INSTITUTO DE ENSEÑANZA SUPERIOR EN LENGUAS VIVAS

“JUAN RAMON FERNANDEZ”

ENGLISH
PHONETICS 0

and
phonology I

PRACTICE BOOKLET

Profesora Ana Irazábal

 GOBIERNO DE LA CIUDAD DE BUENOS AIRES INSTITUTO DE ENSEÑANZA SUPERIOR EN
Ministerio de Educación LENGUAS VIVAS
Dirección General de Educación Superior “JUAN RAMON FERNANDEZ”

DEPARTAMENTO: Inglés
1
CARRERA: Profesor de Educación Superior en Inglés

TRAYECTO/CAMPO: Profesorado

INSTANCIA CURRICULAR: Fonética y Fonología con Práctica en Laboratorio I

CARGA HORARIA: 5 horas cátedra semanales

CURSADA: Anual

TURNO: Vespertino

PROFESOR/A: Irazábal Ana

AÑO LECTIVO: 2020

1. Fundamentación
La instancia curricular Fonética y Fonología con Práctica en Laboratorio I es un espacio teórico-
práctico fundamental en la formación de docentes de lenguas extranjeras ya que el desarrollo del habla
como medio de comunicación interpersonal implica la adopción de rasgos fonológicos de inteligibilidad
general. Por un lado, la pronunciación de una lengua extranjera es la carta de presentación con la que
cuenta el hablante a la hora de establecer una comunicación oral. Por otro lado, el futuro docente en
inglés, será en muchos casos, el principal referente de pronunciación para sus propios alumnos. Por
esto, lograr una buena dicción es de suma importancia, ya sea en el plano académico, como instrumento
de exposición en otras instancias curriculares, o en el plano laboral /profesional, como modelo para sus
propios alumnos y en relación a sus pares.
Los contenidos trabajados en esta materia buscan el desarrollo y consolidación de la competencia
fonológica del alumno de profesorado, con el objetivo de acercarse a la pronunciación del hablante
nativo. Debido a su inteligibilidad internacional y por ser el elegido en los ámbitos académicos, se
presentará el sistema fonológico del inglés estándar (General British: GB), haciendo también referencia
a los distintos modelos de pronunciación de los hablantes ingleses y a las variantes consideradas
prestigiosas. Por otro lado, se reflexionará sobre la fonología de la lengua madre (L1) con respecto a las
diferencias y similitudes con la lengua meta (L2) con el objeto de que los futuros graduados cuenten con
el conocimiento para facilitar la adquisición de la L2 de sus futuros alumnos.
En conclusión, esta instancia curricular es un ámbito donde el alumno no solo obtendrá una dicción
clara, sino también estrategias para el desarrollo del trabajo autónomo y crítico que deberá realizar
durante el resto de su vida académica y profesional.

2. Objetivos generales
Que el alumno
 mejore su comprensión y producción de la lengua inglesa a través del uso de esta lengua como medio de
comunicación en el aula y de adquisición e integración de nuevos contenidos.
 se comprometa con su propio proceso de aprendizaje, haciendo uso de las estrategias que mejor se
adecuen a su estilo cognitivo y poniendo en práctica los conocimientos adquiridos en otras instancias
curriculares.
 busque la permanente superación de su desempeño, valorando el ‘feedback’ docente y reconociendo el
error como parte del proceso de aprendizaje.
 asuma responsabilidades de alumno de un nivel superior en cuanto al cumplimiento de normas, plazos,
tiempos y formas de trabajo.
 reflexione sobre su propia interlengua.
 reconozca la importancia de obtener una buena pronunciación del idioma inglés como lengua extranjera
para servir de modelo y corregir a los alumnos.

3. Objetivos específicos
Que el alumno:
 se inicie en el conocimiento de la fonética y fonología del idioma inglés con especial referencia a los 2

rasgos segmentales y nociones básicas de acentuación y ritmo.

 adquiera nuevos hábitos articulatorios y logre una pronunciación adecuada (precisa y a la vez fluida) de
la L2, con la menor interferencia posible de la lengua materna.
 desarrolle la habilidad de detectar errores en la propia producción oral, así también como en la de sus
compañeros, como ejercitación para poder detectar errores en la pronunciación de sus futuros alumnos.
 reflexione sobre la importancia de enseñanza / aprendizaje de la fonología del idioma inglés para sí
mismos y para sus futuros alumnos.
 reconozca y utilice el sistema fonológico del inglés británico estándar y pueda contrastarlo con el
castellano rioplatense.
 maneje el Alfabeto Fonológico Internacional para la realización de dictados y transcripciones en la L2
 produzca, analice y describa los fonemas de la L2 y las modificaciones que sufren los fonemas en la
cadena hablada (alófonos).

4. Contenidos mínimos
La fonética y la fonología. Delimitación del campo. Procesos de articulación, transmisión y percepción
del habla. El alfabeto internacional de símbolos fonéticos.
Unidades de descripción fonológica. Fonema y alófono. Descripción y clasificación de vocales y
consonantes.
Procesos fonológicos. Asimilación, elisión, silabicidad y formas débiles.

5. Contenidos de la instancia curricular

Unidad 1. Introducción: La Fonética, la pronunciación inglesa y el hablante extranjero
Las ciencias lingüísticas: Fonética, fonética y fonología. Elección de modelo/acento: la variante del
inglés británico estándar (GB); niveles de inteligibilidad. Dificultad en la precepción y producción de
los sonidos de la lengua meta; transferencia negativa. Ritmo y acentuación del inglés: palabras de
contenido semántico y gramatical. Contraste con el español: dificultades para el hablante extranjero.

Unidad 2. Presentación del inventario fonológico del GB (General British)

Diferencias entre la ortografía y pronunciación del inglés: homógrafos y homófonos; pares mínimos.
Correspondencia o no entre letras y sonido: la necesidad de un sistema simbólico para representar los
sonidos del habla (el IPA). Relación ortografía – pronunciación (reglas). El diccionario de
pronunciación: interpretación y uso. Definición de fonema. Los 44 fonemas del GB: Vocales ‘puras’ y
diptongos: Calidad, duración y reducción. Cambios recientes en el inglés británico estándar.
Consonantes y semivocales.

Unidad 3. Comunicación y producción del habla. Introducción a la fonética articulatoria

Alcances de la fonética articulatoria, acústica y auditiva. Cadena del habla. Mecanismo del habla.
Fuente de energía: los pulmones. Las cuerdas vocales. Órganos de fonación: Las cavidades de
resonancia, articuladores activos y pasivos.

Unidad 4. Las vocales del inglés en detalle

Vocal vs consonante: conceptos fonético y fonológico. El problema descriptivo de las vocales:
Ubicación dentro del gráfico de vocales cardinales de Daniel Jones. Vocales Puras y Diptongos:
Descripción, clasificación y frecuencia: conceptos de calidad y duración. Gradación: formas fuertes y
 débiles. Secuencias vocálicas; nivelación (smoothing o levelling). Posibles grafías y restricciones de
distribución. Contraste con el sistema vocálico del español: La dificultad del hispanohablante.

Unidad 5. La jerarquía lingüística: Unidad mínima de análisis y el discurso conectado

Oración, cláusula y frase; palabra y sílaba (acento primario y secundario; ritmo: formas fuertes y
débiles; acento léxico: la regla teutónica de acentuación y la regla de la alternancia de acentos; acento
primario, secundario y la ausencia de acento: la obscuración de las sílabas no acentuadas; morfema
(reglas para la pronunciación de sufijos específicos); fonema (teoría del fonema: concepto de fonema y
alófono.
3

Unidad 6. Las consonantes del inglés en detalle

Descripción detallada y clasificación de consonantes desde el punto de vista auditivo (‘obstruent’ y
‘sonorants’) y articulatorio (energía, duración y voz). Rasgos binarios; Semivocales: Descripción y
clasificación: comparación y contraste con las vocales y las consonantes. Variantes alofónicas:
neutralización, distribución complementaria y variación libre; la transcripción fonemática y la
transcripción alofónica. Contraste con el sistema consonántico del español: La dificultad del
hispanohablante.

Unidad 7. La palabra en el habla conectada

Fenómenos de juntura y ligazón. Asimilación histórica y contextual: progresiva, regresiva, coalescente.
Reglas. Elisión: reglas y excepciones; compresión; consonantes silábicas: reglas y excepciones.

Unidad 8. La enseñanza de la pronunciación del inglés

Reflexión sobre el rol de la pronunciación en la clase de inglés: objetivos y prioridades. Elección de
modelo/acento: GB, inglés americano standard (GA). Ideas para el diseño de actividades para uso en el
aula a nivel primario y medio.

6. Metodología de trabajo
La metodología de trabajo incluirá enfoques tradicionales de escucha y análisis, y teorías cognitivas más
modernas que favorecen el proceso autónomo de descubrimiento y aprendizaje. Teniendo en cuenta las
diferentes formas y tiempos de adquisición, se promoverá la inclusión de prácticas que favorezcan el
uso de las inteligencias múltiples. Las actividades seleccionadas para presentar, ejercitar o reflexionar
sobre distintos sonidos y conceptos teóricos buscarán motivar al alumno y alentar su participación en un
ambiente relajado donde el error sea tratado como parte del proceso de aprendizaje. La inclusión de
actividades comunicativas, el uso de juegos y recursos didácticos creativos pueden facilitar la
adquisición de la materia, ser de utilidad como modelo pedagógico para los futuros docentes y servir de
ejemplo para el diseño de las propias actividades que los alumnos desarrollarán en años superiores.
En el proceso de adquisición de la pronunciación de una segunda lengua es importante tener en cuenta
que después de cierta edad, el aprendiz percibe los sonidos de la L2 a través de su lengua materna. Por
este motivo, es de suma importancia trabajar en la percepción y discriminación de los sonidos de la
segunda lengua como paso previo para lograr una buena producción. Si bien el marco teórico aporta los
conceptos sobre los cuales se basa la práctica oral, es necesario transformar esa actividad mental en una
actividad física, durante la cual el alumno pueda experimentar con los órganos de fonación y lograr
manipularlos adecuadamente para una correcta producción de los sonidos de la lengua meta.
Las actividades de presentación y práctica de las unidades segmentales será graduada desde las más
guiadas (oposición de pares, análisis de las características de cada segmento, repetición del sonido en
palabras sueltas y su integración en diálogos conectados simples) hasta las más libres (diálogos abiertos
e intercambio de ideas y exposiciones temáticas individuales) con el objeto de que el alumno logre la
incorporación de sonidos no solo en la producción controlada sino también en el habla espontánea (ya
sea en el uso cotidiano o específico de otras áreas del conocimiento).
La presentación de nuevos conceptos teóricos se realizará por inducción o deducción, ya sea basándose
en los conocimientos previos del alumno o a través de actividades que faciliten el descubrimiento del
tema específico a desarrollar. Se partirá de una actividad general de presentación para luego sistematizar
 las reglas y ejercitar su uso y aplicación. Durante este proceso se trabajará con el monitoreo de la
producción oral a través de diálogos específicos para la práctica intensiva de distintos sonidos.
Es necesario también promover el trabajo autónomo, el cual permitirá al alumno seguir su propio ritmo
y le dará confianza para continuar con el proceso de aprendizaje en el hogar. El trabajo autónomo
implica la escucha del audio hasta obtener una imagen mental adecuada de cada unidad tonal para luego
repetirlo hasta que el alumno este satisfecho con su propia producción, y, la grabación y comparación de
ambas versiones con el fin de detectar errores o instancias donde la propia pronunciación se desvíe de la
original.
Para asegurar la práctica intensiva se les pedirá a los alumnos que preparen una transcripción semanal
para entregar (con uso de diccionario) y se realizará una transcripción semanal sin diccionario (la cual
contará como trabajo práctico) durante la clase. Además de la práctica de dictado en el pizarrón (que 4

facilita la revisión constante de fonemas, alófonos y reglas), los alumnos también realizarán un dictado
semanal a modo de trabajo práctico. Para el trabajo intensivo en lo que respecta a la producción oral, los
alumnos tendrán una cuenta en una plataforma online (schoology) donde subirán su mejor producción
oral de cada tarea asignada para que luego sea corregida por el docente. De manera alternativa, los
alumnos trabajarán en parejas ofreciendo feedback a su compañero de trabajo para poner en práctica su
futuro accionar docente.
Los alumnos también tendrán acceso a un sitio online donde encontrarán el material de cátedra,
bibliografía, cuadernillo y diversas actividades para ejercitar temas varios según las necesidades de cada
uno, así también como diferentes links con actividades y videos online con el objeto de que trabajen
distintos temas presentados, de manera independiente.

7. Bibliografía

Bibliografia de consulta
- García Lecumberri, M. & Maidment, J. (2000). English Transcription Course. London: Arnold.
- Hewings, M. (2008) English Pronunciation in Use. Elementary. CUP.
- Kelly, G. (2000). How to Teach Pronunciation. Harlow: Longman.
- Ladefoged, P. (2011). A Course in Phonetics. Boston: Wadsworth.
- Mortimer, C. (1975). Sound Right. Longman
- O’Connor, J.D. (1980). Better English Pronunciation. Cambridge: Cambridge University Press.
- O’Connor, J.D & Fletcher, C.(1989). Sounds English. Longman Group UK Ltd.
- Ortíz Lira, H. & Zuñiga, A. (1998). Practical English Phonetics. Santiago de Chile:
Universidad Metropolitana de Cs de la Educación. Facultad de Cs., Geografía y Letras.
- Ortíz Lira, H. (2007). La Transcripción Fonemática del Inglés: Problemas y Soluciones. Santiago de
Chile: Universidad Metropolitana de Cs de la Educación. Facultad de Ciencias, Geografía y Letras.
- Underhill, Adrian (2005). Sound Foundations. (Tercera edición) Oxford: Heinemann.

Bibliografia obligatoria
- Baker, Anne (2006). Ship or Sheep? 3ra edición. Cambridge: CUP.
- Cruttenden, A (2014). Gimson’s Pronunciation of English (7th ed.). London: Hodder Education.
Chapter 5: Sounds in Language.
- Finch, D. & Ortiz Lira, H. (1982). A Course in English Phonetics for Spanish Speakers. London:
Heinemann Educational Books. Chapter 1: The Lingüistic Sciences; Chapter 3: Articulatory and
Auditory Phonetics; Chapter 5: Transcription; Chapter 8: Features of Connected Speech; Chapter 10:
Gradation; Chapter 11: Rhythm.
- Jones, D. (2006). English Pronouncing Dictionary. Cambridge: CUP
- Roach, P. (2009). English Phonetics and Phonology. Cambridge: CUP
- Wells, J.C. (2008). Pronunciation Dictionary. UK: Longman

8. Régimen de promoción y evaluación

Régimen para el alumno regular: PROMOCIÓN MIXTA (promoción del examen escrito durante la
cursada; examen final oral obligatorio)

a- Asistencia obligatoria al 75% del total de las clases.

b- Aprobación de los exámenes parciales con un promedio no inferior a 7 (siete).
c- Aprobación del 70% de los trabajos prácticos orales (grabaciones, seguimiento en vivo –follow-up–
y presentaciones preparadas y semiespontáneas) o recuperatorio de cada instancia por separado con una
nota no inferior a 4 (cuatro).
d- Aprobación del 70% de los trabajos prácticos escritos (dictados y transcripciones) o recuperatorio de
cada instancia por separado con nota no inferior a 7 (siete).
5

La promoción de la parte escrita durante la cursada es válida solamente por los tres turnos siguientes.
En caso de presentarse a partir del cuarto turno, el alumno deberá rendir tanto el examen escrito como
el oral.

Si el alumno…
a. no cumple con el porcentaje de asistencia, perderá su condición regular y deberá recursar la materia o
rendir el examen final como alumno libre.
b. obtiene un promedio inferior a 7 (siete), pasa al sistema de promoción con examen final.
c. obtiene un promedio inferior a 4 (cuatro) pierde su condición de alumno regular. Deberá entonces
recursar la materia o rendir examen final como alumno libre.

El examen final constará de:

1. Examen escrito eliminatorio (para aquellos alumnos que no hayan promocionado esta parte durante la
cursada): una transcripción fonemática y un dictado de alrededor de 100 palabras cada uno.
2. Examen oral: El alumno deberá demostrar su dominio del sistema fonológico inglés a través de: a) la
lectura parcial de un texto trabajado en clase de su elección y uno elegido por el docente; b) la lectura de
un texto corto a primera vista y análisis de los fenómenos fonológicos presentes que el docente
seleccione; c) desarrollo de un tema teórico.

9. Alumno libre
Los alumnos libres serán sujetos a una evaluación oral y escrita, a saber:
1. Examen escrito eliminatorio: a) dictado fonemático de aproximadamente 120 palabras; b)
transcripción fonemática y alofónica de un texto de alrededor de 120 palabras; c) examen escrito donde
debe demostrar conocimiento de gráficos de vocales y consonantes.
2. Examen oral: El alumno deberá demostrar su dominio del sistema fonológico inglés a través de: a) la
lectura de un texto de su elección incluido en el material de cátedra y otro elegido por el docente; b) la
lectura de un texto corto a primera vista y análisis de los fenómenos fonológicos presentes que el
docente seleccione; c) Discusión con el tribunal examinador sobre cualquier tema teórico del programa.
Si el alumno desaprobara el examen oral, deberá rendir el examen completo (escrito y oral) en la
siguiente instancia en la que se presente.

Ana Irazábal
2020
INTRODUCTION
6

PHONETICS
and the
PRODUCTION of
SPEECH
 7

The speech communication process begins when a ________________ has a

message to transmit to a _________________.

In order to encode a message, there is activity in the speaker’s brain (that is to

say, at the psychological level). This is the __________________ stage since it has
to do with the selection of words and their arrangement into sentences according to
the grammatical rules of the language and the selection of sounds according to
phonological rules.

The next type of activity is ______________________. The motor nerves that

link the speaker’s brain with his speech mechanism activate the corresponding
muscles. The movements of the tongue, lips, vocal folds, etc, constitute the
_______________ stage of the chain.

The movement of the articulators produces disturbances in the air pressure

(called _____________________), which are physical manifestations. This is the
_______________________ stage of the chain.

The first kind of activity on the listener’s part is _____________________: The

sound waves activate the listener’s ear-drum, and the sensory nerves carry the
message to the brain. This is the perceptual (_____________________) stage.

Finally, the hearer’s brain decodes the message (_______________________

activity). This is again a linguistic stage.
 What does Phonetics study?

Finch and Ortiz Lira, page 3

ENGLISH RHYTHM
Sentences stress and weakening

 Have a look at the following sentences (American English Accent, p 36). Which sentences are longer?
Why? Which do you think will take longer to be pronounced?

1. The dogs eat the bones.

2. The dogs are eating the bones.
3. The dogs’d have eaten the bones.
4. The dogs that have eaten the bones.
5. The dogs should have eaten the bones.
6. The dogs shouldn’t have eaten the bones.

 Listen and check.

 Listen again and underline the words you hear more prominently in each sentence.
 In English …

Peaks of prominence tend to occur at fairly equal intervals of time.

 What do you understand by prominence?
 How many syllables are there between the stressed syllables?
 What do you think will determine the peaks of prominence? Which words will be more prominent?
Why?
 Complete the graphs:
CONTENT WORDS FUNCTION (or GRAMMAR) WORDS
(words which carry the meaning) (words which that hold the text together)
9

 Complete the following text using the words provided:

function – syllable-timed – stresses – unstressed – syllables – stress-timed – content

It is generally agreed that languages can be roughly divided into two categories: ____________________
and __________________. As a definition of each, we can say that in syllable-timed languages,
________________ tend to follow each other at regular intervals, with an equal amount of time being
allocated for each syllable. In stress-timed languages, on the other hand, _________________ tend to occur
at regular intervals, with the result that the remaining ________________ syllables, no matter how many in
number, have to be squeezed in between the stresses to accommodate the regular beat of the stress. The
syllables which carry the peaks of prominence are the ones appearing in __________________ words
whereas _________________ words will usually appear in their weak form.

 COMPARE
1 2 3 4 5 6

English sample (sentences 1-6 above)

 Sample of Spanish (same sentences translated)

 IN English, it is as important to learn to stress the right syllables as to learn not to stress certain syllables
10
and squeeze them into the right amount of time to follow the correct beat. Practise the following:

a- Add weak syllables to a phrase: Practise these groups of phrases squeezing in the weak syllables to keep
the rhythm (some examples form Hancock, 2005):

Turn right. That dog.

Turn it right. That’s the dog.
Turn to the right. That was the dog.
Turn it to the right. That could be the dog.
Eat cheese. Cats chase mice.
Eat some cheese. The cats chase the mice.
Eat it with cheese. The cats will chase some mice.
Eat it with some cheese. The cats will have chased some of the mice.

b- Replace the proper names in the following sentences by pronouns and use contractions (sentences adapted
from Hancock, 2005). Then, underline the stressed syllables. How many stresses are there in each phrase?
How many unstressed syllables are there in between? Practise reading them out.

Example: Helen has given Robert some money  She’s given him some money.

1- Robert has got presents for the children.  ………………………………………….

2- Bonnie and Max are opening their presents. ………………………………………….

3- Bonnie and Max will thank Robert for the presents. ……………………………………

4- Robert will thank Helen for the money. ………………………………………….

c- Now work in pairs: St A reads out sentence 1 and St B reads out sentence 2 simultaneously. Can you
synchronize the rhythm? Practise with other sentences.

Now add one more St to the group and try the same, with three different sentences. Finally have a fourth St
added to the group see if they can produce their utterance in the same length of time (while each reading
their own sentence simultaneously).
 PART 2
INTRODUCING
11

ENGLISH
SOUNDS
and the IPA
THE SOUNDS OF ENGLISH

12
 13

García Jurado, M.A & Arenas, M (2005). La Fonética del Español. Análisis e investigación de los sonidos
del habla. Editorial Quorum. C.A.B.A.
 SPELLING vs SOUND (English Pronunciation in Use, Elementary)
1

14

3
Words that rhyme

4
 HOMOPHONES – HUMOUR:
Highlight the word that creates the pun and/or provide a different spelling for the same pronunciation

15
COMMON SPELLINGS for ENGLISH VOWELS (O’Connor, J.D. and Fletcher, C. 1989)

16
17
18
19
20
21
 22

… and //

Weak syllables … // or //?

 Diphthongs
First say each sound in isolation. And again. Now say the first sound gliding towards the second sound. Can
you hear the difference? A diphthong is a LONG VOWEL SOUND.

23

Source: Time Saver Pronunciation Activities

Glide towards //

/a/  // /e/  // //  // = //
Glide towards //
/e/  // // // // //
Glide towards //
//  // /a/  //

 RADIO GAGA by Queen

 24

Transcribe the
following examples.
Can you think of any other?
Silent l Silent k Silent b
calf At the beginning bomb
half of a word, before dumb
calm 'n' climb
balm know comb
salmon knew limb
would knowledge thumb
could knee doubt
should knock debt
walk knife subtle
talk knight
Silent g Silent t Silent u
sign listen biscuit
design fasten build
resign castle guess
foreign hustle guide
reign whistle guitar
Silent gh Silent h Silent h
high/er at the beginning: Often after 'w'
right honest why
flight hour where
sigh honour when
taught Often after a c what
thought ache which
ought mechanic whisper
bought/brought architect whistle
enough chemistry white
(al)tough echo while
weigh(t) stomach whereas
straight schizophrenia
Silent d Silent s Silent n
Wednesday island autumn
isle column
Silent p Silent c Silent w
psychiatrist scene wrist
psychology science wrong
psychosis fascinate wrap
pseudonym muscle answer
pneumonia scissors sword
receipt
 Practice activities
 Minimal pairs: Choose five words and provide an ambiguous context. Read your sentence out. Which
words can your partners hear?

/i:/ /I/ /e/ /i:/ /I/ /e/

beta bitter better peak pick peck
feel Phill/ fill fell seal sill sell
field filled felled (a tree) teen tin ten 25

heal hill hell wean win when

keen kin Ken wheel will well
litre litter letter wheat whit wet

 Provide the ordinary spelling for the following transcribed words  Circle the word you hear

/ iː / /ɪ/ /e/ 1- cat / cut / cart

/biːd/ /bɪd/ /bed/ 2- hat / hut / heart
/biːn/ /bɪn/ /ben/ 3- cap / carp / cup
/biːt/ /bɪt/ /bet/
/diːn/ /dɪn/ /den/ 4- bad / bard / bud
/diːp/ /dɪp/ /dep/ 5- pack / park / puck
/fiːd/ /fɪd/ /fed/ 6- Sam / some
/fiːst/ /fɪst/ /fest/
7- tan / tarn / ton
/liːd/ /lɪd/ /led/
/miːt/ /mɪt/ /met / 8- match / march /much
/riːd/ /rɪd/ /red/
/riːp / /rɪp/ /rep /
/siːd/ /sɪd/ /sed/
/siːks/ /sɪks/ /seks/
/siːst/ /sɪst/ /sest/
/siːt/ /sɪt/ /set/
/tʃiːks/ /tʃɪks/ /tʃeks/

 Listen and insert the missing letter(s):

F ___ R F ___ R F ___ R

M ___ CH M ___ CH M ___ CH

F ___ M F ___ M F ___ M F ___ M

C ___ T C ___ T C ___ T C ___ T

C ___ P C ___ P C ___ P C ___ P

H ___ T H ___ T H ___ T H ___ T H ___ T H ___ T

 Write the numbers next to the word in the order you hear them:
- sit - cap - hat - much - cot - full
- seat - cup - hurt - march - cut - fool
- set - carp - hut - match - curt - fall
- sat - heart - court - foal
- cart - foul
 Pack the following clothes in the corresponding luggage so that they rhyme with the owners’ names.
Write the words in phonetic script. There are some items which do no not need to use.
- shirt – shoes – jeans – skirt – scarf – pants – shorts – gloves – socks – coat – hat – cap – vest – belt
– bra – dress – blouse – suit – boots – tie – tights-

26

Burt June Eve Charles Meg

Pat Paul Sean Joan Mike

 SOUND MAZE 1
Move horizontally or vertically through the maze from start to finish. You may only pass over a square if the
word contains the sound /i:/
  SOUND MAZE 2
Move horizontally or vertically through the maze from start to finish. You may only pass over a square if the
word contains a clipped sound

seat jeans spot sport bear class

court rude look tea bean garden
tooth night cheese truth leaf bought
cool place root peace read juice
clean bird pool cream please hurt 27
sauce feed cheek note caught late

 Alliteration

 COLLOCATIONS

 Long vowels:
  SPACE BATTLE
Instructions:
Place your spaceships horizontally or vertically. There must be at least one space between spaceships.

1 point 2 points 3 points 4 points.

Read the coordinates to learn where your partner’s spaceships are located. For example: ‘ship / coat’.
Your partner will say ‘space, hit or destroyed’ according to their spaceship position. The aim of the game is
to try and destroy as many of the opponent’s spaceships as possible, taking into account that the bigger 28

spaceships award more points.

 Transcription practice
 Diphthongs: “Fables, Fairy Tales, Stories and Nursery Rhymes.” (activity designed by Prof. Jorge Stifman)
Listen to the following 10 titles of Fables and Fairy Stories, order the picture and and transcribe the titles.
# Picture Phonemic transcription # Picture Phonemic transcription

29

 WORDSEARCH 2: (Hancock, 2005)

Find phonemic spellings for thirteen jobs in the wordsearch. The words are horizontal or vertical. Use
all the letters.
 Read out the following phrases  Couple matching  Circle the correct transcription

30

 WORDSEARCH 1
Find at least ten people’s job related to football

 WORDSEARCH 3: (Hancock, 2005)

Find phonemic spellings in the wordsearch for the following food. The words are horizontal or
vertical. Use all the letters.
 CROSSWORD
Look at the picture clues and complete the crossword with the phonetic symbols for the words. Put only one
vowel, consonant or diphthong symbol in each square. (Time Saver Pronunciation Activities, page 44).

31

 BINGO
Choose a card. Listen to the words and tick the squares that contain the sounds you hear. When your card is
all ticked shout out, ‘bingo’.
 Puns:
Write the words that disambiguate the following jokes in ordinary spelling.

1. 4. /weɪtə //
/jes / sɜ://
/ wɒts ðɪs su:p //
/ɪts bi:n su:p /sɜ://
32
/nəʊ mætə wɒt ɪts bi:n / wɒts ɪt naʊ //

2. /wɒts ðə sɪməlærɪti bɪtwi:n ə prɪns ənd ə bɔ:l //

/ðə prɪns ɪz eə tə ðə θrəʊn ənd ðə bɔ:l z θrəʊn tə ði eə //

3. /waɪ dəʊnt pipl̩ daɪ əv stɑ:veɪʃn̩ ɪn ðə dezət //

/bɪkɒz əv ðə sænd wɪtʃ ɪz ðeə //

Halloween jokes:

5. /wɒts ə mʌmiz feɪvərɪt taɪp əv mju:zɪk //

/ə ræp //

6. /wɒt də ju kɔ:l ə wɪtʃ hu lɪvz ɒn ðə bi:tʃ //

/ ə sændwtʃ //

7. /waɪ dɪdnt ðə skelɪtn̩ dɑ:ns ət ðə pɑ:ti //

/ h hæd nəʊ bɒdi tə dɑ:ns wɪð //

8. /wɒt də ju ɡɪv ə skelɪtn̩ fə væləntaɪnz deɪ //

/bəʊn bəʊnz ɪn ə hɑ:t ʃeɪpt bɒks //

9. /hu wəz ðə məʊst feɪməs frentʃ skelɪtn̩ //

/nəpəʊliən bəʊnəpɑ:t //

10. /haʊ kən ju tel ə væmpaɪə laɪks beɪsbɔ:l //

/evr naɪt hi tɜ:nz ɪntu ə bæt //

11. /wɒts ə mɒnstəz feɪvərɪt dɪzɜ:t //

/ aɪ skri:m //
 BETTING GAME
Which of the following words contain the Which of the following words contain the
phoneme /t/. Bet 5, 10 or 15 points according to phoneme /d/. Bet 5, 10 or 15 points according to
how sure you are of your answer: how sure you are of your answer:
YOUR BET YOUR BET
anchor gift
niche rigid
Charlotte badge
wretched enjoy 33
nature vague
ache gem
Christmas gear
inch magic
chaos gaol
scheme page
batch danger
march hanger

Which of the following words contain the Which of the following words contain the
phoneme //. Bet 5, 10 or 15 points according to phoneme //. Bet 5, 10 or 15 points according to
how sure you are of your answer: how sure you are of your answer:
YOUR BET YOUR BET
ethics either
heathen there
healthy bath
theme truth
them gather
these ether
thesis southern
south breathe
southern method
breathe wither
lethal thank
clothing that

Which of the following words contain the Which of the following words contain the
phoneme /s/. Bet 5, 10 or 15 points according to phoneme //. Bet 5, 10 or 15 points according to
how sure you are of your answer: how sure you are of your answer:
YOUR BET YOUR BET
husband pressure
reason equation
pressure solution
this mishear
island rasher
grease usual
tense mission
else session
mouse niche
lose champagne
loose leisure
impression sure
Which of the following words contain the Which of the following words contain the
phoneme /z/. Bet 5, 10 or 15 points according to phoneme /t/. Bet 5, 10 or 15 points according to
how sure you are of your answer: how sure you are of your answer:
YOUR BET YOUR BET
raise think
this guessed
dose jumped
houses mortgage
lease whistle
34
wise moisten
louse thyme
blouse Thames
muse matter
crisis soften
bruise Christmas
case listen

Which of the following words contain the Which of the following words contain the
phoneme /w/. Bet 5, 10 or 15 points according to phoneme /f/. Bet 5, 10 or 15 points according to
how sure you are of your answer: how sure you are of your answer:
YOUR BET YOUR BET
known phase
write uphold
follow trough
away of
guard off
quite through
why rough
shawl bough
unique graph
swan laughter
renewal daughter
backward dough

Which of the following words contain the Which of the following words contain the
phoneme /n/. Bet 5, 10 or 15 points according to phoneme /h/. Bet 5, 10 or 15 points according to
how sure you are of your answer: how sure you are of your answer:
YOUR BET YOUR BET
monk honest
anger exhaust
solemn weigh
enter behave
long why
enjoy ahead
anchor hour
gnome heave
hymn exhibit
knight inhabit
anchovy rehearse
sinking ache
 SUFFIXES

-ed endings (Adjectives expressing feelings)

How did they feel? (from ‘Time Saver Pronunciation Activities’)

 Meet the characters:

35

 Check the pronunciation of the following adjectives and tick the correct column:

 Check whether the last sound of the name in each sentence matches the pronunciation of –ed of
adjective. Write same or different on the lines provided.
 Here are more –ed adjectives. Do they finish in /t/, /d/ or /d/? Complete the boxes by transcribing the
adjectives in phonetic script.

36

MAZES ON RULES
Find a way from START to FINISH moving, horizontally or vertically only, over the words that add /d/ to
the base form.
START

Accepted Educated agreed allowed answered appeared approached

Admired Excited Called Crossed Danced Enjoyed explained
Mended Folded Climbed Died Emptied failed Improved
Rented Arrived Compared Replied hired Hoped Named
Decided Attacked Persuaded Avoided Connected Imagined Packed
Added Acted Atended Laughed Started Promised Placed
Continued Controlled Walked Delivered Visited Defended Demanded
coughed Crashed Shopped Followed Fetched Informed Depended
argued washed Rubbed Repaired Followed Received Wanted

FINISH
Find a way from START to FINISH moving, horizontally or vertically only, over the words that add /z/ to
the base form.
START

Kisses Washes Shaves Trees Encourages Stamps Perfects

Goes Fixes Makes Records Needs Winds Sews
Adds Introduces Relaxes Churches Swims Weeks Drinks
Burns Babies Waits Garages Shapes Meetings Trousers
Breaks Carpets Catches Passes Sells Oranges Horses
Kicks Fishes Dresses Builds Pigs Chooses Houses 37

Starts Roses Leaves Forks Voices Loses Foxes

Takes marriages Wishes Does Noses Whales Dresses
Rains Shapes Watches Boxes Cages Shoes Faces

FINISH

Find a way from START to FINISH moving, horizontally or vertically only, over the words that finish in
// or /n/.

START

Composition Emotion Television infusion Cooperation Deception plosion

Vision Pressure Treasure invasion Pleasure apprehension mission
Impression Compression Closure Confusion Measure intrusion illusion
Promotion Leisure supervision Commotion Coalition Admission Allusion
Situation Prison transmission Confession Decision depression Collision
Recession intension seclusion Collocation elision aggression Exposure
Inclusion pension allusion Abbreviation Composure action Conclusion
Provision Accusation Cession Concession evasion profession Compassion
precision revision confusion delusion profusion Comparison Reaction

FINISH

Pronunciation poem
Here is more pronunciation. Time when work is done is leisure, Then remember it's address.
Ration never rhymes with nation, Fill it up with useful pleasure. With an accent like posses.
Say prefer, but preferable, Accidental, accident, G in sign must silent be,
Comfortable and vegetable. Sound the g in ignorant. In signature, pronounce the g.
B must not be heard in doubt, Relative, but relation,
Debt and dumb both leave it out. Then say creature, but creation. Please remember, say towards
Say the a in gas quite short, Just as if it rhymed with boards.
In the words psychology, Bought remember rhymes with Weight's like wait, but not like
Psychic, and psychiatry, thwart, height.
You must never sound the p. Which should always rhyme with
Psychiatrist you call the man Drought must always rhyme with might.
Who cures the complex, if he can. bout,
In daughter leave the gh out. Sew is just the same as so,
In architect chi is k Wear a boot upon your foot. Tie a ribbon in a bow.
In arch it is the other way. Root can never rhyme with soot. When you meet the Queen you bow,
Please remember to say iron Which again must rhyme with how.
So that it'll rhyme with lion. In muscle, sc is s,
Advertisers advertise, In muscular, it's sk, yes! In perfect English make a start.
Advertisements will put you wise. Choir must always rhyme with wire, Learn this little rhyme by heart.
That again will rhyme with liar.
 SPELLING RULES
Transcribe the following words and work out the spelling rule(s).
RULE:
EXAMPLES TRANSCRIPTION (context) spelling 
PRONUNCIATION
 police face accept nice <ce> <ci> <cy>
 discipline precise science
 cycle bicycle policy icy
 corpse else pulse horse <se>
eclipse tense immense 38
sense intense collapse
(except cleanse)
 revise analyze recognize <ise> <ize>
authorize
(except precise …)
 ask whisper taste gipsy <s>
 insist consider constant
persist cursor arson
 wisdom cosmetic
observe clumsy
 kiss lesson pass canvass <ss>
accessory across actress
assume crossing dissect
dressing embarrassed
(except Aussie dessert
dissolve possess scissors)
 tension impression <sion>ending
expression discussion
 conclusion inclusion
erosion invasion occasion
 attraction mention nation <tion>ending
composition
 casual usual visual <sual>ending
 sensual
 pressure censure <sure>ending
 measure leisure treasure
erasure closure
 anonymous envious <ous> ending
famous precious jealous
venomous
 beautiful wonderful <ful> ending
cheerful helpful useful
 spoonful pocketful
handful mouthful
 exam example exhaust <ex> beginning
exhibit exotic exaggerate
 extreme extinguish
expand external except
extraordinary
 exercise exit exigent
exodus exile
 expert extra excavate
excellent
 PART 3
39

ARTICULATION and
CLASSIFICATION of
SPEECH SOUNDS
 THE VOCAL TRACT
1- Choose a card. Listen to the audio and tick the words you hear. If you can tick all the words in your card
say ‘BINGO!’
-1- -2- -3-
bk vst frnt t vkl trkt lps
kl hd plt nsad nezlazd vkl kdz bled
tu: rd vkl fldz vabret sft plt krt m
-4- -5- -6- 40

rt nsad btm nezl tp ti

dmz pl kvt ntrkn sft plt hd plt vkl fldz
tp frnt ti kls lps gn vkl trkt

-7- -8- -9-

vkl kdz hast nz vkl kdz rt vkl kdz
prdkn ld kvti rezd dmz pl kvt
bmp nezl kvti kspermnt tu: rd gn nezl

2- Listen and name the parts of the vocal tract

41
42
43
 The English Diphthongs

44

CLASSIFICATION
WIDTH (length of the movement)
WIDE NARROW

DIRECTION (of the glide)

CENTRING CLOSING
TOWARDS /ɪ / TOWARDS /ʊ /

PROMINENCE (element that stands out)

FALLING (1º) RISING (2º)
45
Prof. Francisco Zabala 2014

46
Look at the following PLACES OF ARTICULATION. Identify them and decide which sounds they
correspond to.

47

Odd-one-out: In pairs, decide which the odd phoneme is. Justify your choice. Some sets can have different
possible odd sounds)
 /m/ /p/ /f/ /b/

 /w/ /s/ /r/ /j/

 /t/ /d/ // /n/

 /t/ /d/ // /z/

 / / /i:/ /e/ //

 /a/ /e/ // //

 // // // /u/

 PART 4
48

FEATURES OF
CONNECTED
SPEECH
 Strong and weak forms
1- ‘To be’ and other auxiliary verbs
 Discovery activity 1: Listen to the following dialogue and circle the form of the verb to be that you
hear. (Streamline English, Departures, Unit 42).

Donald: Hello, John! Where / w / w / you last month?

John: Oh, I / wz / wz / on holiday.
Donald: Oh, really? … but you / wr / wr / on holiday in January. 49

John: Yes, I / wz / wz / in Switzerland in January.

Donald: Where / w / w / you last month?
John: I / wz / wz / in Florida.
Donald: Florida! What / wz / wz / it like?
John: Fantastic! The weather / wz / wz / beautiful … the sea / wz / wz / warm.
Donald: What / wz / wz / the hotel like?
John: Excellent! There / wz / wz / a swimming-pool and a private beach. There / w / w / three
restaurants and two bars.
Donald: What / w / w / the people like?
John: They / w / w / very friendly.
Donald: / wz / wz / your wife with you?
John: No, she / wznt / wznt /. She never comes with me on holiday.
Donald: What about the children? / w / w / they with you?
John: No, they / wnt / wnt /. They / w / w / with their grandparents.

Complete the following chart

TO BE WAS WERE CONTEXT

STRONG
FORM

WEAK
FORM

 Practice 1:

1.a- Transcribe the correct form of the verb to be in the following dialogue. (Streamline Departure, Unit 41).
(The same could be done with any other dialogue T finds suitable):

Detective: Now, Mr. Briggs… where / / you yesterday?

Briggs: Yesterday? What time?

Detective: At two o’clock. Where / / you at two o’clock?

Briggs: I / / at home.

Detective: You / / at home, you / / in central London.

Briggs: No, I / /! I / / at home! Ask my girlfriend! She / / with me!

Detective: Well, we’re going to speak to her later. Where is she now? 50

Briggs: Oh… I don’t know…

Detective: OK… now, where / / you on January 12th?

Briggs: January 12th?

Detective: Yes, it / / a Wednesday.

Briggs: I can’t remember.

Detective: You / / in Manchester.

Briggs: Oh, no I / /

Detective: Oh yes, you / /

Briggs: Oh no, I / /…I/ / in prison in January.

Detective: Oh!

1.b- Role-play the dialogue in pairs with a third one playing the role of director, who gives instructions and
makes comments where necessary.

 Discovery activity 2:

Now listen to the following yes/no questions and pay attention to the auxiliary verbs at the beginning of the
question and in the short answers. Do they sound the same or different? Transcribe them. (Sentences from
Ship or Sheep, page 45).

Was she thinking about South America? Yes, she was.

Were her brothers and sisters asleep? Yes, they were.
Do they like reading? Yes, they do.
Have you read about South America? Yes, I have.
Does your friend like reading? Yes, he does.
Am I talking to myself? Yes, I am.
Are we working hard? Yes, we are.
Has your friend been to South America? Yes, he has.
Can you swim? Yes, I can.
 In this context the speaker has chosen to produce the weak form of the auxiliary verbs when initial in
questions but that the strong form is also possible.

Complete the table below:

AUXILIARY STRONG FORM WEAK FORM

was
were
51
am
are
do
does
have
has
can

 Practice 2:

a- Predict whether the speakers will use the strong or weak form of
the auxiliary verbs in the following exchanges. Then listen and
check. Write W for ‘weak’ and S for ‘strong’ form in the boxes
provided. (New Headway Pronunciation Pre-Intermediate, p 12).

b- Guess my secret personality:

Choose a famous personality. Your partners have to guess who he/she is by asking questions. Monitor the
pronunciation of the auxiliary verbs.

2- Other function words

 Presentation: Can you predict which words can fill in the gaps? Then, listen to check your choices.
I learnt Russian school. I never expected sound like Russian, I wanted get it more or less right,

especially passing oral exams - I actually loved those wonderful long complicated consonant sounds but I found

extraordinarily difficult. I hear difference, I just couldn't get my tongue round . There's also

completely different rhythm I just couldn't get. The teacher just used laugh shrug her shoulders.
http://davidbrett.uniss.it/phonology/notes%20and%20exercises/Exercise3%20weak%20forms.htm
- Now listen again and pay attention to the pronunciation of the function words.

- Transcribe the following words The vowels of these function words are reduced to
as you heard them schwa:

STRONG WEAK
FORM FORM
At /t/
To /tu/ 52
For /f/
A /e/
The /i/
And /nd/
But /bt/
Them /em/
Could /kd/
That /t/

http://davidbrett.uniss.it/phonology/notes%20and%20exercises/weak%20forms%20audio/introandpreps/weak_forms.htm

 Practice:
a- Betting game (examples from Vaughan-Rees, 2002):
Decide if the words in italics will be in their strong or weak form. Bet 5, 10 or 15 points according to how
sure you are of your answer.
Context STRONG WEAK BET
A: My grandma used to go out with Elvis.
B: Not the Elvis! ……….. ……… ……
A: What’s your dress made of? ……….. ……… ……
B: It’s made of silk. ……….. ……… ……
That’s her! Over there! ……….. ……… ……
I really like rock and roll. ……….. ……… ……
A: Which one did you order? Fish or meat?
B: I ordered fish and meat! I’m feeling really hungry. ……….. ……… ……
A: Why weren’t you and Jack at the party yesterday?
B: But we were. ……….. ……… ……
A: Can I borrow your screwdriver?
B: What do you want it for? ……….. ……… ……
A: Did the phone ring? ……….. ……… ……
B: Yes, it was for David. ……….. ……… ……
You must be joking! ……….. ……… ……
He can’t be more than 30. ……….. ……… ……
A: Is this card for John? ……….. ……… ……
B: No, it’s from John. ……….. ……… ……
 SUMMARY OF STRONG /WEAK FORMS
PART OF SPEECH STRONG FORM / WEAK FORM CONTEXT
SF:
AUXILIARIES &
WF:
verb TO BE
SF:
DO
WF:
53
SF:
COULD / SHOULD
WF:

SF:
MUST
WF:

SF:
HAVE / HAVE TO
WF:

SF:
PRONOUNS
WF:

POSSESSIVE SF:
ADJECTIVES
WF:

SF:
PREPOSITIONS
WF:

SF:
THAT
WF:

SF:
ARTICLES
WF:

SF:
SOME
WF:

SF:
AND
WF:

SF:
BUT
WF:

SF:
THERE
WF:

SF:
AS
WF:
PRACTICE:
Read out the following sentences using the appropriate strong or weak forms. Justify your choices.
1- Give me that book
2- Give it to me, please.
3- Give the book to him, not to her.
4- The man says that he’s sorry.
5- The old man was feeling bad.
6- The Indians were all killed.
54
7- The example wasn’t clear, was it?
8- There’s a problem here.
9- There are two people there.
10- There’ll be more drinks on the table soon.
11- There’s been a kind of reduction in our salary.
12- Then we’ll have some beer.
13- OK, I’ll get some.
14- I must be off now.
15- Where’s John? He must be at home.
16- Could I have a glass of water, please?
17- She can do, can’t she? Yes, she can.
18- They were happy, weren’t they? Yes, they were.
19- What do they do? They’re actors.
20- You’re reading your new book, aren’t you? Yes, I am.
21- What are the kids doing? They’re sleeping.
22- Are you listening to me? Yes, I am.
23- She hasn’t been here before, has she?
24- Yes, she has. She’s been here three times already.
25- We’ve been able to buy fewer things than last year.
26- He’d arrived earlier than usual, hadn’t he?
27- What are you looking at?
28- What I’m looking at is none of your business.
29- I wonder who you’re looking for now.
30- What does she do? She’s a shop assistant
31- A: Why don’t you open on Fridays? B: We are open on Fridays. We are open from ten to eight.
32- A: Why aren’t you going to stand for election? B: I am. I am going to announce it formally tomorrow.
33- A: I didn’t know that he was coming. B: Is he? I didn’t know that, either.
34- What’s the world coming to?
35- There you are! There’s a lot of work to do and I need you.
36- A: Have you seen Sue? B: Yes, I have just seen her. She was having some coffee with some friends.
37- A: She can speak Portuguese. B: Can she? Well, I can’t.
38- A. What did you do? B: What do you think I did?
39- Thank you! That’s the book what I was looking for, you know! I can lose anything but that!
40- You must be joking! He can’t be older than me!
 THE GLOTTAL STOP
1- Definition: A glottal stop is a plosive made at the glottis. It is formed by brief closure of the vocal folds,
behind which the air coming from the lungs is compressed and then released by sudden separation of the
folds.
That is to say, a glottal stop occurs when the vocal folds are held tightly together and then separated
suddenly. Its chief auditory characteristic is a brief period of silence. The glottal stop can be perceived as the
sudden cessation of the preceding sound or the sudden onset of the following sound.

2- 55
Use Examples
a- Reinforcement of vowels:
 to reinforce or emphasise vowels:

 in interjections:
 to avoid the use of the linking /r/
or the intrusive /r/

b- Reinforcement of syllable-final /p, t, k/ and /t / ---------------------------------------------

The closing and release of /ʔ/ take place just before the oral closure of
the plosive or affricate. Phonetically, they are heard in a sequence.
Necessary conditions:

vowel /ʔ/ + /p, t, k/ + consonant or pause

nasal ________________________________________
lateral /ʔ/ + /t / + any sound or pause

---------------------------------------------
c- Replacement of syllable-final /p, t, k/
Necessary conditions:

/p/  /ʔ/
vowel /k/  /ʔ/ + homorganic1 sound
nasal + ___________________________________
lateral
/t/  /ʔ/ + any consonant * (or pause)

* To replace /t/ when followed by /h/ by syllabic /n/ or /l/ was until recently
stigmatized as non RP but it is now acceptable in London regional RP.

3- Other points to take into consideration:

 /ʔ/ is not a phoneme in RP but an allophone in free variation, i.e. you can choose whether to use it or
not. If unsure, it is better to stick to the standard, more conservative pronunciation.
 Being a fortis, /ʔ/ shortens the preceding vowel (pre-fortis clippling)
 /ʔ/ does not interfere with assimiliation
 /ʔ/ is becoming more widely used within RP, especially among young RP speakers.
 In some dialects of English /ʔ/ is also used in intervocalic position as in ‘better’ or ‘water’

1
homorganic: having the same place of articulation
ACTIVITIES:
1. Recognition. Circle the phrase you hear:

a- star button / start button

b- one day left / one date left

c- my mind / might mind

d- ten poles / tent poles

56

e- wide shoes / white shoes

2. Is glottaling possible in the following cases? Why? Why not?

a- first class

b- salt solution

c- hit single

d- hit album

e- most important

3. Write the transcription for the following utterances using glottaling whenever possible.

a- Most people do, but you’d better not.

b- I looked up and down but I couldn’t see it.

c- That sounds quite interesting.

d- But to my utter amazement, he did!

e- I had parked my car in a different place that morning.

f- But I have a right to a little part.

BIBLIOGRAPHY:

Finch, D.R. & Ortiz Lira H. (1982) A Course in English Phonetics for Spanish Speakers. London.
Heinemann Educational Books

Garcia Lecumberri, M.L. & Maidment, J.A (2000) English Transcription Course. New York. OUP

Gimson, A.C. (2001) An Introduction to the Pronunciation of English. Revised by Cruttenden, A. London.
OUP

Ladefoged, P. ( 1982) A Course in Phonetics. University of California, Los Angeles. HBJ

Roach, P. (1993) English Phonetics and Phonology. A Practical Course. University of Leeds. CUP
 Assimilation
 Presentation: Listen and fill in the blanks by transcribing the missing words, exactly as you hear them.
/aɪ juːst tə ruːl ðə wɜːld / /nevər ən ɒnɪst wɜːd / /ənd ___________ wəz wen
/siːz wəd raɪz wen aɪ ɡeɪv ðə wɜːd / aɪ ruːld ðə wɜːld /

/naʊ ɪn ðə mɔːnɪŋ aɪ sliːp ələʊn /

/_______ wəz ðə wɪkɪd ənd waɪld wɪnd /
/swiːp ðə striːts aɪ juːst tu əʊn /
/ bluː daʊn ðə dɔːz tə _________ mi ɪn / 57

/aɪ juːst tə rəʊl ðə daɪs / /ʃætəd wɪndəʊz ənd ðə saʊnd əv drʌmz /

/ fiːl ðə fɪər ɪn maɪ enəmiz aɪz / /piːpl __________ bɪliːv wɒt _______ bɪkʌm /
/lɪsn əz ðə kraʊd wʊd sɪŋ / /revəluːʃənərɪz weɪt /
/naʊ ðɪ əʊld kɪŋ ɪz ded / lɒŋ lɪv ðə kɪŋ / /fə maɪ hed ɒn ə sɪlvə pleɪt /
/dʒəst ə pʌpɪt ɒn ə ləʊnli strɪŋ /
/__________ mɪnɪt aɪ held ðə kiː/
/əʊ huː wʊd evə wɒnt tə bi kɪŋ /
/nekst ðə wɔːlz wə kləʊzd ɒn mi /
/ənd aɪ dɪskʌvəd ________ maɪ kæslz stænd / /aɪ hɪə dʒəruːsələm belz ə rɪŋɪŋ /
/__________ pɪləz əv sɔːlt _____ pɪləz əv sænd / /__________ kævəlri kwaːəz ə sɪŋɪŋ /
/bi maɪ mɪrə maɪ sɔːd ənd ʃiːld /
/aɪ hɪə dʒəruːsələm belz ə rɪŋɪŋ /
/maɪ mɪʃənrɪz ɪn ə fɒrɪn fiːld /
/__________ kævəlri kwaːəz ə sɪŋɪŋ /
/fɔː sʌm riːzən aɪ kænt ɪkspleɪn /
/bi maɪ mɪrə maɪ sɔːd ənd ʃiːld /
/aɪ nəʊ __________ piːtə _________ kɔːl maɪ
/maɪ mɪʃənrɪz ɪn ə fɒrɪn fiːld /
neɪm/
/fɔː sʌm riːzən aɪ kænt ɪkspleɪn /
/nevər ən ɒnɪst wɜːd /
/wʌns ju ɡəʊ ðeə wəz nevə /
/bət ___________ wəz wen aɪ ruːld ðə wɜːld /
 Sistematization

a- Complete the following chart

ASSIMILATION CONTEXT EXAMPLES
/ t / changes to / /
before …………….
/ d / changes to / /
/ /, / /, / /, or / /
/ n / changes to / /

/ t / changes to / /
when followed by
/ d / changes to / /
………………………
/ n / changes to / / / / or / /

/ s / changes to / / before ……………

/ z / changes to / / / /, / /, / /, / / or / /
 b- Analyse and answer
/ n / changes to / m / before / m / / b / / p/ or /w/ 1- Which sounds are affected by the process of

voiced voiced assimilation?

alveolar bilabial bilabials
nasal nasal

/ t / changes to / p / before / m / / b / / p / or / w/ 2- Which is the only feature of the sound which

voiceless voiceless changes?

58
alveolar bilabial bilabials
plosive plosive

/ d / changes to / b / before /m / / b / / p / or /w / 3- Provide more examples using the following

formula:
voiced voiced (voice, place, manner) changes to (voice, place,
alveolar bilabial bilabials manner) under the influence of (PLACE)
plosive plosive
___________________________________________
/ s / changes to / ʃ / before /ʃ /, /ʒ /, /tʃ/, /dʒ / or /j/ Complete the following rules:
1- Assimilation is a process by which one
voiceless voiceless ............................... changes into another
alveolar palato alveolars palato alveolars ........................... under the influence of a third
fricative fricative
___________________________________________ one.
/ z / changes to / ʒ / before /ʃ /, /ʒ /, /tʃ/, /dʒ / or /j/ 2- The sounds affected in the assimilation
process are final (alveolars / bilabials / velars)
voiced voiced
alveolar palato alveolars palato alveolars 3- The feature of the sound affected by
fricative fricative
assimilation is the .............

MORE ABOUT ASSIMILATION

a- Historical or contextual
b- Feature affected:
 place (see above)
 manner (in rapid speech) let me: lemme; give me: gimme
 voice: of course ; have to
c- Direction of assimilation:
 Progressive assimilation: sound 1 affects sound 2: sound 1  sound 2:
Example: happen /hpn/ /hpm/ ; urban /bn/ / bm/ : organ /gn/ /g/
 Regressive assimilation: sound 2 affects sound 1: sound 1  sound 2.
Example : ……………………………………………………………………………………………..……..
 Coalescense / coalescent assimilation: sound 1 and sound 2 merge creating a new sound:
sound 1 + sound 2  sound 3
/t+j/  /t/ Example: Don’t you? /dnt ju/  /dntu/
/d+j/  /d/ Example: Would you /wd ju/  / wdu/
 Practice:
a- Spot the wrong words in the following sentences. You will more likely spot them if you read the sentences
aloud. Can you explain the reason behind each mistake? (adapted from Hancock, 1995):
a. The crazy man shop people in the street for no reason.
b. He seemed absent-minded, but he dig care.
c. Do it slowly, knock quickly!
d. Being late for work, I rang quickly out of my house.
e. We ache quite badly when we were on holiday because we didn’t like the local food. 59
f. I’m not allowed to have a party unless I warm my parents a week in advance.
g. I failed my maths exam the turn before last.
h. This leg covering is for protection against radiation.
i. Traditionally, the family of the bribe pays for the wedding.
j. The teacher told us to wake quietly until the bell rang.

b- Mark all the possible cases of assimilations in the following extracts. Then listen and check
-1- -2- -3-
I get kind of dark Don’t call my name. My loneliness
Let it go too far Don’t call my name, Alejandro. Is killing me (and I)
I can be obnoxious at times I’m not your babe. I must confess
But try and see my heart I’m not your babe, Fernando. I still believe (still believe)
Cause I need you now
Don’t wanna kiss, don’t wanna touch. When I’m not with you I lose my
So don’t let me down
You’re the only thing in this world Just smoke my cigarette and hush. mind
I would die without Don’t call my name Give me a sign
Don’t call my name, Roberto. Hit me baby one more time
-4- -5- -6-
The world is closing in The teenage queen, the loaded gun; As you leave me please would you close
Did you ever think The drop dead dream, the Chosen One he door
That we could be so close, A southern drawl, a world unseen; And don’t forget what I told you
Like brothers A city wall and a trampoline. Just cause you’re right- that don’t mean
… I’m wrong
The wind of change Oh well I don’t mind, if you don’t mind Another shoulder to cry upon
Blows straight into the face of time ‘cause I don’t shine if you don’t shine I just wanna use your love tonight
Like a storm wind that will ring Before you jump, I don’t wanna lose your love tonight
The freedom bell for peace of mind Yeah
Tell me what you find
Let your balalaika sing I just wanna use your love tonight
When you read my mind
What my guitar wants to say I don’t wanna lose your love tonight
-7- -8- -9-
Yeah, it’s plain to see Come stop your crying You always taught me right from wrong
That baby you’re beautiful You will be alright I need your help, daddy please be strong
And there’s nothing wrong with you Just take my hand, hold it tight. I may be young at heart
It’s me, I’m a freak I will protect you from all around you, But I know what I’m saying
But thanks for loving me
I will be here, don’t you cry.
Cause you’re doing perfectly The one you warned me all about
There might have been a time For one so small, you seem so strong. The one you said I could do without
When I would let you slip away My arms will hold you keep you safe We’re in an awful mess, and I don’t mean
I wouldn’t even try and warm, maybe- please
But I think you could save my life This bond between us can’t be broken,
I will be here, don’t you cry. Papa don’t preach, I’m in trouble deep
Just don’t give up Papa don’t preach, I’ve been losing sleep
I am working it out ‘Cos you’ll be in my heart, But I made up my mind,
Please don’t give in I’m keeping my baby, oh
Yes, you’ll be in my heart, from this
I won’t let you down
It messed me up on
Need a second to breathe Now and forever more
Just keep coming around
Hey, what do you want from me?
 Juncture
 Presentation:
a- Provide two possible spellings for the following transcribed phrases.
1- /tsənem/
2- / greteps /
3- /astren /
60
4- /askri:m /
5- /:lðətam:ftətəde/
6- /sendəmed/
7- /əwetəktt/
How did you disambiguate them? How can you make sure the listener will understand ‘a’ and not ‘b’?’
(Consider aspiration, devoicing and clipping of vowels.)

Juncture refers to a number of features, such as aspiration, devoicing and

clipping of vowels, which provide clues to word identification in connected speech.

 Practice:

b- Circle the phrases you hear. Justify your choice

1- might rain / my train

2- my turn / might earn

3- my spies / mice pies

4- peace talks / pea stalks

Liason
 Presentation: Choose a card and work in pairs/groups. Read out the phrases paying attention to how you join
the words together.
CARD A CARD B CARD C CARD D

reached out enjoyed it don’t answer next exercise

far away car engine pure oxygen her English

law and order the idea of sofa and chair America and China

my uncle he is my arm they are

go away who is to Australia grew up

Complete the chart below

61
  Practice: discuss in pairs and then share with the whole class:

Mark all the possible features of liaison in the following sentences:

You are obviously unhappy about the idea of it.
The aroma of coffee greats you as you enter the room.
Don’t ask about it. Enjoy it while it lasts.

Syllabicity
62

The following activity has been borrowed (part a) and adapted (part b) from Profesor Jorge Stifman’s lesson
on Syllabicity for Profesora Claudia Gabriele’s course, Fonética y Teorías Fonológicas I, 1st Year D.

 Presentation

a- Listen to the extract of a commercial of a course in British English pronunciation and answer the
questions below (audio: The Lowdown):

- Give three reasons why ‘your voice matters’, according to this commercial.
- What examples does the speaker give about people looking good but sounding bad?
- What is the purpose of this course? And what is it called?
- Sounding good may be useful in many different ‘walks of life’ or situations. What examples does the
speaker give?

b- Look at the audio script, listen and fill in the blanks with the words you hear:

‘Hello, and welcome to Improve your English, specially designed for speakers of British English. Everyone
wants to look good. But it is ……………………… (1) to sound good too. You are your voice. It’s your
identity. It reveals who you are, and how you feel. It reveals the truth about you. The sound that you make
indicates everything about you: your background, your …………………….. (2) of ……………………. (3),
your ability to understand. People make ………………………. (4) about you the minute you ……………….
(5) your mouth; the same assumptions that they make when they’re looking at what you’re wearing. But
it’s no good putting on a power suit and then mumbling at your interview. Voice matters. Improve your
speech will give you the tools you need to sound better. These tools will be ………………………..(6) whether
English is your first or second language. But let’s be clear. This is not a language course. The aim isn’t to
improve your vocabulary or to eradicate accent. Your accent will be modified only in so far as it assists
clarity and tone. It will still be you. But a you whose voice has impact, whose voice is easy on the ear. The
tools and tips you’ll learn will help you to develop …………………. (7) …………………………..(8) and
range, and to convey what you want to convey. A clear speaker ………………… (9) a clear thinker. Clear
speech is ………………………. (10) in almost every field of ………………………. (11) activity. To be clearly
understood when making a deal, to be able to control your tone of voice in a meeting, and give nothing
away that you do not want to give away, to use a …………………….. (12) tempo on the telephone with
……………………… (13) who may not understand you easily; to appear …………………… (14) one to one,
or when addressing a …………………….. (15); to have confidence that you can hold people’s
…………………... All this is important to people in many walks of life. Clear speech will help you
maximize your …………………….. (16) and make you an asset to your ……………………. (17) business or
……………………. (18)’
c- Transcribe the missing words. Then listen and check:
(1) / / (7) / / (13)/ /
(2) / / (8) / / (14) / /
(3) / / (9) / / (15) / /
(4) / / (10) / / (16) / /
(5) / / (11) / / (17) / /
(6) / / (12) / / (18) / /
63

d- Read the following definition: A syllabic consonant is a ‘consonant which occupies the place at the centre
of the syllable which is usually occupied by a vowel.’ Now discuss the following:

1. All syllables must contain a vowel sound. (TRUE / FALSE).

2. Identify the syllabic consonants in the examples above.

3. Syllabic consonants result from the elision of schwa. (TRUE / FALSE).

4. Syllabic consonants appear in (stressed / unstressed) syllables.

5. Can you think of more examples with syllabic /m/?

e- Listen and fill in the blanks. All the missing words are pronounced with syllabic /l/ or vowel +/l/
The Logical Song – Supertramp
When I was young, it seemed that life was so _________________,
a _________________, oh it was _________________, _________________.
And all the birds in the trees, well they'd be singing so happily,
oh _________________, oh _________________ watching me.
But then they sent me away to teach me how to be _________________,
_________________, oh _________________, _________________.
And then they showed me a world where I could be so _________________,
oh _________________, oh _________________, _________________.

There are times when all the world's asleep,

the questions run too deep
for such a _________________ man.
Won't you please, please tell me what we've learned
I know it sounds absurd
but please tell me who I am
I said now watch what you say they'll be calling you a _________________,
a _________________, oh _________________, _________________.
Won't you sign up your name, we'd like to feel you're
_________________, _________________, oh _________________, a _________________!
Oh Take it take it yeah! …
 Allophonic Variation
GAME: Phonotactics

Instructions

 The aim of the game is to be able to answer 5 questions correctly.

 Students throw the dice and decide to move about the board vertically, horizontally or diagonally (only
64
changing direction when they reach a corner) according to the number indicated by the dice.

 When a student answers a question correctly they ‘take possession of the square’ by writing their names
on it, for example.

 Students cannot choose to answer a question another student has already answered correctly.

Be prepared to explain the following:

 Different types of release of PLOSIVES: nasal release, lateral release, non-audible release, aspiration

and lack of aspiration.

 Dentalization of ALVEOLARS (/d/n/t/l/)

 Clear /dark /l /

 Devoicing of OBSTRUANTS (fricatives, affricates and plosives)

 Devoicing of APPROXIMANTS (/l/r/w/j/)

 Nasalized vowels

 Clipped vowels (pre-fortis clipping)

 Glottal stop / reinforcement

65
 TRANSCRIPTION 66

PRACTICE

/ˌtrænˈskrɪpʃən ˈpræktɪs/
67
68
69
 Dialogues for transcription practice
(Sounds English)
Page 93
3.2.a

70

4.1.

Page 96

Page 97
Page 102
4.2

71

4.3

Page 108

Page 109
Page 113

72

Page 115


Page 117

Page 118
Page 119

73

Page 47

Page 48
 74

Material from Sounds English - Transcribed by Prof. Benedini - Revised by Prof.Smith

Page 93
3.2.a





4.1.








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












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





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4.2



75







4.3










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



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Texts for transcriptions
#1
Looking back, I think perhaps I should have said something about that doctor to someone. The problem was,
who to, and what would they have done about it? I couldn’t actually say he was ever openly rude to me –
there was no time for that. I’d walk in, tell him my symptoms, he’d write out a prescription and in the space
of two minutes, I’d be back out in the waiting room, where I’d been for nearly thirty minutes. I had a bit of a
moan about it one day and asked him how on earth he could know what was wrong with me if he never got
up out of his seat, which shocked him a bit. That didn’t change him much though – only the following time
he took my blood pressure! Anyway, he’s gone now, which is a relief – the new one’s much better.
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78

#2
P: Presenter / H: Helena
P: With me today on Infospeak is journalist and writer, Helena Drysdale. Hello, Helena, and welcome to the
programme.
H: Thank you. Good morning.
P: Helena, you spent the last two years travelling round Europe doing research for a forthcoming book.
What were you trying to find out?
H: Yes, we went in search of Europe’s minority languages to determine exactly what state they’re all in,
particularly given today’s climate of mass culture and so on. We travelled right up to northern Scandinavia
and the Arctic circle and we got down as far as the sunny Mediterranean. Thirteen countries and fifteen
minor languages in all.
P: By ‘we’, you’re referring to your family of course. What was it like? Two years together in a mobile
home can’t have been easy.
H: It got a little cramped at times, with my husband and the two kids, particularly when the weather kept us
in. But apart from that, fine.
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#3
P: Presenter / J: Julie
P: Now in this special programme on the state of marriage in Britain today, we ask some people about their
experiences and views on the topic. You’re all married so perhaps I should start by asking you, ‘Why?’,
given that in this country over one in three marriages ends in divorce. Julie?
J: Well, I’d been living with Peter for just over a year – in fact we’d recently celebrated our first anniversary
in the flat – when suddenly, one evening, he got down on one knee and asked me to marry him. It was so
romantic – I didn’t have the heart to turn him down! No, but of course, we’d spoken about it before and we
both agreed it was the right thing to do – a natural stage in our relationship and a way of making it official.
And of course, our parents were delighted.
P: Was it a church wedding?
J: Oh, yes, the whole works. We had nearly 300 guests – it was all very lavish.
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#4
Accelerated Learning is a practical approach based on what we know about how the brain works. It draws
from a varity of disciplines including cognitive psychology, theories of motivation and Howard Gardner’s
theory of multiple intelligences. The basic idea behind the approach is that learners perform better if they are
properly motivated and appropriately taught. A great deal of importance is attached to the learning process.
By focussing more attention on how students learn, there is less preoccupation with content, with what they
learn. Children are encouraged to use both the analytical and creative sides of the brain. Students receive
new information in visual, auditory and kinesthetic modes – in other words, they learn through seeing,
hearing and doing. Importance is also given to creating a positive and supportive learning environment in
the classroom. Teachers have to structure activities so that learners feel secure rather than anxious about
what they are asked to do.
153 words

Source: Ready for CAE – Coursebook

FURTHER PRACTICE:
Lucumberri, M.L. & Maidment, J.A (2000) English Trascription Course. Arnold: London.

79
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BOARD GAMES 82

and
CARDS
83
84
85
VELAR
86
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88
 89

PHONETICS DOMINO
90
 PHONETICS 1 – FINAL EXAM SAMPLE
A) Comment on the following text and then read it out
- Why do you want to be a soldier Mr Briggs?
- Well, I saw the ad on television last night and it looked nice … travel and girls, holidays and pension …
that kind of stuff.
- I see. Yes, it’s a good life in the army. It’s a man’s life. Now, have you got any questions?
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- Yes … will I have to get a haircut?
- Oh, yes and you’ll have to obey orders and wear a uniform … but girls like a man in uniform, you know.
- What about the work?
- You’ll have to work hard … But you won’t have to clean the toilets. I’ve never had to do that.
- And what about promotion?
- There are lots of opportunities. Perhaps you’ll be a general one day.
- O.K. I’d like to join.
- Yes, sir. Why don’t you just sign your name here and I’ll take care of the rest.
- Here you are.
- Briggs! Stand up straight. Now, quick! March. Left, right, left, right…

B) Analyze the text above:

1) Discuss whether the underlined words should take the strong or the weak form and why.
2) Describe the process of connected speech involved in the highlighted bits. Discuss each process fully.
OR
In the text above find examples of dentalization, devoicing of obstruants, devoicing of approximants,
clear/dark /l/; elision, pre-fortis clipping, nasalized vowel, assimilation. Discuss each process fully.
3) Focus on the plosives and its allophones. Find examples of different forms of release in the text above.
4) Provide a detailed analysis of the word haircut. (phonemes, not letters, of course!: / h e k  t / 5
phonemes to discuss)
5) Find and discuss some spelling rule (rule simple past suffix , suffix ‘s, spelling-sound correspondence,
suffix –tion -sion, etc)

C) Choose and discuss one of the following points of theory (you will be given two
options to choose from. The following is a list of possible topics to discuss)
1. Classification of consonants.
2. Classification of vowels (the vowel chart)
3. Classification of diphthongs
4. Consonants, vowels and semivowels: phonetic and phonological differences.
5. Phonetics vs Phonology
6. The speech chain.
7. The linguistic hierarchy.
8. Phonemes vs allophone.
9. Saggital diagram and the organs of speech and their role.

REMEMBER TO STUDY IN A LOUD VOICE SO THAT YOU ARE FORCED TO PRONOUNCE THE WORDS YOU ARE GOING TO USE WHEN
TALKING. DON’T TAKE ANY PRONUNCIATION FOR GRANTED AND ALWAYS CHECK WITH THE DICTIONARY, PLEASE.
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BEFORE THE EXAM:

1. Study in a loud voice. Make sure you know how to pronounce all the words you need.
2. Be prepared to give full answers using the technical terms the subject requires.
3. Take a good night sleep, a fresh mind performs better than an exhausted one. You will be nervous enough
at that moment and you don’t want to have any additional stress.

DURING THE EXAM:

1. Have some water at hand.
2. Breathe in - breathe out. Remember we’ve all been there and know how it feels.
3. Be ready to provide explanations expecting little interference from the board.
4. Don’t get disappointed by any possible wrong answer and give up. Remember this is another instance of
learning.
5. Be in control and show us how much information you can handle. BE READY TO SHINE! 

AFTER THE EXAM:

1. Hopefully, celebrate with your dear ones.
2. If it doesn’t turn out well, ‘live and learn’ … as we all do all the time! There are always second chances -
and third, for that matter :)

GOOD LUCK!