EXERCISE GUIDE General Instructions The purpose of this exercise guide is to provide a resource for the applications of the three most commonly used English language dialects along with suggested diction techniques for making them singable, intelligible, and expressive. How to Use This Book This book is designed to work in three different pronunciations of English: AS, American Standard Pronunciation; RP, British Received Pronunciation and the hybrid pronuncia- tion, MA, Mid-Atlantic Pronunciation. If you are unfamiliar with the International Pho- netic Alphabet, it is suggested that you begin with the alphabet of the pronunciation most familiar to you. In other words, if you are a North American English speaker, begin with chapter 1 and the International Phonetic Alphabet for North American English, and then continue straight through the book. If you are a speaker from the United Kingdom or the British Commonwealth, I suggest that you read the introductory remarks in chapter 1, then proceed to chapter 14 to learn the International Phonetic Alphabet first as it applies to Standard British, and then return to chapter 2 and work your way through the book. Each chapter contains both British and North American texts. The reader may choose to go through the book focusing on only one of the pronunciations or study all the pronun- ciations simultaneously. Chapters 2–13 apply to all the English language as a whole and are applicable to all three pronunciations.
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EXERCISE GUIDE
General Instructions
The purpose of this exercise guide is to provide a resource for the applications of the three
most commonly used English language dialects along with suggested diction techniques
for making them singable, intelligible, and expressive.
How to Use This Book
This book is designed to work in three different pronunciations of English: AS, American
Standard Pronunciation; RP, British Received Pronunciation and the hybrid pronuncia-
tion, MA, Mid-Atlantic Pronunciation. If you are unfamiliar with the International Pho-
netic Alphabet, it is suggested that you begin with the alphabet of the pronunciation most
familiar to you. In other words, if you are a North American English speaker, begin with
chapter 1 and the International Phonetic Alphabet for North American English, and then
continue straight through the book. If you are a speaker from the United Kingdom or the
British Commonwealth, I suggest that you read the introductory remarks in chapter 1,
then proceed to chapter 14 to learn the International Phonetic Alphabet first as it applies
to Standard British, and then return to chapter 2 and work your way through the book.
Each chapter contains both British and North American texts. The reader may choose to
go through the book focusing on only one of the pronunciations or study all the pronun-
ciations simultaneously. Chapters 2–13 apply to all the English language as a whole and
are applicable to all three pronunciations.
General Guidelines
Diacritical Marks
Diacritical marks are used to notate syllabic word stress in chapters 1, 14, and 15 when
the International Phonetic Alphabet for each pronunciation is introduced. Throughout the
rest of the exercise guide, only unfamiliar words have syllabic stress notated.
Use of Dialects
Throughout the exercise guide, texts are transcribed in American Standard, AS; Received
Pronunciation, RP; and Mid-Atlantic, MA as applicable. Generally, the nationality of the
composer and the poet determine the pronunciation to which it is transcribed. If, for ex-
ample, the composer and the poet are North American, then the text is transcribed in AS.
If the composer and the poet are from the British Isles, then the text is transcribed in RP.
If the poet is British and the composer is North American, then the text has been tran-
scribed in both AS and RP. Many of the texts are also transcribed in Mid-Atlantic, MA; a
hybrid of British and American often used as a default dialect. This dialect is very useful
for texts or works that are not specifically North American or British. The ultimate dialect
choice for a performance rests with the performer or the production team and should be
based upon such things as the venue and the ability of the audience to comprehend dif-
ferent dialects, and so on. The important thing is that the use of the dialect be consistent,
clear, and expressive.
Historic versus Modern Pronunciations
British Received and Mid-Atlantic pronunciations have historic and modern versions. In
the historic versions “r’s” are flipped [r] when between vowels, and rolled [¨] when in
grammatically and syllabically stressed positions. In the modern versions, all “r’s” are
burred [R] regardless of stress. The vowel and consonant differences between historic and
modern versions can be found in chapters 14 and 15.
Treatment of Unstressed Syllables
The unstressed syllable in an English words is usually pronounced with a schwa [H] or one
of the four schwa substitutes [I], [E], [U], or [o]. In British English there is a possible fifth
substitute [0], often used for unstressed syllables spelled with “o” as in the word “com-
pare” [k0m!pEHr]. Throughout the exercise guide I have suggested one of the schwa sub-
SINGING AND COMMUNICATING IN ENGLISH
stitutes which I have found sings well for most singers. These are just a suggestions.
Please feel free to use the schwa or any of the other substitute vowels that you feel work
best for you. A detailed discussion of the schwa substitutions is found in chapter 2.
Expressive Treatments of the Texts
Beginning in chapter 8 with the glide vowels, techniques for making the text expressive
are applied to the IPA transcriptions. Though these techniques perhaps seem artificial and
overdone for speech, they actually can be used unobtrusively and can heighten the line de-
livery to text when it is set musically. The inclusion of the consonant doublings, related
glide vowels, and so on to the phonetic line is to suggest how and where they might best
be used to heighten the language. Again, these are suggestions. The purpose of the exer-
cises is to learn how and where these expressive treatments might be applied. Ultimately,
it is up to the individual singer to pick and choose which treatments they wish to apply.
Use of all the treatments suggested would be too much. They are merely there to show
possible applications and to spur on the imagination.
Good luck!
Chapter 1
The IPA Alphabet for American Standard Pronunciation
#1 p. 14
Exercise Guide
look gorgeous
lord angry*
people measure
excellent girl
lunch tongue
jealous honor/honour
beige breathe
million rehearse**
thank journey
music diaphragm
rhyme larynx
nature virtue
*Lowered [|] p. 45.
**Prefix rule p. 48.
#2 p. 14
[tSAFm] [zEfF]
[pEnsIv] [GT]
[flVd] [HnCInt]
[bCt] [vIZHn]
[wIntF] [wVns]
[h}tS] [dZaIHnt]
[HbsGd] [jIF]
[p}SHn] [InVf]
[jusHdZ] [dIfIkVlt]
[jVNgF] [l}NgwIS]
[bjutIfUl] [pRHn0Uns]
[wGD|] [tEknIkHl]
#5 p. 15
Youth, large, lusty, loving,
Youth, full of grace, force, fascination,
Do you know that old age may come after you
With equal grace, force, fascination?
Day, full blown, and splendid,
Day of immense sun,
Action, ambition, laughter.
The night follows close with millions of suns,
And sleep, and restoring darkness.
Youth, day, old age, and night—Walt Whitman
Hear the mellow bells—
Golden Bells!
What a world of happiness their harmony foretells!
Through the balmy air of the night
How they ring out their delight!
From The Bells—Edgar Allan Poe
SINGING AND COMMUNICATING IN ENGLISH
Chapter 2
#1 p. 27
AS AS
[!RE pF twAF] [!pA vF t|]
[`sE-nsH !tI vI t|] [!d} zHld]
[wIT !dRC] [!Ti H tF]
[!I nt(F)RHst] [!IntRIst]* [!k} ndI dHt] / [!k} ndI `deIt]**
[I !mpCF tHnt] [!dI kSH `nE R|]
[I !kstRimz] [!k} RI ktFz]
[pRI !zV mSu Hs] [H !pRu vHl]
*2 or 3 syllables.
**Both pronunciations are found in AS.
#2 p. 27
AS
[DH deIz|z] [dZeImz stivHnz] [s}mjUHl bAFbF]
[In DH !sE ntHd bVd Hv DH !mCF nIN oU]
[WEn DH !wI nd| gR}s wEnt !RI plIN fAF]
[aI sC maI dIF wVn !wC kIN sloU]
[In DH fild WEF DH !deI z|z AF]
[wi dId nAt l}f }nd wi dId nAt spik]
[}z wi !wA ndFd !h} pl| tu }nd fRoU]
[aI kIst maI dIF An !aI DF tSik]
[In DH bVd Hv DH !mCF nIN oU]
[H lAFk s}N Vp fRVm DH !bRi z| l}nd]
[H lAFk s}N dAUn fRVm H klAUd H !fAF]
[}z Si }nd aI wEnt h}nd In h}nd]***
[In DH fild WEF DH !deI z|z AF]
Exercise Guide
#4 p. 28
At the beginning of the book, the texts have been transcribed in both AS and RP. In the early
stages of learning the IPA, work with whichever pronunciation is most familiar to you.
AS
[Si wCks In bjut|] [lCFd baIRHn]
[Si wCks In bjut| laIk DH naIt]
[Hv klAUdlIs klaImz }nd stAR| skaIz]
[}nd Cl D}ts bEst Hv dAFk }nd bRaIt]
[mit In hG }spEkt }nd hG aIz]
[DVs mEloUd tu D}t tEndF laIt]
[WItS hEvHn tu gCd| deI dInaIz]
[wVn SeId DH mCF wVn ReI DH lEs]
[h}d h}f ImpEFd DH neImlHs gReIs]
[WItS weIvz In EvR| ReIvIn tREs]
[CF sCftl| laItHnz CF hG feIs]
[WEF TCts sFRinl| swit IkspREs]
[hAU pjUF hAU dIF DEF dwElIN pleIs]
[}nd An D}t tSik }nd CF D}t bRAU]
[soU sCft soU kAm jEt ElokwEnt]
[DH smaIlz D}t wIn DH tInts D}t gloU]
[bVt tEl Hv deIz In gUdnHs spEnt]
[H maInd }t pis wID Cl bIloU]
[H hAFt huz lVv Iz InosEnt]
Historic RP/MA*
When two vowels are listed, the first is the variant for Received Pronunciation, RP; the
second is for Mid-Atlantic, MA.
Refer to chapter 14 for details of RP and chapter 15 for MA.
Note: In colloquial American English [E] is substituted for [}] in any stressed “ar” spelling;i.e., [ERoU] and [kER|], etc.
#1 p. 57
AS
[bAd|] [dZAn] [bAm] [HkAmplIS]
[dAktF] [bAks] [SAk] [`pAsH!bIlIt|]
[gAt] [kAmHn] [tAm] [pRAblHm]
[RAbFt] [kAlF] [mAtoU] [pApkCFn]
[nAt] [HpAn] [An] [gAd]
[sAm]* [kAm]* [pAm]* [bAm|]*
*In AS the “l” is not pronounced. However, in many North American regional dialects, it is pronounced [Alm]or [Clm].
Exercise Guide
RP
[b0d|] [dZ0n] [bAm] [Hk0mplIS]
[d0ktHr] [b0ks] [S0k] [`p0sI!bIlIt|]
[g0t] [k0mIn] [t0m] [pR0blHm]
[R\¨0bHrt] [k0lHr] [m0toU\HU] [p0pkC7Hrn]
[n0t] [Hp0n] [0n] [g0d]
In the following words, the “al” spelling is pronounced [A]:
[sAm] [kAm] [pAm] [bAm|]
#2 p. 58
AS
[SUF (R) ¥ An DIs SaInIN naIt]
[!Hv stAF meId S}doUz RAUnd]
[kaIndnIs mVst wAtS fCF mi]
[DIs saId DH gRAUnd]
[DH leIt jIF laIz dAUn* DH nCFT]
[!Cl ¥ Iz hild]
[!Cl ¥ Iz hElT]
[haI sVmF hoUldz Di !GT]
[hAFts !Cl hoUl]
[SUF (R) ¥ An DIs SaInIN naIt]
[!aI wip fCF wVndF]
[wAndRIN fAF ÒRÔ ¥ HloUn]
[!Hv S}doUz ¥ An DH stAFz]
[dZeImz eIdZ|] [s}mjUHl bAFbF]
*Phrasal verbs are double stressed.
SINGING AND COMMUNICATING IN ENGLISH
Chapter 5
#1 p. 61
[tu] [kul] [blu] [blu]
[TRu] [luz] [hu] [hum]
[fRut] [mun] [nun] [flut]
[Ruf] [tSuz] [glu] [flu]
[glum] [suD] [tum] [wundId]
[dZun] [bR\¨uz] [pF/Hr !R/ruz] [RIkR/¨ut]
[skul]* [ful]* [tul]* [kul]*
*If there are problems with the back dark “l,” insert a [U] before the [l] to keep the tongue from bunching.
#2 p. 62
[stup] [stjupId] [nun] [nju]
[tu] [tjun] [du] [dju]
[pu] [pju] [hu] [hju]
[ku] [kju] [flute] [l(j)ut]*
*”Lute” is pronounced with a Liquid U [ljut] in Historic RP. In Modern RP and AS it is [lut].
The words in the second columns would always have [ju] in RP, MA and classical texts for AS. In colloquialNorth American, these words are usually pronounced with the [u] only.
#3 p. 62
AS
[!aI h}v wISt ¥ H bGd wUd flaI HweI]
[!}nd nAt sIN RAUnd maI hAUs !Cl deI]
[!aI h}v kl}pt maI h}ndz ¥ }t hIm fRVm DH dCF]
[WEn ¥ It simd ¥ }z !If ¥ aI kUd bEF noU mCF]
[DH fClt mVst pAFtl| h}v bIn ¥ In mi]
[DH bGd wA/Vz nAt tu bleIm fCF hIz ki]
[!}nd bIsaIdz DEF mVst bi sVmTIN RCN]
[!In wA/VntIN tu saIlHns !En| sCN]
[H maInF bGd] [RAbFt fRCst] [!silIHs dCFt|]
Exercise Guide
#4 p. 62
AS
[sloUl| saIlHntl| nAU DH mun]
[wCks DH naIt ¥ In hG sIlvF Sun]
[DIs weI }nd D}t Si pIFz ¥ }nd siz]
[sIlvF fRut ¥ HpAn sIlvF tRiz]
[!}nd muvlIs fIS ¥ In DH wCtF glim]
[baI sIlvF Ridz ¥ In ¥ H sIlvF stRim]
[sIlvF] [wCltF dE lA mEF] [dZAn djuk]
#5 p. 62
AS
[si hAU DeI lVv mi]
[gRin lif goUld gR}s]
[swERIN maI blu RIsts]
[tIk ¥ }nd ¥ AF taImlIs]
[si hAU It wuz mi]
[!oUld si blu si]
[kGvIN ¥ H h}f mun]
[RAUnd tu sFRAUnd mi]
[jEt ju RIbjuk mi]
[!oU lVv ¥ aI !oUnl| pFsju]
[si hAU DeI lVv mi]
[si hAU DeI lVv mi] [hAUFd mCs] [nEd RCRHm]
#1 p. 64
[pUl] [pul]
[stUd] [stud] [stjud]
[kUd] [kud]
[wUd] [wud]
[fUl] [ful]
[SUd] [Sud]
[kUk] [kuk]
[hUd] [hud]
SINGING AND COMMUNICATING IN ENGLISH
#2 p. 65
[fUl] [wUd] [gUd] [lUk]
[pUt] [bUk] [stUd] [wUd]
[pUS] [fUt] [kR\¨UkId] [wUlf]
[fUl!fIl] [wUl] [fCF !sUk] [wUmHn]
[fC7Hr !sUk]
#3 p. 65
Colloquial American
[!oU swi/ }n lVvl| leId| bi gUd]
[!oU leId| bi gUd tU mi]
[!aI }m soU !Cfl| mIsVndFstUd]
[soU leId| bi gUd tU mi]
[!oU pliz h}v sVm pIé|]*
[!aIm !Cl ¥ HloUn ¥ In DIs sIé|]*
[!aI tEl jH aIm dZVst ¥ H loUnsHm]
[beIb ¥ In DH wUd]
[soU leId| bi gUd tU mi]
[aIRH !gGSwIn] [dZCFdZ !gGSwIn]
*[ é ] = flapped t as in “better.”
Musical example, p. 69
[S}l be IgzC7\CltEd] [C7\C] modified to [o] as melisma continues into passaggio.
[dVz n0t dInaI hIz m}dZIst| hi skC7Hrnz tU tEl ¥ H stC7r|]
[hi dHU/oUnt ¥ IkskleIm ¥ aI blVS fC7Hr SeIm sHU/oU kaIndl| bi IndVldZInt]
[bVt fIHrs ¥ }nd bHU/oUld ¥ In faIr| gHU/oUld hi glC7r|z !C7l ¥ IfVldZHnt]
[DH sVn huz ReIz AHr C7l HbleIz] [De mI/ikAdHU]
SINGING AND COMMUNICATING IN ENGLISH
#3 p. 85
AS
[kweInt neIm !}n stRit]
[wIdT ¥ Hv seIm tEn fit]
[bAFnHmz mAb !}n stRit]
[fAF fRVm AbsHlit]
[n}RoU jEs !}n stRit]
[bVt bIznHs boUT fit]
[sVn dZVst hIts !}n stRit]
[DEn ¥ It kwIts sVm gRit]
[R}DF SCFt !}n stRit]
[}n stRit] [tSAFlz aIvz]
Musical example, p. 87
[r\¨IdZCIs* gR\¨eItl|]
The [CI] dipthong is modified to [oI] as it passes through the passaggio.
*See note below: #3 p. 88.
#1 p. 87
AS/RP/MA
[dZCI] [vCIs] [RIdZCIs] [dIstRCI]
[tCIl] [nCIz] [R/¨CIl] [ImplCI]
[tSCIs] [dZCIn] [ImbR/¨CIl] [pCInjHnt]
[IndZCI] [CIstF/Hr] [sG/1rlCIn] [`dIsH!pCInt]
#2 p. 87
Historic RP
[WEn f1rst maI !HU/oUld !HU/oUld lVv ¥ aI nju]
[maI bUzHm wEld wID dZCI]
[maI R/RItSIz ¥ }t h1r fit ¥ aI TR/Ru]
[aI w0z ¥ H lVv sIk bCI]
[nHU/oU t1rmz simd tu IkstR}vIgHnt]
Exercise Guide
[Hp0n h1r tu EmplCI
[aI just tu mHUp ¥ }nd saI }nd p}nt]
[dZVst laIk ¥ H lVv sIk bCI]
[tRaIl baI DZUR|] [gIlbHrt }nd sVlIvHn]
In Gilbert and Sullivan, the [HU] dipthong may be used in singing. Generally in classical music, this diphthongis not used for singing.
#3 p. 88
RP/MA
[R\rI!dZÒ»tSÔCIs* gR/¨eItl| oU dC7/CtHr (r) ¥ 0v zaIHn]
[SAUt !oU dC7/CtHr (r) ¥ 0v dZH!rusHlEm]
[bIhoUld DaI kIN kVmET !Vntu Di]
[hÒçÔi Iz DH R/¨aItSHs seIvjHr]
[}nd hÒçÔi S}l spik pis !Vntu DH hÒç)iDHn]**
[RIDZCIs gReItl|] [mIsaIH] [dZi Ef h}ndHl]
*[tS] can be substituted for [dZ] for projection and to save breath on the melisma. See #3 p. 116.
**[ç] can be substituted for [h]. See Aids for Projection, p. 162.
Note: The unstressed initial syllable of a grammatically stressed word like “rejoice” should not be rolled buteither burred or flipped so as to target the stressed second syllable.
#4 p. 88
AS
[!An DH leIk WEF dRupt DH wIloU]
[lCN taIm ¥ HgoU]
[WEF DH RAk dRu b}k DH bIloU]
[bRaItF D}n snoU]
[dwElt ¥ H meId bIlVvd ¥ }nd tSERISt]
[baI haI }nd loU]*
[bVt wID !CtHm lif Si pERISt]
[lCN taIm ¥ HgoU]
[RAk ¥ }nd tRi }nd floUIN wCtF]
[lCN taIm ¥ HgoU]
[bGd }nd bi }nd blAsHm tCt hG]
[lVvz spEl tu noU]
[WaIl tu maI fAnd wGdz Si lIsHnd]
[mGmFRIN loU]
SINGING AND COMMUNICATING IN ENGLISH
[tEndFl| hG blu !aIz glIsHnd]
[lCN taIm ¥ HgoU]
[lCN taIm HgoU] [}RHn koUplHnd] [oUld HmHRIkHn sCNz]
*The words “high” and “low” function as collective nouns.
#1 p. 90
AS/ RP
[pC\C7z] [poUz] [boUl] [bUl]
[wC/C7k] [woUk] [SoUd] [SUd]
[SC/C7l] [SoUl] [poUl] [pUl]
[tSC/C7k] [tSoUk] [stoUd] [stUd]
[sC/C7] [soU] [koUd] [kUd]
#2 p. 90
Historic RP/MA
[HweI In DH S}doUz ¥ H loUn b1rd ¥ Iz sININ]
[DH wInd WIspHrz loU In ¥ H saIN RIfReIn]
[DEHr mjuzIk meIks mEmHrr|z vCIsIz goU wININ]
[Di !}S gR/¨oUv ¥ In bjut| aI si wVns ¥ HgeIn]
[hAU lItHl wi nju }z wi lA/aft DEHr soU laItl|]
[!}nd\¥ taIm* simd tu Vs tu stREtS !EndlIs ¥ HweI]
[DH hoUps D}t DEn S0n laIk ¥ H vIZHn soU bR/¨aItl|]
[kUd feId ¥ }z ¥ H dRim ¥ }t DH kVmIN ¥ 0v deI]
[Di }S gRoUv] [oUld wElS mElHd|]
*d/t combinations as in “and/time” can be imploded. See chapter 10.
Note: This text is read with a Welsh accent on the OUP website.
#3 p. 91
RP/MA
[!oU bi stIl !VnkwaIHt TC7/Cts ¥ }nd R/¨Est ¥ 0n lVvz ¥ }d!vEntHr]
[goU noU mC7\CHr (r) ¥ HstR\(¨)eI maI w0ntHn !aIz bVt kip wIDIn jC7\CHr sEntHr]
[dIlaIt n0t jC7/CHrsElvz fC7/CHr tU st}nd ¥ }nd geIz]
Note: Take care with rolled “r’s” on “tr” and “dr” combinations. “D’s” and “t’s” followed by a rolled “r” tendto be dentalized and are not characteristically English. Make sure they are aspirated.
For North American speakers, I have transcribed this text also in AS. It may be helpful to
practice inserting the related glide vowels in AS before you try it in RP or MA.
AS
[WEn gÒFÔRin ¥ }z ¥ H ÒFÔRIvF wA\Vz DH bAFl|]
[gÒFÔRin ¥ }z DH ÒFÔRIvF DH ÒFÔRaI]
[aI ÒuÔweIdHd dip ¥ }nd bIg}n tU pAFl|]
[wID ¥ H ÒiÔjuT hum !aI hGd saI]
[!aI sik sEd hi H lVvl| leId|]
SINGING AND COMMUNICATING IN ENGLISH
[H nImf ¥ }z bÒFÔRaIt ¥ }z ¥ H kÒuÔwin]
[laIk ¥ H tÒFÔR\(¨)i D}t dÒFÔRIps wIT pGlz hG SeId|]
Note: Exercises #3 and #4 are academic exercises designed to help singers find where glide vowel applicationscould be applied to bring out grammatically stressed words. Use of all of the glide applications above wouldbe too much. When singing this text, the singer should pick and choose which of the related glide vowels he orshe would like to use. It is not necessary to use them all.
Chapter 9
#1 p. 117
[wG\1rd] [wG\1rdz] [steIdZ] [steIdZHz]
[liv] [livz] [RIkwaIF\Hr] [RIkwaIF\Hrz]
[gG\1rl] [gG\1rlz] [st}b] [st}bz]
[hVm] [hVmz] [m}n] [m}nz]
[h}N] [h}Nz] [beID] [beIDz]
#2 p. 117
AS/RP
[sElHbR\¨eISHn] [mHdZEstIk] [sF\HrpRaIz]
[In\NkRis] [RImEmbF\Hr] [ivnIN]
[IntEnSHnHl|] [}dvHkeI\Ht]* [kIst]
[pR\¨ESHs] [pRHsESHn] [mF\IR\r}kjUlHs]**
[p}dZHnt] [kwaIF\Hr] [Igz}kt]
*Both pronunciations are used in AS and RP.
**Both pronunciations are used in AS; in RP only [I] used.
Note: For the purpose of this drill, the “g” in “tiger” is wet in the first version. However, it would not be wet inspeech and song because it begins an unstressed sylable.
[SUF(R) ¥ An DIs SaInIN naIt ¥ Hv stAF meId S}doUz ÒFÔRAund(I)]
[sVmtaImz ¥ aI hIF(R) ¥ H stEF keIs kÒFÔRikIN(I˜)]
[sVmtaImz ¥ H dIstHnt\ ¥ tElHfoUn(I˜)]
SINGING AND COMMUNICATING IN ENGLISH
#1 p. 138
AS
[’aI ÒuÔwV\Ant\ ¥ tu bi WEF DH mÒiÔjuzIk\ ¥ kVmz fRVmÒIÔ]*[WEF DH kÒHÔlAk stAps ÒuÔWEF (R) ¥ Its nAU][’aI ÒuÔwV\Ant\ ¥ tu bi wID DH fÒFÔREndz ¥ HÒFÔRAUnd mi][hu h}v fAUnd mi hu SoU mi hAU][aI ÒuÔwV\Ant\ ¥ tu sIN tu Di ’Gl| mCFnINÒIÔ][si DH sVnlaIt mElt DH snoU][’}ndÒIÔ ’oU ’aI ÒuÔwV\Ant\ ¥ tu gÒFÔRoU]
[’aI ÒuÔwV\Ant\ ¥ tu ÒuÔweIk tu DH lIvIN spIRIt][hIF (R) ¥ InsaId mi WEF (R) ¥ It laIzÒIÔ][’aI ÒuÔwA\Vnt\ ¥ tu lIsHn tIl ¥ aI k}n hIF (R) ¥ It][lEt ¥ It gaId mi }nd ÒFÔRiHlaIzÒIÔ][D}t ¥ aI k}n goU wID DH floU ’Vn’EndINÒIÔ][D}t ¥ Iz bEndINÒIÔ D}t ¥ Iz ÒFÔRiÒUÔlÒIÔ][’}ndÒIÔ ’oU ’aI ÒuÔwV\Ant\ ¥tu fiÒUÔlÒIÔ]
[’aI ÒuÔwV\Ant\ ¥ tu .ÒuÔwCk ¥ In Di ’GTl| gAFdHnÒIÔ][fAF fRVm sIt|zÒIÔ fAF fRVm fIF][’aI ÒuÔwV\Ant\ ¥ tu tCk tu DH gÒFÔRoUIN gAFdHnÒIÔ][tu DH deIvHs tu DH dIF][’}nd\ ¥ tu bi ÒuÔwVn wID DH ÒFÔRIvF floUINÒIÔ][bÒFRizIz bÒHÔloUINÒIÔ skaI HbVvÒIÔ][’}ndÒIÔ ’oU ’aI ÒuÔwV\Ant\ ¥ tu lVvÒIÔ]
*“Comes from” is a verb phrase.
[WEF DH mjuzIk kVmz fRVm] [li hCIb|]
#2 p. 139
AS
[du nAt\ ¥ dIspaIz DH ÒFÔRoUzÒIÔ]
[bIkCz ¥ Its bÒiÔjut| Iz m}nIfEst]
[du nAt\ ¥ dIkÒFÔRaI DH TIsHlÒIÔ]
[fCF (R) ¥ Its ¥ IlusIv gÒFÔReIs]
[’aI lVv WV\At mVst ¥ bi sGtSt]
Exercise Guide
[}z ¥ ÒuÔwEl ¥ }z ¥ ÒFÔREdIl| ’CfFdÒIÔ]
[’If dZCI ¥ CF peIn HkVmpHn| DH gIft]
[jCF ’iz| ÒuÔwGdz ¥ }nd kIsIzÒIÔ]
[naIDF bGnd nCF stVNÒIÔ]
[ju lEft mi }t\¥ dCnÒIÔ]
[’An ¥ H dÒFÔRImlIs bEdÒIÔ]
[Di aIdHl gIft] [dZAn kAFloU mInAt|]
Chapter 11
#1 p. 145
AS/RP/MA
[feIm] [InfHmHs] [gR\¨if]
[foUtoU] [kC\0f|] [l}\A\af]*
[fR\¨End] [sVfF\Hr] [lif]
[fCF\C7HtSHn]** [kC\0fHn] [stRaIf]
[fjUR\r|] [C\0fF\Hr] [nImf]
[vCIs] [ivHl]** [lVv]
[vinH\Us] [HvCId] [iv]
[vG\1rtSu]** [dIvaIn] [SElv]
[v}l|] [seIvjF\Hr] [gR\¨uv]
[vIlHn] [InveId] [muv]
*AS/RP/MA.
**In historic archaic RP [fC7Hrtjun] [vG\1rtju] [ivIl].
A Discussion about Merges
In this chapter, although the merging of back to back fricative cognate pairs [v]\[f], [z]\[s],
[Z]\[S], [D]\[T], and [W]\[h] is treated separately, any combination of fricative consonants
can merge. In actuality, any combination of sustaining consonants back to back should
merge in order to sustain and aid the legato line. In other words, the fricative consonants
can also merge with the nasals and lateral [l]. An in-depth discussion of this is found in
chapter 13. For the first few exercises, only the fricative consonants will be merged.
SINGING AND COMMUNICATING IN ENGLISH
#2 p. 145
AS/RP
[mÒiÔjuzIk WEn sC\0ft vCIsIz daI]
[vaIbReIts ¥ In DH mEmF\HrR\r|]
[!oUdF\Hrz ¥¡ WEn sÒuÔwit vaIHlHts ¥¡ sIkHn ÒIÔ]
[lIv wIDIn DH sEns ¥¡ DeI k(u)wIkHn ÒIÔ]
[ÒFÔR\¨oUz livz ¥¡ WEn DH ÒFÔR\¨oUz ¥ Iz dEd ÒIÔ]
[!AF\Hr hÒ0Ôipt fCF\C7Hr DH bIlVvEdz bEd ÒIÔ]
[!}nd soU DaI TC\C7ts ¥¡ WEn DAU AF\Hr t gC\0n ÒIÔ]
[ÒFÔR}ntS hÉh}ndz dÉdaI In ¥ H bÉbEF kÉkoUl/ bÉbVNkhAUs]
[ÒFÔR}ntS hÉh}ndz dÉdaI wID !Emt| hÉh}ndzÒIÔ]
[ÒFÔR}ntS hÉh}ndz dÉdaI ¥ HlÉloUnÒIÔ]
[stÒFÔReIndZFz tu DH ÒuÔwGldÒIÔ]
[slImz ARiH] [Hv maIs }n mEn] [kAFlaIl flCId]
*Colloquial American pronunciation is very relaxed. Note that in Colloquial American pronunciation, many ofthe final consonants are glottalized or dropped.
#2 p. 159
AS/RP/MA
[Tim] [juTfUl] [R\¨}\A\aT]*
[TINk] [nVTIN] [mAUT]
[TC\C7t] [mITIkHl] [oU\HUT]
[T}Nks] [lENTHn] [hAF\AHrT]
[TIsHl] [p}\A\aDz\Ts] [bR\¨ET]
[DEm] [fADF\Hr] [wID\T]**
[DoU\HUz] [aI\iDF\Hr] [laID]
[D}t] [lEDF\Hr] [bR\¨iD]
[DoU\HU] [g}DF\Hr] [suD]
[DEF\Hr] [bR\¨VDF\Hr] [taID]
*Vowels for AS/RP/MA.
**The “th” is voiced when followed by a voice consonant or vowel,and unvoiced when followed by an un-voiced consonant, i.e.: with them with him.
[wID ¥¡ DEm] [wIT ¥¡ hIm], p. 158
SINGING AND COMMUNICATING IN ENGLISH
#3 p. 159
AS/RP/MA
[b}\A\aT] [b}\A\aDz]*
[klC\0T] [klC\0Dz]
[mAUT] [mAUDz]
[p}\A\aT] [p}\A\aDz]*
[oU\HUT] [oU\HUDz]**
*Vowels for AS/RP/MA.
**See p. 219 for spoken versus sung [oU] diphthong.
#4 p. 160
AS/RP/MA
[mIT] [mITs] [bR\¨iD] [bR\¨iDz]
[G\1rT] [G\1rTs] [R\®¨aID] [R\¨aIDz]
[dEpT] [dEpTs] [leID] [leIDz]
[wIdT] [wIdTs] [kloU\HUD]* [kloU\HUDz]*
[lENT] [lENTs] [tiD] [tiDz]
*[HU] for spoken RP. See p. 219.
#5 p. 160
Modern AS/MA
[dÉdu ju nÉnoU DH lÉl}nd WEF\Hr DH lÉlEmHn tÒFÔRiz bÒHÔlumÒIÔ]
*[IzReIEl] and [IzRiEl] are spoken pronunciations for “Israel.” Traditionally in oratorio, “Israel” is sung withthe first pronunciation, which is more similar to the Hebrew pronunciation.
#5 p. 166
AS
[mÉmVst DH ÒuÔwIntF kÉkVm ¥¡ soU sÉsunÒIÔ]
[nÉnaIt ¥ }ftF nÉnaIt ¥ aI hÒçÔIF DH hÉhVNgR| dÉdIF]
Though set in “a northern European country,” this is traditionally performed in AS because the composer isAmerican. Dame Kiri Te Kanawa insisted on singing it in AS when she performed it at the WashingtonNational Opera at the Kennedy Center.
Chapter 12
Drill #3 p. 169
AS
[It wA\Vz mEn| }nd mEn| H jIF HgoU]
[In H kINdHm baI DH si]
[D}t H meIdHn DEF lIvd hum ju meI noU]
[baI DH neIm Hv }nHbEl li]
[}nd DIs meIdHn Si lIvd wID noU VDF TCt]
[D}n tu lVv }nd bi lVvd baI mi]
[aI wA\Vz H tSaIld }nd Si wA\Vz H tSaIld]
[In DIs kINdHm baI DH si]
[bVt wi lVvd wID H lVv D}t wA\Vz mCF D}n lVv]
[aI }nd maI }nHbEl li]
[wID H lVv D}t wINd sERHfs Hv hEvHn]
[kVvItHd hG }nd mi]
[EdgF }lHn poU] [}nHbEl li]
Drill #1 p. 172
AS/RP
[stRC\0N] [s}Nk] [}NkF\Hr]
[}NgF\Hr] [T}Nk] [lINgF\Hr]
[lEN(k)T]* [stREN(k)T]* [!l}RINks]
[InglIS] [tVN] [I!lC\0NgeIt]
[l}NgwIS] [mF\Hr !R}N] [dIstINgwIS]
[mVNk|] [pENgwIn] [}nkHl]
[bINgoU] [jVN] [sIN]
*Alternate pronunciation.
SINGING AND COMMUNICATING IN ENGLISH
Drill #1 p. 174
Historic RP/MA-spoken
[HU\oU mIstREs maIn, WEHr AHr ju R\¨oUmIN]
[HU\oU steI }nd hIHr jC7\CHr tRu lVvz kVmIN]
[D}t k}n sIN bHU\oUT haI }nd lHU\oU]
[tRIp nHU\oU f1rDHr pR\¨It| switIN]
[dZ1rn|z End In lVvHrz mitIN]
[EvR| waIz m}nz sVn dVT nHU\oU]
[wIljHm SeIkspIHr] [HU\oU mIstREs maIn, WEHr AHr ju RoUmIN]
Musical example, p. 176
Appalachian dialect
[WIn aÉEv sinÉd� ÒIÔ WVts bijCUnd DIm mÉb�1}UntEnz]
Note that in the musical example, “them mountains” has been modified for vocal ease and facility.
Musical example, p. 177
See #2 p. 178
#1 p. 177
AS/RP/MA
[nÉdÁVn] [nÉdÁaIt] [nÉdÁeIb F\H r]
[nÉdÁeIzHl] [nÉdÁImbHl] [nÉdÁ}tSF\HrRHl]
[mÉbÁ}n] [mÉbÁCF\C7Hr] [mÉbÁ}dZHst|]
[mÉbÁA\0b] [mÉbÁVn|] [mÉbÁ}St]
#2 p. 178
RP
[ÒuÔWEn ¥ aI }m lÉleId ¥ In ’1rT]
[meI maI ÒFÔR\¨C7Nz kÒFÔR\¨ieIt]
[noU tÒFÔR\¨VbHl ¥ In DaI bÒFÔR\¨Est]
[RImÉb1Emb�Hr mi]
[bVt ’A fC7HrgÉgEt maI fÉfeIt]
[daIdoU }nd i\I!niHs] [hEnR| p1rsHl] \ [pHrsEl]
Exercise Guide
SINGING AND COMMUNICATING IN ENGLISH
#3 p. 178
AS
[ÒuÔWV\At wV\Az ¥¡ hi TÉTINkIN ¥ HvÒIÔ]
[D}t hi pÒHÔleIz ¥¡ soU dIstÒFÔR}ktIdl|]
[SÉSUFl| nÉnAt ¥ Hv ¥¡ hIz ÒuÔwaIf]
[DH lCN dIsÉskAFdHd kÒuÔwinÒIÔ]
[SÉSUFl| nÉd�1At ¥ Hv mÉb�1i][huz ¥¡ fÉfUt hi noU lÉlCNgF sÉsiks]
Note: Now the expressive doublings, merges, implosions, breath lifts, liasons, glides, and shadow vowels areadded to the text as discussed and applied in earlier chapters.
*If sung at an extremely slow tempo, the implosion should not be used and both the final and initial conso-nants will need to be sounded.
p. 253
Historic MA
[bIhÉhoUldÒIÔ ’aI tÉtEl ju H mÉmIstHrr|]
[wi S}l ¥¡ nÉn0t ¥ Cl ¥¡ sÉslip]
[bVt wi SÉS}l bi tÉtSeIndZdÒIÔ]
[’In ¥ H mÉmoUmEnt]
[’In ¥¡ DH tÒuÔwINklIN ¥ 0v ¥ }n ’aI]
[’}t DH last tÒFÔR\(¨)VmpEt]
[DH tÒFÔR\(¨)VmpEt S}l ¥¡ sÉsAundÒIÔ]
[’}nd DH dÉdEd S}l bi R\¨eIzdÒIÔ ]
[bi R\¨eIzdÒIÔ ’In\Nk0R\¨VptIbHlÒIÔ]*
[’}nd ÒuÔwi S}l bi tÉtSeIndZdÒIÔ]
[fCHr DIs k0R\¨VptIbHl ¥¡ mVst pUt ¥ 0n ’In\Nk0R\¨VpSHnÒIÔ]*
[’}nd DIs ¥¡ mÉmCHrtHl ¥¡ mVst pUt ¥ 0n ’ImÉmCHrt}lIt|]
[mEsaIH] [h}ndHl]
*On very dramatic words like “incorruption,” rolled “r’s” may be used even though the “r” is between vowels.Also, “incorruption” may be pronounced as [In] or [IN].