Posts Tagged articulator

Articulation of L and N on the Gum Ridge

One of the things we work on a lot in my voice and speech classes is isolating the tongue from the jaw. Put simply, the goal is to train the tongue to do its work on its own, without the jaw helping out. Especially when your jaw is dropped, we want the tongue to be "reaching up" to articulate, rather than the jaw giving it a boost. The hope is that the action of the tongue can be quicker and more deft than the action of the tongue and jaw combined. Generally this is true, though there are some sounds that don't work quite as well at this as others. But generally getting the tongue to be more active while the jaw is more static is a good thing.

To begin, start by dropping your jaw with your lips apart, with your tongue resting behind your lower front teeth. Now, without moving your jaw, lift the front edge of your tongue to behind your upper front teeth, in preparation to make an /n/ sound. Make an /n/ with the jaw relaxed, and then drop the tongue back to its starting place on an "uh" sound. The action should feel "flap-like," with the front of your tongue (the so-called "blade") rising and dropping independently of your jaw. Now try doing three "nuh"s in a row: "nuh-nuh-nuh," being sure that your tongue doesn't linger on the /n/ sound, and that your jaw doesn't move at all.

Okay, so far so good. Now we move onto /l/. Similar to the action of /n/, the main difference is that the /l/ tongue action is more narrow, so that the sound can escape around the edges. The classic singing exercise where people go up and down the scale on "la-la-la-la-lah" is very much like this. Again, start with your jaw dropped, and bring your tongue tip up to the gum ridge, and then drop it down into the bottom of your mouth, /la/. Now string 3 of them together: "luh-luh-luh". Remember: no jaw action.

Now, try doing the two sounds in alteration: "nuh-luh-nuh-luh-nuh-luh". Keep your jaw relaxed, and your tongue is energized. Focus on the flap action, slapping your tongue down into the bottom of your mouth, and don't sustain the /n/ or /l/.

Finally, try adding in the the other two stop plosives that articulate in this same place: /t/ and /d/. [Note that the first, /t/, is rather tricky with your jaw completely dropped—expect the sound of the /t/ to be a little weaker than you might normally expect it to sound.] Try this sequence (each sound 5X): "tuh-tuh-tuh-tuh-tuh," "duh-duh-duh-duh-duh," "tuh-tuh-tuh-tuh-tuh," "duh-duh-duh-duh-duh…" Then try alternating them "tuh-duh-tuh-duh-tuh-duh-tuh-duh-tuh-duh." The last step to this sequence is to insert the /n/ and /l/ sounds into the mix with "tuh-duh-nuh-luh." I'll say it again: drop your jaw, and keep it from moving while you focus on the flap-like action of your tongue!

 

Next Step: Text: Beginnings and Endings

, , , ,

No Comments

Lip Advancing, Rounding, Spreading

There was an ad on tv when I was a kid for Adam's Sour Chewing Gum, whose slogan was "Sour Power!" and "Pucker Power!" Well that should be the slogan for at least part of our step today. We'll be rounding our lips forward into a tight kiss, and then spreading our lips horizontally in a (somewhat psychotic) smile.

Lip rounding is an important part of articulation, and having great control over the action of the lips is vital to the kind of subtlety and control you want in order to do dialects and accents, or character voices that are different from your own, with ease. The muscles we'll be focusing on primarily today are the orbicularis oris muscle, which encircles your mouth, and the buccinator muscle (aka "the bugler's muscle") that spreads the corners of the lips wide, out toward your earlobes.

To do this exercise, you start by rounding your lips forward as if you were going to do a tight kiss, or you were drinking from a tiny cocktail straw. Hold that position for a few seconds, and then relax back to 'neutral'. From here, slowly spread the corners of your lips outward making sure not to turn the corners of you lips upward as you're doing it. The purpose isn't to look happy here, but to spread your lips wide into a very narrow slit. Go as wide as you can and hold that position for a few seconds. Then relax back to neutral.

So now you know the two extremes of the exercise, we slowly speed the action up. Round your lips into a tiny kiss, then spread your lips wide into a psychotic smile, back and forth getting faster and faster and faster.

That's it! The important part is being sure to isolate those two muscles, and trying not to use anything else while you're doing it. Relax your hands, be sure to keep blinking and keep your eyes and forehead relaxed as well!

 

Next Step: Facial Resonance and Twang

, , , ,

No Comments

Articulation of Fffricatives

In this post, I'll take you through a warm-up exercise for your articulators, in particular the consonant sounds that make friction. But first I'll talk you through a little theory about consonants, and fricatives in general. If you already know about these sounds, or just want to skip right to the exercise, click here.

If the phonetic symbols in this post don’t match the symbols in the image above, please make sure that you have installed a Unicode font that includes all the IPA symbols, for example Charis SIL.Also note that some older versions of Internet Explorer and Safari have bugs that prevent the proper display of certain phonetic symbols. If you’re experiencing problems, I recommend you try the free browsers Firefox or Opera.

Consonant sounds can be categorized by three qualities:

  • Where in the mouth they are made, known as "Place",
  • How they are made, known as "Manner", and
  • Whether the vocal folds are vibrating or not, known as "Voicing."

One of the "manners" of consonants are Fricatives, sounds that are made in such a way that they generate a friction by causing air turbulence as the sound is made. In English, the fricative consonants are heard in the paired words THose things, Vine fine, Zoo sue, Jacques shack. As you may notice, each of those fricative pairs is made in the same place, and all that makes them different from one another is their voicing. For example, TH in "those" is voiced (vd.), while th in "things" is voiceless (vs.). If you can't tell the difference right away, put your finger on your throat so that you can feel the vibration of the voiced sounds.

I'll be using the International Phonetic Alphabet to refer to these sounds, so if you're unfamiliar with these symbols, listen up:

Spelling as in… IPA Symbol Made with…
th (vs.) thing θ tongue between the teeth
TH (vd.) those ð "
f (vs.) fine f lower lip and upper front teeth
V (vd.) vine v "
s (vs.) Sue s the tongue grooving right behind the upper front teeth
Z (vd.) zoo z "
sh (vs.) shack ʃ the tongue grooving behind the alveolar ridge
ZH (vd.) Jacques ʒ "

Getting your head around these pairs, [θ ð, f v, s z, ʃ ʒ] isnʼt too difficult. Only 4 of them are new symbols!

The Exercise

For this exercise, we're going to alternate between these pairs, in order to drill each sound's articulation, and embed its muscularity into your muscle memory. We'll work each pair individually, and then we'll put the pairs together into a much more challenging exercise. The vowel we'll work with today is our old standby, "uh," as in "cup, mother," (IPA [ʌ]). However, you could do this exercise with any vowel sound, if you wanted to.

We'll start by repeating [θʌ ðʌ] ("thuh THuh") over and over, tryinɡ to really feel the vibration on the voiced [ð] sound. Now we'll reverse that, and initiate with the voiced sound: [ðʌ θʌ] ("THuh thuh"), repeated over and over. Finally, we'll pair the two patterns: [θʌ ðʌ - ðʌ θʌ] ("thuh THuh – THuh thuh.")

From here on, we'll do exactly the same pattern with each of the other pairs. It's a fairly simple pattern: vs. vd., vd. vs., and vs. vd. – vd. vs. So that's:

[θʌ ðʌ], [ðʌ θʌ], [θʌ ðʌ - ðʌ θʌ]
[fʌ vʌ], [vʌ fʌ], [fʌ vʌ - vʌ fʌ]
[sʌ zʌ], [zʌ sʌ], [sʌ zʌ - zʌ sʌ]
[ʃʌ ʒʌ], [ʒʌ ʃʌ], [ʃʌ ʒʌ - ʒʌ ʃʌ]

Repeat each group in square brackets 5 times ( [θʌ ðʌ, θʌ ðʌ, θʌ ðʌ, θʌ ðʌ, θʌ ðʌ].)

Once you've mastered that, try grouping all the pairs into one drill:

[θʌ ðʌ, fʌ vʌ, sʌ zʌ, ʃʌ ʒʌ] (repeat 5x.)

Finally, combine the reversals into a single drill:

[θʌ ðʌ - ðʌ θʌ, fʌ vʌ - vʌ fʌ, sʌ zʌ - zʌ sʌ, ʃʌ ʒʌ - ʒʌ ʃʌ] (and repeat as often as you can bear it!)

Fricative sounds demand a little time to make them. As you work on these drills, be sure to allow each sound to take enough time without overdoing it.

  • You can download this step of the warm-up in a condensed form which you can practice along with.

Next Step: Jawless Text

, , , ,

No Comments

Articulator Basics

 

To see the phonetic symbols in this post, please make sure that you have installed a Unicode font that includes all the IPA symbols, for example Charis SIL.

Browsers: Some older versions of Internet Explorer and Safari have bugs that prevent the proper display of certain phonetic symbols. If you’re experiencing problems, I recommend you try the free browsers Firefox or Opera.

Warming up your articulators is often what people, even the most uninformed, know about voice work. Good Diction, as many people will tell you, means being able to speak clearly, to articulate, using "the jaw, the lips, the tip of the tongue." In this brief articulator warm-up, we'll focus on energizing the tongue for plosive consonants, namely /p, t, k/ and /b, d, g/.

Pop Your P's!

Plosives are consonants that stop the airflow of the voice and may or may not release it with a puff of air or voice. Put the palm of your hand in front of your mouth and say "pop!" You should feel the puff of air that both begins and ends that word, though it is possible that you might make that word with only one explosion, and merely stop the air for the final /p/. If that was the case on your first attempt, try again, but this time make a point of popping both p's with a puff of air.

You might notice that /p, t, k/ are voiceless consonants, that is they are ones that are made without vibration of your vocal folds. Each of those consonants has a corresponding voiced consonant, /b, d, g/ respectively. Try whispering the consoant sounds of /b, d, g/ as in "bad, dad, gad." You'll notice that they aren't exactly the same as the sounds in a whispered "pad, tad, cad"—that's because initial /p, t, k/ in English have a very strong puff of air, or aspiration, associated with them, while /b, d, g/ do not. Those three pairs, /p, b/, /t, d/, and /k, g/ are known as "cognate pairs," because each pair is made in the same place in the mouth, and they're both plosive sounds, and all that is different between them is their voicing. The three places in the mouth are the lips, aka bilabial, the tongue tip on the gum ridge, aka alveolar, and the back of the tongue and the soft palate, aka velar.

To warm-up your articulators, one of the primary tricks we use is to drill quick alternations between consonant or vowel and another in rapid succession. That's what well do here. We'll start with the lips and the front of the tongue, using voiceless consonants. The vowel we’ll use is the neutral “huh” vowel, which the IPA represents with the symbol [ʌ], which I call “hut” (because that word has the sound “uh” in it, and I imagine the symbol like the peaked roof of a small hut!) Try repeating the following phrase (an mp3 of me doing this exercise can be heard here):

|: pʌ — tʌ, pʌ — tʌ, pʌ — tʌ :|

Now try the voiced version:

|: bʌ — dʌ, bʌ — dʌ, bʌ — dʌ :|

Now, we’ll alternate the gum ridge sounds with the soft palate sounds—first with voiceless sounds /t, k/:

|: tʌ — kʌ, tʌ — kʌ, tʌ — kʌ, :|

And now, with the voiced sound /d, g/:

|: dʌ — ɡʌ, dʌ — ɡʌ, dʌ — ɡʌ, :|

Now, we’ll put all three sounds together in a single drill:

|: pʌ–tʌ–kʌ–tʌ,    pʌ–tʌ–kʌ–tʌ,   pʌ–tʌ–kʌ–tʌ, :|

|: bʌ–dʌ–ɡʌ–dʌ,    bʌ–dʌ–ɡʌ–dʌ,   bʌ–dʌ–ɡʌ–dʌ, :|

Finally, to combine these exercises into a single drill, try these:

|: pʌ–tʌ–kʌ–tʌ, kʌ–tʌ–pʌ–tʌ    pʌ–tʌ–kʌ–tʌ, kʌ–tʌ–pʌ–tʌ    pʌ–tʌ–kʌ–tʌ, kʌ–tʌ–pʌ–tʌ :|

|: bʌ–dʌ–ɡʌ–dʌ, ɡʌ–dʌ–bʌ–dʌ    bʌ–dʌ–ɡʌ–dʌ, ɡʌ–dʌ–bʌ–dʌ    bʌ–dʌ–ɡʌ–dʌ, ɡʌ–dʌ–bʌ–dʌ :|

You should be able to do this quickly, and with great ease. Try not to belabour it, or work to hard; let your jaw relax, and make sure to energize your lips so that the /p/ and /b/ really make your lips MOVE, while your jaw stays still.

 

NEXT STEP: Taking it to Text Basics

, , , ,

No Comments