uHOW TO USE THE MANUALFOR THE ACTOR

J[ T IS IMPOSSIBLE to learn a dialect simply by reading through thechapter, lifting out a few high lights and using them to put overthe dialect. Each element - characterization, lilt, etc. - shouldbe attacked by itself. When it has been learned thoroughly, the nextelement should be studied. When all of the elements have been learnedprogressively, the result should be a finished and authentic dialect.

PHONETIC SYMBOLS

Before attempting to learn any of the dialects, it is imperative thatthe student become completely familiar with the chart of phoneticsymbols. Only when all of them have been learned, so that the studentis completely conversant with them and can recognize and use themimmediately, will he be able to go a step farther and learn a dialect.

When the authors first planned this book, they debated the systemof phonetics they would use to present the various vowel and conso-nant changes as closely as possible. They decided to use a simplephonetic system, rather than the alphabet of the International PhoneticAssociation now in use in many universities. A rough count of thesymbols and diacritical markings used in the LP.A. system revealedthat it would be necessary for a dialects student to learn approximately176 varied signs. In other words, before a student could begin to learna dialect, he would have to learn the equivalent of almost seven newalphabets!

The system of the International Phonetic Association is excellentfor its particular purpose, which is, mainly, to record faithfully theexact speech habits of the world of languages. However, dialects, asused by the acting profession, require only a knowledge of the broaderaspects of these habits. And that is what this book deals with: theprincipal vowel and consonant changes in most of the foreign-Americandialects, together with such other material as could be helpful in limningthe foreign character more faithfully. Hair-splitting, regarding the~uperfine pronunciation of a vowel sound, is not necessary to the teach-lllg of dialects because no two residents of the same country, of thesame province, of the same city, or even of the same household would~peak all their vowel and consonant sounds exactly alike. In fact, thislnconsistency is even observed in the speech of a single person.. With the exception of very few symbols - and those only in indi-

vldual dialects - all the phonetic representations are symbols withwhich the average person has been long acquainted. The long "a" of

1

2 Manual of Foreign Dialects

"take," for example, is represented phonetically as "AY" (tAYk); thelong "0" of "bone" is represented phonetically as "OH" (bOHn), and soon. Anyone can read the simplified phonetic system used in this bookafter a few hours of orienting himself to it.

The authors were faced with a corollary dilemma. Throughouteach chapter, in giving drill words for exercises, it was necessary to usewords as, for example, "A:" .... as in "ask," "draft," "laugh," etc.The American pronunciation of the "a" in "ask" varies with the stateand even with the city in which each dialect student resides. InBoston, for instance, this "a" would be pronounced "AH," as in"AHsk." In the Middle West, however, the same "a" would beflattened out into the "a" of "candy." Even the example word "candy,"given in the previous sentence, has its variations in certain localities,and may not coincide with the treatment given it in some locality otherthan the Middle West.

Because both authors of this book have lived in the Middle Westmost of their lives, it is natural that theirs be a Middle Western pro-nunciation and that the example words they use illustrate the soundsthey, themselves, as Middle Westerners, give to them. To them "ask" is"A: sk" and not "AHsk." However, these inconsistencies will be fewand the local variants will not hamper the dialects student greatly. Heshould be able to obtain from this book sufficient material to becomeproficient in any or all of the major foreign dialects.

CHOOSING THE DIALECT

Once the symbols have been learned, the student may choose thedialect he believes is best suited to his needs and talents. He may, ofcourse, be seeking to learn a specific dialect. Or, if he has no particularpreference, he may want to choose a dialect that will fit in with hiseducational or environmental background.

For example, if the student has studied French at school or hasparents or friends who speak French fluently, it is obvious that heshould first essay the French dialect. Or if the student has a friend orrelative who speaks the German dialect, from whom he can learn manyimportant German-American dialect elements first hand, then he shouldchoose the German dialect. In other words, it is necessary to choosethe dialect that lends itself best to study.

It may be that the student has no preference or background foranyone particular dialect. In that case, he should follow the news.Radio shows, moving-pictures and stage dramas are often topicaland their action takes place in those countries that are headlined in theday's news with characters who will be called upon to speak the dialectsof those countries.

-~--------U"'o'fTF-tO Vo:!rt:! l-flot:" J.r.J.U,-HUUr. -,v

It was impossible to treat all the dialects in equal detai . H(Jwever,the foreign dialects most called for in the acting profession have beenthoroughly discussed, while a number of dialects, uch as the c..7echHungarian, and Lithuanian have not been treated as comprehensivelyas the rest.

Generally speaking, though, the order of importance of foreigndialects, insofar as the number of professional calls for them is con-cerned, is as follows: British, German, French, Cockney, Irish, Yid-dish, Italian, Spanish, Japanese, Scotch, Russian, Swedish, Chinese,Greek and Polish. Although this is an arbitrary listing, it is based on theauthors' experience and research.

CHARACTERIZATIONWhen the student has chosen the dialect he intends to learn, he

should then try to acquaint himself with the psychological make-up ofthe national character of the people on whose native speech the dialectis based.

This is important because the nature of a person's speech habitsstems from his character. The volatile, hot-blooded Italian, forexample, betrays his choler in his speech patterns, in his attenuatedvowel sounds and in his dropping of final syllables in long wordsbecause he is anxious to get on with the thought he is trying to express.Temperament is particularly revealing in the lilt with which a dialectis sung.

In this book a brief resume of these national characteristics hasbeen given with each major dialect. But the student should go beyondthese suggestions. He should obtain books written about the localeand with characters who would normally speak the dialect to belearned. The supplementary reading lists at the end of each chapterwill supply leads to some of the books. In most of the books listed,there has been some attempt by the author to put down the dialectphonetically. Many dialect elements can be obtained from them. But,what is most important, they will give the student an opportunity tolearn more about the national characteristics and temperament of thepeo~le who use the dialect. The reading of Sean O'Casey's many plays,for mstance, should give the student a perfect picture of the Irish lowerc!asses. Ignazio Silone's books, although they have no dialect phoneti-c.lzed, should give the student a revealing picture of Italian peasanthfe. The public library lists these books - fiction and non-fiction-under the heading of each country so they should be easy to obtain.

ULT.In this book, examples of the dialect lilts have been given both in

;nuslcal form, for those who can read music, and in a simple, stepladderorm for those who cannot. Try the musical graphs on a piano or violin

4and then imitate the notes with your voice. Or read the stepladderform using higher notes when the syllables go up and lower noteswhen they go down and gliding on the syllables that are followedwith rising or falling dots. Do this before going into a detailed studyof the vowel and consonant changes.

If there are any unusual symbols in the lilt, look them up in thechapter itself. For example, a lilt is given in the Cockney chapter forthe question, "Are you going home?" In the phonetic symbols thisreads, "AW yuh gAOWin' 'AOWm?" This unusual symbol is the"AOW" substitute for the American long "0" (OR). Such unusualsymbols are not listed in the chart at the front of this book since theyapply only to certain individual chapters. But in the chapters in ques-tion you will find a detailed explanation of them. Turn to the vowelsection in the chapter on the Cockney dialect and look up the vowelsound "OH" as in "bone." A detailed explanation of this "AOW" sym-bol and sound will be found. If, on the other hand, the Spanish dialectis being studied, it will be noticed that, in the lilt example, the word"have" is written phonetically as "'AHbv." A reference to the con-sonant "V" under consonant changes should reveal the reason for thespelling of "v" as "bv" and should explain the method of achieving thecombination sound. It would be well to remember that the examplelilts given are only generalizations of the native lilt of the dialectand should be used as guideposts only. The change in meaning,effected by shifting the emphasis from one word to another, and fromone syllable to another, can change the lilt. But, generally speaking,the lilt will fall into the patterns of the examples given.

UNUSUAL DIALECT ELEMENTS

After your first study of the lilt, it is best to go into the treatmentof whatever unusual element there may be in the dialect you are study-ing. In the Russian dialect, for example, it would be necessary first tostudy the section on "The Added Consonantal 'Y"'; in the French, it issuggested that the "French Nasal" be learned; while, in the Cockney,the subject of the "Cockney Glide" would be consulted. Here, again, ifan unusual vowel or consonant change is encountered, reference shouldbe made immediately to the sections of the chapter which explain theirproper use.

VOWEL CHANGES

Now the student will be getting into the meat of the dialect. Thedetailed explanation should be first studied and absorbed. Then theword examples should be spoken aloud. Next, reference should be madeto the section under "Emphasis" for suggestions in placing the proper

---._---n"'.- --syllabiC emphasis on the words. If an unusual consonant symbolis encountered, reference should be made to the consonant ection foridentification and the proper pronunciation of tho consonant ound.Then the example word should be pronounced with the newly learnedconsonant sound. This should be done for all the example words listedunder all the vowel sounds. The words should be pronounced veryslowly at first. Then they should be read at a faster tempo until you areable to read them at their natural speed.

The vowel changes should not be forced. Instead, they should besounded naturally, as though they are part of the natural pronuncia-tion. An effort should be made to get the pronunciation as closeto the American pronunciation as possible. That is to say, the Americanpronunciation should not be achieved but should simply be approxi-mated. The effect should be as though the new dialect were beingfashioned around the form of normal American speech.

This is especially important when learning the Japanese andChinese dialects. The aspirate "uh" used in these dialects can clothethe interpretation with credibility or swathe it beyond recognition.The same principle applies to the radical vowel and consonant changes.In acquiring this aspirate "uh," by the way, it is suggested that the con-cluding consonant sound be pronounced heavily. Thus, in the Ameri-can word "take" (tAYk), spelled phonetically in the Japanese dialect as"tEHk h" heavil d "k"un, a very eavi y pronounce sound will produce thisaspirate "uh" quite naturally. The same method can be used in pro-nouncing the aspirate "uh" that follows Italian dialect consonants.

Use the "Word Exercise" list following the "vowel" sections to testyour knowledge of the vowel changes.

CONSONANT CHANGES

Th This step should prove much easier than the preceding ones.e vowel changes have already been learned and a great many of the

consonant changes have been referred to and learned. Throughout this~ons.onant change section - and the vowel change section, as well-It will be observed that variations of changes are given. The Irish "s."for ex 1 'amp e, may be pronounced either as "s" or as "sh." In somecases the r f h .h' easons or t ese varrances have been given and the dialectc aracteri ti h ld f 1f za IOn s ou 01 ow the suggestions. In other cases pre-erred . ti'fi varra IOns are noted. These, too, should be followed unless atspec~ c characterization is desired. The change of the Italian medial "t"o eIther "d" "" fint d or r, or example, depends on what interpretation is

en ed for the dialect character.Again whe ti . htak ' n prac ICIng on t e example words care should been to p ,

ronounce them very slowly at first and build up the tempo

6 Manual ot Foreign Dialects

until the exact speed is acquired. At the same time, reference shouldbe made to the section under "Emphasis" for the proper treatment ofthe syllabic emphasis.

Use the "Word Exercise" list following the "Consonant" sectionsto test your knowledge of the consonant changes.

GRAMMAR CHANGES

Although this section is not as vital to the actor as it is to ~hewriter, the former should study it for a more complete understandmgof the dialect. Many scripts are written in straight dialog so that. theactor finds it difficult to superimpose his dialect changes on Americangrammatical forms. He can learn from this section what grammaticalchanges are most characteristic of the dialect and, when necessary, canmake the adjustments in his script lines.

In addition this section can be used by the actor as a source ofpractice material. All the example sentences are written out pho-netically, as is the concluding monolog. Reference should b~ made tothe "Lilt" and "Emphasis" sections. At this time, special notice shouldbe paid in the "Emphasis" section to the material de~ling ~ith wordemphasis in the sentence. Then, using the suggestIOns given, theexample sentences should be read aloud - slowly, first, an~ then withincreasing tempo until the natural speed has been approximated. .Atthe same time, the suggestions given under "Lilt" should be applieduntil the correct lilt and emphasis have been achieved.

At this time, the common foreign expressions and interjectionsmay be learned. Here, again, it is really within the province of thewriter to insert them into the script. But, when they have not beenused, the actor may put them in with the director's approval- butonly sparingly. .

Use the "Sentence Exercise" list following the "Grammar" sectionsto test your knowledge of the grammar changes, foreign expressionsand interjections.

"WEAK" AND "STRONG" FORMS

The majority of foreigners rarely use American contractions ifthe language is still fairly new to them. Many of them retain "is not"and "have not" rather than "isn't" and "haven't" even after they areproficient in the American language. The A.merican to~rist o~ th.eContinent makes the same errors as the Continental tourist or immi-grant makes in America. He tries to be exact in his pronunciation ofthe adopted language, while the natives of the country are usuallyindifferent to the formal rules of grammar. Few Americans would

"B h uld "I d 't are"ever say, "I do not care. ut t ey wo say, on c .

How to Use the Manual 7

This desire to speak correctly causes the foreigner to err inselecting the strong or weak forms of an American word. The Ameri-can language is not a phonetic language. It is not pronounced exactlyas it is spelled. For example the words "to" and "from" are bothspelled with an "0" yet in each word the "0" receives a different sound.The strong form of the word "to" is "tOO," and it is the strong formthe foreigner invariably uses. In the sentence, "go to the store" theAmerican would use the weak form of "to" and say,

"gOH tuh THuh stAWr"

It will be noticed that the American also used the weak formof "the" rather than the strong form which is "TREE."

This slurring of vowel sounds is difficult for many foreigners toacquire. One reason may be that they are concentrating all their effortson learning the new and often strange sounds of the American lan-guage. It may seem sacrilegious to them to dispense with the new soundonce it has been learned. When they begin to mingle with the Ameri-can people and make friends, then they will begin to use the weakforms occasionally if their friends point their mistakes out to them.For the most part foreigners are completely unconscious that theyspeak in a dialect. They speak and are understood; they listen andunderstand. That is their goal and it is achieved.

Because the use of the strong or weak forms depends entirely onthe individual dialect-speaking person, they are only rarely designatedin this manual. This is a matter between actor and director. If theforeigner has recently arrived, he will most probably use the strongforms. Young people will include some weak forms, since youngstersare more adaptable than their elders. If the person has been in thiscountry any length of time, he will use a number of weak forms. Butof Course, this depends on his temperament, his love for his own coun-try, his ability to make friends, his economic standing and so forth.

Ordinarily, in this manual, the suggested substitutions for vowelchanges are carried throughout the chapter. But, occasionally, whenthe strong form was not advisable, the weak form was used. So thestude.nt should not be confused when confronted with these puzzling,seemlllgly erroneous, variations.

POLISHING UPb .When the complete dialect has been studied, the student shoulde~lll to practice what he has learned by reading first from a child's

~rlIner. Wherever possible, the necessary grammatical changes shouldbe ~ade. Occasionally language carry-overs and interjections should~ lIlserted. The suggestions on syllabic emphasis and word emphasiss ould be followed. The proper lilt should be sung. And, after each

-8 Manual of Foreign Dialects

sentence, reference should be made to the Manual to check on incor-rect deviations. The sentence should then be read over again with theproper corrections made.

Only after a perfect dialect has been achieved, by this method,should the next and final step be attempted. At this time the studentshould discard the primer and try to use the dialect ad lib - that is,extemporaneously, without benefit of script. Again, after each sen-tence, reference should be made to the Manual to check the dialect.When the errors have been noted, the sentence should be repeated,again ad lib, with the correction made. Then another sentence shouldbe tried.

This is the supreme test of a dialect. If it can be spoken by thestudent as correctly as though he were using his own American lan-guage, he can then be said to be the complete master of the dialect - hecan then feel certain that he has all its elements in complete controland ready for use.

MOUTH AND TONGUE EXERCISESSpeaking in a dialect is not only a matter of vowel and consonant

changes. To be believable, these changes must be made with ease andconfidence. The sounds peculiar to the dialect should not be exag-gerated. They must be spoken with the same facility the actor uses inhis American speech. They must sound as though they are habitual tothe actor.

If an actor, or student, has studied one or more foreign languages,he will find that many changes will be fairly simple. This will often betrue even if the dialect he is learning is not based on a language heknows. But, whether the actor has a background in languages or not,certain exercises for limbering the mouth and tongue should provehelpful in acquiring the dialect changes.

Throughout the exercises,

A. breathe with your diaphragm, not your chest andB. keep your body relaxed.

These exercises may be practiced either sitting in a chair orstanding.

THROAT RELAXATION1. Lower your head forward, slowly. Roll it slowly in a circle so

that your right cheek almost touches your right shoulder; then let itfall backward of its own weight and continue moving it slowly towardyour left shoulder. Again, let it fall forward of its own weight and con-tinue this slow circling process five times to the right and five timesto the left.

How to Use the Manual 9

JAW RELAXATION2. Let your jaw drop. Move it back and forth and up and down

with your hand. Try to keep your jaw relaxed so that your hand canactually direct it.

3. Say the word "blah" fifteen times, keeping the jaw and throatmuscles relaxed.

THROAT AND JAW RELAXATION4. If you hav~ not felt the desire to yawn up to this point, do

so no~. A great, big yawn. Try to yawn again. Don't stifle it. Let itbe a WIde yawn. Throughout these exercises, yawn as often as possible.

RESONANCE5. Place the lips together lightly and hum Tr th hfi . y e urn on one

note rst. Be sure there is a tingling sensation in the lips. The lipsmust be relaxed. When the tingling sensation has been achieved hum atune. It is preferable to choose a tune with a fairly 'd' f

h. . WI e range 0not~s: T IS exercise will also be helpful if it is used just before an~uditlOn or performance. It gives resonance to the voice and clears theead and throat.

MOUTH FLEXIBILITY" ,,6. Say "m~mmm-EEEEEE-AR: -OR: -00" (meow). Rum on them, draw the Iips back sharply for the "EE" d hand th . soun , open t e mouth"0 "roat WIde for the sustained "AR." Blend the "AR," "OR" ando together for a final pursing of the lips. '

THROAT FLEXffiILITY

tong~'e ~pe: [our mouth. Place one hand at your throat. Draw yourmove dow

acdwhardyour throat so that you feel your Adams-apple

n an t en up.

TONGUE FLEXIBILITY8. Say a series f "1 ' " .

Ialalalalal I S' 0 a s as rapidly as possible: Ialalalalalalalalalaa a. Ing a song . "1" . I9 T '11 ,usmg amp ace of the words. rI th t' f .

If You have d~ Ip 0 ~our tong~e whi~e expelling a full breath of air.the SOund f" ,;ulty.wlth the trill (which is used in many dialects forjUst behin; hr ), point the tip of your tongue toward the hard palatehard palate ~ e ~pper front teeth. The tongue should not touch theAs You exhaleut I~ should be very close. Exhale a full breath of air.e>chalation Th brm~ ~he tongue up sharply so that it is vibrated by thethe gum . . e ~oslbon of the tongue must not be farther back than

Just behmd the upper front teeth.

10 Manual of FOTeign Dialects

UVULA FLEXIBILITY10. Hold a few drops of water at the back of your mouth and gargle

them. Then, try to produce a gargling sound without the water. Prac-tice saying the following syllables using the gargled "r" sound:

rrrrrrrrrrrrr()Hrrrrrrrrrrrrrrrrrrrrrrrrrr1\Hrrrrrrrrrrrrrrrrrrrrrrrrrr EErrrrrrrrrrrrrrrrrrrrrrrrrrEHrrrrrrrrrrrrr

LIP FLEXIBILITY11. Bring your lips lightly together and exhale a full breath of air

through them, so that the lips vibrate visibly.

GLOTTAL STOP12. Whisper the sentence "I am at Ann's apartment." 1\ loud,

forcible whisper should be used, and each word should be spaced. Itwill be noticed that there is a slight catch in the throat before eachinitial vowel. This "catch" is similar to the glottal stop used in Scotch,

Cockney and German.

ASPIRATE "UH"13. Pronounce the following words slowly. Draw out the vowels

and sound the final consonant hard and sharp.

take (ti\Y:k) late (11\Y: t) reap (rEE: p)

It will be noticed that without undo force, the final consonant has anaspirate "uh" following. This very slight breath of ai~ is us~d ~n.many

of the dialects and it must be as short and unobtr usive as It lS m the

above i\merican words.When you are practicing the above exercises, as well as the dialect

changes given throughout the Manual, it is wise to go slowly at first.Be sure of every change before you attempt to use it in a word.

The actor must be master of a dialect. He must be so sure of everychange that there will be no need to pause and think back. He must bein complete control, not only of his dialect, but of his mouth and tongu.e.There must be no fear that in trying to produce a dialect sound, he willbe tripped up by his familiar American pronunciation of that soun~.A dialect can be an invaluable and loyal servant to the actor who IScompletely and confidently its master.

FOR THE PRODUCERUsually, it is to the producer or director that the. actor turns for

suggestions and aid in his dialect interpretation. It IS the producer

How to Use the Manual 11

who determines the degree of dialect that is to be used, that is, theamount of dialect which will make for a happy combination of char-acter presentation and understandability.

That is why it is essential that he possess, together with his knowl-edge of pacing, timing, interpretation and sundry other technical details,a complete knowledge of dialects. It is not necessary that he be ableto use the dialects himself, although it is preferable. But if he knowsthe various elements that contribute to the dialects, he has fortifiedhimself so that his actors' dialect interpretations will not spoil theeffect of what is an otherwise perfect show.

The actor needs to know only one of the several varieties of vowelor consonant changes in order to be able to give a credible dialect per-formance. But the director must know about all of these changes sothat he can suggest the correct variance if the form the actor is usingdoes not jibe with the requirements of the character being portrayed.

The director should also make himself conversant with the gram-matical changes. The job of cutting, of adding, of reversing lines isdirectly incumbent on him. And if the lines, as written by the author,do not aid the actor in delineating the role of the character in thescript, the producer should be able to adjust them according to hisknowledge of the dialect's grammatical changes.

FOR THE WRITERThe writer can assure himself of a proper reading of his dialect

lines if he is able to write in the dialect changes himself. It is notenough to depend on the ability of the actor to make these changes.It is best if the actor can devote all his time to determining andwor~ing out the proper dramatic interpretation without having to wasteprecious minutes rewriting dialect lines that have been written instraightforward American speech.

The writer should first go through the vowel and consonantchanges and note particularly the elisions that have been suggestedIn the Cockney, for example, the proper use of the elided "h" should~ake for a better dialect interpretation of the Cockney dialect.ropped consonants, especially the "g" in words with an "ing" ending

an~ words that end with two consonants, should be noted in thescrlpt Oc . al hth . . casion consonant c anges can also be suggested, as ine Russlan wh th"" h d d ..b.. ere e v ISc ange to a soun approximating a com-lllahon of "v" and "w."

Then . th .s ti ,agam, e writer can make excellent use of the variousec lons on "C tr ti ""().. 1 L'''ly . on ac ions, rigma anguage Carry-overs," andthr Pleal Interjections." 1\ number of these judiciously sprinkledPr ough a script can do wonders toward making an authentic dialect

esentation.

12 Manual of Foreign Dialects

But of greatest use to the writer are the sections on "GrammaticalChanges." Here will be found listed many of the errors in grammarmade by the foreigner. The lilt of dialect speech, in many cases, resultsfrom these grammatical changes. In the Irish dialect, for example, itwould be possible to suggest the Irish character simply by using theIrish syntax peculiarities, while it would be very difficult to writedialog for an Irish character without using these Irish methods of word-placement. The Russian habit of dropping articles, the Japanese in-sistence on using the adverb instead of the adjective, the German phraseinversion - all of these are necessary to the authentic foreigner'sdialog.

A reference to the many monologs concluding the major dialectsshould give the writer an opportunity to see these grammaticalchanges in action. All have been written so that most of the gram-matical changes are exemplified. A thorough study of these monologs,together with a study of the vowel and consonant changes and the gram-matical changes, should equip the writer with sufficient knowledge tobe able to write such convincing and- authentic foreign dialog that eventhe most inept dialect actor could present a true-to-life dialect char-acterization equal in quality to the worth of the script.

How to Use the Manual 13PHONETIC SYMBOLS USED IN THIS BOOK

These symbols represent only the sounds of the vowels and conso-nants used in Americ:m speech (they do not represent spelling). Sym-bols for sounds peculiar to each of the foreign dialects will be found inthe chapt~r devoted to that particular dialect. Corresponding I.P.A.(InternatIOnal Phonetic Association) symbols have been listed in thischart for the benefit. of those who are acquainted with them. For clarity,symbols are shown ill BOLD-FACE type in this chart. However, in theactual text of the book, this heavier type is used only to denote empha-sis. Italic letters will ~e used throughout the text to indicate the changesmade from the American word to the dialect word.

VOWEL SYMBOLSVOWEL WORD SYMBOL LP.A. VOWEL WORD SYMBOL LP.A."a" "take" "AY" [eiJ "0" "on" "0" [v)"a" "alone" "UH" [aJ "0" "bone" "OH" [ou]"a" "palm" "AH" ['OJ "0" "off" "AW" [oj"a" "ask" "A:" [a:J "00" "food" "00" [uJ"a" "bad" "A" [aJ "00" "good" "00" [uJ"a" "ball" "AW" [oj uu" "unit" "yOO" [juJ"e" "he" "EE" [iJ "u" "up" "U"He" "get" "EH" [J "u" "curb" "ER" [1\J"i" "ice" "I" [viJ "ou" "out" "OW"

[a:r)

"i" "sit" "i" [IJ "oi" "oil" "01"[eu][oiJ

CONSONANT SYMBOLSCONSONANT WORD SYMBOL LP.A. CONSONANT WORD SYMBOL I.P.A."e" "cat" "k" [kJ "ch" "loch" "kh" [X)"g" "go" "g" [gJ "ch" "church" "tch" [t 2J"g" "George" "j" [d3) "sh" "she" "sh" [2J"q" "quick" "kw" [kw] "th" "the" "TH" [15J"XU "tax" "ks" [ks] "th" "thin" "th" [0]

"exert" "gz" [gz] HZ" "azure" "zh" (3)"luxury" "ksh" [k2J"xenon" "z" [zJ

I The other consonant sounds are the same as those in the Americananguage.

(') dropped letter or syllable(I) glottal stop(:) vowel elongation(-) a hyphen used between letters does not indicate

a pause but is inserted only for the sake ofphonetic clarity.