongue Upward and Forward The [y] off-glide begins with any vowel position and moves upward and forward, as illustrated in Sammies 12.5 and 12.6. We are not concerned with any exact point to which it moves, but the glide consists in the audible upward and forward move-

Yowels and Vowel Glides

177

ment, as in Table 12.2.

Sammy 12.5* A r t i c u l a t i o n of [ay] Showing Tongue a t Beginning and a t End of Glide Front Unrounded

Samray 12.6» A r t i c u l a t i o n of [sy] Showing Tongue a t Beginning and a t End of Glide Central Unrounded

Back Rounded

High Mid

Low

e

J

^5^

•

o

^ a

Table 12.2t Movement Which Constitutes t h e [y] Off-glide RE 12.2/ English. Demonstration! [y] Off-glides The following English words contain [y] o f f - g l i d e s as they are pronounced on t h e t a p e . They may not n e c e s s a r i l y i n your speech. If these do n o t , see i f you can find some words i n your own speech which demonstrate [y] o f f - g l i d e . There c e r t a i n l y are many. Mimic the t a p e , and f e e l t h e g l i d e . I t i s e a s i e s t t o f e e l i n Column a and Column b because i t has f a r t h e r t o t r a v e l (see Table 1 2 . 2 ) , but make sure you l e a r n t o f e e l i t i n Column c as w e l l . Watch yourself i n a mirror, and see your tongue move.

Lesson 12

178 le. heyi

/hey/

2b. coil /kcyl/

2c. may

/mey/

/may/

3b. boil

A°yV

3c. say

/sey/

/toy/

Ub. Boyd

/boyd/

Uc. same /seym/

5a. lied /layd/

5b. boys

/boyz/

5c. late /leyt/

6a. time /taym/

6b. coin /coyn/

6c. rake /reyk/

7a. fine /fayn/

7b. soil

/soyV

7c. slake /slsyk/

8a. liner /'laynir/

8b. soy

/soy/

8c. maker /»meykir/

?a. lion /»loyAn/

9b. foil

/foyV

9c. paste /peyst/

la. I_

/ay/

lb. boy

2a. buy

/bay/

3a. njy Ua. tie

/b°y/

10a. grimey/' graymz,y/ 10b. annoy /A'noy/

10c. blame /bleym/

[TIT] Off-glide, Tongue Upward and Back, Lips Rounding

Sammy 12.7# Articulation of [cor] Showing Tongue and Lips at Beginning and at End of Glide

Sammy 12.8t Articulation of [aw] Showing Tongue and Lips at Beginning and at End of Glide

The [ir] off-glide begins with any vowel position and moves upward and back, together with a lip rounding, as illustrated

Vowels and Vowel Glides

179

i n Sammies 12.7 and 1 2 . 8 . As i n t h e case of the [y] o f f - g l i d e , we are not concerned with t h e exact point t o which i t moves, but with the audible upward and back movement, t o g e t h e r with the l i p movement. See Table 1 2 . 3 . Front Unrounded

Central Unrounded

Back Rounded

High Mid Low Table 1 2 . 3 / Movement Which Constitutes t h e [w] Off-glide RE 12.3t English. Demonstration! [w] Off-glides The following English words contain [w] o f f - g l i d e s as they are pronounced on t h e t a p e . These words may not n e c e s s a r i l y contain them i n your speech. If they do not, see i f you can find some words i n your own speech which demonstrate t h e [w] off g l i d e . There c e r t a i n l y are many. These pronunciations do not a l l r e p r e s e n t t h e same d i a l e c t of English. Mimic t h e t a p e , and f e e l the g l i d e . Whereas t h e [y] o f f - g l i d e was harder t o f e e l with [e] than with the other vowels, the [w] o f f - g l i d e may be harder t o f e e l with [ o ] , again because t h e tongue does not have as f a r t o t r a v e l . You can watch your l i p s i n a mirror, however, and have no t r o u b l e detecting t h e g l i d e . Get your buddy t o watch you, a l s o . l b . house /hews/

l c . OhJ

/ow/

2a. bough /beer/

2b. note

/newt/

2c. note

/nowt/

3 a . cow

/kesr/

3 b . coat

/kswt/

3 c . coat

/kowt/

Ua. Dow

/dear/

Ub. own

/swn/

Uc. own

/own/

5a. loud

/lawd/

5b. n o t i c e / ' n e w t i s /

5c. n o t i c e / ' n o w t i s /

6a. crown /krawn/

6b. so

/sew/

6c. so

/sow/

7a. allow / A ' l a w /

7b. go

/gew/

7c. go

/gow/

8a. grouse/grows/

8b. throne/Orewn/

l a . Owl

/cor/

8c. throne/erown/

[r] Off-glide, Tongue t o Retroflexed Position The [ r ] o f f - g l i d e begins with any vowel p o s i t i o n and moves

1B0

Lesson 12

Sammy 12.9t One Typical English Retroflexed Position for [r]

Sammy 12.l0t A Second Typical English Retroflexed Position for [r]

into a retroflexed position. In Lesson Eleven you learned to make retroflexed consonants, and you learned that the distinguishing characteristic of a retroflexed sound was the cup-like surface of the tongue, created by the fact that the tongue tip turned upward to articulate. Retroflexed glide position again has a cup in the surface of the tongue, but because it is a vowel type of articulation rather than a consonant type of articulation, there is more space between the tongue and the top of the mouth. In English the [r] glide is made by different speakers with two characteristic different tongue formations, both of which have a cup in them to produce the retroflex quality. See Sammies 12.9 and 12.10. In the one case the back of the tongue is low, with the tip and sides curling up. In the other case the back of the tongue is high, with the tip curling up slightly, as illustrated in the Sammies. There is no audible difference between the two, and either is satisfactory for the [r] glide. Again, as with all previous glides, it is a movement, this time into retroflexed position, which constitutes the glide. RE 12.Ut English. Demonstrations [r] Off-glides The following English words contain [r] off-glides as they

181

Vowels and Vowel Glides

are pronounced on the tape. They may not necessarily in your speech. If they do not, see if you can find some words in your own speech which demonstrate the [r] off-glide. It is possible that you do not have any, for some dialects of English do not. Learn to produce this off-glide if you do not have it in your speech. Get the feel of the tongue movement into retroflexed position, /art/

lb, ferry /'fert-y/

lc. story /'storty/

/kart/

2b, merry /'merr,y/

2c, sort

/sort/

/mark/

3b, Sperry/' speny/ 3 c pork

/pork/

Ua, s t a r t l e / ' s t a r t a J L /

Ub, Gerry / ' j e r t - y /

Uc. f o r t

/fort/

5a, p a r t n e r / ' p a r t i a r /

5b. b e r r y /»b&rc,y/

5c.

orchard/'orcard/

[H] Off-glide, Tongue t o Central Position

Sammy 12.11* A r t i c u l a t i o n of [eH] Showing Tongue a t Beginning and a t End of Glide

Sammy 12.12i A r t i c u l a t i o n of [oH] Showing Tongue a t Beginning and a t End of Glide

The fourth and l a s t o f f - g l i d e which we w i l l t a k e up begins with any vowel p o s i t i o n and moves i n t o mid-central p o s i t i o n , as i l l u s t r a t e d i n Sammies 12.11 and 12,12. Again we are not concerned with the exact point t o which i t moves, but with the aud i b l e movement i n t o t h e mid-central a r e a . See Table 12.U. Do

182

Lesson 12

not l e t t h e choice of t h e c a p i t a l H as a symbol for t h i s g l i d e confuse you. I t has no r e l a t i o n t o [h] i n our -work. Neither does i t have any r e l a t i o n t o the s i g n of a s p i r a t i o n ["]• I t i s simply a symbol not otherwise used i n our work, and a v a i l a b l e t o represent the c e n t r a l i z i n g g l i d e . Front Unrounded

Central Unrounded

Back Rounded

High Mid

ft

Low-

* f « a

H

o

Table 12.U» Movement 'Which Constitutes t h e [H] Off-glide RE 12. 5t English. Demonstration! [H] Off-glides The following English words contain [H] o f f - g l i d e s as they a r e pronounced on the t a p e . They may not n e c e s s a r i l y i n your speech. If they do n o t , see i f you can find some words i n your own speech which demonstrate the [H] o f f - g l i d e . I t i s very common i n a l l d i a l e c t s of English. These pronunciations do not a l l represent t h e same d i a l e c t of English. Mimic t h e t a p e whether you have t h i s o f f - g l i d e on these p a r t i c u l a r words or n o t . Get t h e f e e l i n g of t h e c e n t r a l i z i n g tongue movement. l a . vea

/yeH/

l b . four

/foH/

lc. I

/cfl/

2a. t h e r e

/eleH/

2b. sword

/soHd/

2c. fine

/faHn/

3a. fair

/feH/

3 b . porch

/poHc/

3 c . mine

/maHn/

lf.a. prayer

/preH./

Ub. boa

/boH./

He. car

/kctH/

5a. mayor

/mti/

5b. pork

/poHk/

5c. f a r

/faH/

RE 1 2 . 6 . D i f f e r e n t i a l ! CAPITAL [H], RAISED [ h ] , [h] The following d r i l l i s t o h e l p you f i x t h e t h r e e symbols [H h ] so you w i l l not confuse them. You have not y e t had [h] i n f i n a l p o s i t i o n , but i t sounds j u s t l i k e [h] i n i n i t i a l ^Some l i n g u i s t s maintain t h a t [H] and [h] are a c t u a l i z a t i o n s of the same phoneme i n English. Whether one holds t o t h a t i n t e r p r e t a t i o n of English or not, these sounds are p h o n e t i c a l l y d i f f e r e n t , and have no r e l a t i o n t o each other i n our phonetics work.

Vowels and Vowel Glides

183

p o s i t i o n , and i t i s demonstrated f o r you on t h e t a p e before the exercise b e g i n s . In t h i s exercise you respond with the name of the symbol, because i t i s t h e d i f f e r e n t use of t h e symbols which you want t o l e a r n t o keep s t r a i g h t . Do not watch the t e x t . 1. [mop'1]

R

7. [loh]

h

13. [lop*1]

R

2. [mdh]

h

8. [loH]

C

1U. [tak*1]

R

3 . [mctH]

C

9. [fsH]

c

15. [taH]

C

lu [t em]

R

10. [p^rel]

R

16. [tah]

h

5. [sols*1]

R

1 1 . [rah]

h

C

6. [hoz]

h

12. [zeh]

h

17. [deH] • 18. [xoh]

h

h

RE 1 2 . 7 . Diff e r e n t i a l i [y w r H] I n t h i s d r i l l you are t o d i s t i n g u i s h t h e kind of o f f - g l i d e which you h e a r . Call out the name of the symbol used t o r e p resent i t . 1. [mey]

7

7. [fsHm]

H

11 1 3 . [hawk ]

w

2. [mew]

w

8. [psoyd]

y

lit. [hayph]

y

H

1

r

1 5 . [£eyn]

y

11

3 . [msH] k,

[mer]

5. [layk*1]

9.

[tserk* ]

r

10. [bzork ]

r

16. [Jawd]

w

7

1 1 . [tfoHk*1]

H

17. [fern]

r

12. [stoHv]

H

18. [zawl]

w

6. [sowk*1] w

Up t o the present we have d e a l t only with o f f - g l i d e s , g l i d e s which begin with a s y l l a b i c vowel, and move t o one or another of t h e four defined p o s i t i o n s i n a n o n - s y l l a b i c movement. On-glides are j u s t t h e r e v e r s e . They move t o t h e p o s i t i o n of the s y l l a b i c vowel. The p o s i t i o n from which" they come defines the g l i d e . In other words, any Sammy above which r e p r e s e n t s an o f f - g l i d e can be made t o represent an on-glide by having t h e dotted l i n e r e p r e s e n t t h e non-syllabic beginning p o i n t , and t h e s o l i d l i n e t h e s y l l a b i c vowel t o which t h e g l i d e moves. See a l s o Table 1 2 . 5 . RE 12. 8> English. Demonstration! On-glides L i s t e n t o t h e t a p e , and mimic. Notice how t h e on-glide (the g l i d e coming before t h e vowel) i n Column a i s j u s t t h e

Lesson 12

lfiU

\s;

High Mid

Back Rounded

Central Unrounded

Front Unrounded

~——~^-o *>o *>o] 3. {">*• *e »e *e *e]

5. [°o»h] 6. [*e»h]

For each of these pure vowels there are characteristic traps which speakers of English are likely to be caught in when they mean to produce pure vowels. For [a] the temptation is to change the quality between the long and short pronunciations. There is also the problem of tending to substitute your own English pronunciation, which in many dialects of English is considerably different from what you hear on the tape. The trap in the [o] is the temptation to add the English [w] off-glide. Watch your lips in the mirror as you pronounce it. If there is any movement toward greater rounding you are adding the glide. The trap in the [e] is the temptation to add the English [H] off-glide. Be especially careful of this. You cannot see it in a mirror. You must learn to hear it and feel it. Now go through this exercise again, remembering the traps, and trying to avoid them. Work with your buddy so that you can listen to each other and help each other find the points at which you differ from the tape. RE 12.13. Negative Practicet [ow o] In the following exercise we are going to pronounce the same English words with [ow] in Column a, and with [o] in Column b. Neither of these pronunciations may be your natural pronunciation of the word in some cases. The purpose is to mimic the tape and learn to produce a glided or unglided [o] at will. la. [sow]

lb. [so]

SO

2a. [9ow]

2b. [»o]

oh

3a. [low]

3b. [lo]

low

189

Vowel and Vowel Glides Ua. [bow]

lib. [bo]

bow

5a. [«mowtr]

5b. [«motr]

motor

6a. [lowf]

6b.

loaf

7a. [«gowz,n]

7b. [»gOMj]

going

8a. [A»lown]

8b.

alone

[lof]

[A'lon]

RE 12.lU. Negative P r a c t i c e ! [eH e] This e x e r c i s e follows t h e same procedure and purpose as the preceding one, except t h a t the vowel and g l i d e are d i f f e r e n t . l a . [y6H]

to.

2a. [weHl]

2b. [wel]

well

3 a . [leHt]

3b.

let

ka., [meHnt]

l+bo [ment]

meant

5a. [freHnd]

5b.

[frend]

friend

6a. [beHst]

6b.

[best]

best

7a. [eHnd]

7b. [end]

end

8a.

8b.

fret

[freHt]

[ye]

yea

[let]

[fret]

RE 12.15. D i f f e r e n t i a l ! GLIDED or NO I f you hear [w y H r ] pond with NO. You get the g l i d e i n both s y l l a b l e s of gives you more opportunity not watch t h e t e x t .

respond with GLIDED. Otherwise r e s same vowel with or without t h e same each u t t e r a n c e i n Nos. 1-lU. This t o h e a r and i d e n t i f y t h e g l i d e . Do

7. [keysey] G

13. [koHsoH] G

8. [kese]

Ik. [koso]

NO

9. [kewsew] G

15. [kaH]

G

[koyscty] G

10. [kowsow] G

36. [kay]

G

5. [kaHsaH] G

11. [koysoy] G

17. [ka]

NO

6. [kasa]

1 2 . [kaHsaH]

18. [ke]

NO

1. [keHseH] G 2. [kese]

NO

3. [kowsow] G

k.

NO

NO

G

Lesson 12

ISO 19. [keH]

G

2 0 . [kow] G

2 1 . [ko]

NO

RE 12.16. Mimicryt [g e o] Follow t h e tape i n mimicking the following i t e m s , f i r s t down the columns, and then a c r o s s . Be sure t o get pure vowels. l a . [»lola]

lb.

[ilele]

l c . [•lolo]

2a. [•baba]

2b. [«bebe]

2c. f'bobo]

3 a. ['nana]

3b. [»nene]

3c

Ua. ['dada] < •

Ub. [»dede]

5a. [' zaza]

5b. [«zeze]

Uc. [•dodo] • • 5 c [•zozo]

6a. [ 'tscctsa]

6b.

6c. [ • t s o t s o ]

7a. [*sasa]

7b. [ ' s e s e ]

7 c [«soso]

8a. [«gaga]

8b.

['gege]

8c. [«gogo]

Id. [la]

le.

[le]

If.

2d. [ba]

2e. [be]

2f. [bo]

3d. [na]

3 e . [ne]

3f.

Ud. [da]

he.

[de]

Uf. [*>]

5d. [za]

5 e . [ze]

5f. [So]

6d. [ t s a ]

6e. [tse]

6f.

7d. [sa]

7e. [se]

7f. [so]

8d. [get]

8e. [ge]

8f. [go]

["tsetse]

[•nono]

[lo]

[no]

[tso]

RE 12.17. Mimicry* Glides Again Mimic t h e t a p e , and p r a c t i c e saying t h e following English words with the glided vowels shown for each item. Notice t h a t No. 6 contains some B r i t i s h pronunciation, Nos. 7, 8, 9 some Deep South pronunciation, e t c . 1. [ey]» bay, say, may

3 . [ay]t buy, p i e , l i e

2 . [oy]# b o i l , coin, choice

U. [aw]i how, cow, now

Vowels and Vowel Glides

191

$• [ow]i s o , bow, low

9. [aH]i c h o i r , l i e s , l i o n

6. [ew]t go^ no^ oh

10. [ e r ] t t h e i r , f a i r , pear

7. [eH]i l a y e r , mayor, bed

1 1 . [or]* chore, door, core

8. [oH]« boa, Noah, four

12, [ar]t choir, p a r t , barn

RE 1 2 . 1 8 . Buildupsi Pure Vowels and Glides Mimic t h e t a p e . These longer utterances w i l l be b u i l t up from t h e end. Be very careful of your pure vowels and g l i d e s . 1*

[»da.now.from.'k^ey.mo.ben.»p"er.gay.seH.'soy]

2.

['so.S£n.t n af.«map h .m6H.feH.'z6Hk h .bol.wa. , broH]

3 . [ •c h oyv.5an".g6d. »vaHl.meyn.£|ew. 'goy.do.dow. >haH] RE 12.19. Buildups* Review of S t r e s s and Timing Follow along i n your t e x t , and mimic the tape on these buildups. The consonants and vowels a r e kept simple so t h a t you can concentrate on t h e s t r e s s , j u n c t u r e , s y l l a b i c i t y , timing, e t c . 1. ['nana

na'nana

2 . [bribn'bnbn t

t

t

na

bribn

t

i

km [mba'ba I

i

t i

'mbambcan I

!

i

na

na'na]

>bn«bn

t

»srtsrt

t I

*na

»bn bn

i t

3. [»srtsrtsrt»srt i

na

»bnbribn]

t t

i i i

srt

srt

i

i

*m

'm

ba'm

I

I

I

«srt

»srtsrtsrt]

i

m m I

I

'mmmba

I

I

I

»ba]

I I I

RE 12.20. Reading To h e l p you a s s o c i a t e t h e symbols and t h e g l i d e sounds you have learned t o produce, l i s t e n t o the c o r r e c t form on tape a f t e r you have read i t . Practice aloud and with another s t u dent i f p o s s i b l e . Be prepared for c l a s s d i c t a t i o n . 1. [sow'so]

6 . [say'saH]

1 1 . [so'soH]

16. [sew'se]

2 . [soH'so]

7. [saH'say]

12. [so'soy]

17. [se'sew]

3 . [soy'so]

8. [say'saw]

1 3 . [sow'sow]

18. [seH'sey]

U. [ s a y ' s a ]

9 . [saw'sa]

lit. [ssy'sey]

19 • [seH'saH]

5 . [sa«soy]

10. [saw'Say]

15. [se'se]

20. [saw'ssH]

192

LESSON THIRTEEN Nasals Bilabial Nasals Voiced Voiceless

Dental

ra M

n (N)1

Alveolar

AlveoRetro- Velar p a l a t a l flexed

n

n

n

n

N

N

(N)

N

The nasal manner of articulation was explained in Lesson 1 (p. 16). It consists of a closure in the oral cavity, and an open velic to allow the air stream to come out through the nose. We need now to learn to produce some nasals in positions where they do not occur in English, and to learn some new nasals which do not normally occur in English. Names of new symbols in this lesson are [~] "tilde" /'tz-ldA/, [ST] "enya" /'enya/, [n] "eng" /en/ or "velar n", [n n] "dental n", "retroflexed ji", [M] "capital m", etc. [n] in Initial Position You are already familiar with [n] in final position and some medial positions in such English words as sing [sz,n], singer [«st.n»r], and finger ['f&n.gr] (see Appendix). We now introduce it in initial position, where it also occurs in many languages. RE 13.1. Negative Practicet Learning to Make Initial [n] Mimic the stress, timing, and length as demonstrated on the tape, to help you get the rhythm, and you will find yourself making initial [n] with no difficulty. Follow the transcription. 1. Start by saying singing»ing»ing»ing

['stnt-n* "tn* *tn« 'tq]

2. Change the stress placement! [sMQi/'n'z-'n't-'n'r-] 3. Then change tot [•qt-'qi.'nz.'ni.] ^The voiceless dental nasal and voiceless retroflexed nasal articulations in parentheses are perfectly possible, but we will not drill them in this course.

Nasals

193

h* [•ne'ne'n.e'ne] 5. [«no'no»rjO»]3o] 6.

['na'ga'na'na]

RE 1 3 . 2 . Mimicry* I n i t i a l [nj Follow the t r a n s c r i p t i o n as you mimic the t a p e . l a . [»na]

l b . ['nana]

l c . [«nanaq]

I d . ['nan

'nananj

2a. [«ne]

2b. ['nene]

2 c . ['nenen]

2d. ['rjeij 'nenen]

3 a . [«no]

3 b . ['130130]

3 c . ['13013013]

3 d . ['13013 '13013033]

RE 1 3 . 3 . D i f f e r e n t i a l STOP, NASAL, or BOTH Say t h e following words t o yourself, and analyze t h e media l consonants! b i g g e r [«bz,gr], s i n g e r [ ' s t n r ] , finger ['f1.13.gr]. Note t h a t they have [g] STOP, [13j NASAL, and [ngj BOTH, r e s p e c t i v e l y . I n t h e following exercise respond t o the tape with one of t h e s e l a b e l s according t o what you h e a r . Don't peek. 1 . [aga]

S

6. [0130]

N

1 1 . [aga]

S

2 . [003a]

N

7. [ene]

N

12. [ege]

S

3 . [anga]

B

8. [aga]

N

3 3 . [ango]

B

it. [anga]

B

9. [ege]

S

lit. [enge]

B

5 . [aga]

S

10. [eijge]

B

35. [0130]

N

Now go back and p r a c t i c e i n mimicry of t h e t a p e . Production of

W

Be sure your tongue t i p i s down behind your lower t e e t h . Hold i t t h e r e with t h e t i p of your f i n g e r . A r t i c u l a t e w i t h your blade where i t n a t u r a l l y touches the a l v e o p a l a t a l region. I n many, i f not most, languages where [n] occurs i t has a [y] automatically associated with i t , making an on-glide i n t o a following vowel or an o f f - g l i d e from a preceding one. I n such languages the [y] helps t o d i s t i n g u i s h [n] from [ n ] . Other languages have no such o f f - g l i d e . I n t h i s course, however, (except f o r t h e following e x e r c i s e ) [11] w i l l always be accompanied with a s l i g h t [y] glide which w i l l not be t r a n s c r i b e d , but w i l l be considered a f e a t u r e of the [ n ] . The glide movement

Lesson 13

29k

Sammy 13.1* [n] of [7] comes very close t o [n] a r t i c u l a t i o n . RE 13 ,U. Demonstration* fn] With and Without [y] Glides Listen and mimic t o hear and f e e l the presence and absence of t h e [y] g l i d e . Follow t h e t r a n s c r i p t i o n . Without Glide

Following Glide

Preceding Glide

l a , [ana]

l b , [afrya]

l c . [ayna]

2a. [ene]

2 b . [enys]

2 c . [syne]

3 a . [ono]

3 b . [onyo]

3 c . [oyno]

RE 1 3 . 5 . Mimicry! [n] Be very careful t o see t h a t your tongue t i p stays behind your lower t e e t h . If necessary, place the t i p of your f i n g e r l i g h t l y a t the edge of your lower t e e t h t o hold your tongue down. Follow the t r a n s c r i p t i o n . l a . [»na]

l b . ['nana]

l c . ['nanafi]

I d . ['nan »nanan]

2a. [•&]

2b. [»nene]

2c. [»nenen]

2d. ['neii 'nenen]

3 a . [«no]

3 b . ['nono]

3 c . ['nonon]

3d. ['non 'norion]

Nasals

1°5

Production of [n n] [ji n] do not present any new a r t i c u l a t i o n problem, but simply tfie c o n t r o l of d e n t a l and r e t r o f l e x e d a r t i c u l a t i o n s learned i n Lesson 1 1 , and t h e i r c o r r e l a t i o n with n a s a l manner of a r t i c u l a t i o n . Some speakers of English w i l l f e e l t h e a r t i c u l a t i o n of [n] i n t e n things [|t^en«©i,nz]. Some, but not as many, w i l l f e e l t h e a r t i c u l a t i o n of [n] i n door knob [•doHrna»b], You w i l l need t o l e a r n t o make both t h e s e a r t i c u l a t i o n s , and t o hear [ n ] . As with [ t d ] , however, you may l e a r n t o recognize [n] more by seeing t h e tongue a t t h e t e e t h than by i t s a c o u s t i c difference from [ n ] . RE 1 3 . 6 . Mimicry! [n n] Keep the proper a r t i c u l a t i o n on t h e following items whether you hear t h e d e n t a l a r t i c u l a t i o n or n o t . Follow the t r a n s c r i p tion. l a . [*na]

l b . ['nana]

l c . [•nanan] *•

A

A

A

J

I d . ['nan 'nanan]

2a. [»na]

2b. [•nana]

2 c . [tnanan]

2d. ['nan •nanan]

3 a . [«ne]

3 b . [•nene]

3 c ['nenen]

3d. [ , n e P 'nenen] A

ha.. [»ne] 5a. [«no]

Ub. ['nene] • • 5b. ['nono] L

A

A

J

Uc. ['nenen] • • • 5c [* nonon]

6 c . ['nonon] 6b. [»nono] • • • • • RE 1 3 . 7 . Negative Practice* [n n ny n n]

6a. ['no]

A

A

J

Ud. ['nen •nenen] • • • • • 5d. [»non •nonon] A

A

fl

J

6d. ['non 'nonon] • • . • •

I n the following sentences t h e English / n / ' s w i l l be r e placed with various kinds of n a s a l s j u s t d r i l l e d , [ny] w i l l also be p r a c t i c e d . Remember t h a t [1i] when i t has a following [y] g l i d e , sounds very much l i k e [ n y ] . The a r t i c u l a t o r and point of a r t i c u l a t i o n are d i f f e r e n t . Make the proper a r t i c u l a t i o n for each of the s u b s t i t u t e d sounds. P r a c t i c e a l l of these v a r i a t i o n s u n t i l you can say them f l u e n t l y . Follow t h e t r a n s cription. 1. Nyee, nyee, nyee said the l i t t l e fox. l a . nss nae ns3 s a i d t h e l i t t l e fox 2a. res ffe ife s a i d t h e l i t t l e fox

196

Lesson 13 l c . nyae nyse nyae said t h e l i t t l e fox I d . nee n s nae said t h e l i t t l e fox • • • l e . nae nse nas said the l i t t l e fox

2. Ned never knew Nancy's new number. 2a. ned never new nancy's new number A

A

ft

/N

/\

/N

2b. ned never new nancy's new number 2c. nyed nyever nyew nyancy's nyew nyumber 2d. ned never new nancy's new number 2e. red never new nancy's new number 3. Ten thin men man one gun. 3a. ten thin men man one gun A.

A

A

A

A

A

3b. ten thin men man one gun 3c. ten thin men man one gun 3d. ten thin men man one gun RE 23.8. Differential! ALVEOPALATAL, RETROFLEXED, VELAR Don't peek. 1. [oSo] A 2. [ono] • 3. [ono]

V

11. [ono]

V

R

6. [ene]

A

32. [ene]

R

V

7. [ene]

A

13. [ana]

A

8. [efie]

V

R

9 . [ana]

R

lU. [ene] • 15. [ana]

U. [ono] R • 5. [ene] R • Voiceless Nasals

V

10. [ana]

You can produce any voiceless nasal by articulating for a voiced one, and simply blowing. Voiceless nasals often occur adjacent to voiced nasals of the same articulation, and in our drills we will follow this practice as it makes the voiceless nasals easier to identify. You should be prepared, however, to find such voiceless nasals without contiguous voiced nasals in

Nasals

197

languages you may study. RE 1 3 . ° . Demonstrationt English Exclamations •with [M] l i s t e n , and mimic t h e t a p e on t h e following exclamations which have [M]. Get t h e f e e l i n g of the a r t i c u l a t i o n of the voiceless n a s a l . 1* hml

[Mm]

2. hm-m

[Mm?m]

3 . mhm OroMm]

RE 13.10. Negative P r a c t i c e i [N N N, Mj Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n . 1. Ned never knew Nancy's new number. l a . Nned Nnever Nnew Nnancy's Nnew Nnumber l b . Nned Nnever Niiew Nnancy's Nnew Nnumber l c . Nned Nnever f^rjew Nriancy's Nnew ^number 2 . Ten t h i n men man one gun 2a. tenN thinN menN manN onNe gunN 2b. tenN thinN menN manN onNe gunN 2 c . tenlj thinN, menlj manN, onNe gurjN, 3 . Mother, make me much more mush. 3 a. Mmother Mmake Mme Mmuch Mmore Mmush RE 1 3 . 1 1 . Mimicryi Voiceless Nasals Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n , l a . [»Mmo]

l b . [*o'Mmo]

l c . ['om'Mmo]

I d . ['onM]

2a. [«Nno]

2b. f o ' N n o ]

2c. f'on'Nno]

2d. ['onN]

3 a . [«Nno]

3 b . [*o»Nnb]

3 c . ['on'finb]

3d. [*onN]

Ua. [«Nno]

lib. f o ' N n o ]

U c forj'Nno]

lid. [*onNj

RE 13.12. Buildup and S u b s t i t u t i o n Mimic t h e t a p e .

The frame remains constant, with one

198

Lesson 13

syllable changing for each utterance. There is a buildup on the first one because the sequence is long and the combinations require practice. Work on them until you get them fluently. Follow the transcription.

1« [gonM'new sat^a'nonN]

6. [gonM'zVw satb-a'nonN]

2.

't h ca]

7.

'Ijfto

3.

'noz

8.

•dana

U.

'nenN

9.

'neso

5.

'tsan

10.

'xenN.

RE 13.13i Khmtf >\ Mimicryt Voiced Nasals Mimic t h e tape and follow t h e t r a n s c r i p t i on. la. /naa/ •she'

l b . /fiaak/ 'poor'

l c . /naa/

2a. / n a a y / •that'

2b. /naam/ 'time when'

2c. /naam/ •part of a plow'

3a. /naan/ 'Miss•

3b. /naan/ •crawl'

3c

Ua. /neew/ 'kind'

'tusk'

/naak/ •nursing"

Uc. A)eep/

'roof overhang'

RE T3»lkt Khmu*. Mimicry! Voiceless Nasals Mimic t h e tape and follow t h e t rans c r i p t i o n . 2 b . [Nna«y]

'there' 2a. [Mman] 'hold'

2b., [Nnam]

3 a. [Mmo»n] 'sad'

3 b . , [Nno«n]

Laos.

•be l a r g e '

I d . [Nna-p] •yawn1 2d. [Nrjat] •recede'

'be remaining'

Khmu' is a mountain minority language spoken in northern Data from William A. Smalley, Outline of Khmu* Structure.

Nasals

199

Ua. []tfmu»c] •ant'

He. [Hnlp] 'grab, grasp'

Hd. [Nne»k] 'hornbill'

RE 1 3 , l 5 i Khimi?. F i n a l [n] Mimic the t a p e and follow the t r a n s c r i p t i o n , 1, [ma«rT] ' a s k '

3 , [ta»n] 'weave'

S>. [pin] 'shoot*

2. [ba»n] 'be drunk'

h. [gu«n] ' s e e '

6 . [kin]

'full'

RE 1 3 , l 6 i Black Bobo 1 . Mimicry! Nasals with Tone Mimic the tape and follow the t r a n s c r i p t i o n . s y l l a b i c n a s a l s , and t h e tones on them, ~ 1* [gq]

'oven'

6. [JjJ

'grease'

2, [gn]

'yesterday'

7, ( # K

'head'

3. [ ^

'black'

8. [nl\

' s l e e p5»

U. [kg]

'skin'

9, [Nn]

'sun'

i

Note t h e

•

T 5. [SQ

'odor'

10. [Nn]

'man'

RE 1 3 . 1 7 . Review Buildupst General [da.c&'t h on.t&en'd8ow.Nna]

1* [ea.ddye'po.mctr). ' a . n o ]

h.

2 . [gwax.'a'fa.neg.'pponN]

f>. [ps n o.ke',jan.nom 'n.Nn&'']

3 . [tss.pom'pwa m'bo.Nns.doz]

6.

[pra4.syex«boc n ,2er),sem.ton, •Mme]

T3lack Bobo is spoken in Mali, West Africa, Data obtained with the help of Rev, Grant Crooks, Recording simulated from notes.

200

Lesson 13

RE 13.18. Reviewt [x g q] ^y now you should be g e t t i n g t h e v e l a r f r i c a t i v e s . Pract i c e t h e following u t t e r a n c e s r e p e a t e d l y . Mimic t h e tape and follow the t r a n s c r i p t i o n . 1 . [gerj'xona]

U. [gego. s l u r from [a] t o [u]

a *A 9&]

9

3 . [so so sv su s a

SA

ss]

h» s l u r from [u] t o [o]

6 . [ma mA mo mo ma mA]

7» [du dv do do dv du] 8. [xe XA x a xo xo xv xu]

Learning [uj and [v] Now you w i l l have s p e c i a l p r a c t i c e i n hearing and producing the high and lower-high back rounded vowels. Do not be deceived by any s i m i l a r i t y t o vowels i n your English speech. Mimic what you hear on t h e t a p e , and l e a r n t o c o n t r o l both t h e q u a l i t y and the tendency t o g l i d e . RE l U . 2 . Discrimination! SAME or DIFFERENT L i s t e n t o t h e paired words, and answer SAME or DIFFERENT. After you have completed the e x e r c i s e , l i s t e n again and mimic. Column a w i l l p a i r t h e vowels [u o ] , Column b [u v ] , and Column c [v o]» Don't peekj l a . [gom gum] D

5a. [gom gum]

D

9a. [«mogi «mogi] S

2a. [gom gom] S

6a. ['mugi «mogi] D

10a. ['mugi «mogi] D

3a. [gum gum] S

7a. ['mugi »mugi] S

Ua. [gum gom] D

8a. [»mogi «mugi] D

Lesson Ik

lb. >vf wuf ] D

lc„ [los l v s ]

D

2b. wvf wuf] D

2c. [lus los]

D

s

3 c . [lvs l v s ]

S

Ub. 'wuf wvf] D

Uc. [ I D S l o s ]

D

5b. "wuf wuf] D

5 c [los l o s ]

S

6b. wuf wuf] S

6 c . [ ' s o l a »sula] D

s s

7c. ['sola 'sola] S

9b. [wuf wuf] D

9 c . [«sula ' s v l a ] S

s

10c. [ ' s o l a ' s o l a ] S

3b. wvf wpf]

7b. [wuf wuf] 8b „ [wvf wvf]

10b. [wuf wuf]

8c. [«svla ' s o l a ] D

I n producing [u] you must be very careful not t o make a glided sound, [u] i s deceptively s i m i l a r t o t h e way many of us pronounce boot ( a c t u a l l y often pronounced more l i k e [ b i w t ] ) . [u] must be unglided, with t h e tongue high i n back and t h e l i p s c l o s e l y rounded. To produce [v] lower t h e back of t h e tongue s l i g h t l y from [u] and l e s s e n t h e rounding s l i g h t l y . Or, r a i s e t h e back of t h e tongue s l i g h t l y from [o] and i n c r e a s e the rounding s l i g h t l y . RE l U . 3 . Mimicry* [u v o] I n t h e following exercise mimic the tape and watch i n a mirror t o see t h a t you do not get a [w] g l i d e . On a l l of these sounds experiment with t h e p o s i t i o n of t h e back of your tongue t o get the same q u a l i t y you hear on the t a p e . Work with your buddy so t h a t he can t e l l you when you d o n ' t sound l i k e t h e t a p e . Watch the t r a n s c r i p t i o n . [buth]

l b . [bvt h ]

lc.

2a. [kup h ]

2b. [kut h ]

2c. [kot h ]

3 a . [sum]

3 b . [sum]

3 c . [som]

Ua. [suz]

Ub. [suz]

Uc

[soz]

5a. [xuf]

5b. [xuf]

5c

[xof]

6a. ['gudfen]

6b. ['gudfen]

6 c . ['godfen]

la.

[bot h ]

Some Back and Central Vowels

205

7a. [tgudfon]

7b. pgvdfan]

7c. [«godfan]

8a. [»gudfon]

8b. [«gvdfon]

8c. [»godfon]

9a. [«gudfun]

9b. ['gudfun]

9c.

['godfun]

10a. ['gudfun]

10b. ["gudfun]

10c.

['godfun]

RE Ib.U. Negative Practice* "This Is t h e House t h a t Jack Built" Recite t h e following v e r s e , s u b s t i t u t i n g f i r s t [ u ] , then [ u ] , then [o] i n t h e underlined words. A t r a n s c r i p t i o n i s given you a t the s i d e for t h e words t o be changed. Do t h e whole verse through with one vowel before going on t o another. The tape w i l l demonstrate how each s e t s t a r t s , but w i l l not provide mimi c r y m a t e r i a l f o r the f u l l d r i l l . Be e s p e c i a l l y careful t o avoid s l i p p i n g i n t o English sounds. Keep the d i s t i n c t q u a l i t i e s on which we are working for each of the s u b s t i t u t e d sounds. a This i s the House t h a t Jack

b

c

[hus]

[hus]

[hos]

This i s t h e Malt

[mult]

[mvlt]

[molt]

That l a y i n the House t h a t

[hus]

[hus]

[hos]

This i s t h e Rat

[rut]

[rut]

[rot]

That a t e the Malt

[mult]

[mult]

[molt]

That lay i n the House t h a t

[hus]

[hus]

[hos]

This i s t h e Cat

[l&it]

[k^t]

[k^ot]

That k i l l e d t h e Rat That a t e t h e Malt That lay i n t h e House t h a t

[rut] [mult] [hus]

[rvt] [mvlt] [hus]

[rot] [molt] [hos]

This i s t h e Dog

[dug]

[dug]

[dog]

That worried t h e Cat That k i l l e d the Rat

[k^ut] [rut]

[kVt] [rvt]

[k^ot] [rot]

built.

Jack b u i l t .

Jack b u i l t .

Jack b u i l t .

Lesson lU

206 a

b

c

That ate t h e Malt

[mult]

[mvlt ]

[molt]

That l a y i n the House t h a t Jack b u i l t .

[hus]

[hvs]

[hos]

This i s the Cow with the crumpled horn

[kV]

[IAW]

[l^aw]

That tossed the Dog

[dug]

[dug]

[dog]

That worried t h e Cat

[k*ut]

[kVt]

[k^ofc]

That k i l l e d t h e Rat

[rut]

[rpt]

[rot]

That a t e the Malt

[mult]

[mvlt ]

[molt]

That l a y i n the House t h a t Jack b u i l t .

[hus]

[hvs]

[hos]

This i s the Maiden a l l forlorn

['mudn]

t'mvdn]

[•modn]

That milked the Cow with the crumpled horn

[k^w]

[k*V|

[kV]

That tossed t h e Dog

[dug]

[dug]

[dog]

That worried t h e Cat

[k^ut]

[kV]

[kV]

That k i l l e d t h e Rat

[rut]

[rvt]

[rot]

That a t e the Malt

[mult]

[mult]

[molt]

That lay i n the House t h a t Jack b u i l t .

[hus]

[hvs]

[hos]

This i s the Man a l l t a t t e r e d and t o r n

[mun]

[mvn]

[mon]

That kissed t h e Maiden a l l forlorn

['mudn]

[•rnvdn]

[•modn]

That milked t h e Cow with t h e crumpled horn

[kkuw]

[k?W]

[kNr]

That t o s s e d the Dog

[dug]

[dyg]

[dog]

That worried the Cat

[kNit]

[At]

[k^ot]

i

t

Some Back and Central Vowels

207 a

b

c

That killed the Rat

[rut]

[rut]

[rot]

That ate the Malt

[mult]

[mult]

[molt]

That lay in the House that Jack built.

[hus]

[hus]

[hos]

This is the Priest, all shaven and shorn

[pkrust]

[p r u s t ]

[p^rost]

That married the Man all tattered and torn

[mun]

[mun]

[mon]

That kissed the Maiden all forlorn

['mudn]

['mudn]

That milked the Cow with the crumpled horn,

[kNiw]

[l^uw]

[^ow]

That tossed the Dog

[dug]

[dug]

[dog]

That worried the Cat

[l^ut]

[kJhrt]

[l^ot]

That killed the Rat

[rut]

[rut]

[rot]

That ate the Malt

[mult]

[mult]

[molt]

That lay in the House that Jack built.

[hus]

[hus]

[hos]

This is the Cock that crowed in the morn

[kV]

[kNk]

[khok]

That waked the Priest all shaven and shorn

[p"rust ]

[p h rust]

[frrost ]

That married the Man all tattered and torn

[mun]

[mun]

[mon]

That kissed the Maiden all forlorn

[«mudn]

[•mudn]

[•modn]

That milked the Cow with the crumpled horn

[k^uw]

[khuw]

[khow]

That tossed the Dog

[dug]

[dug]

[dog]

That worried the Cat

[kVt]

[khut]

[kVt]

[•modn]

t

i

208

Lesson lh s

b

c

That k i l l e d the Rat

[rut]

[rvt]

[rot]

That ate the Malt

[mult]

[mult]

[molt]

That l a y i n t h e House t h a t Jack b u i l t .

[hus]

[hus]

[hos]

This i s the Farmer who sowed the corn

[*fumr]

['fvmr] '

['fomr] '

That fed the Cock t h a t crowed i n the morn

[kNik]

[khpk ]

[k h ok]

That waked the P r i e s t a l l shaven and shorn

[p^rust]

[phrvst]

[phrost]

That married the Man, a l l t a t t e r e d and t o r n

[mun]

[mim]

[mon]

That kissed the Maiden a l l forlorn

[»mudn]

['mvdn]

['modn] '

That milked the Cow with the crumpled horn

[k^urr]

[k^vw]

[l^ow]

That tossed the Dog

[dug]

[dvg]

[dog]

That worried the Cat

[kVt]

[kVt]

[l^ot]

That k i l l e d the Rat

[rut]

[rvt ]

[rot]

That a t e t h e Malt

[mult]

[mult]

[molt]

That l a y i n the House t h a t

[hus]

[hus]

[hos]

!

Jack built. Learning [o] and [A] To produce [o] the back of the tongue is lowered from [o], and the rounding is lessened. Be careful not to get an [H] glide. Some speakers of English will tend to confuse [o] and [a]. They should work especially hard on these drills. To produce [A] the center of the tongue is raised from [a] very slightly.

209

Some Back and Central Vowels RE 1U.5. Discrimination! SAME or DIFFERENT l a . [ ' s o f a »sofA]

D

l b . [foth f a t h ]

D

2a. ['sofA »sofA]

S

2b. [ f a t h

fath]

S

3 a . ['sofA ' s o f a ]

D

3b. [fath foth]

D

Ua. ["sofa 'sofA]

D

Ub. [ f o t h f a t h ]

D

5a. ['sofa

'sofa]

S

5b. [ f o t h f o t h ]

S

6a. ['sofA ' s o f a ]

D

6b. [ f a t h f a t h ]

S

7a. ['sofane

'sofAne] D

7b. [nu'fath n u ' f o t h ] D

8a. ['sofane

'sofane] S

8b. [ n u ' f a t h n u ' f a t h ] S

9a. ['sofAne

'sofane] D

h 9b. [ n u ' f o t

nu'foth]

10b. [nu«fot h n u ' f a t h ] D

10a. [•s ofAne •s ofAne] S l c . [hos hos]

D

6 c . [hos hos]

2c. [hos hos]

S

7 c . [•hosmon 'hosmon] D

3 c . [hos hos]

D

8c. ['hosmon 'hosmon] D

Uc. [hos hos]

S

9c

5c. [hos hos]

D

RE l U . 6 . Mimicryt [o o a

s

s

['hosmon 'hosmon]

S

10c. ['hosmon 'hosmon]

S

A]

Mimic carefully, striving for the same pronunciation as that which you hear on the tape. Get your buddy to listen to you and help you compare. la. [both]

lb. [both]

lc. [bAth]

Id. [bath]

2a. [koth]

2b. [koth]

2c. [kAth]

2d. [kat h ]

3a. [som]

3b. [som]

3c. [sAm]

3d. [sam]

Ua. [soz]

Ub. [soz]

Uc. [SAZ]

Ud. [saz]

5a. [xof]

5b. [xof]

5c. [xAf]

5d. [xof]

6a. ['zoglen]

6b. ['zoglen]

6 c . ['zAglen]

6d. ['zaglen]

Lesson ih

210 7a. ['zoglon]

7b. ['zoglan]

7c.

['zAglan]

7d.

['zaglan]

8a. [«zoglon]

8b. ["zoglon]

8c.

['zAglon]

8d.

['zaglon]

9a. [«zoglim]

9b.

9c.

['zAglpn]

9d.

['zaglvn]

10c. ['zAglun]

lOd.

['zaglun]

10a. f'zoglun]

['zoglpn]

10b. [»zoglun]

RE l i i . 7 . Negative Practice* "This I s t h e House t h a t Jack Built" Refer to t h e t e x t of RE lU.U, i f you need t o . The sounds t o be s u b s t i t u t e d are i n d i c a t e d i n the columns below. The tape w i l l s t a r t you off for each one.

House

[hos]

[has]

[hAs]

Malt

[molt h ]

[malt h ]

[mAlt h ]

Rat

[roth]

[rath]

[rAt h ]

Cat

[k^ot]

[k?*at]

[k*At]

Dog

[dog]

[dag]

[dAg]

Cow

[k^ow]

[k^ow]

[^AW]

Maiden

['modn]

['modn]

[>m&dn]

Man

[mon]

[man]

[mAn]

Priest

[purest 11 ]

[phrast 11 ]

[pkrAst 11 ]

Cock

[l^ok*]

[l^ak*1]

[l^Ak*1]

Farmer

['forar]

[«famr]

[«fAmr]

t

t

RE 111.. 8 . D i f f e r e n t i a l ! ROUNDED v s . UNROUNDED Turn t o Table l U . l , p . 201, and watch i t as you go through t h i s d r i l l or p a r t of i t . TOien you no longer need i t , cover i t up and continue t h e d r i l l , or do t h e d r i l l again. Listen t o t h e vowel sound on the t a p e , and respond with ROUNDED or UNROUNDED. Do not watch the t e x t of the e x e r c i s e . A demonstrat i o n of the q u a l i t i e s on the chart down the columns from l e f t t o r i g h t w i l l precede t h e d r i l l . This i s t o "tune you up" t o

the distinctions again.

211

Some Back and Central Vowels Demonstration! [»e 9A ' a ' u ">v *o *o] [k^em k^Am l^am kNim l^vm k^om l^om] 1. [»u]

R

7,

[k^fon]

U

13. [ & g ]

U

2.

U

8.

[k^am]

U

lit. [&*]

R

9. [kNm] R

15. [zag]

U

['a]

3. po] R U. [•»]

R

10. [k^om]

R

15. [ & g ]

u

5. [»o]

R

1 1 . [khum]

R

17. [zog]

R

6. [»e]

U

12. [k^oro]

R

18. [zvg]

R

RE 1U.9. D i f f e r e n t i a l ! FRONT UNROUNDED, CENTRAL UNROUNDED, o r BACK ROUNDED

Follow the same instructions as for the preceding exercise, except for the enlarged response. 1. t ' e ]

FU

7. [ t s a f ]

CU

1 3 . [dfm]

BR

2. [»o]

BR

8. [ t s v f ]

BR

lit. [dgon]

BR

3 . [*u]

B R

9. [tsAf]

CU

15. [d|an]

CU

k. f o ]

B R

10. [tsef ]

FU

16. [djkn]

C U

5 . [*v]

BR

11. [tsof]

BR

17. [dzon]

BR

6. ['A]

C U

12. [ t s u f ]

BR

18. [dzvn]

BR

RE l i i . 1 0 . D i f f e r e n t i a l ! Tongue Height Respond with one of the following! HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, LCWER-LCW. 1. [»u] H 2. ['A]

L

3 . [*o]

L

k.

Iril

[*e]

5. ['a] 6. p v ]

7. [Sun] H • 8. [Son] M

13. [pogz]

L

9. [Son] *

L

15. [pugz] H

10. [SAT]

L

1 1 . [|oa]]

L-L

12. [Svrj]

L-H

lU. [pogz] M

16. [pvgz] L-H

L-L

17. [psgz] L-M

L-«

IB. [pugz] H

Lesson lU

212 RE 1U.11. Differential! Full Labels

Select one term from each column to make up your response. HIGH

FRONT

ROUNDED

LOWER-HIGH

CENTRAL

UNROUNDED

MID

BACK

LOWER-MID LOW LOWER-LOW L. [ » a ] L - L C U

9 . [reg]

MFU

1 7 . [Mmoc*]

L BR

2 . [*u] H B R

10.

[rog]

L B R

1 8 . [Mmue h ]

HBR

3 . ['A] L C U

1 1 . [rog]

MB R

1 9 . [Mmac*1]

L~L C U

k.

12.

L C U

20.

[Mmvc11]

L-H B R

13. [rug]

H BR

2 1 . [Mmec5h] M F U

6 . f > e ] L-M F U

111. [rog]

MB R

22.

7 . [*v] L-H B R

15. [rvg]

L-H B R

23. [MmAch]

L C U

8 . [*u]

16.

L B R

2U. [Mmvc11]

L-H B R

[*o] M B R

5. [»o]

L BR

HB R

[rAg]

[rog]

[Mmoc*1]

L BR

Off-glides on the New Vowels Any of the new vowels i n t h i s lesson (and a l l other vowels) may have any of t h e four o f f - g l i d e s [w y H r ] . We w i l l not d r i l l [w] glide on [ u ] , as t h e d i s t i n c t i o n i s very c l o s e i f you have a proper [u]» RE 1U.12. D i f f e r e n t i a l GLIDED or NO The new vowel sounds occur with o f f - g l i d e s i n some words i n t h i s e x e r c i s e . Listen t o the tape and respond accordingly. Then l i s t e n again and mimic. Don't peekj 1. [sut]

NO

k. [sot]

2. [svt]

NO

5. [surt] G

8. [soyt] G

3 . [sAyt]

G

6. [sAt]

9 . [svwt] G

NO

NO

7. [sut]

NO

Some Back and Central Vowels

213

10.

[suHt]

G

17.

[sot]

NO

2U. [sJUrt]

G

11.

[sAt]

NO

18.

[surt]

G

25. [surt]

G

12.

[sArt]

G

19.

[SAt]

NO

2 6 . [SAt]

NO

13.

[swt]

G

20.

[sut]

NO

27. [sot]

NO

Ik.

[svb]

NO

21.

[start]

G

2 8 . [sowt]

G

15.

[svHt]

G

22.

[soHt]

G

29.

[soyt]

G

16.

[svyt]

G

23.

[svt]

NO

30. [sort]

a

RE l b . 1 3 . Mimicry! Vowels With and W i t h o u t G l i d e s Mimic t h e t a p e , and w a t c h t h e t r a n s c r i p t i o n .

la. [thu]

l b . [t h uy]

2a. [ t h v ]

2b. [thvy]

3a. [th0]

I d . [t^iH]

le.

2c. [t h vw]

2d. [thvH]

2e. [thvr]

3b. [th0y]

3c

[thaw]

3 d . [thoH]

3c

U&. [i*o]

Ub. [thoy]

Uc. [thow]

Ud. [thoH]

lie. [thor]

5a. [th A ]

5b. [t^Ay]

5 c [thaw]

5d. [thAH]

5e. [t^Ar]

6a. [tha]

6b. [thay]

6 c . [thaw]

6d. [thaH]

6 e . [thar]

7a. [ t h 6 ]

7b. [they]

7c

7d. [th e H]

7e. [ t h 6 r ]

[th e w]

[t^ir]

[thor]

RE l b . l i t . Negative P r a c t i c e ! "This I s t h e House t h a t Jack B u i l t ' This time s u b s t i t u t e various vowels with o f f - g l i d e s l i k e those i n d i c a t e d below. These are not a l l of t h e p o s s i b i l i t i e s . You can take others from the preceding e x e r c i s e . The tape w i l l demonstrate these b r i e f l y . a

b

c

House

[hvys]

[hows]

[hoHs]

[hurs]

Malt

[mvylth]

[mowlt h ]

[moHlt h ]

[murlth]

Rat

[rvyth]

[rowth]

[roHth]

[rurth]

[kVt h ]

[k^owt 11 ]

[kW1]

[Art 1 1 ]

[dvyg]

[dowg]

[doHg]

[durg]

Dog

d

Lesson lU

21k Cow

[k vy]

[kV]

[k oH]

[k ur]

Maiden

[•mvydn]

[•mowdn]

[»moHdn]

[•murdn]

Man

[mvyn]

[mown]

[moHn]

[mum]

Priest

[phrvyst 11 ]

[phrowst 11 ]

[phroHst 11 ]

[phrurst* 1 ]

Cock

[kkpyk*1]

[khowk11]

[khoHk11]

[k^irk 11 ]

Farmer

[ ȣ vymr]

[•fowmr]

[«foHmr]

[•furmr]

h

h

h

RE lU.15. D i f f e r e n t i a l * MID or LOT This i s a d i f f e r e n t i a l d r i l l on [oy] and [ o y ] . Disregard any other vowels or vowel glides i n t h e words. Don't peekj 1 . [boy] M

$. ['l^oyn]

L

2 . [boy]

L

6. ['l^oyn] M

10. [«foystley] M

3 . [boy]

L

7. ['l^oyn]

L

1 1 . [«foystley] M

h. [boy] M

8. ['l^oyn]

L

12. [»foystley]

9. [ ' f o y s t l e y ]

M

L

RE l i w l 6 . D i f f e r e n t i a l ! LOT or LOTER-LOT This i s a d i f f e r e n t i a l d r i l l on [AH] and [cH]» same procedure as i n t h e preceding e x e r c i s e .

Follow t h e

1. [l^AHm]

L

5. [sAH»t h u]

L

9. ['xAHfegz]

2. [Baffin]

L-L

6. [sAH't h u]

L

10. ['xaHfegz]

L-L

3 . D^AHm] L

7. [saH't h u]

L-L

1 1 . ['xaHfegz]

L-L

U. [l^aHm]

8. [sAH't^i]

L

12. ['xaHfegz]

L-L

L-L

L

RE 1I+.17. D i f f e r e n t i a l ! LOWER-HIGH and MID This i s a d i f f e r e n t i a l d r i l l on [vw] and [an]. same procedure as i n t h e preceding e x e r c i s e . L-H

Follow t h e

1. [ n w ]

L-H

$, [»bztfwk]

2 . [mm]

L-H

6 . ['bzowk] M

10. [«brvwsNna] L-H

3 . [now] M

7. [•bzowk] M

1 1 . ['browsNna] M

k. [now] M

8. ['bzowk] M

12. ['brvwsNna] L-H

9. [»brvwsNna] L-H

21S

Some Back and Central Vowels RE 111.18. Reviewt Glided Pitch and Glided Vowels

The purpose of t h i s exercise i s t o r e i n f o r c e the independence of p i t c h glides and vowel g l i d e s . The e x e r c i s e c o n s i s t s of longer sequences t o which you build up. You w i l l mimic the pitch as w e l l as the consonants and vowels. Note t h a t pure vowels may have r i s i n g or f a l l i n g p i t c h , and t h a t glided vowels may have l e v e l p i t c h . Watch the t r a n s c r i p t i o n as you mimic. 1. [sogl.s^'n&y 'yAwk 'p\nt.">ev»jvHJcu] 2 . [''uH\mArjpuyx.f\y.jkVr

'6oH pug'b\H]

3 . [Vvn'npfrf.Iro^z.tornN'sAy1, t^oH dur'ssef]

\y

\

L_J

\ _J

U. [p^owfnby* zer d^s.kvrj'gAHlzuy'v RE lU.19. Reviewt Pitch and S t r e s s I n most languages, p i t c h and s t r e s s are t o some degree r e l a t e d . S t r e s s e d s y l l a b l e s often tend t o have higher p i t c h , e t c . They are not so c l o s e l y r e l a t e d , however, but what t h e y do have independent occurrence. I n t h i s exercise you w i l l p r a c t i c e changing pitch and s t r e s s p a t t e r n s r e l a t i v e t o each other. 1. ['9a|9e Go 9u!9o;9v]

6 . [na n&/ «noinu'no,ni/1

2 . [9a;9s 9o '9u;9o• 9u]

7. fhqt »ne no!nu]no,nv]

3 . [ 9 a l ' 9 e 9o 9u'9o'9v]

8. [na ne" no! nu |»noi ntf]

' —

I : :./

km [9a!9e Go Quieol'Qv]

9. [ha 3 / noj nu !no \'nv]

5. [9o?;96 '9Q Qu;"e7; Qv]

10. ['hajty no! nu S , np]

RE I k . 2 0 . S u b s t i t u t i o n Mimic t h e tape i n the following u t t e r a n c e s .

The f i r s t one

Lesson lU

216

w i l l be b u i l t up, and t h e remainder w i l l c o n s i s t of s u b s t i t u t i o n s made i n the f i r s t one. P r a c t i c e for fluency. Work on p i t c h , s t r e s s , timing, e t c . , as w e l l as on consonants and vowels.

RE l U . 2 1 . Transcription Transcribe t h e u t t e r a n c e s you hear on the t a p e . Mien you are s a t i s f i e d with your t r a n s c r i p t i o n s , check them a g a i n s t t h e t e x t below, u n t i l t h e n , d o n ' t peekJ 1. [Mmvnk]

h.

[pso'dpy]

7. [tvH'yoHn]

2 . [tSoyf]

5 . [«&nrthonN]

8. [pSe'ksur]

3 . [gawte]

6 . [«poytsApf]

9.

['nayljnawkx]

RE l l t . 2 2 . Reading Read off the item and check your reading with t h e tape i n t h e usual manner. 1* [mAyn]

5. [bsw«te6]

9 . [sal'Nnard]

2. [duyf]

6. ['nuH.gus]

10. [»d 6 g-.p h 6 Hs]

3 . [soHnN]

7. ['voy.khoz]

1 1 . [jAx«bArc h ]

h.

8. [t h aw«ppo]

12. [voz'koHts]

[porz]

217

LESSON FIFTEEN Laterals Dental Alveolar Laterals Oral Voiced High tongue Low tongue Voiceless

r ¥

i*



L

Alveopalatal Retroflexed

U) 1

i

r

Velar

(1) (L)

(L)

U)

•

Fricative Voiced Voiceless Affricate Voiced Voiceless Unaspirated

Aspirated

(!)

i

(i)

(*>

i

(!)

:

(ft)

(k%)

h

(t£ ) •• (k£h) (k£h) (k£h) • Table l^.lt Some Lateral Articulations

(W1)

The lateral manner of articulation was explained in Lesson 1 (p. 17). It differs from other articulations in that one or both of the sides of the tongue are open to allow the airstream to pass, but some part of the tongue (usually the tip) is touching a point of articulation so that the airstream cannot come over the center of the tongue. Whereas in English there is one lateral phoneme /!/» this has several different Symbols in parentheses represent sounds which are perfectly possible and are included for the sake of the record, but which will not be drilled in this course. Brief descriptions are included in the lesson.

218

Lesson 15

pronunciations in the speech of any one individual, depending on the position in the word. Some languages have more than one kind of lateral in phonemic contrast. Others which have only one lateral phoneme have a different selection of allophones from English. The pronunciation of laterals is one of the principal characteristics of the foreign accent of Americans speaking many languages. Although the array of symbols in the above chart may look imposing, there is nothing much new by way of symbolization, if analogy with the symbols for nasals (p. 192) is kept in mind. All of the symbols in the chart are built around two basic onesj [1] (for voiced lateral) and [L] "capital 1" (for voiceless lateral). The use of the capital is analogous to the symbolization of the voiceless nasals. Around these two symbols are arranged a variety of diacritics exactly analogous to those used for the nasals, to indicate points of articulationt [„] "dental," [~] "alveopalatal," [.] "retroflexed," and the tail on the symbol (like the tail on the [n]) for "velar." The line through the symbols to indicate the fricatives is analogous to

Actually there are only two really new symbols in this chart. They are the diacritics on [1* lv ] "high tongue 1" and "low tongue 1." The articulatory significance of these will be discussed and" drilled below, but for the moment notice the symbolization. The diacritic for the "high tongue 1" points high, and that for the "low tongue 1" points low. [1A"J is sometimes called "clear 1," or "light 1," and [V] "dark 1" or "velarized 1" in other linguistic materials. RE l£.l» Demonstrationt High and Low Tongue Laterals Pronounce these English words, and notice the difference in jbongue position for the /l/t William [»WklAyAm] and callous ['Ir'ael" A S ] . Prolong the lateral in each caset [1~ • 1"• J, and alternate them. Note that the point of articulation does not necessarily change (although it may change slightly in some speakers), but for many speakers of American English the surface of the tongue behind the point of articulation is noticeably higher (nearer the palate) for the / l / in William than for the one in callous. It is because of this difference in tongue height that the one is called "high tongue 1" [1~], and the other "low tongue 1" [lv]» Now pronounce th"e English word little, and see if-you have a difference between the two /l/«s» I • 1A vtl" ], as many American speakers do. In these dialects of American English the choice between high and low tongue laterals is made for the speaker by the

21?

Laterals

Sammy l5.1» [1*]. Note the relatively high position of the tongue surface behind the point of articulation.

Sammy l5.2« [1*]. Note the relatively low position of the tongue surface behind the point of articulation.

language system. [1A] occurs before high front vowels (p. 232) and the [1"] in other positions, making them allophones of one phoneme. Many languages, such as French and Spanish, do not have this use of [l v ], and the carryover of this unconscious English habit is one of the causes of an undesirable pronunciation. Actually, a lateral at a given point of articulation may be said with a variety of different tongue contours, giving it different sounds. Listen to the tape as you follow along in the Manual, and watch for the different qualities associated with the laterals pronounced. This is done by changing the configuration of the tongue behind the point of articulation and of the lips. Nos. 7~10 are vowel qualities which you have not yet had. 1. [1] with [u] quality

6. [1] with [a] quality

2. [1] with [v] quality

7. [1] with [e] quality

3. [1] with [o] quality

8. [1] with [i] quality

h.

[1] with [o] quality

9. [1] with [e] quality

5. [1] with [A] quality

10. [1] with [a] quality

220

Lesson 15

Now listen to the two following laterals, which show the relation between these different kinds of quality and the two on which we are focusing (high tongue and low tongue). 11. [Y-] ie., [1] with [i] quality

12. [lv] ie., [1] with [A] quality

High tongue lateral, in other words, has an [i] quality, while low tongue lateral has an [A] quality. Practice pronouncing laterals with various vowel qualities. RE lg.2. Differentialt HIGH or LOW After you have studied the above paragraphs, listen to the tape and respond with HIGH when you hear a high tongue lateral and LOW when you hear a low tongue lateral. The words are adapted from French or Spanish, which use high tongue laterals. The low tongue laterals represent the way some Americans speak these languages. Don't peek I

1. [ e l l

H

6. [ r a ]

H

11. [ T o p s z ]

H

2. [cOT]

L

7. [ l v a ]

L

12. [ » 1 ¥ 0 P 6 Z ]

L

3. [ o r ]

H

8. [ l v o ]

L

13. [ l A e » t e ]

H

[mal A ]

H

9. [ l v u ]

L

A l i l . [ku«l e]

H

5. [mal v ]

L

10. [ l " u ]

H

15. [ k u ' l v e ]

L

h.

When you have practiced this exercise enough so that you can respond orally to the tape, run through it again, this time transcribing the items on a transcription form. Check your transcription against the exercise above, and tally your errors on the Transcription Tally Form in your Workbook Supplement, p. 27 ff. Repeat the exercise at intervals if you need to do so. RE 15.3. Negative Practicei [1 A l v ] Practice saying each of the following sentences first with high tongue laterals, and then with low tongue laterals. Be careful to keep the laterals the same in any one repetition of a sentence, and not mix them in English fashion. As with any negative practice drill, you can practice this at odd moments when you are not otherwise engaged in phonetics study. 1. Let me call little IAl later. 2. Will Nell feel ill all day? 3. Little Lulu loaned Lynn the lumber.

Laterals

221

RE lg.Ui French^Mimicryi [1* ] Mimic the t a p e , s t r i v i n g f o r a c l e a r [1 A ] i n each case. Follow the t r a n s c r i p t i o n i f you care t o do so. 1. [ m o r a ] molle ' s o f t (fem.)>

5 . [l"o]

2. [fol 4 ©] f o l l e ' i n s a n e (fern.)' 6. [ l ' u ]

l'eau

' t h e water'

loup

'wolf'

3 . [ k u l ' a ] coule ' f l o w s '

7. [ r e n a l l a i n e

'wool'

h. [ f u ^ § ] foule 'crowd'

8. [l'oma] l'homme ' t h e man'

RE l 5 « 5 . Demonstrationt [L] Listen t o the t a p e , and t r y the English words f o r yourself. Notice how the / l / i s v o i c e l e s s because i t coincides with the a s p i r a t i o n from the s t o p , or a t times t h e r e i s a v o i c e l e s s l a t e r a l followed by a b r i e f voiced l a t e r a l [ L I ] . This i s the t h i r d allophone of English /!/ demonstrated i n t h i s l e s s o n . L i s t e n t o the examples, and p r a c t i c e t h e words u n t i l you can sense the v o i c e l e s s [L] i n t h e examples below. Follow the t r a n s c r i p t i o n , reading a c r o s s . l a . please

[pLi> yz] or [ p K T i ' y z ]

l b . [Li» yz]

l c . [Li>y]

2a. play

[pLe-y] or [pLl* e«y]

2b. [Le«y]

2c. [Le]

3 b . [«LAndr]

3 c [LA]

3 a . plunder [«pLAndr] or [«pLl v Andr] Ua. clock

[kLak11] or [kLl'ak 11 ]

lib. [Lak11]

kc.

[La]

5a. claw

[kLoH] or [kLlyoH]

5b. [LoH]

5c

[Lo]

Fricative Laterals The l a t e r a l s demonstrated t o the present have a l l been c h a r a c t e r i s t i c allophones of t h e / l / phoneme of many speakers of American English. As such they are not "new" sounds, but nevertheless present a l e a r n i n g problem f o r a second language because the English phonemic h a b i t s must not be c a r r i e d over. We t u r n now, however, t o another p a i r of l a t e r a l s which are not so c h a r a c t e r i s t i c of American English, but which may be heard i n the speech of some i n d i v i d u a l s . Of these f r i c a t i v e l a t e r a l s , t h e v o i c e l e s s one i n p a r t i c u l a r i s very common i n languages around the world. •^Recording by Renate Wiesmann. Mimic t h e f i n a l sound of the f i r s t words as b e s t you can.

222 HE 15,6,

Lesson 15 Demonstration! [S 1]

Listen to the tape and follow along in the Manual. Mimic and imitate until you can make clear fricative laterals like those on the tape. a. Say the English word leaf, and isolate the [1 A »]. Then say it with greater force of air from the lungs. This may produce [I*]. b. Say [1 A »], but instead of a greater thrust of air, raise the sides of the tongue slightly to get [!•]. c. Whisper William, and then isolate a whispered [L*•]. Say it with greater force of air. This may produce [£•]. d. Raise the sides of the tongue from a whispered [L*»] to produce ft*]. e. If you find it easy to produce [1], but not [£], say [1] and then "whisper" it, or stop the voicing. f. If you find it easy to produce [£], but not [1], say [L] and voice it, or "buzz around it." g. One kind of lisp in English consists of producing [£] for / s / and [1] for /z/. Usually people who lisp in this way make their laterals on one side only, rather than on both sides simultaneously, as you probably did above, and as you should practice for most languages. Mimic the following English words "lisped" with lateral fricatives. 1. see

[i±> y]

U. zebra

[«li>ybrA]

2. set

[Let]

5. zeplin

['lepl&n]

3. sunny

[•BAni>y]

6. zone

[lown]

RE lg.7. Differential! VOICED or VOICELESS In this drill we will include both oral and fricative laterals, high tongue, low tongue, etc., but your response is to be only VOICED or VOICELESS, according to what you hear. When you can do well on the oral response to this drill, try transcribing what you hear. Transcribe the laterals only, or transcribe each whole utterance, with its vowels as well as consonants. To do the latter you will have to stop the machine after each longer utterance to have time to write. Check your transcription'against the exercise below. Don't peek.

223

Laterals 1. DL-]

TO

v 7. [ctl a]

TO

1 3 . [*v»mAn]

VL

2. [1]

TO

8. [sLe]

VL

Ik. f e ' d v l ]

VD

3 . [L]

VL

9. [olo]

TO

15. [*>u«koL]

VL

U. [£]

VL

10. [ol*o]

VD

16. [•o'qafi]

VL

5. [L]

VL

1 1 . [ufcuj

VL

17. ['A'gel*]

VD

6 . [B]

VL

12. [ATA]

TO

18. f o ' x A T ]

TO

RE 1 5 . 8 . D i f f e r e n t i a l ! FRICATIVE or NO I n t h i s d r i l l t h e r e w i l l be the same v a r i e t y of s t i m u l i as i n t h e l a s t , but your response i s d i f f e r e n t . Again you can t r y your hand a t t r a n s c r i p t i o n a f t e r you do t h e o r a l p r a c t i c e . Pay p a r t i c u l a r a t t e n t i o n t o t h e l a t e r a l s . Don't peek. 1. [1 A ]

NO

v 7. [ a l a ]

NO

13. [ l e ' s o n ]

F

2. [ i ]

F

8.

NO

Hu [La'duH]

F

3 . [L]

NO

9. [olo]

F

v 15. [l o'mAn]

NO

lu [£]

F

10. [01*0]

NO

16. [Lv«far]

NO

5.

NO

1 1 . [uini]

F

17. [ r o ' p h o y ] NO

F

12.

NO

18. [SA'reH]

[L]

6 . [£]

tele]

[A1*A]

F

RE 15.9. Differential! ONE segment or TWO Voiceless laterals, whether fricative or oral, often occur adjacent to voiced laterals, although they do not necessarily do so in all cases. Here is a segmental diagram of what happens.

[a

a]

[a 1

L 1 a]

[p

a]

Lateral articulation Voicing In other words, the lateral articulation holds throughout two or more segments, with and without voicing. Listen to the following exercise and respond with ONE or TWO, depending on whether or not you hear two lateral segments.

22U

Lesson 15

After you have worked t h e exercise o r a l l y , t r y t r a n s c r i p t i o n cf i t . Don't peek. 1 . [61* a] TWO

5. ['A.£u]

2. [So]

ONE

6 . [»u.£l"e] TWO

1 0 . [zur/BAw]

3 . [Le]

ONE

7. [ ' v . L T e ] TWO

1 1 . [fez'£L A i;t h ] TWO

8. [«o.lA]

12. [dog'Lav]

k.

[ L l ' o ] TWO

ONE

ONE

9 . [pcan'LT'or]

TWO ONE

ONE

RE 15.10. Mimicryt [L i, i ] Mimic t h e tape on t h e following e x e r c i s e , following along i n your Manual as you do s o . Pay j u s t as much a t t e n t i o n t o g e t t i n g c l e a r , unglided vowels as you do t o t h e a r t i c u l a t i o n of t h e consonants. Read a c r o s s . l a . i 'c&a]

l b . ['a.£L A a]

l c . [«al*.ta]

Id.

['alA.£l*a]

2a. | ' a i a ]

2b. [ ' a . l l A a ]

2c. [ « a l A . l a ]

2d.

['al^.lTa]

3a.

'aLa]

3b. [ ' a . L l A a ]

3 c [»al A .La]

3 d . [ ' a l ' . 1 1 * a]

Ha.

«u£u]

Ub. ['u.El A u]

Uc. [ ' u l A . 6 u ]

kd.

['uT-.fcl'u]

5a. "'uiu]

5b. [ • u . l l A u ]

5c

['ul'.iu]

5d.

[«ur.iru]

6 a. :«uLu]

6b. [•u.Ll A u]

6 c . [»ul A .Lu]

6d.

['ul A .Ll A u]

7a.

7b. [•o.ELAo]

7c

[»ol A .Lo]

7d.

['or.fcl'o]

8a. I'vlv]

8b. [ ' » . i r » ]

8c. ['i>l A .±v]

8d. [«vl A .41 A v]

9 a. "'ALA]

9b.

[«A1A.LA]

9d. [«Al A .Ll*A]

•o£o]

[»A.L1AA]

9c

RE l 5 » l l i Humf. Mimicryt [fcl ] Mimic the tape and follow t h e t r a n s c r i p t i o n . After you have p r a c t i c e d mimicry, t r y your hand a t t r a n s c r i p t i o n . 1. [£l A a»p]

/hlaap/

' s t o p , cease'

2 . [fcl* ok]

/hlak/

'fish trap pole'

3 . [il A Arj]

/hlan/

'building

H. [ELAa°]

/hlaV

'leaf'

/hleen/

'tether'

5.

[£1 A 6«ID]

22$

Laterals 6 . [£L*vk]

/hiok/

' c h i c k e n ' s nesting basket'

7. [Sri?bm]

/hlom/

'capsize'

8. [KL'wg]

/hlon/

'to forget'

9 . [L^.Ada«t]

/hldaat/

'scatter'

Alveopalatal L a t e r a l Some speakers of American English produce [1] f o r / l / i n William, or w i l l ya? The a r t i c u l a t o r and point of a r t i c u l a t i o n a r e t h e same as f o r / n / (see Sammy 1 3 . 1 , on p . 19U), though t h e v e l i c i s closed and t h e sides of t h e tongue are open. Remember t h a t i n any b l a d e - a l v e o p a l a t a l a r t i c u l a t i o n t h e tongue t i p i s down behind t h e lower t e e t h . There i s often a s l i g h t [y] ong l i d e t o t h e following vowel or o f f - g l i d e from the preceding vowel with t h e a l v e o p a l a t a l l a t e r a l s , as t h e r e i s with a l v e o palatal nasals. [ 1 ] , t h e n , occurs as another allophone of English / l / for some speakers. However, i n some d i a l e c t s of Spanish, Portuguese, and I t a l i a n , for example, i t occurs i n c o n t r a s t with t h e a l v e o l a r ( o r d e n t a l ) l a t e r a l , and c o n s t i t u t e s a separ a t e phoneme. RE 15.12. Demonstration/ [1] Listen t o the tape and p r a c t i c e the suggestions below f o r t h e production of [ 1 ] , a. I f you can produce a c l e a r [n] s t a r t with t h a t , and switch t o l a t e r a l a r t i c u l a t i o n without changing t h e point of articulationt [ana ana ana a l a a l a a l a ]

[aiia a l a ana a l a ana a l a ]

b . Say t h e following words, being careful t o keep your tongue t i p down behind the lower teeth* William, w i l l y a ? , b i l l i o n . Prolong t h e [1] and i s o l a t e i t . RE 1 5 . 1 3 . D i f f e r e n t i a l ALVEOLAR or ALVEOPAIATAL After you l i s t e n t o t h e tape and respond o r a l l y , t r a n s cribe the utterances. 1. [ a l a ]

AP

3. [aTa]

AL

5. [ala]

AP

2 . [al A a]

AL

it. [al A a]

AL

6. [l A a]

AL

226

Lesson 15

7. [la]

AP

10. [al]

AP

13. [su'ien]

AP

8. [1-a]

AL

11. [al"]

AL

lU. [ti'loz]

AP

9. [al]

AP

12. [fo'naT]

AL

1 5 . [wi«l*ux] AL

RE 15,2k* Mimicryt [1" l v 1] Mimic t h e t a p e and f o l l o w t h e la. [lAa]

lb.

2a. [lAe] 3a. [lAo]

3b.

Ua. [ 1 A A ]

transcription. 1c. [la]

Id.

2b. [ l v e ]

2c.

[le]

2d. [ e l ]

[lyo]

3c

[lo]

3d. [ol]

Ub. [l V A]

Uc.

[1A]

Ud. [Al]

5a. [ l A o ]

5b. [l"o]

5c

[lo]

54.

6a. [l*u]

6b.

[l V Tl]

6c.

[lu]

6 d . [Til]

7a. [l*»]

7b. [ l v v ]

7c

[1P]

7d. [vl]

[IT a ]

[al]

[ol]

8a.

[olAo]

8b. [alvo]

8c. [alo]

8d. [ a i o i ]

9a.

[elAo]

9b. [elwo]

9c

[elo]

9d. [ e l o l ]

10a.

[U!AA]

10b. [tavA]

1 0 c . [ulA]

lOd. [ulAl]

Dental Laterals

All varieties of laterals which may be articulated in alveolar position may have counterparts with dental articulation, such as has previously been presented for stops, fricatives, and nasals. The symbol used to represent dental articulation [A] is the same as well. As with the stops, the difference between alveolar and dental articulation is impossible to hear, but i t may be seen. Its importance lies in the fact that by mimicking i t closely in languages where i t occurs, the tongue has a much better chance of developing a total set of articulations which will result in good pronunciation. RE 15.15. Mimicryt [£- 1" I] Run the tape back and repeat RE 15.1U, this time substituting a dental lateral for each of the alveolar ones in that exercise. The acoustic result will not be any different, perhaps, but you should consciously place the tip of your tongue solidly behind the upper teeth.

Laterals

227

RE l5.16« I t a l i a n . 1 Mimicry* [1 1A] Mimic the tape and follow the t r a n s c r i p t i o n , reading a c r o s s . Be very conscious of your a r t i c u l a t i o n . la.

[li]

lb.

gli

[ri]

li 'there'

'him, i t ' 2a. ['pala]

paglia 'straw'

2 b . [•pal* a]

3a. [«fola]

foglia ' ''leaf'

3b.

Ua. [«iene]

gliene 'some of i t t o him'

pala 'shovel'

[•fol-a]

fola 'fairy tale'

Ub. [•l'yeve]

lieve 'light' lieto 'happy'

5a. [»lel*o]

glielo • i t t o him'

5b. [>l A yeto]

6 a . [•elino]

eglino 'they'

6b.

['el'ika]

elica ' s h i p ' s screw'

7a. [tjilo]

giglio 'lily'

7b.

['l*ilAo]

Lilo (proper name)

8a. t ' e l i ]

egli

8b. [el'imi'nare]

eliminare 'eliminate'

[«bal*ya]

balia •wet n u r s e '

'he, i t ' 9a.

[ba'galo]

10a. [ p a ' l a c o

bagaglio 'baggage' pagliaccio 'clown'

9b.

10b. [ p a l ' a ' t a l * i ]

palatali 'palatal'

Retroflexed and Velar L a t e r a l s Retroflexed and velar laterals will not be drilled simply because of insufficient time in the course. Here, however, are some brief descriptive notes on them. (See Table 15.1.) Retroflexed laterals are self-explanatory. As on all retroflexed sounds, the tongue curls up somewhat to articulate with the tip on or behind the alveolar ridge. A retroflexed lateral in alveolar position is virtually the same as an extremely low tongue lateral. When the point of articulation is

"TData from Claude Merton Wise, Applied Hionetics, and from Renate N. Wiesmann, who made the recording.

228

Lesson 1$

palatal, however, there is a distinctly retroflexed quality. A true velar lateral is articulated with the back of the tongue against the velum, leaving space for the airstream to come around the articulation. There is another articulation, however, which sounds much like it. It is really a vowel glide, however, and does not have lateral articulation. This consists of a backing and raising of the back of the tongue, together with a configuration of the tongue which sounds like a low tongue lateral. The articulation remains oral, however. This "pseudo-lateral" glide is used by some speakers of English for an / l / in final position, in such a word as ill. It may be represented as [1'], but will not be further treated in this course. It is a notable allophone in some dialects of Brazilian Portuguese, occurring with simultaneous lip rounding in words like Brazil, Affricates with Lateral Release Lateral fricatives follow stops to make affricates with lateral release. Note the varieties in the chart at the beginning of the lesson. Combinations with other stops are, of course, possible, as are aspirated affricates. Combinations of stops with other laterals also occur, but are not affricates as the laterals are not fricatives.

Sammy l5.3t Stop articulation in [t£]

Sammy l^.Ui Stop articulation in [k&]

Laterals

22°

Sammies 15.3 and 15.H i l l u s t r a t e t h e a r t i c u l a t i o n of t h e a f f r i c a t e s [t£] and [ k £ ] , which often sound very much a l i k e , depending on j u s t how the r e l e a s e of t h e stop i s made. In [t£] t h e ft] i s released simply by lowering the s i d e s of t h e tongue s l i g h t l y t o give [ £ ] , keeping the t o n g u e - t i p point of a r t i c u l a t i o n . However, i n [k£] t h e [k] i s a r t i c u l a t e d with a s i m u l t a neous t i p - a l v e o l a r l a t e r a l a r t i c u l a t i o n . The [k] i s r e l e a s e d , leaving t h e l a t e r a l f r i c a t i v e . These l a t e r a l s t h e r e f o r e end the same way, b u t begin d i f f e r e n t l y . RE 15.17. D i f f e r e n t i a l * VOICED or VOICELESS Listen f o r t h e l a t e r a l a f f r i c a t e i n each utterance and respond with VOICED or VOICELESS. After you are able t o r e s pond o r a l l y t o t h e t a p e , t r a n s c r i b e the u t t e r a n c e s . Don't peek. 1. [o'dio]

VD

5 . [«t£amas]

VL

2. [e't£e]

VL

6 . [«t£ogey]

VL

10. [fAT .MmA£] 2. [»gutn.pLos ne&'lpx.ka.mo. f zef]

D

2 d . [dA dA]

S

3 c ;2ef zef]

D

3 d . [de de]

S

Uc. [Sef & f ]

D

Ud. [de dA]

D

5c [8ef Kef]

S

5d. [de dA]

D

S

6 d . ['SAnde 'sAndA]

D

2a. | \^r^

6a.

6c.

'khriklvow

[>2ef.tsob «2ef.tsob]

23U

Lesson 16

7c

'gef.tsob 'zef.tsob]

S

7d. ['sAndA »sAndA]

S

8c.

•Sef.tsob «2ef.tsob]

D

8d. ['SAndA 'sAnde]

D

9c

'zef.tsob 'Sef.tsob]

D

9d. ['sAnde 'sAnde]

S

le.

xenM xaaiM]

D

If.

[lAeeT T a T ]

S

2e.

XenM xsenM]

D

2f. [rael A lAsO.A]

S

3e.

xasnM xaaiM]

S

3f.

Ue.

xsenM xenM]

D

Uf. [l A al A T a r ]

S

5e.

XenM xenM]

S

Sf. [ l A a T YaOr]

D

6e.

pl'XffimM pl'xenM]

D

6f.

[nuTsel- n u T e s T ]

S

7e.

pl'xenM pl'xsnM]

D

7f.

[ftu'raT

nuTaT]

S

8e.

pl'xenM pl'xenM]

S

8f. [na'l A ffiT n u T e e l ' ]

S

9e.

pl'xenM pl'xsenM] D

9f. [ n u T a s T n u « r a l A ]

D

[l A al A

TSBT~\

D

Production of [ i v e aej The new vowel sounds of t h i s l e s s o n may seem deceptively easy t o the English speaker who i d e n t i f i e s them with sounds i n h i s own speech. There a r e p i t f a l l s i n them, however. One danger i s t h a t the English speaking person w i l l put an [H] o f f - g l i d e on [v] and [ae], t h a t he w i l l put a very s l i g h t [y] o f f - g l i d e on [ i ] , and a strong [y] o f f - g l i d e on [ e ] , A second d i f f i c u l t y i s t h a t many w i l l not make t h e vowels t r u l y f r o n t , but s l i g h t l y c e n t r a l i z e d , and not make t h e [ i ] high enough. I n r e l a t i o n t o t h e normal h a b i t s of many speakers of English, i n other words, t h e [ i ] q u a l i t y which we w i l l be s t r i v i n g f o r w i l l be very high, very f r o n t , and unglided. The [L] and [e] q u a l i t i e s w i l l be front and unglided. The [se] w i l l be unglided and w i l l be higher than some speakers of English want t o make i t . If you look a t Sammy 1 5 . 1 you w i l l n o t i c e t h a t i t i s not a c t u a l l y t h e t i p of t h e tongue which i s high f o r front vowels. The t i p of t h e tongue i s generally behind t h e lower t e e t h . "Front" r e f e r s t o the blade and areas j u s t behind i t , as opposed t o t h e c e n t r a l and back p a r t s of t h e tongue.

235

Some Front Vowels

Sammy 16.1* [i]

Sammy 16.2i [s]

RE 16.3. Demonstration! Producing Unglided [ l i . e s ] Throughout the remainder of this course unglided vowels must be practiced until control is mastered. Many of the suggestions below apply to vowels introduced in Lesson lk, and should be practiced with them as well. A mirror is extremely valuable when practicing pure vowels or vowel glides. Your buddy should watch as well. It is often possible to see movements which produce glides you are not yet able to hear. a. Practice each of the vowels in the sequence ['e* 9 e •>e 'e * e ] , [*i* *i *i *i »i], etc. Maintain this rhythm, controlling the tendency to glide. [sv

b. Follow this same exercise with other frames such as sv sv sz, st-], [tz-»m tz-m tz-m tz,m tz-m], etc.

c. Practice eliminating the glide by devoicing the vowel at the end, thus in effect replacing the glide by [h]» [983«h [*e»h »z..h »i»h]. d. Then practice unglided vowels in alternation with those followed by [h]» ['e'h 'e« 'e'h *e»], etc. RE 16.k Differential! GLIDED or NO Listen for the [E] off-glide on [v ee], and the [y]

236

Lesson 16

off-glide on [i e]. 1. [hz,t h ]

Respond with GLIDED or NO. 1 8. [eym]

G

15. [ t i ]

NO

9. [em]

NO

16. [ t i » y ]

G

G

10. [em]

NO

17. [teeH]

G

[heeth]

NO

1 1 . [i»ym]

G

18. [tee]

NO

5. [het h ]

NO

12. [z-Hm]

G

19. [te]

NO

6. [hith]

NO

13. [eHm]

G

20. [tey]

G

Hi. [im]

NO

21. [ t t ]

NO

NO

2. [hz,Hth] G 3 . [hffiHth] k.

7. [hi>yt h ] G

RE 1 6 . g . D i f f e r e n t i a l ! [y w r H] Distinguish the kind of o f f - g l i d e you h e a r . Call out the name of the symbol used t o r e p r e s e n t i t . Don't peek. When you can do the exercise o r a l l y , p r a c t i c e t r a n s c r i b i n g the i t e m s . 1. [zz-y]

y

7. [l A ewn]

w

1 3 . [tsiwx]

w

2. [zz,r]

r

8. [l A ewn]

w

l i u [cz-rm]

r

3 . [zz-H]

H

9. [niHf]

H

1 5 . [xffirnM]

r

k. [zz-w]

w

10. [ijsHp]

H

16. [tSeHv] H

5. [k^er]

r

1 1 . [zeyd]

y

17. [d2eyfe]

6 . [geH]

H

12. [za?yd]

7

18. [tfeLHS] H

y

RE 1 6 . 6 . Negative P r a c t i c e ! Removing [y] Off-glides A l l of t h e following words contain a [y] o f f - g l i d e i n some d i a l e c t s of English. Column a t r a n s c r i b e s t h e pronuncia t i o n . 2 I n Column b they a r e t r a n s c r i b e d without g l i d e s , but I n t h e t r a n s c r i p t i o n of t h i s e x e r c i s e [>] r e p r e s e n t s a pronunciation which i s not a r t i c u l a t e d a t the norm indicated by t h e symbol, but s l i g h t l y back from i t . Thus, [i>J i s s l i g h t l y back from [ i ] , e t c . If t h e [ i ] i s pronounced i n t r u l y high front p o s i t i o n a [y] o f f - g l i d e i s v i r t u a l l y imposs i b l e . [i>y] i s a more c h a r a c t e r i s t i c English pronunciation. I n the t r a n s c r i p t i o n of t h i s e x e r c i s e [ v ] r e p r e s e n t s a

237

Some Front Vowels

with the nearest pure vowel on our vowel chart. Read across as you mimic the tape. la.

| «'evyb|]

lb.

[»»ebl]

able

2a. [' e v y t h ]

2b. [*eth]

3a. [l e v y t h ]

3b.

Ua. | s p e ' y d ]

Ub. [ s p e d ]

spade

5 a . [ we w y]

5 b . [we]

way

6a.

PLevy]

6b.

[leth]

eight late

[pLe]

play

h

7a.

'be*yth]

7b. [ b e t ]

bait

8a.

| mevyd]

8 b . [med]

made

9a.

way]

9 b . [wa]

why

10a.

'day]

10b. [da]

die

11a.

t^ayp11]

lib.

12a.

/'Ays]

1 2 b . ['AS]

ice

13a.

[rAyth]

13b. [rAth]

right

lUa.

[k h wAyt h ]

lUb. [ k V t h ]

quite

lSa.

[faydl]

15b. [«*adl]

idle

16a.

>ayz]

1 6 b . [*az]

eyes

[thaph]

type

RE 16.. 7 . MimLcryi [ i v e ae] Follow the transcription as you mimic. Strive for the articulation described for the new vowels. Have your buddy listen to make sure your mimicry is accurate, and watch your

pronunciation which is not articulated at the norm indicated by the symbol, but slightly down from it. Thus [e»] is slightly down from [e]. Remember that there are almost infinite numbers of vowel positions, and this provides a way of transcribing subtle differences without an infinite number of symbols. (See the previous footnote on p. 236, and note the analogy also to [lv].)

238

Lesson 16

mouth i n a mirror. P r a c t i c e down and a c r o s s . Use t h i s exerc i s e f o r t r a n s c r i p t i o n a l s o , when you have learned t o mimic well. l b . [dif]

l c . [def]

Id.

2a. [nip ]

2b. [n^p*1]

2c. [nep h ]

2d. [nsep11]

[lAis]

3 b . [lAz-S]

3c

Ua. [ t i i s ]

Ub. [tfcts]

Uc [ties]

Ud. [tiffls]

5a.

5b. fotl"]

5c. foel*]

5d. [neel*]

6 a . [Nnidz]

6b. [Nni,dz]

6 c . [Nnedz]

6d. [Nneedz]

7a. [pLip]

7b. [pl*p]

7c

8a. [kig]

8b. [kvi]

8c. [ke2]

9a. [ l i v ]

9b. [3AV]

9c

la.

[dif] 11

3a.

foil*]

10a. [gi]

10b. [«*]

[re§]

[pLep]

[lev]

10c. [ge]

3d.

[def]

[l»rf]

7d. [pLsp] 8d. [ksez] 9d.

[W]

lOd. [gee]

RE 1 6 . 8 . Neigative Practice* "Thi s i s the House t h a t Jack B u i l t " Refer t o the t e x t of RE lluH, p . 205, i f you need t o . The sounds t o be s u b s t i t u t e d a r e i n d i c a t e d i n t h e columns below. The tape w i l l s t a r t you off for each one a

b

c

d

House

[his]

[hz,s]

[hes]

[hees]

Malt

[mirt]

[mz-l*t]

[mert]

[raTt]

Rat

[lit]

[»t]

[ret]

[a*]

Cat

[At]

[At]

[At]

[Art]

Dog

[dig]

tdfcg]

[deg]

[daeg]

Cow

[Aw]

[Aw]

[Aw]

[Aw]

Maiden

[•midn]

[»mtdn]

[•medn]

[•msedn]

Man

[irdn]

[mz,n]

[men]

[men]

Priest

[phrist]

[p h rz,st] 1

[purest]

[Finest]

Some Front Vowels

239 d

a

b

c

Cock

[k^ik]

[k\k]

[l^ek]

[k^ek]

Farmer

[«firmr]

['ft-rmr]

[•fermr]

[•fsermr]

RE 1 6 . 9 . Mimicry! Vowels With and Without Off-•glides Mimic t h e tape and watch the t r a n s c r i p t i o n . When you have learned t o mimic t h e m a t e r i a l , use i t f o r t r a n s c r i p t i o n p r a c t i c e as w e l l . l a , [zi]

l c . [ziw]

I d . [ziH]

l e . [zir]

2a. [nib]

2 c . [niwb]

2d. [SiHb]

l e . [iiirb]

3 a , [zv]

3 b . [zty]

3 c , [zz-w]

3d. [zz-H]

3 e . [zt-r]

Ua. [ru,b]

Ub. [ru-yb]

Uc. [nz,wb]

Ud. [8&Hb]

Ue. [Sz-rb]

5a. [ze]

5b, [zey]

5c

5d. [zeH]

5e, [ z e r ]

6 a , [neb]

6 b . [neyb]

6 c . [newb]

6d. [iieHb]

6 e . [iierb]

7a. [ZBS]

7b. [zssy]

7c

7d. [zseH]

7e. [zeer]

8a, [neb]

8b. [neyb]

8c. [nawb]

8d, [&eHb]

8e. [naerb]

[zew]

[zeew]

Review of Vowels and Vowel Off-glides Tune up on the vowel qualities of previous lessons, as well as of this lesson by listening to RE 16,1 again. Practice some of the vowels with off-glides as well. RE 16,10. Negative Practice* "Old MacDonald Had a Farm" The tape will demonstrate how this exercise goes, and then you can continue practicing with your buddy. It is a device for getting rather intensive practice of vowel qualities and associated glides. The various vowels and combinations listed below are the "sounds" in Old MacDonald's farmyard. After the first start it will not be necessary to repeat the verse. Old MacDonald had a farm.

/'z-yay 'z-yoy *ow/ And on t h a t farm he had some sounds

2U0

Lesson 16 /'j-yay '&yay 'ow/ a. With a [mi mi] here and a [mi mi] t h e r e Here a [mi], t h e r e a [mi], everywhere a [mi mi] b. [mz. mz,] here... c. [me] d. On around the whole vowel chart with pure vowels. e. [miw] f.

[mz-w]

g. On around w i t h [w] o f f - g l i d e s , h. The same with [y] o f f - g l i d e s , j . The same with [H] o f f - g l i d e s , k. The same with [ r ] o f f - g l i d e s . Review of On-glides On-glides [y w r ] occur with a l l vowels t o d a t e , except f o r t h e combinations [yi] and [wu] when t h e vowel q u a l i t i e s are t r u l y high front and high back r e s p e c t i v e l y . RE 1 6 . 1 1 . Mimicryt [y w r ] On-glides Follow the t r a n s c r i p t i o n as you mimic t h e t a p e . Make sure you have good o n - g l i d e s , but no o f f - g l i d e s . When you have learned t o mimic f l u e n t l y , t r y t r a n s c r i b i n g the e x e r c i s e . l a . [Se]

lb.

2a. [ppee]

2b. [ppyas]

2c. [ppwas]

2d. [ppres]

3a.

3b.

3c

3d.

[ti]

Ua. [SA] 5a. [tOz-m]

[eye]

[tyi]

Ub. [3yA] •

lc.

[ewe]

[twi]

Id.

[5re]

[tri]

Uc. [SWA]

lid. [SrA]

5c.

[tewt-m]

5d. [terz-m]

6c.

[nw 6 j]

6d. fare J]

7c.

[Ifawodz]

7d. [Nhrodz]

5b. [•fceynn] 6a.

[nsj] 6b.

[nyej]

7a. [Nhodz] 8a. [goatM]

7b. [Nnyodz] 8b. [gycuiM]

8c. [gwaniM]

8d. [gramM]

Some Front Vowels

2Ul

9a. [nubfe]

9b. [nyubte]

9c. [nwubb]

9d. [nrubb]

10a. [l'on]

10b. [T yon]

10c. [Iwon]

lOd. [T ron]

11a. [zVt£]

lib. [2yvt6]

lie. [zwvt£]

lid. [2rvt£]

RE 16.12. Negative Practicet "The Walrus and the Carpenter" In the following exercise, read the stansa from "The Walrus and the Carpenter," changing the last syllable of each line to insert an on-glide if there is not one, or to replace it if there is. The three columns give the resulting pronunciation in one dialect. The tape "will start you off. As with all negative practice, this is something you can do in spare moments without the recording, once you see how it goes. "The time has come, the Walrus said

l a . [syed]

l b . [swed]

lc.

[sred]

"To talk of many things

2a. [eyz-nz]

2b. [ewujz]

2c.

[ernjz]

Of shoes—and ships— and sealing w a x —

3 a . [yaks]

3 b . [waaks]

3c.

[raks]

Of cabbages— and kings

Ua. [kkyz-nz]

kb,

Uc. [ k ^ i r n z ]

And why the sea is boiling h o t —

5a. [hyat h ]

5b. [hwabh]

5c.

And whether pigs have wings.

6 a . [yz-nz]

6b. [wt,nz]

6 c . [rc-nz]

"A l o a f of b r e a d , " t h e Walrus s a i d

7a. [syed]

7b. [swed]

7c.

[sred]

a.. [nyi>yd]

8b. [nwi>yd]

8c.

[nri>yd]

9a. [syaydz]

9b. [swaydz]

9c.

[sraydz]

"Is what we chiefly needt Pepper and v i n e g a r besides

[kWnz]

[hrath]

Are very good indeed—

10a. [dyi»yd] 10b. [dwi>yd] 10c. [dri>yd]

Now i f y o u ' r e ready, Oysters d e a r ,

11a. [dyi»r]

l i b . [dwi>r]

lie.

[dri>r]

2U2

Lesson 16

We can begin t o feed."

12a. [fyi»yd] 12b. [fwi>yd] 12c. [fri»yd]

RE 1 6 . 1 3 . D i f f e r e n t i a l * I d e n t i f i c a t i o n of Vowels I n t h i s exercise respond t o t h e tape by giving the name of the symbol with which t h e vowel sound i s t r a n s c r i b e d . That i s , when you hear [ i ] , say / a y / or w r i t e i . TOien you h e a r [ o ] , say "backwards c" or w r i t e £ . The t a p e gives the c o r r e c t o r a l response. Don't peek, but I f you are responding by w r i t ing t h e symbol, check your responses a f t e r you f i n i s h t h e exercise. 1. [*o]

0

10. [l*Ld]

IOTA

2. [•«•]

IOTA

1 1 . [l A vd]

UPSILON

3. [•A]

CARET

12. [ r e d ]

e

k. [»•] 5. [•i]

DIGRAPH

13. [xitfc]

1

i

Ik.

6. [•o]

BACKWARDS c

15. [xotB]

7. [l~ud]

u

16. [xsetfe] DIGRAPH

8. [l A od]

SCRIPT a

17. [xvti]

UPSILON

A 9. [l ed]

EPSILON

18. [ x o t i ]

0

[xAti]

CARET SCRIPT a

RE 16.lU. D i f f e r e n t i a l ! FRONT UNROUNDED, CENTRAL UNROUNDED, o r BACK ROUNDED

Respond o r a l l y to t h e t a p e . Don't peek. Use t h i s exerc i s e for t r a n s c r i p t i o n a f t e r you a r e able t o do i t o r a l l y w i t h out h e s i t a t i o n . 1. [ni]

F U

7. [iup*1]

BR

1 3 . [tlaenk]

FU

2 . [5A]

CU

8. [ltp 1 1 ]

F U

lU. [ t l i n k ]

FU

3 . [ne]

F U

9. [ W 1 ]

F U

1 5 . [tlftnk]

CU

U. [na]

CU

10. [lap 11 ]

CU

16. [tlwnk]

BR

5 . [no ]

BR

1 1 . [lip 11 ]

F U

17. [tlonk]

BR

F U

18. [ t l l n k ] !

FU

6 . [iiv]

B R '

11

12. [iep ]

2U3

Some Front Vowels RE 16.1$, Differential! Tongue Height

Respond w i t h one of t h e f o l l o w i n g t HIGH, LOWER-HIGH, MID, LOWER-MID, LOW, LOWER-LOW. 1 3 . [ksab]

7 . [ljQiv]

2. [ & ]

L-M

8 . [tyjov] M

lit. [kxub] H

3 . [fo]

L

9 . [Ifouv]

H

15. [kxob] L

U. [*p]

L-H

L-L

16. [kxAb] L

1 0 . [Ifeav]

H

L-H

1 . [SA] L

5 . [£&] L-H

1 1 . [gnev] M

17. [kxab] L-L

6 . [See] L

12. [Ijnsv]

18. [kxeb] M

L-M

RE l o . l 6 . D i f f e r e n t i a l * F u l l Labels S e l e c t one term from each column t o make up your response. Don't peekJ HIGH

FRONT

ROUNDED

LOWER-HIGH

CENTRAL

UNROUNDED

MID

BACK

LOWER-MID LOW LOWER-LOW 1. [»e] M F U

9 . [swamp]

L-L C U

17. [ k r 6 t | ]

L-M F U

2 . [*u]

HB R

1 0 . [swomp]

MBR

1 8 . [krvtS]

L-H B R

3 . ['£-]

L-H F U

XL, [swtmp]

L-H F U

19. [kri/tf]

L-H F U

h.

[°0]

LBR

1 2 . [swssmp]

L F U

2 0 . [krwfcS]

LFU

5. [ * A ]

L C U

1 3 . [swump]

HB R

2 1 . [kritS]

HFU

6. [»o]

M BR

l U . [swAmp]

L CU

22. [kret|]

MFU

7. [*i]

HF U

IB,

L-H B R

23. [krotg]

MBR

8. [»«]

LFU

1 6 . [swimp]

HF U

2U. [krAtsI

L C U

[swpmp]

2UU

Lesson 16

RE 16.17. Khnni*.1 Mimicryt [i v e P] Mimic the tape as you follow the transcription. Pay particular attention to the vowels. You may hear fine differences in the pronunciation of the vowels transcribed with the same phonemic symbols. Mimic the fine differences. Remember that such differences may be due to free fluctuation, or to complementary distribution. The double vowels symbolize phonemic length. la. /liiw/ •measure of width'

l b . /lz-tw/ 1try'

l c . /leew/ 'already*

Id.

2a. / H i t / •level o f f

2b. /lz-z-t/ •hide'

2c. A e e p / 'packet'

2d. / l v u p / 'hold back part1

3 b . /le-z-rj/ 'wander'

3c. /leerj/ 3d. flvvri/ 'coffin' ' d r y season'

Ua. /hiip/ •to ladle'

Ub. /hut/ •cause disaster'

He. /heet/ 'call to'

5a. /piik/ •dark (liquid)'

5b. /pz-t-p/ 'push through'

5c. /peet/ •seven'

5d. / p » v p / ' c a l l of deer'

6b. /p tvt/ •dress up'

6 c . /p^e&k/ •pine t r e e '

6d. / p ^ v u t / •too much1

7a. / s i i t / •rub'

7b.

7c. / s e e t / 'apart'

8a. / m i i t / 'knife'

8b. /mz,j-p/ 'crawl under'

/svz,t/ ' l e f t over'

9a. / t i i r j / • f a l l over'

flvvl/ 'slide'

8 c . /meet/ 'fish trap'

8d. /mvvt/ 'decayed'

9c

9d. / t v u n / •jump down*

/teerj/ 'do'

10b. /t h z.£.t/ 10a. / t h i i p / •preach' •born i n succession'

10c. / t ^ e e n / 'shelf'

lOd. / t h o u t / •steal, lie'

11a. / ' i i k / •more, again'

lie. /'eek/ 'yoke'

l i d . /">vvp/ 'gather i n '

lib. / ' ^ m / •kin term'

-'-Recording by Naay Muun and Naay Ngaa of Luang Prabang, Laos.

2U5

Some Front Vowels 12a. / k i i p / 'board'

12c. A e e p / 'grasp with tongs'

12d. / k v v t / '10 m i l l i o n '

RE 16.18. T r a n s c r i p t i o n For t h i s exercise use the s p e c i a l t r a n s c r i p t i o n form for RE 16.18 (pp. kl~kQ i n the Workbook Supplement). Listen t o the tape and f i l l i n the blanks i n the Supplement. If nothing goes i n a p a r t i c u l a r blank, draw a v e r t i c a l l i n e through i t l i k e t h i s s A m / n o . When you have completed the e x e r c i s e , check your answers with the t e x t below. You are given addit i o n a l columns i n the workbook to take the t r a n s c r i p t i o n four times, i f necessary. If you find t h i s easy, take a regular t r a n s c r i p t i o n form and t r a n s c r i b e the whole utterance for each item. If you find i t d i f f i c u l t , use RE 1 6 . 2 , 16.1-t, 1 6 . 5 , 16.7, 16.9, 1 6 . 1 1 , 16.13, I6.1I4, 16.15, and 16.16 i n s t e a d . Here are the answers. h

Don't peek!

1. [nA't ee]

8. [Si'goH]

15. [' tfeevwa]

2. [«tsonu]

9. [guy'dwz,]

16. [c^Ap'keS]

10. [teu"i;]

h 17. [p i;'9ix]

km [Nnu'tccn]

1 1 . [•dyojur]

18. fpeewLTak11]

5. [' ku9z-w]

11 19. [Seg'bep ]

6. [bu'swoy]

12. [ t S e H ' t o H r ] •• * 13. ['Mmonzs']

7. [Jer'JJnAt h ]

lU. [•fwaysz,]

21. [dlim's'nEewk'1]

3.

[vye'ge]

v h 20. [«zol t iHnM]

Reading Use RE 16.18 as a reading e x e r c i s e . Practice each word t o yourself f i r s t , and then l i s t e n t o the tape recording of t h a t word t o check yourself. Work with your buddy. Suggested Readings Eugene A. Nida, Learning a Foreign Language, pp. 101-105 (108-118, 132-13U). H. A. Gleason, An Introduction t o Descriptive L i n g u i s t i c s ,

PP. 201-20U, (ih-26rTFWT 187-193). Charles F. Hockett, A Course in Modern Linguistics,

pp. 77-83 (15-7U).

~"

2U6

LESSON SEVENTEEN Flaps and Trills

Bilabial Flaps Nasal Lateral Stop Flat tongue Voiced Voiceless Cupped tongue Voiced

Voiceless

Tipalveolar

Tipalveopalatal (retroflexed)

(*)

n

(?)

(D

1

(4) (?)

<J

(?)

Uvular

(D « V

r

(?) (!)

V

(f)

R

(b)

(?)

r

(p)

(?)

R

Voiceless

Trills Voiced

Tipdental

(?) (?)

r R

Table 17.lt Some Flap and Trill Articulations Study the above table to make sure that you understand the significance of the symbols. Note the use of capital R for voiceless articulation, by analogy with capitals for nasals and laterals. The diacritics here, however, are used with a different significance from the ways in which you have met them before. Be careful that it does not become a source of confusion. [v] was used earlier as a sign of alveopalatal articulation on fricatives and affricates [3 i 8 ] , etc. It is used on other consonant symbols (and most frequently on r] to represent flap articulation. [~] was used earlier as ajsign of alveopalatal articulation on nasals and laterals [n 1 ] , etc. It is used with these new symbols to represent trill articulation. [ ] was used earlier to represent retroflexed articulation [$ S 2], etc. It is used with the trills to represent uvular articulation. (Note that there is an analogy here. This represents backing in both cases.) [r] was used earlier to represent a vowel glide. It is used now (with [v] or ["])

2U7

Flaps and Trills to represent these new kinds of consonant articulation which have some acoustic similarity to the [r] glide.

There is not much point in presenting Sammies of these new sounds except for the uvular trills below, because the points of articulation and articulators are familiar. It is the manner of articulation which differs. Flaps Flap a r t i c u l a t i o n d i f f e r s only s l i g h t l y from t h e c o r r e s ponding n a s a l , l a t e r a l or stop a r t i c u l a t i o n . Points and manner of a r t i c u l a t i o n may be the same except for the a d d i t i o n a l flap characteristic. RE 1 7 . 1 Demonstration* Flap A r t i c u l a t i o n Mimic t h e t a p e and follow along i n t h e Manual. a. Listen t o the tape on the pronunciation of the following words, and n o t i c e the pronunciation of t h e medial consonant. P r a c t i c e making the same kind of a r t i c u l a t i o n y o u r s e l f , whether you consider t h i s standard pronunciation for English or not, and whether you find i t n a t u r a l t o your d i a l e c t or n o t . l a . [«mz,ni>y]

Minnie

l b . [»fAni»y]

funny

2a. [«md.i>y]

Millie

2b. [»sAli>y]

sully

3 a . t'mz-di>y]

middy

3 b . ['mAck.>y]

muddy

Ua. [ « k \ r i > y ]

kitty

Ub. ['j^Afi^y]

putty

b . Now follow t h e t a p e , pronouncing each of t h e s e words i n the same way, and a b s t r a c t i n g the medial consonant, placing i t between [ a . . . a ] . Maintain t h e f l a p a r t i c u l a t i o n . This should be a s h o r t , r a p i d f l i c k of t h e tongue a g a i n s t t h e p o i n t of a r t i c u l a t i o n . The a r t i c u l a t o r , i n s t e a d of d e l i b e r a t e l y going up and touching t h e point of a r t i c u l a t i o n , f l i c k s up a g a i n s t i t or f l i c k s i t as i t passes r a p i d l y by. Figure 1 7 . 1 diagrams t h e s e kinds of movement.

K

Tongue tip flicking up against point of articulation and away

Tongue tip flicking Tongue tip flicking point of articula- point of articulation as it passes tion as it passes from front to back from back to front Fig. 17.1

2U8

Lesson 17

c. English ing too wagging

In order t o make [J*], give a l i t t l e [ r ] q u a l i t y t o an [ d ] . I m i t a t e t h e t a p e . You may find t h a t you are workhard a t producing a f l a p . Relax, Be sure you are not your c h i n . Hold your chin steady with your hand.

l a . t'mAck'y]

l b . [»mArl>y]

l c . f'mArA]

I d . [»ATA]

2a. [«roz,(k>y]

2b. [«mz,fi>y]

2c. [«mz.rV]

2d. ['&*&]

d. For another e x e r c i s e i n producing [ f ] , i m i t a t e the rapid r e p e t i t i o n of these English words$ c i t y , p i t y , d i t t y . Also* got a l o t l ^ g a r t ' l a t ] e . Try water and b u t t e r ['warr] and [«bArr]. RE 1 7 . 2 . D i f f e r e n t i a l !

[i if]

Begin tuning up your ears t o f l a p s by d i f f e r e n t i a t i n g two kinds. Respond with d or r . The tape w i l l demonstrate. When you find t h a t you can answer o r a l l y , t r a n s c r i b e t h e exercise i n order t o be sure you l e a r n t h e use of t h e flap d i a c r i t i c . 1. [ada]

d

5. [oft]

r

9. [ a ' r e s o ]

r

2. [oak]

d

6 . [ido]

d

10. [u'dinu]

d

3 . [ere]

r

7. [ATV] r

1 1 . [e'focJi]

d

U. [uru]

r

8. [tite]

12.

d

r

[V'SOO'A]

RE 1 7 . 3 . D i f f e r e n t i a l ! [I f ] Respond o r a l l y with t or r , and then t r a n s c r i b e . you t r a n s c r i b e the f l a p d T a c r i l i c c o r r e c t l y . 1. [a?a]

r

5>. [o£i]

t

9. [a«reso]

r

2. [oto]

t

6. [ito]

t

10. [ u ' f t n u ]

r

3 . [s*c]

r

7. [Afu]

r

11. [e'foti]

t

k. [utu]

t

8. [the]

t

12. [p'cotA]

t

RE 17.U. D i f f e r e n t i a l !

Be sure

[£ I ?]

Respond o r a l l y with d, t , or r , and then t r a n s c r i b e . 1. [vft]

r

3 . [AdV]

d

5 . [are]

r

2. [oto]

t

h. [eetee]

t

6 , [udo]

d

Flaps and T r i l l s 7. [aerv]

r

8. [AIJ,]

t

2h9 9. [o'dik^x] 10. [ i ' z o f e ]

d

1 1 . [A'ruxi]

r

r

12. [t'neelu]

t

HE 1 7 . g . D i f f e r e n t i a l * [ft 1 & I fl Respond with n, 1, d, t , or r u n t i l you can do t h e exerc i s e w e l l , and then t r a n s c r i b e . [ifla]

n

7. [er-A]

r

13. [z,ȣate]

t

2. [u-Ee]

t

8. [o&]

t

Hi. [e'geelo]

1

3 . [v*o]

r

9. [e0

Lesson 17

RE 1 7 . 8 . Mimicry! [ft] To produce [ft] simply t u r n off t h e v o i c i n g . P r a c t i c e by mimicry of t h e following e x e r c i s e . Follow along i n t h e Manual. 1. [aft]

5 . [ruft]

9.

[RATI]

2.

[oft]

6 . [foft]

10.

[ftefA]

3.

[ift]

7 . [raft]

1 1 . [ftofVe]

k.

[uft]

8. [fc,ft]

12.

[ftofu]

RE 1 7 . 9 . D i f f e r e n t i a l ! VOICED or VOICELESS L i s t e n t o t h e f l a p s , and respond with VOICED or VOICELESS. When you can do the e x e r c i s e o r a l l y , go back and t r a n s c r i b e the u t t e r a n c e s u n t i l you a r e sure of them. Don't peek. 1.

[so?]

VD

5 . ['Rino]

VL

9 . ['ziite]

VD

2 . [t h uft]

VL

6 . [fte'Jjna]

VL

10. [«ftepyz-]

VL

3 . [mof]

VD

7 . [fte'tsz,]

VL

1 1 . ['fyseftu]

VL

U. [ l e f ]

VD

8 . [fo'tfcv]

VD

1 2 . ['fet^A]

VD

Trills Most people have made tongue-tip trills all of their lives in play. Others can learn to do so. There is one important tip to remember, however. The trill is not created by voluntarily moving the tongue through use of your muscles. The tongue is moved by the air stream. One analogy is that of a tarpaulin on the back of a truck. As the truck moves along, the tarpaulin flaps repeatedly and rhythmically. This is not a movement made on its own part, but is made by the rushing of the air acting on the tarpaulin. Correspondingly, the muscles serve to hold the tongue in the right position and with the right degree of tension, so that when the air does rush out, the tongue flaps repeatedly, creating a rapid trill. RE 17.10. Demonstration* [ff R] Listen to the tape, mimic, and follow in your Manual. a. Most people can make a voiced alveolar trill, having done so from childhood when they played cars or airplanes, or machine guns. Just make sure your trill is with the tongue tip in the alveolar regiont [?•].

251

Flaps and Trills

b. If you have no trouble with a voiced tip-alveolar trill, try doing the same thing without voicing! [£•]• c. If the voiced trill is difficult for you, try saying the following two phrases rapidly and repeatedly* put it on and butter up. For many speakers, when this is done naturally and in a relaxed manner it will give [p^vr*ran] and [bAr'rAp], Work on these in odd moments, but frequently, over a period of several days, and you will probably find that very suddenly the tongue tip trill works. d. Some people who have difficulty with [r] find it easier to make after [p], so you could try practicing [pr»]. e. All of these same devices can be used to get the voiceless trill as well if you whisper the items as you practice them. RE 17.11. Mimicry* [r R]

Mimic and follow the t r a n s c r i p t i o n . l a . [ara]

lb.

[faro?]

l c . [aRa]

I d . [RaRaRj

2a. [ere]

2b. [ r e r e r ]

2c. [eRe]

2d. [ReReR]

3a.

3b.

[ririr]

3c. [iSi]

3d. [ R i & R ]

Ua. [uru]

Ub. [rurur]

Uc. [uRu]

Ud. [RuRuR]

5a. [oro]

5b. [rorof]

5c

[oRo]

5d. [RoRoR]

6a. [aerae]

6b. [nerssr]

6 c . [site]

6d. [ReeReeR]

[iri]

RE 1 7 . 1 2 . Demonstration! |if

|]

Mimic and follow along in your Manual. a. Many people have made uvular trills from childhood. Sometimes children who do not make tip-alveolar trills substitute uvular trills for them. If you can already do so, imitate the tape and produce a trill with your uvula vibrating against the back of your tongue* [?•]. b. If you can make a voiced uvular trill, turn off the voicing and make a voiceless onei [R»] c. If the uvular trill does not come easily, articulate your mouth for an [o], inhale deeply, and then exhale suddenly and sharply through this articulation. You may get an [r]. Try

2#

Lesson 17

Sammy 17.It Articulation of [r], Showing the Uvula Articulating on the Back of the Tongue this repeatedly at various times. Keep relaxed as you do it, playing around with various combinations until you get one that works. d. Some people who find a uvular trill difficult, make it most easily in the sequence [a'ro], forcing the air out of the lungs forcefully on the [Jo], e. Try snoring, as you hold your nostrils shut with your fingers. Get the feel of your velic and uvula vibrating in the back of your mouth. Snore in, and then, without moving your tongue, breathe out through your mouth (nostrils held shut with your fingers). Sometimes this produces [?•]. f. Some people find the sequence [gr»] most useful for producing a uvular trill. g. Some people^have a tendency to make [x g] so far back that they produce [R f ] . Try approaching the uvular trill from the velar fricative! h. Some people find it helpful to get the uvula into position in relation to the tongue by sitting in a chair and leaning their heads bac.k to look up at the ceiling, and then forcing the air out of the lungs. Others lie on a bed with their head hanging off to create this same effect.

Flaps and Trills

253

i. Whatever way works best with you, when you have begun to produce a voiced or voiceless uvular trill, then articulate it between vowels, before vowels, after them, etc.* Fara ra ar oro], etc. EE 17.13. Mimicryt [f f] When you can produce a uvular trill in isolation, work on mimicry of this exercise. Follow along in your Manual, la. [ara]

lb. [jajaj]

lc. [aRa]

Id. [RaRaR]

2a. [ere]

2b. [refer]

2c. [efe]

3a. [iri]

3b. [ririr]

3c [i|i]

3d. [RiRiR]

k&, [uru]

Ub. [rurur]

He. [ufu]

kd. [RuRuR]

5a. [ofo]

5b. [roror]

5c. [oRo]

5d. [RoftoR]

6 a . [aeja]

6 b . [raerser]

6 c . [aajtee]

6d. [RasiRfflR]

2d. [ReReR]

RE 17.1U. D i f f e r e n t i a l t FLAP or TRILL Respond o r a l l y with FLAP or TRILL. When you have done t h e e x e r c i s e o r a l l y , t r a n s c r i b e the u t t e r a n c e s and check your t r a n s c r i p t i o n a g a i n s t t h e t e x t below. Don't peek. 1.

['pine]

F

6 . [«Ra.tso]

T

1 1 . [Mme'nAfoz]

F

2 . [«sofA]

T

7. [•Rus'z,]

T

12. [kNroineru^]

T

3 . [«gerv]

T

8. [«RVt£a]

F

1 3 . [fc'xaerup]

F

k. f'furo] • 5. [»w 6 ri]

T

9 . [«Rol A i] • 10. ['ReLs]

T

lit. [nA»dzeR»t h ] • 1 5 . [ga'beoRon]

T

F

T

T

RE 17.15. D i f f e r e n t i a l t VOICED or VOICELESS 1. [»Ra.tso] VL

5. ['pifte] VD

2 . ['ruSt.]

VD

6 . ['gerv] VD

10.

3. [«Rori]

VL

7.

[«SORA]

VL

11. [Jt'xsrup]

U. ['fetEa]

VD

8 . [»fuRo]

VL

3 2 . [k^iqefui] VD

9 . [ga«bboRon] [nA'dzeRvth]

VL VL

VD

25U

Lesson 17

RE 17.15. D i f f e r e n t i a l * ALVEOLAR or UVULAR 9. [ k V i ' n e r u c ]

U

2 . [«so?A] A

5 . [«Ru3z,] U • 6 . ['Retia] A

10. Qj-'ssrup]

A

3 . [»furo]

7. [«Reiae]

11. [ga'bboRor]

A

12. [Mme«nA#oz] 8. [ « R o r i ] U • RE 17.17. Negative P r a c t i c e ! Flaps and T r i l l s

A

1. [«pira] A

U

A

U. [»w e fi] A

P r a c t i c e saying these English words and phrases with the i n d i c a t e d s u b s t i t u t i o n s of flaps and t r i l l s . Follow t h e t r a n s c r i p t i o n as you mimic t h e t a p e . a. c a r

b. rat

c . near

d. park

la. [Atr]

l b . [rsrt b ]

l c . [ni'yf]

I d . [p^irk 11 ]

2a. [k^oR]

2b. [Rarth]

2c. [ni»yR]

2d. [phaRkh]

3 a . [khar]

3b. [rat^]

3 c [ni>yf]

3 d . [phofkk]

Ua. [khoR]

Ub. [Rst h ]

Uc. [ni>y£]

Ud. [phaRk*1]

5a. [k^o?] • 6 a . [khaR]

5b. [r®t£] • 6 b . [R»t h ]

5 c [ni>yr] • 6 c . [ni>yR]

5d. [i^ark 11 ] • 6d. [p^aRlf*1]

e. prowl

f. roaring

g. Rosa r a r e l y ran

l e . [prowl ]

I f . [«roHri.n]

l g . ['fcwzA «?eH?l v i>y 'rseHn]

2 e . [pRawl ]

2f. [»RoHFL-n]

2g. ['RowzA ' R e H R r i - y «R«Hn]

3 e . [pfawl ]

3 f . [»foHfz,n]

3 g . ['fowzA «feHfl v i*y «fteHn]

Ue. [pRawl ]

Itf. [»RoHRz.n]

Ug. [«RowzA »ReHRl'i>y 'RseHn]

5e. [pfawl ]

5f. [»foH?M]]

5g. ['fowzA «rEHfl'i>y »reaHn]

6 e . [pRawl ]

6f. [•RoHfc.n]

6g.

['ROWZA

«ReHRlvi»y "ReeHn]

RE 1 7 . 1 8 I Khmu''.1 Mimicry* [ r ]

Mimic t h e t a p e , and follow t h e t r a n s c r i p t i o n . The recording i s not t h a t of a n a t i v e speaker.

Flaps and T r i l l s

255

la. /rao/ 'pour over'

lb. /boory •two'

l c . /hraag/ •tooth'

2a. /faay/ •fierce'

2b. /waaf/ •hot'

2c. /hrnaa/ [Rr'na*] ' i r r i g a t e d ricefield'

3a. /ink/ •love'

3b. /mar/ 'snake'

3 c /hrlap/ 'fold up'

[Rr'lAp] '

l*a. /rap/ •grasp'

Ub. /sar/ 'wild cat'

Uc. / h r i i n / ' t o lead'

[Rri»n]

5a. /riit/ 'custom'

5b. /wiir/ 1 stare»

5c. / h r n i i p / [R^«'ni«p] •spoon'

6a. /reen/ •abandoned ricefield'

6b. /wer/ •turn over'

6c. / h f e ' / 'swidden'

7a. /fees/ 'strong•

7b. / h e r / •intelligent'

7c. /hfoh/ [Rrvh] •to ripen'

8a. /feew/ •noose trap*

8b. /nee?/ •tiny'

8c. /hrok/ •six'

[Rrvk]

9a. /roon/ •line'

9b. Aloof/ •road'

9 c /hrloV 'word'

[S^»lo»]

10a. /ruup/ 'picture'

10b. /buar/ 1 evening'

10c. /hfuuy/ •spirit'

[Rra»i]]

[§»•]

[Rru»y]

RE 17.19* Reviewt Nasals, L a t e r a l s , Stops i n t h i s e x e r c i s e we w i l l emphasize t h r e e kinds of a r t i c u l a t i o n ! b i l a b i a l , t i p - a l v e o l a r , and b l a d e - a l v e o p a l a t a l . Mimic the tape and follow along i n your Manual. Make sure t h a t your v o i c i n g , or v o i c e l e s s n e s s , or a s p i r a t i o n i s c l e a r , as well as your a r t i c u l a t i o n . l a . [mamem]

l b . [nanen]

lc.

2a. [Mmo.MmAnW]

2b. [Nno.NnAnN]

2c. [Nno.NnAnN]

3b.

3c.

[rel-TLb]

Ub. [l v ol v 6Bl v ] 5b.

[Llva.LlvilvL]

6b.

[dlu.dlj.dl]

[nanen]

[lelul]

256

Lesson 17 7b. [ t £ o . t £ e t £ ] 8b. [t& h ae.t£ h ati I ]

9a. [bebAb]

9b. [dedAd]

10a. [pupep]

10b. [ t u t e t ]

Ha.

lib.

[phaphpph]

[thathptb]

RE 17.20. S u b s t i t u t i o n Mimic t h e tape on t h e following e x e r c i s e . The f i r s t one w i l l be b u i l t up, and t h e remainder w i l l c o n s i s t of s u b s t i t u t i o n s made i n t h e f i r s t one. P r a c t i c e f o r fluency. Work on p i t c h , timing, s t r e s s , j u n c t u r e , e t c . , as w e l l as consonants and vowels. 1. [NnBSwi'niH.po.nAr d*f.fe«l*iwt h ] i

2. [

i

i

/

^v ia.xeg ccxsn

3. [

RofJSil v I 1

U. [

SAr.pfAtfc

] ] ]

Transcription Use RE 1 7 . 2 , 1 7 . 9 , 17.13~17.17 as t r a n s c r i p t i o n e x e r c i s e s . Transcribe r e p e a t e d l y those which give you t r o u b l e . Do your t r a n s c r i p t i o n on a t r a n s c r i p t i o n form, and keep t r a c k of your e r r o r s . Watch your progress on sounds which give you d i f f i c u l t y , and d r i l l with those sounds and symbols which tend t o confuse you, going back t o t h e lesson where the sound was i n troduced, i f necessary. Reading Use 17.3ii~17.l6 as reading e x e r c i s e s , c a l l i n g off t h e u t t e r a n c e before t h e machine gives i t , and checking yourself against t h e production on t h e t a p e .

257 LESSON SEVENTEEN R Review Consonants Here is the inventory of the symbols representing sounds drilled so far. You are responsible for production of all sounds to date except the flaps and trills, which may take a little more time for some people. You are not responsible for hearing the difference between dental and alveolar stops, nasals and laterals. You should hear this difference in fricatives and affricates.

to H

a

j»

B)

o

P

p 4

>•

P Q

d- 1 H

>


O H p 4

> VH P ft

H CD O 1

>

"*?" P
C+

o P

<J CD H

P •i

1

0

X

Voiced

g

Lateral Voiceless Voiced

1

AFFRICATES1 Grooved VI. unasp.

ts

ts

c

ts 11

fih

dz

5

A *

ts 11

VI. a s p .

A A

Voiced Flat VI. unasp.

dz pj

ts •• tsh •• d2 ••

te

kx

A

VI. a s p .

pj

te11

kxh

A

Voiced

b\

del

gg

Lateral VI. unasp.

t£

VI. a s p .

t£h

Voiced

dl

NASALS Voiceless Voiced Vd. flap

M m

n

N N

N N

n

fii f

N, n

n

n

"There are,' of course, many affricates with different points of articulation for stop and fricative. Some are shown on p. 138.

259

Review tr"

t)

!»

P:

a.

$ p,j

&

p,

a £