to German Diction - Oxford University Press · 2019. 11. 19. · The Singer's Guide to German Diction: Supplements Vowels in Singing This and the next chapters build on the diction

The Singer’s Guide to

German Diction Supplements

Valentin Lanzrein and Richard Cross

The Singer's Guide to German Diction: Supplements

Contents

LYRIC DICTION IN MUSICAL CONTEXT Vowels in Singing

The Glottal Separation in Singing Diphthongs in Singing Schwa and Vocalic-R in Singing Word Stress in Singing

Consonants in Singing Initial Consonant Anticipation Final Consonant Suspension Consonant Clusters Consonant Assimilation: Merges and Implosions Anticipation of Sustainable Consonants for Expressiveness

SUPPLEMENTAL EXERCISES AND WORKSHEETS Musical Exercises

Musical Exercises for [iː], [i], [i ̯], and [ɪ] Musical Exercises for [eː], [ɛː], [ɛ], and [ə] Musical Exercises for [ɑː] and [a] Musical Exercises for [oː] and [ɔ] Musical Exercises for [uː] and [ʊ] Musical Exercises for [øː] and [œ] Musical Exercises for [yː] and [ʏ] Musical Exercises for [a͡e], [ɑ͡o], and [ɔ͡ø]Musical Exercises for [f] and [v] Musical Exercises for [s] and [z] Musical Exercises for [ʃ] and [ʒ] Musical Exercises for [ʝ], [ç], and [x] Musical Exercises for [h] and [ǀ] Musical Exercises for [p] and [b] Musical Exercises for [t] and [d] Musical Exercises for [k] and [ɡ] Musical Exercises for [m], [n], and [ŋ] Musical Exercises for [l] Musical Exercises for [r], [ɾ], and [ɐ] Musical Exercises for [p͡s], [p͡f], [ts͡], [t͡ʃ], [k͡s], and [k͡v]

Worksheets Worksheet 2.5: Word Structure Worksheet 2.6: Word Stress Worksheet 4.1: [iː], [i], [i̯], and [ɪ] Worksheet 4.2: [eː], [e], [ɛː], [ɛ], and [ə] Worksheet 4.3: [ɑː] and [a]


Worksheet 5.1: [oː], [o], and [ɔ] Worksheet 5.2: [uː], [u], and [ʊ] Worksheet 6.1: [øː] and [œ] Worksheet 6.2: [yː], [y], and [ʏ] Worksheet 7.1: [a͡e], [ɑo͡], and [ɔ͡ø] Worksheet 9.1: [f] and [v]Worksheet 9.3: [s], [z], [ʃ], and [ʒ] Worksheet 9.4: [ʝ], [ç], and [x] Worksheet 9.6: [h] and [ǀ] Worksheet 10.3: [p], [b], [t], [d], [k], and [ɡ] Worksheet 11.3: [m], [n], and [ŋ] Worksheet 12.2: [l], [r], [ɾ], and [ɐ] Worksheet 13.1: [p͡s], [p͡f], [t͡s], [t͡ʃ], [k͡s], and [k͡v] Worksheet: Review Section II. Vowels Quiz: Section II. Vowels Quiz: Vowel Length Exceptions


LYRIC DICTION IN MUSICAL CONTEXT


Vowels in Singing

This and the next chapters build on the diction rules that we introduced earlier in this book and specifically

describe the challenges that singers face when language is united with a vocal line. We are also aware of

the limitations of musical notation and the International Phonetic Alphabet in supporting a creative

process, which can only be realized by the imagination of the artist. The purpose of diction study is,

ultimately, to convey the meaning of the text to the ear of the listener. This means that often slight

adjustments to both pronunciation and enunciation must be made. This in no way compromises the rules of

diction but uses them to the desired end. The suggestions in this section are intended to help the singer

sound beautiful, natural, and correct. A too detailed analysis of all the technicalities of diction might easily

get in the way of what is the most noticeable characteristic of a native speaker: the natural and unhindered

communication of the meaning of the text. It is the intention of the authors to provide the reader with some

technical suggestions that will inspire clear communication enabled by unrestricted diction, resulting in

natural and expressive performance.

The Glottal Separation in Singing

The basic rules for the use of the glottal separation have been discussed in Chapters 3 and 9. Here we will

refine these rules and apply them to singing.

The glottal separation is a matter of clear speech. In singing, the need for its application and its intensity is

influenced by the musical style, the tempo, the musical setting, and the importance of the word within the

phrase. In most cases a light glottal separation will be sufficient. On rare occasions a slightly stronger

separation might be needed for clarity, but never a hard glottal attack. In other places, however, the glottal

separation may be minimized for the sake of a better legato flow, provided that the text is still

understandable. No absolute rules can be given for the application of the glottal separation in singing

beyond the basic pronunciation rules. Instead, we will give possible solutions in the following examples,

which may serve as aids in similar situations.

In German it is easy to construct a nonsense compound word by ignoring the glottal separation. In other

cases such a compound word can actually sound like an existing word. Therefore a glottal separation must

be used whenever a misunderstanding might occur from the lack of a clear separation. If, in the following

example from Wolf’s Fußreise, there were no separation between the words und and Erhalter, one would

understand Unterhalter, which means “entertainer” instead of “and protector.” If, on the other hand, the

glottal separation before und were to be missing as well, the meaning becomes even further distorted to

Runterhalter, which is a nonsense word and means, if anything, “underkeeper.”

Music Ex. 17.1.1: Hugo Wolf, Fußreise


In the next example from Schubert’s Die Forelle, the absence of a clear separation of the words does not

create a compound word, but the text becomes totally unintelligible due to the fast succession of the three

short words beginning with a vowel.

Music Ex. 17.1.2: Franz Schubert, Die Forelle

Usually the important words receive a stronger glottal separation than less important words in the phrase.

Naturally composers also set important words on the musically stressed beats. In Schumann’s Widmung

(Music Ex. 17.1.3), the final word Ich is the object of the sentence. The poet calls the loved one his good

spirit and his better self. In Mozart’s An Chloe (Music Ex. 17.1.4) the glottal separation on the words ich

and in can both be minimized. But the word Arm is the object of the phrase, and therefore it requires a full

glottal separation. In Strauss’s Morgen (Music Ex. 17.1.5), the word Augen is also the object of the phrase

and requires a full glottal separation. The words uns and in must have clear minimized glottal separations

to avoid sounding the word Unsinn, which means “nonsense.” In Strauss’s Allerseelen (Music Ex. 17.1.6),

the word Astern is the object of the sentence and is powerful symbolically and therefore needs a clear

glottal separation.

Music Ex. 17.1.3: Robert Schumann, Widmung

Music Ex. 17.1.4: W. A. Mozart, An Chloe


Music Ex. 17.1.5: Richard Strauss, Morgen

Music Ex. 17.1.6: Richard Strauss, Allerseelen

Separable prefixes are also stressed and important within the phrase. Therefore they too are usually set on

the strong beat of the measure and require clear glottal separations. In the example from Schubert’s Der

Tod und das Mädchen (Music Ex. 17.1.7), the prefix an belongs to rühren and is a conjugation form of the

verb anrühren (to touch). In Brahms’s Von ewiger Liebe (Music Ex. 17.1.8), um is the separable prefix of

umschmieden (to refashion) and umwandeln (transform); in Beethoven’s Aus Goethes Faust (Music Ex.

17.1.9), an is the prefix of anmessen (to measure); and in Brahms’s Abenddämmerung (Music Ex. 17.1.10)

aus is the prefix of ausbreiten (to spread).

Music Ex. 17.1.7: Franz Schubert, Der Tod und das Mädchen


Music Ex. 17.1.8: Johannes Brahms, Von ewiger Liebe

Music Ex. 17.1.9: Ludwig van Beethoven, Aus Goethes Faust

Music Ex. 17.1.10: Johannes Brahms, Abenddämmerung

The glottal stop may be minimized in some occasions when a less important, unstressed word beginning

with a vowel is preceded by a word ending on r. In the following three examples a light r tongue tap

followed by the lightest possible glottal separation will be sufficient and also allow a smooth connection

to the following sound. Please note that the latitude offered does not extend to omitting the glottal

separation.

Music Ex. 17.1.11: Robert Schumann, Freisinn


Music Ex. 17.1.12: Robert Schumann, Die Stille

Music Ex. 17.1.13: Robert Schumann, In der Fremde

In the next three examples the minimized glottal separation before important words is still permissible

without any loss of intelligibility. In Schumann’s Intermezzo (Music Ex. 17.1.14), the leap up naturally

supports the separation of eilig from the preceding word ending on r. In Wolf’s Der Gärtner (Music Ex.

17.1.15), the main stress of the phrase goes on tausend, and a strong glottal separation on eine would cause

too many accents and interrupt the flow of the language. Therefore the minimized glottal separation is

advisable. However, in the repeat of the phrase the singer might choose a stronger separation on the word

eine for greater emphasis. The word alle should receive a strong glottal separation every time. In Wolf’s

Fußreise (Music Ex. 17.1.16), a strong glottal stop would put too much emphasis on ersten when the main

stress is on Morgensonne. It is important, however, that the single tongue tap r is neither emphasized nor

pulled into the following vowel.

Music Ex. 17.1.14: Robert Schumann, Intermezzo


Music Ex. 17.1.15: Hugo Wolf, Der Gärtner

Music Ex. 17.1.16: Hugo Wolf, Fußreise

Note: If you decide to substitute the vocalic r [ɐ] for the tongue tap r [ɾ], as many German singers do, you

will then have to employ a stronger glottal separation before the initial vowel of the word following the [ɐ].

In either case the separation must be perfectly clear. Avoid a breathy onset as this might cause some

misunderstanding: the word eine (one) might easily sound like Haine (groves), and eilig (hurried) might be

mistaken for heilig (holy).

In some cases, a large leap up can be enough to separate a word beginning with a vowel from the preceding

word, especially if this word ends on a voiceless consonant. However, the awareness of the word

separation has to remain, and the preceding consonant must not be pulled into the following syllable. In

Schumann’s In der Fremde (Music Ex. 17.1.17), the glottal separation on auch can be minimized on the

leap up, but when the text is repeated and moves down stepwise a stronger glottal separation should be

used for clarity. In Strauss’s Die Nacht (Music Ex. 17.1.18), the large leap up supported by the preceding

aspirated voiceless consonant provides adequate separation, as long as the p-sound [p] of gib is not

dragged into the next word, [ɡiːpʰǀaxt] not [ɡiː paxt].



Music Ex. 17.1.18: Richard Strauss, Die Nacht

An onset happens naturally after a breath or after a rest. Often when there are several words following each

other, which, according to the rule, would require a glottal separation, our ears have to decide what seems

most appropriate. A strong separation before each word would certainly not sound very pleasing. In

Schubert’s An Sylvia (Music Ex. 17.1.19). The word ihrem begins a new phrase after a longer rest and eilt

follows a shorter rest and a new breath intake within the phrase: a new onset happens naturally in both

cases. Aug is a stressed noun and needs a clear glottal separation. Amor is also stressed, but when a word

that begins with a vowel follows a word that ends with a voiceless consonant, the glottal separation occurs

without conscious effort because the vocal folds have stopped vibrating. When the subsequent vowel

begins, the onset is enough to create the glottal separation; thus, a clear aspirated t in eilt already supplies

the separation before Aug.

Music Ex. 17.1.19: Franz Schubert, An Sylvia

The following phrase from Schubert’s Frühlingsglaube is another example where several words follow

each other, which in spoken text would require a glottal separation. In singing a strong separation before all

the words would not sound satisfying for the beautiful legato line. The preposition an is unstressed and

does not need much of a separation. Enden is a noun, and allen is the adjective that describes it. Since the

text is repeated, it would be advisable to stress according to the musical notation that Schubert so

beautifully uses to emphasize different words. Therefore a stronger glottal separation would be most

suitable for the words set on the downbeat. A natural separation happens automatically if you take a new

breath before an. All other words receive only a light separation.

Music. Ex. 17.1.20: Franz Schubert, Frühlingsglaube


Diphthongs in Singing

We provided a detailed discussion on the pronunciation and enunciation of German diphthongs in Chapter

7. As in English, the off-glide is unstressed, but in German it tends to be later and shorter. In singing, the

syllabic vowel (main vowel) should be sustained for as much of the note value as possible, leaving only a

very short portion for the off-glide. The off-glide should occur as late as possible, but still within the note

value and on the same pitch as the syllabic vowel. No exact note values for the proportions of syllabic

vowel and off-glide can be given. The proportions depend on meter, note value, tempo, style, and the

singer’s personal taste. The transition from main note to off-glide should be natural and smooth and must

never sound calculated. The energy should not be interrupted by too abrupt a transition. Any attempt to

write out the proportions of the diphthong in musical notation has to ultimately fail because the transition

between syllabic vowel and off-glide happens naturally between the notes and beats.

A good way to get a feel for the right proportions is to practice the following exercise. Get a tennis ball and

let it bounce on the ground. For each bounce, speak monosyllabic words with diphthongs; for example,

counting to three in German: eins, zwei, drei, [a͡ens], [t͡sva͡e], [dra͡e]. The syllabic vowel should take up

almost the entire duration of the bounce, and the off-glide happens when the ball slows down, right before

you catch it again. This is a natural timing for the spoken diphthong.

Apply this principal to the following musical exercises. Sustain the syllabic vowel for as long as possible

and allow a late but smooth transition into the off-glide that must still sound on the same note as the

syllabic vowel. The period in IPA, [.], shows the beginning of a new syllable or word. The vowel of the

new syllable has to sound on the beat.


Music Ex. 17.2.2: Franz Liszt, Die Lorelei


Schwa and Vocalic-R in Singing

The schwa [ə] and the vocalic-R [ɐ] are somewhat undefined sounds in German because of their neutral

quality. In singing, this creates two problems: first, because the vowel is less defined, the tongue tends to

fall back, creating an unsutainable sound, and second, neutral vowels, though always unstressed, must be

part of the legato line. Thus, it is necessary for the singer to make a sufficient adjustment to the neutral

vowel to keep it in the vocal line.

The attentive singer will notice that German singers have many different ways of articulating the schwa.

Some round the lips slightly toward [œ]; others, particularly in the south of Germany, pronounce medial

schwa as [e], e.g., gehabt [ɡeˈhapt], and many other regional varieties may be heard in the vernacular.

These are local pronunciations that should not be copied by the professional singer.

We have discussed (see Chapter 4) how the schwa slightly harmonizes with the vowel of the preceding

syllable. The harmonization with the preceding syllable mainly reflects the various degree of lip rounding

or the absence of it. Rounded vowels tend to continue the rounded quality into the subsequent schwa. We

offer the following recommendations as general guidelines for singing schwa, but they should be employed

with care. The ear has to be the final judge. As a general guide, a schwa following a tongue vowel may be

faintly colored toward an [(ɛ)], while a schwa following a lip vowel may be faintly colored toward an

[(œ)]. Please note that, in this case, the IPA symbols are in parentheses. The suggested sounds are to be

understood as only the slightest coloration for the schwa in singing and should not take on the pure quality

of [ɛ] and [œ] as they were described earlier.

[ə] [(ɛ)]

In singing, [ə] may be modified slightly toward a veiled open vowel [(ɛ)] in harmonization with a preceding tongue vowel: [i], [ɪ], [e], [ɛ],[ɑ], [a]

Liebe [ˈliːbə → ˈliːb(ɛ)] Lippe [ˈlɪpə → ˈlɪp(ɛ)] Rede [ˈreːdə → ˈreːd(ɛ)] retten [ˈrɛtən → ˈrɛt(ɛ)n] Labe [ˈlɑːbə → ˈlɑːb(ɛ)] Gasse [ˈɡasə → ˈɡas(ɛ)]

in harmonization with the preceding diphthong [ae͡]

meine [ˈmae͡nə → ˈma͡en(ɛ)]

in the unstressed prefixes be, ge

be/denken [bəˈdɛŋken → b(ɛ)ˈdɛŋken] ge/hören [ɡəˈhøːɾen → ɡ(ɛ)ˈhøːɾen]


[(œ)] In singing, [ə] may be modified slightly toward a veiled mixed vowel [(œ)] in harmonization with a preceding lip vowel: [o], [ɔ], [u], [ʊ]

Rose [ˈroːzə → ˈroːz(œ)] Rosse [ˈrɔsə → ˈrɔs(œ)] Ruhe [ˈruːə → ˈruː(œ)] Gruppe [ˈɡrʊpə → ˈɡrʊːp(œ)]

in harmonization with a preceding mixed vowel: [y], [ʏ], [ø], [œ] Söhne [ˈzøːnə → ˈzøːn(œ)] Hölle [ˈhœlə → ˈhœl(œ)] Wüste [ˈvyːstə → ˈvyːst(œ)] wüsste [ˈvʏstə → ˈvʏst(œ)]

in harmonization with a preceding rounded diphthong: [ɑo͡], [ɔ͡ø]

Tɑube [ˈtɑ͡obə → ˈtɑ͡ob(œ)]

Beute [ˈbɔ͡øtə → ˈbɔ͡øt(œ)]

In the following excerpt from Strauss’s Ruhe meine Seele, the tempo is slow, and a sublime legato line is

required to convey the mood of the song. The final schwa of Ruhe needs to maintain a more defined vowel

quality to better match the other vowels and to compensate for the big leap down. Therefore the singer may

modify the schwa toward a veiled [(œ)] in harmonization with the lip vowel [uː] in the first syllable. In the

words meine and Seele, the vowels in the first syllable are the diphthong [a͡e] and the tongue vowel [eː]. In

order to achieve more consistent tone quality, the singer may modify schwa slightly toward the quality of a

veiled [(ɛ)].

Music Ex. 17.3.1: Richard Strauss, Ruhe, meine Seele


The tempo in the following excerpt from Schumann’s Dichterliebe is rather fast, but each final schwa

constitutes a syllable. If the tone quality is not vibrant enough, these syllables tend to disappear. Therefore

a more defined vowel sound for the schwa is advisable.

Music Ex. 17.3.2: Robert Schumann, Dichterliebe

In this book we included the use of vocalic-R, [ɐ] as an optional substitute for [əɾ] in words ending with -

er, as in Vater [fɑːtəɾ → fɑːtɐ]. In multisyllabic words, the final -er is always syllabic (constituting a

syllable), and the composer sets it on a separate note. There are times, few in number, when the final -er

will be sustained due to the slow tempo or note values longer than one beat. If the singer is singing

Wagner, the prudent choice would be to sing schwa in a sustainable form and end with a firm one-tap trill,

[ɾ]. If, on the other hand, one is singing a Lied where a lighter consonant sound is desired, the singer may

choose to use vocalic-R. In this case, however, the schwa [ə] must be pronounced as the syllabic and may

assume a more defined vowel quality, i.e., [(ɛ)] or [(œ)], followed by [ɐ]. The following recommendations

may serve as general guidelines for singing vocalic-R when it is syllabic in final -er combinations. Please

note that the symbols [(ɛ)] and [(œ)] are used only as a suggestion of the vowel color and not intended as

pronunciation of the vowel using stressed [ɛ] or [œ].

[ɐ] [(ɛ)ɐ]

In singing, final -er, which is normally pronounced as [ɐ], may be sustained according to the

musical notation as [(ɛ)ɐ] in harmonization with a preceding tongue vowel: [i], [ɪ], [e], [ɛ],[ɑ], [a]

lieber [ˈliːbɐ → ˈliːb(ɛ)ɐ] Ritter [ˈrɪtɐ → ˈrɪt(ɛ)ɐ] Feder [ˈleːbɐ → ˈfeːd(ɛ)ɐ] Retter [ˈrɛtɐ → ˈrɛt(ɛ)ɐ] Räder [ˈrɛːdɐ → ˈrɛːd(ɛ)ɐ] Wasser [ˈvasɐ → ˈvas(ɛ)ɐ] Vater [ˈfɑːtɐ → ˈfɑːt(ɛ)ɐ]

in harmonization with the preceding diphthong [ae͡]

meiner [ˈma͡enɐ → ˈmae͡n(ɛ)ɐ]


[(œ)ɐ] In singing, final -er, which is normally pronounced as [ɐ], may be sustained according to the

musical notation as [(œ)ɐ] in harmonization with a preceding lip vowel: [u], [ʊ], [o], [ɔ]

Ruder [ˈruːdɐ → ˈruːd(œ)ɐ] Mutter [ˈmʊtɐ → ˈmʊt(œ)ɐ] oder [ˈoːdɐ → ˈoːd(œ)ɐ] Otter [ˈɔtɐ → ˈɔt(œ)ɐ]

in harmonization with a preceding mixed vowel: [y], [ʏ], [ø], [œ] über [ˈyːbɐ → ˈyːb(œ)ɐ] schöner [ˈʃøːnɐ → ˈʃøːn(œ)ɐ]

in harmonization the with a preceding rounded diphthong: [ɑ͡o], [ɔ͡ø]

Bauer [ˈbɑ͡oɐ → ˈbɑ͡o(œ)ɐ]

Räuber [ˈrɔ͡øbɐ → ˈrɔ͡øb(œ)ɐ]

Music Ex. 17.3.3: Franz Schubert, In der Ferne

In the excerpt above the final -er in blinkender and sinkender (measure 4) can still be sung on a vocalic-R

[ɐ]. However, in the last two measures the final -er of sinkender is set on a note value much longer than in

speech. In harmonization with the tongue vowel [ɪ] the neutral vowel [ɐ] in the last syllable will best be

sustained as [(ɛ)ɐ], thus [ˈzɪŋkənd(ɛ)ɐ].

In the following example at the beginning of Brahms’s Immer leiser wird mein Schlummer, the final -er

may be sung with vocalic-R. However, due to the slower tempo, the quarter note value becomes fairly

long, and it might be needed to give the syllabic of the final -er in Schlummer slightly more color in order

to sustain it. In harmonization with the lip vowel [ʊ], the final -er will best be sustained as [ˈʃlʊm(œ)ɐ].

Music Ex. 17.3.4: Johannes Brahms, Immer leiser wird mein Schlummer


Word Stress in Singing

In this section we offer some help in discovering how the natural rhythm of speech is enriched by the

intelligent use of rhythm in the music of great composers. No language can exist without both consonants

and vowels. It is these elements that make up the natural rhythm of speech. And it is the natural rhythm of

speech that leads to understandable articulation in singing. All of the common singing languages have long

and short and open and closed vowels. Sometimes neglected, but just as important as any other element of

diction, is the stress pattern. Italian and French, for example, have a stress of duration, which depends only

on vowel length, while English has a stress pattern, which is based on accentuation and relative pitch

level—thus the term TONIC ACCENT. German, like English, has a tonic accent, but in German stressed

vowels can be long or short, and the language also relies upon the length of the vowel for rhythmic thrust.

This is especially important in a musical setting of the text, where often a compromise has to be made

between music and text to allow for a pleasing melodic line or dramatic expresssion. We cite the first two

lines of “Ungeduld” in Schubert's Die schöne Müllerin.

Music Ex. 17.4.1: Franz Schubert, Ungeduld

This is a good example in which Schubert uses the natural rhythm of the language in its purest form and

decorates it with melody. Important monosyllabic words or stressed syllables of multisyllabic words are

placed on relatively longer and/or higher notes; unaccented syllables and unimportant monosyllabic words

are placed on the shorter note values and relatively lower pitches.

Everything would be perfect if composers would just place all the important syllables on important notes

and all the unimportant syllables on short and unimportant notes. Unfortunately, the singer cannot count on

this. Osmin in Die Entführung aus dem Serail sings:

Music Ex. 17.4.2: W. A. Mozart, Die Entführung aus dem Serail


Mozart chooses to set it with the accent on the third syllable of sonderlich, which would normally have the

accent on the first syllable. This makes Osmin seem awkward and not very musical, which is a subtle but

marvelous character comment by the music. Nevertheless, it is incumbent upon the singer to make it sound

intelligible.

In Tamino's aria in Zauberflöte, Mozart placed the schwa of Liebe on the highest note of the phrase, and it

is up to the tenor to make it understandable.

Music Ex. 17.4.3: W. A. Mozart, Die Zauberflöte

A helpful exercise, which improves understanding of word stress, is to learn to speak the text so that the

stresses and inflection are correct. Then intone the text to the rhythms of the music, seeking to make it

understandable where the stress does not perfectly agree with the notation. Once this is accomplished, you

may feel confident that the sung text will be understandable. Remember, it is not how loud or explosive the

consonants are that makes the text clear. Clarity is achieved when the consonants are in the right place and

correctly articulated and the vowels are of the right length and quality.

Let us consider for a moment the beautiful song by Peter Cornelius, Ein Ton. After assuring ourselves that

the composers are striving to compose music that is compatible with the natural stress of the text, we find a

song that is composed on one note only. Not only is it one note, but also according to the poem, by the

composer, it is “the one” note. So where is the stress? First, the singer must have a fundamental

understanding of the terrible loss in the poem. Second, the singer must understand the natural flow of the

language. The poem, if read expressively but exactly in rhythm, will sound exactly as it should in German.

But it still will only sound right if the performers know what they are trying to say. The singer’s duty in

this song is a beautiful legato with clear—yes, crystal clear—text. The melody, however, is in the hands of

the pianist. The pianist has stress marks in the form of accents, crescendi, and decrescendi, which will help

the singer by stressing certain words and phrases. While that is happening, the harmonic changes are also

working magic. For though the singer sings only one note, that note seems to rise and fall as the harmony

changes. So it is necessary for the singer to pay even more attention to the piano than usual. In this case, in

a certain sense, the text accompanies the music, that is to say, the singers must do nothing to disturb the

delicate emotional content of the song, which flows from the piano. All this said, the song also becomes an

exquisite study of word stress in the German language.


Music Ex. 17.4.4: Peter Cornelius, Ein Ton


Consonants in Singing

When considering consonant-related concepts, it is important to remember that it is the vowels that carry

the legato line, and singers must find a way to effortlessly insert clearly understood consonants in a way

that least shortens the vowel.

Perhaps this is the place for a caveat. The suggestions in this section are just that, suggestions. They will

work differently for different singers. They may be couched in terms and language that some teachers find

at odds with their teaching vocabulary. We hope the student, the teacher, and the professional singer will

understand the spirit in which they are offered. that is, as optional suggestions, which may be helpful. Do

not understand the examples to be detailed instructions for performance, but rather as options, which, if

internalized, may make certain diction circumstances easier and clearer. No diction tips, whether in a book

or in class, can take the place of musical singing and a thorough understanding of the text. The singer's art

must be the result of introspection and study, in depth, of the repertoire.

Initial Consonant Anticipation

In this section we intend to show how consonants can be slightly anticipated or delayed to promote good

legato singing without distorting the text.

The beginning of a note value is always perceived from the moment the voice sounds. The note value will

begin with the first pitched sound, also called the SONORANT. In many cases the first pitch carrying sound

is the vowel, which begins on the beat and should fill as much as possible of the note value; in other cases

the first sonorant is a voiced consonant, which also carries pitch, and therefore should fall on the beat or

immediately before.

The first sonorant, however, is not always the initial sound. In fact in German many words and syllables

begin with a voiceless consonant. For example, in the words schön and Schmerzen the first sonorants, [øː] and [m], follow the voiceless fricative [ʃ].

Because a vowel or a voiced consonant marks the beginning of the sounding pitch, initial1 voiceless

consonants must be anticipated in order to not delay the beginning of the note value. This concept

especially applies to voiceless sustainable consonants, also called CONTINUANTS. In German the voiceless

continuants are the fricatives [f], [s], [ʃ], [ç], [x], and [h] and the affricates [t͡s], [t͡ʃ], [p͡f], [p͡s], and [k͡s],

which take more time to enunciate than the voiceless plosives [p], [t], and [k]. Voiceless plosives, when

enunciated efficiently, will barely take any time from the note value and should be tightly linked with the

following sound. However, the voiceless continuants will delay the sounding pitch if not anticipated before

the beat. The following table illustrates the voiced and unvoiced continuants.

1 Initial in this context refers to the initial sound of the syllable that is placed on a note.


Continuants (Sustainable Consonants)

Voiceless (anticipated) Voiced (on the beat)

Fricatives [f], [s], [ʃ], [ç], [x], [h] [v], [z], [ʒ], [ʝ]

Nasals [m],[n], [ŋ]

Lateral [l]

Trill [r]

Affricates [ts͡], [t͡ʃ], [p͡f], [p͡s], [ks͡] [kv͡]

A good excerpt to use to practice the anticipation of voiceless continuants is the following excerpt from

Beethoven’s An die ferne Geliebte (Music Ex. 18.1.1). In this example the singer sings on one pitch,

making the concept even more apparent. The arrow indicates the anticipation of the consonant. The period

in IPA, [.], shows the beginning of a new syllable or word.

Music Ex. 18.1.1: Ludwig van Beethoven, An die ferne Geliebte

The h in ruhig is a lengthening -h of the preceding u vowel and therefore it is not sounded. The t in Tal is a

short voiceless plosive, which should be closely linked with the following vowel. The sustainable voiceless

fricative [ʃ] in the words schweigen and Schmerzen can be anticipated to sound before the following voiced

consonant, which normally will be linked to the vowel. The [ʃ] in Ge/stein is the initial sound of the second

syllable, stein [ʃta͡en]. The [ʃ] is anticipated before the plosive [t], which is closely linked to the vowel. The

same applies to still [ʃtɪl]. The p of Primel is again a short voiceless plosive. It should be closely linked

with the following voiced consonant [r], which is released on the beat.

The ch of möchte and ich have been shifted to the beginning of the next word or syllable to allow the

preceding vowel to sound for the full duration of the note value. Therefore they also have to be enunciated


before the pitch carrying sound of the following note. The suspension of final consonants will be discussed

later.

The following excerpt from the opening baritone solo of An die Freude in Beethoven’s 9th Symphony

(Music Ex. 18.1.2) serves as another example of initial consonant anticipation. The initial voiceless

fricatives [f], in Freude, funken, and feuertrunken, as well as [ʃ] in schöner and in the last syllable of

himm/li/sche, can be anticipated to sound before the following vowel or voiced consonant, which will be

released on the beat. The initial [h] in himm/li/sche and Heiligtum should also be anticipated in order to

not delay the following vowel. Although intonation is not directly affected by voiceless consonants, it

helps to think of them being on the pitch of the following vowel or voiced consonant.

The voiceless fricative [x] in Toch/ter and [ç] in Hei/lig/tum have been shifted to the beginning of the

following syllable to allow the preceding vowel to sound for the full duration of the note value, and

therefore they also have to be enunciated before the plosive t. The suspension of final consonants will be

discussed later.

Music Ex. 18.1.2: Ludwig van Beethoven, An die Freude

Final Consonant Suspension

Final unvoiced consonants should always be enunciated as late as possible (suspended) in order to allow

the preceding vowel to sound for its full note value. Nevertheless, final consonants must sound before the

beginning of the following syllable, so that the next vowel will not be delayed and can sound on the beat.

The idea of moving the final unvoiced consonant to the beginning of the following syllable might be

helpful as long the consonant is sounded before the beat of the next syllable. In Music Ex. 18.1.1, the [ç], which closes the first syllable of möch/te, has been suspended in order to allow the preceding ö vowel to

sound for as long as possible. The [ç] must therefore sound right before the [t], which anticipates the vowel


of the next syllable. For the same reason, the final sound [ç] in ich has been suspended to sound just before

the initial consonant [z] of the next word, sein. In Music Ex. 18.1.2, the [x] that closes the first syllable in

Toch/ter and the [ç] that closes the second syllable of Hei/lig/tum have also been suspended to allow the

preceding vowel to sound for the full duration of the note value. In the IPA transcription on the ossia staff,

we have shifted the final consonants to the beginning of the next syllable and marked them with an arrow

to also indicate that they sound before the beat of the next note. Please note that the lengthening of short

vowels for diction purposes should not lead to inserting the decay [ː], which is the defining quality of the

long vowel.

Voiced final consonants can also be suspended. However, the singer must take care to always release them

on the pitch of the note to which they belong. The following examples show final consonant suspensions in

many different situations. The arrow under the suspended final consonant indicates that the consonant still

needs to be enunciated before the next beat. The period in IPA, [.], marks the beginning of a new syllable

or word.

Music Ex. 18.2.1: Richard Strauss, Ständchen

In Music Ex. 18.2.1, the final consonant [x] in mach should be suspended until the very end of the note

value, where it will be released immediately before the next vowel onset, which falls on the downbeat. The

final [f] in auf follows the off-glide of the diphthong [ɑ͡o] and is also released just before the initial voiced

sustainable nasal [m] of mach, which sounds on the beat. The same happens with the final [x] in doch,

which sounds before the voiced consonant [l] of leise. The voiced consonants [n] in maen and [nd] Kind

should also be suspended to the end of the note value. Voiced consonants need special attention; whether

they end or initiate a syllable, they need to always be sung on the pitch of the syllable to which they

belong. The [n] of mein therefore should be sounding on the note B, and [n] of Kind should sound on the

note C.


Music Ex. 18.2.2: Robert Schumann, Wehmut

In the Schumann song (Music Ex. 18.2.2), you find several words with voiced final consonants. If the final

voice consonant is suspended correctly, it will closely connect with the next syllable that also starts on a

voiced consonant. However, each of the voiced consonants must be sung on their individual pitch: the final

consonant on the pitch of the preceding vowel and the initial voiced consonant on the pitch of following

vowel. In other words, the final [n] of kann must sound on the pitch A, and the initial [v] of wohl must

sound on C#, and so on (see Music Ex. 18.2.2a). A final voiced consonant, which is accidentally released

on the pitch of the following voiced consonant or vowel, will sound like an incorrect anticipation grace

note (see Music Ex. 18.2.2b). Although intonation is not directly affected by voiceless consonants, it is

useful to think of them to be released on the pitch of the syllable to which they belong.


If a voiced final consonant is followed by a word that starts on a vowel, a good glottal separation will help

avoid the problem of an unintended anticipation grace note. In the following example from Schumann’s

Frauenliebe und -leben, the final [ŋ] in Ring will be suspended to the end of the note value and only

divided from the following initial [a] of an by the glottal separation and the change of pitch (see Music Ex.

18.2.3a). What happens when final voiced consonants are held over and not accurately released on the right

pitch can be seen in Music Ex. 18.2.3b.

Music Ex. 18.2.3: Robert Schumann, Du Ring an meinem Finger

Please note that the purpose of all of these exercises is to make the German language sound natural and easy, as well

as being expressive. So none of the suggestions should be implemented in performance without that goal in mind.

Consonant Clusters

When a word that begins with a consonant sound is preceded by a word that ends with a consonant, it results, often,

in adjacent consonants clustered together. These consonants do not always need to be separated and can sometimes

be pronounced sequentially but clearly without pause or separation. As long as each sound is enunciated clearly, and

in the case of voiced consonants sung on the right pitch, they can be linked together as we have seen (Music Ex.

18.2.2): Ich kann͜ wohl͜ manchmal ͜ singen [ǀɪç kan.voːl.mançmːl.zɪŋən].

The following excerpt from Wagner’s Wesendonk Lieder shows a variety of simple phrasal consonant clusters with

voiced and unvoiced consonant juxtapositions. All of these adjacent consonants should be linked together, observing the anticipation and suspension rules as described above.

Music Ex. 18.3.1: Richard Wagner, Der Engel


Some consonant clusters, however, can be challenging and need practice. The best way to practice consonant

clusters is by starting with the last consonant in the cluster and then work backwards, adding the preceding

consonants, one by one with each repetition:

Liebesschmerz: [mɛrt͡s → ʃmɛrt͡s → s.ʃmɛet͡s → liebes.ʃmɛrt͡s]

Consonant clusters that need a bit of practice are the juxtapositions [ç.ʃ], [s.ʃ], and [çs.ʃ] and some consonant clusters

involving affricates, [ç.t͡s], [x.t͡s], [s.t͡s], [t͡s.t͡s], and [t͡s.ʃ]͡.

The following two examples contain the juxtaposition [ç.ʃ]. Notice the difference in tongue position that moves from

the palatal [ç] to prepalatal [ʃ].

Music Ex. 18.3.2: Johannes Brahms, Ich schleich umher betrübt

Music Ex. 18.3.3: Robert Schumann, Im Walde


The points of articulation of the dental fricative [s] and prepalatal fricative [ʃ] are very close together. This

makes a smooth connection easy. Nevertheless, the two sounds should never be merged together, but must

be articulated with clarity; thus Es springen should sound [ɛs.ˈʃprɪŋən] and not [ɛʃˈʃ͡prɪŋən].

Music Ex. 18.3.4: Hugo Wolf, Das verlassene Mägdelein

Music Ex. 18.3.5: Franz Schubert, Lied der Mignon

The juxtaposition [s.t͡s] can also be challenging. As we have learned, z in German is always pronounced as

the affricate [t͡s]. Especially when [t͡s] is following an s, it is helpful to enunciate the affricate with a strong

initial [t].



Students often struggle with the combination [x.t͡s], as in schluchzen (Music Ex. 18.3.7), and [ç.ts͡], as in

nichts (Music Ex. 18.3.8).


Music Ex. 18.3.8: Màtyàs Seiber, Das Knie

The rapid succession of a word ending on [st] followed by a word ending on [çt͡s] makes the line from

Christian Morgenstern’s Galgenlieder (Mus Ex. 18.3.8) a tongue-twister.

In the next example, the phrasal consonant cluster [çt͡s.t͡s], resulting from the word sequence nichts͜ zu, is

also challenging for the tongue. Both final and initial affricates need to be clearly articulated.

Music Ex. 18.3.9: Johannes Brahms, O wüsst ich doch den Weg zurück


Contractions can cause some challenging consonant clusters. In the examples following, ich’s and fängt’s

are contractions of ich es and fängt es.

Music Ex. 18.3.10: Franz Schubert, Ungeduld

Music Ex. 18.3.11: Robert Schumann, Frühlingsnacht

Consonant Assimilation: Merges and Implosions

In everyday spoken German, consonants are linked closely together within and between words, allowing a

smoother flow of the language. Especially similarly articulated consonants, e.g., [f͡f], [m͡m] are merged to

sound like one lengthened sound, and neighboring consonants of similar quality are assimilated, i.e., [s/z]

→ [ss͡]. Plosive consonants, which cannot be sustained, are imploded. Merges and implosions happen

within the word between separate elements and between words:

auf/fliegen [ˈɑ͡ofˌ͡fliːɡən], auf͜ Flügeln [ɑ͡of ͡ˈflyːɡəln]

Abend/dämmerung [ˈɑːbəntˌd͡ɛməɾʊŋ], und͜ der [ʊnt d͡eɐ]

For the professional stage, however, where clear diction is of the essence, this needs some further

definition and refinement. In Chapter 8 (Consonant length) we discussed the concept of lengthening

similarly articulated consonants that belong to separate elements. In this chapter we will review, expand,

and apply the concept to singing.


Merges

In spoken dialogue and also in singing, sustainable consonants of the same quality are always merged

within the word and also between words. For better clarity, a breath impulse may be applied to the second

consonant. The following table lists all the continuants that merge:

Merge Between the Following Consonants

IPA Letters Within the Word Between Words

[mm͡] m m um/mauern [ʊmˈ͡mɑ͡oərn am Morgen [am ͡ˈmɔrɡən]

[nn͡] n n hin/nehmen [ˈhɪnˌn͡eːmən] den Nachen [den ͡ˈnaxən]

[ll͡] l l Viel/liebchen [fiːlˈl͡iːpçən] Voll Lust [fɔl l͡ʊst]

[ɾr͡] r r Wasser/rauschen [ˈvasəɾ͡rɑ͡oʃən] Wasser rauscht [ˈvasəɾ r͡ɑ͡oʃt]

[ff͡] f f, f v auf/fliegen [ˈɑ͡ofˌ͡fliːɡən] auf Flügeln [ɑ͡of ͡ˈflyːɡəln]

[ss͡] s s Aussortieren [ˈɑ͡os͡sɔrˌtiːɾən] was soll’s [vas s͡ɔls]

As we have discussed, unvoiced sustainable consonants should always be anticipated in order to allow the

following vowel to sound on the beat. Phrasal doubles of voiced sustainable consonants should be

lengthened on the first pitch and released with the vowel onset on the pitch of the second note. The sounds

need to be closely connected to avoid any unintended shadow schwa.

Music Ex. 18.4.1: Hugo Wolf, Spanisches Liederbuch

Music Ex. 18.4.2: Franz Schubert, Pause


Music Ex. 18.4.3: Franz Schubert, Du bist die Ruh

Music Ex. 18.4.4: Franz Schubert, Der Fischer

Music Ex. 18.4.5: Felix Mendelssohn, Auf Flügeln des Gesanges

In colloquial German, when a word ending on voiceless [s] is immediately followed by a word beginning

with voiced [z], the two sounds are usually merged and assimilated to only sound as lengthened voiceless

[s͡s]. However, in heightened speech and especially in singing, assimilation or separation of phrasal [s] and

[z] becomes an artistic choice. Many German singers also assimilate the two sounds especially in a faster

tempo. To separate the two sounds as [s.z] puts emphasis on the second word beginning with the voiced

[z]. Therefore the decision whether phrasal [s] and [z] should be assimilated or not has to be made based

mainly on the importance of the word within the poetic or dramatic context and the speed in which the

sounds need to be enunciated. When time allows and special emphasis is desired, the voiceless [s] should

connect with the following voiced [z], but the two sounds should sound with their individual quality as

[s.z]. Even more emphasis can be placed on the voiced [z] with a slight separation between the two sounds,

if legato is not an issue. In faster tempi and when the word with the initial s does not require special

emphasis or should be deemphasized because it is not an important word, assimilation to [s͡s] will sound

more natural. One must never reverse the assimilation to [zz͡].


In the following example from Schubert’s Die schöne Müllerin, assimilation will be most convenient due

to the fast tempo. The separate pronunciation of both sounds would sound overly mannered.

Music Ex. 18.4.6: Franz Schubert, Der Jäger

In the next example, Gottes Segen means “God’s blessing.” Separate articulation of [s] and [z] will create

appropriate emphasis.

Music Ex. 18.4.7: Ludwig van Beethoven, Ich liebe dich


In the following excerpts from Beethoven’s An die ferne Geliebte, there is enough time to voice the initial s

of so, and assimilation is therefore not necessary. It is more an artistic choice whether or not to put special

emphasis on the modifier so. Beethoven repeats the phrase, which allows the singer to play with the words,

once emphasizing so, and once deemphasizing it in order to give more importance to the adjective weit:

“What separated us so far!” versus “What separated us so far!” Remember to always anticipate unvoiced

consonants before the beat.

Music Ex. 18.4.8 and 18.4.9: Ludwig van Beethoven, An die ferne Geliebte

In the next example from Schubert’s Die Winterreise, there is no special need to emphasize soll, nor would

the tempo warrant consonant assimilation. However, assimilation will sound more natural. Try it out and

use what better suits the expression of the text.

Music Ex. 18.4.10: Franz Schubert, Gute Nacht


Implosions

Within the word and often also in phrasal doubles between words, consecutive plosive consonant sounds of

the same or similar articulation are linked together and lengthened, ending with a single plosive release. If

the first plosive were fully released before enunciating the second plosive it would be sounded twice.

Therefore, to lengthen two neighboring plosive consonant sounds of the same or similar quality, the first

plosive needs to be imploded. For the implosion of the first plosive consonant, the articulators (tongue or

lips) silently stop the airflow, and the pressure behind the articulators is not fully released until the ex-

plosion takes place on the following plosive consonant. Implosions happen between plosives of the same

articulation (e.g., [t͡t]) and between unvoiced and voiced plosive cognates (e.g., [t͡d]). The plosive [t] is

usually also imploded before the affricate [t͡s] and merged to sound as [tt͡s]. The following table illustrates

all combinations where implosion should be applied.

Final Initial Merged Spellings Examples

[p] [b] [p͡b] b b ob bald [ɔp͡ balt]

[p] [p͡p] b p ab Prag [ap͡ prak]

[t]

[d] [td͡] d d und die [ʊnt ͡diː]

t d mit der [mɪt d͡eːɐ]

[t] [t͡t] d t Stund und Tag [ʃtunt unt ͡tɑːk]

t t mit tausend [mit ͡tausend]

ts͡ [tts͡] t z und zu [ʊnt ͡tsuː]

[k]

[ɡ] [k͡ɡ] g g Truggebilde [truːk͡ɡəˈbildə]

[k] [kk͡] ck k zurück/keren [zuɾʏk͡ˈkeːɾən]

g k weg/kommen[den vɛk͡ˈkɔmən]

As a general rule, implosion should be applied unless the words become unintelligible. The word with the

imploded final consonant is more likely not to be understood. The following recommendations may serve as

general guidelines for when implosion may be employed to the above plosive consonants and where it is better

to avoid it.

Implosion is normally used in speech and also recommended in singing:

within the word between two elements

Abend/dämmerung [ˈɑːbəntˌd͡ɛməɾʊŋ] (twilight)

Implosion is optional and only recommended when intelligibility allows:

between incidental words

mit der Wetterfahne [mɪt d͡eɾ ˈvɛtəɾˌfɑːnə] (with the weathervane)

between an incidental word followed by an important word

Stund und Tag [ʃtʊnt ʊnt t͡ɑːk] (hour and day)

Implosion is generally not recommended:

between an important word followed by an incidental word die Liebe liebt das Wandern

between important words

der Weg gehüllt in Schnee [deɾ veːk ɡəˈhʏlt ǀɪn ʃneː] (the road shrouded with snow)


No steadfast rules can be given when to use implosion in singing, and as the praxis shows, singers make

individual choices that are intelligible yet aesthetically pleasing. Though one might hear native speakers

who seem to be linking words which are completely understandable, it might be difficult for the non-native

speaker to make it work. So when in doubt, err on the side of detailed clarity. On the other hand, too much

separation can sound unnatural and make the language unnecessarily choppy. The most important

consideration is the natural sound and flow of the language and the clarity of text within the legato line.

Further tempo, length of note values, tessitura, and style might also affect the choices one has to make. We

provide some excerpts from Schubert’s Die Winterreise that serve as examples for the singer to make

informed decisions.

In this example both words, mit and der, are incidental words, and the phrasal td can be merged and

assimilated without losing any intelligibility.

Music Ex. 18.4.11: Franz Schubert, Die Wetterfahne

In the following example merging is optional. Imploding final d of und before initial t of Tag will not

compromise the understanding, because the release of the plosion will happen initially to the important

word, Tag.

Music Ex. 18.4.12: Franz Schubert, Auf dem Flusse


Merging with implosion is not recommended in the following two examples. In Gute Nacht (Music Ex.

18.4.13), liebt is the main verb of the phrase and could become unintelligible when linked to the following

article das, which is an incidental word. In Wasserflut (Music Ex. 18.4.14), the slurred triplet and the

dotted rhythms support a natural separation without interrupting the legato flow. Nimmt is the predicate

followed by the pronoun dich, which is the object; thus a separation is advisable. Although bald is an

adverb followed by the article das, an implosion might sound more natural here.


Music Ex. 18.4.14: Franz Schubert, Wasserflut


In the next example Weg is the object of the phrase and gehüllt describes it. Both words are important, and

the tempo does allow for a clear separation. However, implosion might still also be a consideration because

of the unaccented prefix ge-. Try it out and see what better supports the expression of the text within the

legato line.


Final [t] in an incidental word is merged with the initial affricate [t͡s] of an important word to sound as

[t͡ts] in the following example.

Music Ex. 18.4.16: Franz Schubert, Auf dem Flusse


In the following excerpt from Schubert’s Schwanengesang, however, implosion is not recommendable

because Nacht (night) could be easily be misunderstood as nach (after). The final t of Nacht must be

suspended to sound right before the beat of the next note. A very quick final plosive [t] followed by the

affricate [t͡s] will be sufficient.

Music Ex. 18.4.17: Franz Schubert, Ständchen

Anticipation of Sustainable Consonants for Expressiveness

Earlier we discussed the anticipation of voiceless continuants. Initial voiced and unvoiced sustainable

consonants may be further anticipated on special occasions for emphasis and expressive reasons as long

this does not interfere with the legato line. For example, in the opening phrase of Schumann’s Dichterliebe,

“Im wunderschönen Monat Mai,” many singers slightly anticipate the initial voiced consonant of wunder,

thus giving the word special attention.

When sustainable voiced consonants are emphasized for expressive reasons, this can be done by

anticipation in order to sound slightly before the beat. In so doing, particular attention needs to be given to

always sound the voiced consonant on the pitch of the note to which it belongs. If accidentally the voiced

consonant sounds on the pitch of the preceding note, it will sound like a mordent (suspension grace note).

Also keep in mind, that the more you anticipate the consonant, the more you shorten the preceding vowel,

which is not desirable.


We come back once more to our example from Beethoven’s An die ferne Geliebte, which we used earlier

to demonstrate the anticipation of unvoiced sustainable consonants. This time, for expressive reasons, we

also very slightly anticipate the voiced consonants. Remember that the arrow marks possible consonants,

which may be anticipated, but the intention is by no means that all of them should be anticipated.


Unvoiced continuants may be further lengthened by anticipation for expressive reasons. In Schumann’s

Schöne Fremde, the poet Joseph von Eichendorff used verbs that sound like the action they describe. A

sensitive performer will slightly more anticipate the fricatives [ʃ] in rauschen (rustle) and schauern

(shudder), and possibly also the initial voiced [v] of Wipfel (treetops), in order to express the rustling of the

wind in the treetops.

Music Ex. 18.5.2: Robert Schumann, Schöne Fremde

We would like to remind the singer once more that expressive singing is not accomplished by lengthening

all initial consonants. These examples are only offered for your consideration and are not meant as

interpretative advice.


SUPPLEMENTAL EXERCISES AND WORKSHEETS


Musical Exercises

The musical exercises in this section are intended to complement earlier chapters. Each exercise is focused

on a particular sound group and may be applied in conjunction with the related section in the book (see

corresponding section number) or as a review of an earlier section and the practical application of concepts

covered in the section “Lyric Diction in Musical Context.” All musical examples are excerpts from

German Lieder and operas. Audio recordings of all the excerpts are available on the companion website.

The exercises may be practiced in the following method:

1. Listen to the audio example recorded by a professional singer and available on the companion

website.

2. Speak the song text in the natural rhythm of the German language, and pay particular attention to

stress and inflection.

3. Speak the song text in the rhythm of the music.

4. Intone the song text in your singing voice on one sustained note in the rhythm of the music.

5. Sing the musical excerpt and compare yourself with the audio examples on the companion website.

(All examples are printed in their original key. Transposition might be necessary so that you can

sing in a comfortable vocal range.)


Musical Exercises for [iː], [i], [i]̯, and [ɪ] 4.1

Music Exercises 4.1.1–4.1.5 [iː], [ɪ]

Compare long and closed [iː] with short and open [ɪ] in the following musical examples from the German

vocal literature.

Music Ex. 4.1.1: Ludwig van Beethoven, Ich liebe dich

Music Ex. 4.1.2: Johannes Brahms, Wie bist du meine Königin





Music Exercises 4.1.6–4.1.7 [iː], [i], and [i]̯

Compare long and closed [iː] with short and closed [i] and non-syllabic [i]̯ in the following musical

examples from the German vocal literature. Notice the different syllabic division in the word Lilie. If Lilie

is divided in two syllables and sung over two notes as Li-lie, then the i in the second syllable is non-

syllabic [i]̯ (Music Ex. 4.1.6). However, if Lilie is divided in three syllables and sung over three notes as

Li-li-e, then the i in the second syllable becomes syllabic, thus [i] (Music Ex. 4.1.7).

Music Ex. 4.1.6: Robert Schumann, Die Rose, Die Lilie, die Taube

Music Ex. 4.1.7: Richard Strauss, Die Zeitlose


Musical Exercises for [eː], [ɛː], [ɛ], and [ə] 4.2

Music Exercises 4.2.1–4.2.7 [eː], [ɛ]

Compare long and closed [eː] with the short and open [ɛ] in the following musical examples.


Music Ex. 4.2.2: Robert Schumann, Die beiden Grenadiere

Music Ex. 4.2.3: Hugo Wolf, Beherzigung

Music Ex. 4.2.4: Robert Schumann, Frauenliebe und Leben


Music Ex. 4.2.5: Franz Schubert, Auf der Donau

Music Ex. 4.2.6: Franz Schubert, Rastlose Liebe

Music Ex. 4.2.7: Richard Wagner, Tannhäuser

Music Exercise 4.2.8 [eː], [ɛː], [ɛ]

In the following example compare the long and closed [eː] in the word sehnend with the long and open

[ɛː] in the word wähnend. Also note how short open [ɛ] in the words es and lächelnd is identical in

quality with the long and open [ɛː] in the word wähnend, and how in singing the length of the vowel

follows the length of the musical notation.

Music Ex. 4.2.8: Robert Schumann, Der Nussbaum


Musical Exercises for [ɑː] and [a] 4.3

Music Exercises 4.3.1–4.3.8 [ɑː], [a]

Compare long and open [ɑː] with the short and closed [a] in the following musical examples.

Music Ex. 4.3.1: Carl Loewe, Kleiner Haushalt

Music Ex. 4.3.2: Robert Schumann, Morgens steh ich auf und frage

Music Ex. 4.3.3: Richard Strauss, Ich wollt ein Sträußlein binden

Music Ex. 4.3.4: Gustav Mahler, Ich ging mit Lust durch einen grünen Wald


Music Ex. 4.3.5: Johannes Brahms, Komm bald

Music Ex. 4.3.6: Robert Schumann, Lehn’ deine Wang’

Music Ex. 4.3.7: Robert Schumann, Zwielicht



Musical Exercises for [oː] and [ɔ] 5.1

Music Exercises 5.1.1–5.1.6 [oː], [ɔ]

Compare long and closed [oː] with the short and open [ɔ] in the following musical examples.

Music Ex. 5.1.1: Johannes Brahms, O liebliche Wangen

Music Ex. 5.1.2: Johannes Brahms, Sontag

Music Ex. 5.1.3: Richard Strauss, Morgen


Music Ex. 5.1.4: Franz Schubert, Der Lindenbaum

Music Ex. 5.1.5: Gustav Mahler, Ich ging mit Lust durch einen grünen Wald

Music Ex. 5.1.6: Franz Schubert, Frühlingssehnsucht


Musical Exercises for [uː] and [ʊ] 5.2

Music Exercises 5.2.1–5.2.6 [uː], [ʊ]

Compare long and closed [uː] with the short and open [ʊ] in the following musical examples.

Music Ex. 5.2.1: Franz Schubert, Des Baches Wiegenlied

Music Ex. 5.2.2: Franz Liszt, Es muss ein Wunderbares sein


Music Ex. 5.2.4: Richard Strauss, Ruhe, meine Seele


Music Ex. 5.2.5: Johannes Brahms, Unbewegte laue Luft

Music Ex. 5.2.6: Richard Strauss, Mohnblumen


Musical Exercises for [øː] and [œ] 6.1

Music Exercises 6.1.1–6.1.3 [øː]

Practice long and closed [øː] in the following musical examples.



Music Ex. 6.1.3: Ludvig van Beethoven, An die ferne Geliebte

Music Exercise 6.1.4 [œ]

Practice short and open [œ] in the following musical example.



Music Exercises 6.1.5–6.1.8 [øː], [œ]

Compare long and closed [øː] with the short and open [œ] in the following musical examples.


Music Ex. 6.1.6: Robert Schumann, Ich wandelte unter den Bäumen

Music Ex. 6.1.7: Johannes Brahms, Ein Sonett

Music Ex. 6.1.8: Robert Schumann, Freisinn


Music Exercise 6.1.9 [øː], [oː]

Compare long and closed [øː] in Königin with the long and closed [oː] in Zofe and notice how the lips for

both vowels are equally rounded.

Music Ex. 6.1.9: Ludwig van Beethoven, Aus Goethes Faust


Musical Exercises for [yː] and [ʏ] 6.2

Music Exercises 6.2.1–6.2.2 [yː]

Practice long and closed [yː] in the following musical examples.


Music Ex. 6.2.2: Johannes Brahms, Es liebt sich so lieblich im Lenze

Music Exercises 6.2.3–6.2.4 [ʏ]

Practice short and open [ʏ] in the following musical examples.




Music Exercises 6.2.5–6.2.9 [yː], [ʏ]

Compare long and closed [yː] with the short and open [ʏ] in the following musical examples.

Music Ex. 6.2.5: Franz Schubert, Sei mir gegrüßt



Music Ex. 6.2.8: Hugo Wolf, Die Bekehrte


Musical Exercises for [a͡e], [ɑo͡], and [ɔ͡ø] 7.1

Music Exercise 7.1.1 [a͡e] and [ɑ͡o]

Compare [a͡e] and [ɑ͡o] in the following musical example.

Music Ex. 7.1.1: Johannes Brahms, Tambourliedchen

Music Exercise 7.1.2 [ɑ͡o] and [ɔ͡ø]

Compare [ɑ͡o] and [ɔ͡ø] in the following musical example.

Music Ex. 7.1.2: Franz Schubert, Lob der Tränen

Music Exercise 7.1.3 [a͡e], [ɑ͡o], [ɔ͡ø]

Compare [a͡e], [ɑ͡o], and [ɔ͡ø] in the following musical example.


Musical Exercises for [f] and [v] 9.1

Music Exercises 9.1.1–9.1.7 [f] and [v]

Compare the unvoiced labiodental fricative [f] with the voiced labiodental fricative [v] in the following

musical examples.

Music Ex. 9.1.1: Johannes Brahms, Wehe, so willst du mich wieder

Music Ex. 9.1.2: Franz Schubert, Der Tod und das Mädchen

Music Ex. 9.1.3: Franz Schubert, Der Wegweiser

Music Ex. 9.1.4: Franz Schubert, In der Ferne


Music Ex. 9.1.5: Robert Schumann, Warte, warte, wilder Schiffsmann

Music Ex. 9.1.6: Hugo Wolf, Der Freund

Music Ex. 9.1.7: Hugo Wolf, Heimweh


Musical Exercises for [s] and [z] 9.2

Music Exercises 9.2.1–9.2.4 [s] and [z]

Compare unvoiced [s] with voiced [z] in the following musical examples.

Music Ex. 9.2.1: W. A. Mozart, Abendempfindung

Music Ex. 9.2.2: Franz Liszt, Die Loreley

Music Ex. 9.2.3: Johannes Brahms, Sandmännchen

Music Ex. 9.2.4: Franz Schubert, Sei mir gerüßt


Musical Exercises for [ʃ] and [ʒ] 9.3

Music Exercises 9.3.1–9.3.3 [ʃ]

Practice unvoiced [ʃ] in the following musical examples.

Music Ex. 9.3.1: Franz Schubert, Abendlied

Music Ex. 9.3.2: Robert Schumann, Abends am Strand

Music Ex. 9.3.3: Robert Schumann, Belsatzar


Music Exercises 9.3.4 - 9.3.5 [ʒ]

Practice voiced [ʒ] in the following musical examples.

Music Ex. 9.3.4: Ludwig van Beethoven, Kennst du das Land

Music Ex. 9.3.5: Johann Strauß, Die Fledermaus


Musical Exercises for [ʝ], [ç], and [x] 9.4

Music Exercises 9.4.1–9.4.2 [ç] and [x]

Compare unvoiced velar fricative [ç] with unvoiced uvular fricative [x] in the following musical

examples.


Music Ex. 9.4.2: Johannes Brahms, Sapphische Ode

Music Exercise 9.4.3 [ʝ]

Practice voiced velar fricative [ʝ].


Music Exercises 9.4.4–9.4.5 [ç] and [ʝ]

Compare unvoiced velar fricative [ç] with voiced velar fricative [ʝ]. Notice how the two sounds only

differ in voicing.


Music Ex. 9.4.5: Schubert, Die liebe Farbe

Music Exercise 9.4.6 [ç] and [ʃ]

Notice the difference between the unvoiced velar fricative [ç] and the unvoiced pre-palatal fricative [ʃ].

Music Ex. 9.4.6: Franz Schubert, Am Feierabend


Musical Exercises for [h] and [ǀ] 9.6

Music Exercises 9.6.1–9.6.4 [h] and [ǀ]

Compare the glottal fricative [h] with the glottal separation [ǀ]. Technically the difference between the

two sounds is the manner of the onset. The glottal fricative [h] is comparable to a breathy onset, and the

glottal separation [ǀ] is comparable to a new balanced onset.


Music Ex. 9.6.2: Franz Schubert, Gretchen am Spinnrade




Music Exercises 9.6.5–9.6.6 [ǀ]

Practice the glottal separaton in the following example.




Musical Exercises for [p] and [b] 10.1

Music Exercises 10.1.1–10.1.3 [p], [b]

Practice unvoiced bilabial plosive [p] and the voiced bilabial plosive [b] in the following examples.

Music Ex. 10.1.1: Hugo Wolf, Italienisches Liederbuch

Music Ex. 10.1.2: Johannes Brahms, Auf dem See



Music Exercises 10.1.4–10.1.5 [p] and [b]

Compare the unvoiced bilabial plosive [p] with the voiced bilabial plosive [b].

Music Ex. 10.1.4: Robert Schumann, Der arme Peter III

Music Ex. 10.1.5: Carl Loewe, Heinrich der Vogler


Musical Exercises for [t] and [d] 10.2

Music Exercises 10.2.1–10.2.5 [t] and [d]

Compare the unvoiced alveolar plosive [t] with the voiced alveolar plosive [d] in the following examples.

Music Ex. 10.2.1: Franz Schubert, Erlkönig

Music Ex. 10.2.2: Ludwig van Beethoven, Andenken

Music Ex. 10.2.3: Richard Strauss, Allerseelen

Music Ex. 10.2.4: Hugo Wolf, Morgenstimmung



Musical Exercises for [k] and [ɡ] 10.3

Music Exercises 10.3.1–10.3.4 [k], [ɡ]

Practice unvoiced velar plosive [k] and the voiced velar plosive [ɡ].

Music Ex. 10.3.1: Hugo Wolf, Italienisches Liederbuch

Music Ex. 10.3.2: Richard Strauss, Blauer Sommer

Music Ex. 10.3.3: Robert Schumann, Frühlingsfahrt

Music Ex. 10.3.4: Felix Mendelssohn, Auf Flügeln des Gesanges


Music Exercises 10.3.5–10.3.6 [k] and [ɡ]

Compare the unvoiced velar plosive [k] with the voiced velar plosive [ɡ] in the following examples.

Music Ex. 10.3.5: Hans Pfitzner, Abbitte

Music Ex. 10.3.6: Franz Schubert, Im Abendrot


Musical Exercises for [m], [n], and [ŋ] 11.3

Music Exercises 11.3.1–11.3.4 [m] and [n]

Practice the voiced bilabial nasal [m] and the voiced alveolar nasal [n].

Music Ex. 11.3.1: Carl Loewe, Gregor auf dem Stein

Music Ex. 11.3.2: Franz Schubert, Die Nebensonnen

Music Ex. 11.3.3: Johannes Brahms, O liebliche Wangen



Music Exercise 11.3.5 [ŋ]

Practice the voiced bilabial nasal [ŋ]. Notice how ng is divided following the rules for syllabification in

spelling. This often leads to mispronunciations. Both letters represent a part of the single sound [ŋ].

Music Ex. 11.3.5: Franz Schubert, Danksagung and den Bach

Music Exercises 11.3.6–11.3.7 [m], [n], and [ŋ]

Compare the nasal [m], [n], and [ŋ] in the following examples.


Music Ex. 11.3.7: Franz Schubert, Halt!


Musical Exercises for [l] 12.1

Music Exercises 12.1.1–12.1.4 [l]

Practice [l] in the following musical examples. When l appears medial after a consonant, avoid the

insertion of an involuntary schwa [ə] before the [l] by moving swiftly from the preceding consonant to

the following [l] (Music Ex 12.1.4).

Music Ex. 12.1.1: Johannes Brahms, Es liebt sich so lieblich im Lenze

Music Ex. 12.1.2: Franz Schubert, Sei mir gegrüßt

Music Ex. 12.1.3: Hugo Wolf, Gebet

Music Ex. 12.1.4: Robert Schumann, Die Lotosblume


Music Exercise 12.1.5 [l]

In the following excerpt the [l], which follows the long [ɛː] in the rising musical line on erhellt, should be

formed only by raising the tip of the tongue.



Musical Exercises for [r], [ɾ], and [ɐ] 12.2

Music Exercises 12.2.1–12.2.4 [r], [ɾ], [ɐ]

Practice the 2- to 3-tap trill [r], the one-tap trill [ɾ], and the vocalic r [ɐ] in the following musical

examples. The IPA transcription uses the vocalic r, but you may also practice with a one-tap trill.




Music Ex. 12.2.4: Franz Schubert, Aufenthalt


Musical Exercises for [p͡s], [pf͡], [t͡s], [t͡ʃ], [ks͡], and [kv͡] 13.1

Music Exercises 13.1.1–13.1.6 [p͡s], [p͡f], [t͡s], [t͡ʃ], [k͡s], and [k͡v]

Practice [p͡s], [p͡f], [t͡s], [t͡ʃ], [k͡s], and [kv͡] in the following musical examples.

Music Ex. 13.1.1:Franz Schubert, Seligkeit

Music Ex. 13.1.2: Franz Schubert, Wanderers Nachtlied




Music Ex. 13.1.5: Hugo Wolf, Der Tambour

Music Ex. 13.1.6: Franz Schubert, Der Jüngling and der Quelle


Worksheets

The Worksheets in this section are intended as practice material in conjunction with a related section in the

book (see corresponding section number). Each Worksheet is focused on a particular problem or sound

group. Worksheets may be printed out for completion.


Chapter 2 Worksheet: Word Structure Name:__________________________

The basic element of a word is the __________, which may be

supplemented with other elements, such as _________, which precede

the word stem; __________, which follow the word stem and,

________________, which are used for grammatical purposes.

The prefixes ____, ____, ____, ____, ____, and _____ are unstressed.

When two stressed prefixes are connected to further modify the

meaning, the ___________ (first/second) prefix will retain the stress.

The prefixes _____, _____, _____, _____, and _____ are usually

stressed but change in vowel quality and/or length when they become

unstressed due to another stressed prefix.

The prefixes _____, _____, _____, and _____ change the meaning

depending on stress.

The following four prefixes have an irregular stress pattern: ______,

______, ______, and ______.

Use the help of the tables in Chapter 2 to identify and circle the prefixes

and to underline the stressed vowel in the following words:

hingehen (to go there)

hinausgehen (to go outside)

vergeht (ceases)

herein (inside)

entschwebt (floats away)

herkommen (to come here)

Suffixes ____________ (precede/follow) the word stem. Suffixes are

___________ (stressed/unstressed) except for one, _______, which is

___________ (stressed/unstressed).


Use the help of the tables in Chapter 2 to identify and circle the suffix

and to underline the vowel in the stressed syllable.

Mädchen (girl)

Zauberei (magic)

Männlein (Little man)

heilig (holy)

Verb endings are always __________ (stressed/unstressed).

Use the help of the tables in Chapter 2 to complete the following table

of conjugation:

Infinitive: spiel___ (to play)

Past participle: gespiel___

Personal

Pronoun: Present Tense: Simple Past: Subjunctive:

1st pers. sing. ich spiel___ spiel___ spiel___ 2nd pers. sing. du spiel___ spiel___ spiel___ 3rd pers. sing. er, sie, es spiel___ spiel___ spiel___ 1st pers. plur. wir spiel___ spiel___ spielen 2nd pers. plur. ihr spiel___ spiel___ spiel___ 3rd pers. plur. sie spiel___ spiel___ spiel___

Infinitive:

In words of German origin, noun and adjective endings are always

__________ (stressed/unstressed), and the e in unstressed endings is

always pronounced as ________, which is represented in IPA by [__].

The five declension endings are: ____, ____, ____, ____, and ____.

A word that is composed from two or more shorter words is called a

______________ word.


Chapter 2 Worksheet: Word Stress Name:__________________________

In IPA primary stress is indicated at the __________ (beginning / end)

of the stressed syllable with the symbol [_]. In compound words

secondary stress may be indicated with [_].

Simple words are usually stressed on the ______ (first/second) syllable

of the word stem. Compound words have a primary stress on the

_______ (first/second) syllable of the ______ (first/second) word stem.

The above rules apply unless the word stem is preceded by a _____

_________ or followed by the suffix ___, which take the stress. In the

following words determine the primary stress applying the rules for

stress in words of German origin (divide between elements with the

symbol, /, and underline the vowel in the stressed syllable.

zaubern

Zauber

verzaubern

herzaubern

Zauberin

Zauberei

Hexenzauber

Hexenzauberei

Hexenzauberei

The ending -ie is __________ (stressed/unstressed) in words of Greek

origin, but __________ (stressed/unstressed) in words of Latin origin.

Using the word lists in Chapter 2 identify which of the following words

of foreign origin end with a stressed -ie ending (underline the vowel in

the stressed syllable).

Lilie

Melodie

Harmonie

Arie

In words of foreign origin the following five endings are also stressed:

_____, _____, _____, _____, and _____.


Separate the word elements with / when applicable, and underline the vowel in the stressed syllable. Then

indicate the primary stress in the IPA transcription above the word with [ˈ].

[heːɾkɔmən] [fɛɾɡeːt] [bɛkəɾa͡e] herkommen vergeht Bäckerei

to come here passes (3rd pers sing) bakery

[foɾba͡e] [ʊnɡɛrn] [ɡalɛɾiː] vorbei ungern Galerie

past (adverb) reluctantly (adverb) gallery

[foːɾzɪŋən] [trɔ͡øloːs] [laxən] vorsingen treulos lachen

to audition faithless they laugh

[ɛɐtruːk] [ʃpiːlə] [a͡oslœʃən] ertrug spiele auslöschen

endured play (1st pers sing) extinguish

[a͡elɪç] [ʃnellen] [hɔø͡sçən] eilig schnellen Häuschen

hastily (adverb) fast (adj.) little house

[liːptən] [ɑːɾiə̯] [hɪnɑ͡of] liebten Arie hinauf

loved aria upward (adverb)

[zʏmfoniː] [nat͡sio̯ːn] [vaxət] Symphonie Nation wachet

Symphony nation keep watch (3rd pers. plur.)

[pia̯nɪst] [mɪtfɑːɾən] [piːnie̯] Pianist mitfahren

Pinie pianist to get a ride pine tree

[fɔrtt͡siːən] [davor] [ant͡sʏndən] fortziehen davor anzünden

to move away before (adverb) to lighten

[hɛɾfoːɾ] [t͡sɛɐbrɑːx] [laŋzɑːm] hervor zerbrach langsam

forth (adverb) broke (simple past) slowly (adverb)


Worksheet 4.1: [iː], [i], [i]̯, and [ɪ] Name:__________________________

Complete the IPA in the square brackets above the text. We have provided an IPA transcription for all the sounds not covered in

this section. In addition to the stress marks [ˈ] in IPA, we have also underlined the stressed vowel whenever word stress is

important in determining the correct sound. For conjugated verbs we have listed the infinitive form next to the English translation.

[d ɾ] [ˈt͡s ən] [ˈ n ç] dir ziehen innig

you (pers. pron.) to pull heartfelt

[ˈh məl] [ˈl spəln] [b n] Himmel lispeln bin

heaven to lisp sein – to be

[k nt] [teoloˈɡ ] [br f] Kind Theologie Brief

child theology letter

[ˈt ɡəɾ] [ˈl l ə] [ˈb ltn s] Tiger Lilie Bildnis

tiger lily picture

[ˈm nə] [t f] [ˈn məɾ] Miene tief nimmer

face deep never

[h rt] [ˈɑːɾ ən] [f ɾ] Hirt Arien vier

shepherd arias four

[ˈfl sən] [ˈkl ŋən] [aˈpr l] fließen klingen April

to flow to sound April

[ˈ ɾə] [f ˈla͡eçt] [ˈf rt͡s ç] ihre vielleicht vierzig

hers maybe forty

[ˈh nən] [f l] [muˈz k] hinnen viel Musik

away much music


[ʃt l] [ˈ məɾ] [ˈf çtən] Stil immer Fichten

style always pine

[ˈʃt ləɾ] [ˈz bən] [ʃl f] stiller sieben schlief

quieter seven schlafen – to sleep

[br çt] [ ˈtɑːl ən] [m ɾ] bricht Italien mir

brechen – to break Italy mine

[ n] [naˈt͡s oːn] [m t] in Nation mit

in nation with

[ˈl bə] [h n] [ˈfrɔ͡ønd n] Liebe hin Freundin

love there girlfriend

[ˈ nən] [ˈf ʃəɾ] [ˈv ɡə] ihnen Fischer Wiege

theirs fisherman cradle

[ʃt lst] [v nt] [ˈt͡s təɾ] stillst Wind Zither

stillen – to satisfy wind zither

[ˈbl kə] [ˈkroːn k] [ˈf rtəl] Blicke Chronik Viertel

glances chronicle quarter

[ˈfl t] [ˈbɑːɾ tɔn] [ˈʃp lt] flieht Bariton spielt

fliehen – to flee baritone spielen – to play

[meloˈd ] [ˈfrɔ͡ød ç] [ˈf ɾt͡seːn] Melodie freudig vierzehn

melody happily fourteen


Worksheet 4.2: [eː], [e], [ɛː], [ɛ], and [ə] Name:__________________________




[ˈn b l] [ˈfr s ] [d s] Nebel fräße des

fog fressen – to devour of

[z ] [l st] [f ɐˈbr ç n] See lässt Verbrechen

lake lassen – to leave crime

[ˈl n n] [ˈh k͡s n] [ ntˈb ɾ n] lehnen Hexen entbehren

to lean witches to spare

[ʃr k] [ɡ ˈv ɾ n] [h ɾˈba͡e] schräg gewähren herbei

diagonally to grant here

[ˈt͡s l n] [b ˈɡ pt] [ mˈp͡f ŋ ɾ] zählen begebt Empfänger

to count begeben – to endow recipient

[ˈh nd ] [ˈv l ] [ˈʃt rn ] Hände Welle Sterne

hands wave stars

[ˈʃtr ptə] [v n] [ˈv ɾ ] strebte wen wäre

streben – to strive who sein – to be

[ˈt͡s ç ɾ] [v n] [v rt] Zecher wenn Wert

carouser if value

[ˈz l ] [d ɐ] [ˈ k͡s n] Säle der Echsen

Halls the lizards


[ˈh rd ] [ˈkl pt ] [ˈd m rt] Herde klebte dämmert

flock kleben – to stick dämmern – to dawn

[ˈ rd ] [b t] [ˈ rt͡s ŋ l] Erde Beet Erzengel

earth plot Archangel

[b p͡st] [ʃt t] [ˈb rɡ ] bebst steht Berge

beben – to tremble stehen – to stand mountains

[ˈkn pla͡en] [kr p͡s] [b ˈʃv rd ] Knäblein Krebs Beschwerde

baby boy Cancer complaint

[ˈf tç n] [ˈkloː ] [ˈfl n] Fädchen Chloe flehen

filamnts girls name to plead

[ˈn st ] [ˈv z n] [ˈɡ st ] nässte Wesen Gäste

nässen – to moisten creature guests

[ɡ ˈb t] [ˈv s n] [ ɐh pt] Gebet wessen erhebt

prayer whose erheben – to raise

[l ˈb ndɪç] [ˈʃp sə] [v k] lebendig Späße Weg

alive path

[ˈr t͡s l] [ɡ ˈv s ɾ] [v k] Rätsel Gewässer weg

mystery waters away

[ʃ ŋkt] [ɡ ˈb rd ] [ˈv rd n] schenkt Gebärde werden

schenken – to give gesture to become


Worksheet 4.3: [ɑː] and [a] Name:__________________________




[ˈtr ɡə] [ˈb kən] [kl ŋ] trage backen Klang

tragen – to carry to bake sound

[l k] [ˈʃpr xə] [t͡s k͡st] lag Sprache zagst

liegen – to lie language zagen – to hesitate

[ˈʃtr sə] [z xt] [ˈpl ɡən] Straße sacht plagen

street gently to plage

[ˈɡ sə] [br x] [b nt] Gasse brach Band

alley brechen – to break ribbon

[k l] [h lt] [b rt] kahl halt Bart

bald halten – to stop beard

[p ɾ] [t͡s rt] [z t] Paar zart Saat

pair tender seed

[p͡f t] [l st] [ˈt lə] Pfad last Tale

path lesen – to read valley

[p͡f nt] [ˈh bə] [b n] Pfand Habe Bann

pledge possessions ban

[b t] [m kt] [r ʃ] Bad Magd rasch

bath maiden quickly


[z l] [ˈb zə] [n kt] Saal Base nagt

Hall cousin nagen – to gnaw

[ʃt x] [ˈl sə] [ˈv ndərn] stach lasse wandern

stechen – to pinch lassen – to let be to hike

[r nt] [h ɾ] [ rt͡st] Rand Haar Arzt

edge hair doctor

[fr kst] [dr ŋ] [ p] fragst Drang ab

fragen – to ask urge from

[ʝ kt] [ˈr tə] [ nˈǀeːkəln] Jagd rate anekeln

hunt raten – to advise to nauseate

[h l] [ˈr tə] [f s] Hall Ratte Fass

echo rat barrel

[ rt] [ɡəˈm x] [z rk] Art Gemach Sarg

art chamber coffin

[r t] [f l] [ˈ tmən] Rad fahl atmen

wheel sallow to breath

[h ls] [f x] [ˈv ŋə] Hals Fach Wange

neck subject cheek

[ m] [ʃm x] [bl t] am Schmach Blatt

at the shame leaf


Worksheet 5.1: [oː], [o], and [ɔ] Name:__________________________




[d m] [ʃ s] [ˈv lən] Dom Schoß wollen

cathedral lap to want

[z ] [ˈb ɡən] [m ɐ] so Bogen Mohr

so arch moor

[b t] [f m] [m nt] Boot vom Mond

boat from moon

[ ɐ] [t n] [ˈv xə] Ohr Ton Woche

ear sound week

[ rt] [ˈz rɡən] [ˈmarm ɾ] Ort Sorgen Marmor

place sorrows marble stone

[fɛɐˈl ɾən] [f n] [t ɾ] verloren von Tor

lost from gate

[ˈʃt sən] [ˈk mən] [h x] stoßen kommen hoch

to push to come high

[ɡəˈn sə] [tr st] [ˈp xən] Genosse Trost pochen

comrade comfort to knock

[l s] [ˈk stən] [v ˈfyːɾ] Los kosten wofür

lot to cost what for


[ˈ p͡fɐ] [br t] [t p͡st] Opfer Brot tobst

victim bread toben – to rage

[l p͡st] [ˈ stərn] [v l] lobst Ostern wohl

loben – to praise Easter well

[l n] [ˈkn spə] [ˈl kən] Lohn Knospe Locken

wage bud curls

[ˈkl stɐ] [ˈv lkən] [k p͡f] Kloster Wolken Kopf

convent clouds head

[ˈɡr lən] [t t] [ ps͡t] grollen Tod Obst

to rumble death fruit

[mel ˈdiː] [t t] [ɡr s] Melodie tot groß

melody dead big

[ˈk xən] [bl s] [ʃl s] Kochen bloß Schloss

to cook merely castle

[ˈh xt͡sa͡et] [v rt] [ɡr p] Hochzeit Wort grob

wedding word rough

[m s] [ˈd kt ɾ] [ˈv nʊŋ] Moos Doktor Wohnung

moss doctor apartment

[ˈɡl kə] [ˈb tə] [ p] Glocke Bote ob

bell messenger if


Worksheet 5.2: [uː], [u], and [ʊ] Name:__________________________




[fl k] [ˈr ndə] [ˈʃl mɐ] Flug Runde Schlummer

flight round slumber

[t͡s ] [ˈh ʃən] [v t] zu huschen Wut

to to scurry rage

[ɡr nt] [ʃpr x] [br st] Grund Spruch Brust

ground saying chest

[ʃ ] [b x] [ˈh stən] Schuh Buch husten

shoe book to cough

[ˈm sə] [v xt] [ˈf ɾən] Muße Wucht fuhren

leisure force fahren – to drive

[ˈv stə] [ˈz xən] [ˈm stə] wusste suchen musste

wissen – to know to search müssen – to must

[f s] [br t] [ʝ ŋ] Fuß Brut jung

foot brood young

[ˈb zən] [ˈv ndə] [ˈm rməln] Busen Wunde murmeln

breast wound murmur

[ˈm ntɐ] [ˈbl tɪç] [m ˈziːk] munter blutig Musik

sprightly bloody music


[ˈm tɪç] [ˈb nt] [ ns] mutig Bund uns

courageous alliance us

[d ] [v nʃ] [t͡s m] du Wunsch zum

you wish for

[ˈbr mən] [br x] [bəˈv st] brummen Bruch bewusst

growl break deliberately

[ˈb sə] [t x] [tr k] Buße Tuch trug

repentance cloth tragen – to carry

[ˈ ntɐ] [ʃp ɾ] [t͡s ˈzamən] unter Spur zusammen

under trace together

[ɡr s] [fr xt] [ˈv ndɐ] Gruß Frucht Wunder

greeting fruit miracle

[ˈv stə] [ˈk xən] [ɡ nst] wusste Kuchen Gunst

wissen – to know cake favor

[l kst] [ɡəˈɾ x] [k nst] lugst Geruch Kunst

lugen – to look odor art

[ˈtr ŋkən] [ˈr xloːs] [ˈʃ stɐ] trunken ruchlos Schuster

intoxicated heinous cobbler

[ɡl t] [ m] [ˈ nǀartɪç] Glut um unartig

glow about naughty


Worksheet 6.1: [øː] and [œ] Name:__________________________




[ˈt nə] [ˈk nɪɡɪn] [ˈfl tə] Töne Königin Flöte

sounds Queen flute

[ˈk nən] [ˈv rtçən] [ˈfl çtə] können Wörtchen flöchte

to be able word flechten – weave

[ˈf ɾən] [ˈʃt sə] [h çst] Föhren Stöße höchst

pine tree blows highly

[ˈm və] [ɡəˈn sə] [ˈt ɾɪçt] Möwe genösse töricht

gull genießen – to enjoy foolish

[ˈɡr sən] [ˈɡr stə] [ˈv lbən] Größen größte wölben

sizes largest to vault

[ˈb zə] [h rst] [dezɛrˈt ɾ] böse hörst Deserteur

evil hören – to listen deserter

[ˈʃt rɪʃ] [ˈʃpr də] [ˈk rpəɾ] störrisch spröde Körper

stubborn brittle body

[ˈh ən] [ˈtr stən] [ʃv rst] Höhen trösten schwörst

heights to comfort schwören – to swear

[ˈkn p͡fə] [ˈ stlɪç] [ˈɡ tɐ] Knöpfe östlich Götter

buttons eastern gods


[ˈt͡s ɡə] [ˈkr nst] [ˈr sla͡en] zöge krönst Rösslein

ziehen – to pull krönen – to crown horse

[ˈʃ p͡fən] [ˈbl də] [ˈr stən] schöpfen blöde rösten

create stupid to roast

[ˈm ɾə] [ˈk çə] [ˈk stlɪçstə] Möhre Köche köstlichste

carrot cooks most delicious

[ˈm rtəl] [ˈh çstɐ] [ˈh nən] Mörtel höchster höhnen

mortar highest to mock

[ˈt ntə] [ˈf ɡəl] [m nç] tönte Vögel Mönch

tönen – to sound birds monk

[ˈfl sən] [friˈz ɾ] [ˈr sla͡en] flößen Friseur Röslein

to raft hair stylist rose

[ʃt st] [ˈf lkɐ] [l st] stößt Völker löst

stoßen – to push peoples lösen – to solve

[ˈr kə] [ˈl fəl] [ˈk p͡fə] Röcke Löffel Köpfe

skirts spoon heads

[ˈʃ nə] [ˈkr tə] [ˈʃt nən] schöne Kröte stöhnen

pretty toad to moan

[ˈɡl kçən] [ˈ k͡sla͡en] [ɡ nst] Glöckchen Öchslein gönnst

bells Ox gönnen – to grant


Worksheet 6.2: [yː], [y], and [ʏ] Name:__________________________



important in determining the correct sound. For conjugated verbs we have listed the infinitive form next to the English

translation.

[ˈh ɡəl] [k n] [eˈl ziʊm] Hügel kühn Elysium

hill bold Elysium

[ˈm lɐ] [ˈl ftə] [ˈt͡s rntə] Müller Lüfte zürnte

miller winds zürnen – to be angry

[ˈd ftə] [ˈv lən] [ˈb çɐ] Düfte wühlen Bücher

scents to rummage books

[ˈdr bən] [ˈɡr sən] [ˈaltɐt mlɪç] drüben grüßen altertümlich

over there to greet ancient

[ˈm sən] [ˈfl sə] [z s] müssen Flüsse süß

to must rivers sweet

[ˈr stɪç] [ˈɡr ndə] [ˈʃt rt͡sən] rüstig Gründe stürzen

active reasons overthrow

[ˈm də] [d r] [ˈt çɐ] müde dürr Tücher

tired withered towels

[ˈfl çtən] [ˈf sə] [t͡s ˈprɛsə] flüchten Füße Zypresse

to flee feet cypress

[ˈt kə] [ˈd stɐ] [ˈv stə] Tücke düster Wüste

malice gloomy desert


[ˈv stə] [ˈkl ftə] [ˈkr kə] wüsste Klüfte Krücke

wissen – to know cleft crutch

[ˈɡr ntə] [ˈbl ən] [ˈk rt͡sən] grünte blühen kürzen

grünen – to green to bloom shorten

[ˈɡ tə] [ˈm sɪç] [ˈbl mçən] Güte müßig Blümchen

goodness idle flower

[d n] [ˈf lən] [ˈt pɪʃ] dünn fühlen typisch

thin to feel typical

[ˈd rfən] [ˈʃ sə] [ˈb ʃə] dürfen Schüsse Büsche

to be allowed shots shrubbery

[ˈh tən] [ˈb sɐ] [ˈfl stərn] Hütten Büßer flüstern

huts penitent to whisper

[ˈf rçtən] [ˈm də] [v st] fürchten müde wüst

to fear tired desolate

[ˈt͡s ɡəl] [ˈʃl ndə] [b ˈroː] Zügel Schlünde Büro

rein maws office

[ˈh tən] [ˈm lə] [k l] hüten Mühle kühl

to guard mill cool

[ˈfr ə] [ˈm ləɾɪn] [ˈl ɾɪk] Frühe Müllerin Lyrik

morning millers woman poetry


Worksheet 7.1: [a͡e], [ɑo͡], and [ɔø͡] Name:__________________________




translation.

[ˈv də] [ʃ m] [ˈt ɐ] Weide Schaum teuer

pasture foam expensive

[l p] [ˈl çtən] [k m] Laib leuchten kaum

loaf to shine barely

[ʃt p] [ˈʃv ɡən] [k ʃ] Staub schweigen keusch

dust to be silent chaste

[ˈz lə] [ˈ ɡə] [ˈʃr ən] Säule Auge schreien

column eye to scream

[v p] [ˈɡl bɪç] [ˈl ʃən] Weib gläubig lauschen

wife faithful to listen

[l ç] [ɡ st] [m s] Laich Geist Maus

spawn spirit mouse

[b ˈɾ t] [ˈk zɐ] [ˈʃtr ən] Bayreuth Kaiser streuen

German city Emperor to sprinkle

[ˈm əɾ] [z m] [kr s] Meyer Saum Kreis

a surname hem circle

[l ] [ˈb ɡən] [ˈʃ dən] lau beugen scheiden

lukewarm to bend to part


[ɡr ] [ˈfr ən] [t͡s t] grau freuen Zeit

gray to be happy time

[br t] [ f] [tr ] breit auf treu

wide on faithful

[ˈb tə] [ʃt ɡən] [fr ] Beute steigen Frau

prey to climb woman

[hɛɾ s] [ˈn ə] [ˈtr bən] heraus neue treiben

out new to drive

[ˈz ft͡sɐ] [ˈdr sən] [ˈtr mə] Seufzer draußen Träume

sigh outdoors dreams

[ˈ lən] [ˈ ɾə] [ˈbr zən] eilen eure brausen

to rush your roar

[h n] [ˈr ʃən] [ˈfr ndɪn] Hain rauschen Freundin

grove murmur girlfriend

[t ] [ˈd nə] [ˈl tən] Tau deine läuten

dew your to ring

[ˈh tə] [ˈtr ərn] [v s] heute trauern weiss

today to mourn white

[ˈt ʃən] [ˈbl bən] [r m] täuschen bleiben Raum

to fool to stay room


Worksheet 9.1: [f] and [v] Name:__________________________

Complete the IPA in the square brackets above the text. As an aid we have provided an IPA transcription for all the sounds not

covered in this section.

[ lʊs] [ˈ ɛlə] [ˈ io̯ːla] Fluss Welle Viola

river wave viola

[ɑ͡o ] [ uːs] [ ɛɾˈlʊst] auf Fuß Verlust

on foot loss

[ˈtɑ͡o ə] [ˈa ə] [ io̯ˈlɛt] Taufe Affe violett

baptism monkey purple

[ˈhɔ nʊŋ] [ a͡eçən] [ ɔlk] Hoffnung weichen Volk

hope to yield people

[ ɔm] [ˈʃtuː ə] [ˈ ɪməln] vom Stufe wimmeln

from step to swarm

[ ɑe͡n] [ˈ ɑːzə] [ rʊxt] Wein Phase Frucht

vine phase fruit

[ iloˈzoː ] [hoː ] [ˈ ʏrdɪç] Philosoph Hof würdig

philosopher yard worthy

[ʃ art͡s] [ˈ ɪsən] [ aɾiˈzɛːəɾ] schwarz wissen Pharisäer

black to know Pharisee

[ɪntɛnˈziː ] [daˈ ɔn] [ alʃ] intensiv davon falsch

intensive from it wrong


[ˈʃa ən] [ˈʃ ɛstəɾ] [ˈ ɑːɡən] schaffen Schwester wagen

to work sister to risk

[ˈhar ə] [ˈ eːrdən] [ io̯ˈliːnə] Harfe werden Violine

harp to become violin

[ iːl] [ʃɑː ] [naˈiː ] viel Schaf naiv

much sheep naive

[ˈ ɛlkən] [za t] [ ryː] welken Saft früh

fade juice early

[ iːl] [ˈɔ ən] [ˈ ɛstən] fiel offen Westen

fell open west

[ˈʃ øːɾən] [ ɛrs] [ˈtrɛ ən] schwören Vers treffen

to swear verse to meet

[kaˈ eː] [ ʊlˈkɑːn] [ ɔl] Kaffee Vulkan voll

coffee volcano full

[ˈ ɑːɾao] [ˈ ɪlə] [ ra͡e] Pharao Wille frei

Pharao will free

[ al] [ ɛɾˈ|ɪrən] [ ɪrt] Wall verirren Wirt

dam to get lost host

[ˈ la͡esɪç] [ˈ ɛçtən] [ roː] fleissig fechten froh

diligent to fence happy


Worksheet 9.3: [s], [z], [ʃ], and [ʒ] Name:__________________________

Complete the IPA in the square brackets above the text. As an aid we have provided an IPA transcription for all the sounds not

covered in this section.

[lɪ t] [oˈɾã ə] [ˈdʊŋklə ] List Orange dunkles

cunning orange dark

[ iːk] [ˈlɑ͡o ən] [ˈrʏ tən] Sieg lauschen rüsten

victory to listen prepare

[moː ] [ˈhɔø͡ çən] [ˈ tɪmə] Moos Häuschen Stimme

moss house voice

[ˈɛ ən] [ˈfɛn tɐ] [ˈbuː ə] essen Fenster Buße

to eat window repentance

[ˈ vɛ tɐ] [ˈ tɪlə] [ˈbʊ ə] Schwester Stille Busse

sister silence busses

[va͡e ] [ˈknɔ pə] [ neː] weiß Knospe Schnee

white bud snow

[ˈ tɛçən] [ pɛçt] [ pɑː ] stechen Specht Spaß

to sting woodpecker fun

[ vax] [fɪ ] [ˈlɪ pəln] schwach Fisch lispeln

weak fish to lisp

[ˈ piːlən] [ˈ eːɡən] [ˈvɪn lə] spielen Segen winsle

to play blessing winseln – to whimper


[ ɑo͡m] [ nɛl] [ˈva ən] Saum schnell waschen

hem fast to wash

[ˈra tən] [ urnaˈlɪ t] [ˈ tɛrbən] rasten Journalist sterben

to rest journalist to die

[ˈ ɪŋən] [ˈa͡e kalt] [ˈtrøː tən] singen eiskalt trösten

to sing ice cold to comfort

[ˈɛrp ə] [trɔ ] [ˈɑ͡o plɑo͡dərn] Erbse Tross ausplaudern

pea impedimenta blab

[flʊ ] [ˈ eːlə] [ˈɡa͡e əl] Fluss Seele Geisel

River soul hostage

[ˈha ən] [ˈnɑː ə] [ˈɡa͡e əl] haschen Nase Geißel

to catch nose whip

[ tuˈdɛntən] [ɡruː ] [ˈ eːən] Studenten Gruß sehen

students greeting to see

[ˈ prɪŋən] [ɑ͡o ˈ ɑːɡə] [loˈ iːɾən] springen Aussage logieren

to jump statement to lodge

[ ɛf] [ˈ tʊndə] [ˈɑ͡o prɛçən] Chef Stunde aussprechen

boss hour to pronounce

[frɔ ] [ˈ pruːdəln] [ˈhɛrlɪç tə] Frosch sprudeln herrlichste

frog to bubble glorious


Worksheet 9.4: [ʝ], [ç], and [x] Name:__________________________


this section. For conjugated verbs we have listed the infinitive form next to the English translation.

[brɪ t] [brʊ ] [va͡e t] bricht Bruch weicht

brechen – to break break weichen – to give way

[za t] [ˈfɛ əln] [ˈva͡ep ən] sacht fächeln Weibchen

gently fan female

[ˈknɔ ən] [ˈmœ tə] [fɔ͡ø t] Knochen möchte feucht

bone mögen – to like moist

[ˈflɛ tən] [ˈ amɐ] [ˈla ən] flechten Jammer lachen

to weave wretchedness to laugh

[ˈzɪ ɐ] [ˈkøːnɪklɪ ] [ˈ uːbəl] sicher königlich Jubel

safe kingly cheering

[mɪl ] [ˈyːbrɪ ] [ˈnɑː rɪ t] Milch übrig Nachricht

milk remaining message

[ˈhoːnɪ ] [mɪ ] [ˈnɛː stə] Honig mich nächste

honey me next

[ ʊst] [ˈt͡sʏ tən] [ˈvɛ tɐ] just züchten Wächter

just breed watchman

[ˈtrɑ͡oɾɪ ] [rɑ͡o ] [ˈbɔ͡ø la͡en] traurig Rauch Bäuchlein

sad smoke belly


[maˈ oːɾ] [ˈbɛ la͡en] [ˈhøː stə] Major Bächlein höchste

major brooklet

[ˈtra tən] [ba ] [ˈ anuɑːɾ] trachten Bach Januar

aspire river January

[nɔ ] [ˈlœ ɐ] [ˈtʏ tɪ ] noch Löcher tüchtig

still holes capable

[ʃlɪ ] [ eˈɾuːp] [ˈpɔ ən] schlich Cherub pochen

schleichen – to sneak cherub to throb

[fʊr t] [ˈ ʊkən] [hɔø͡ əˈla͡e] Furcht jucken Heuchelei

fear to itch hypocrisy

[rɛ t] [ˈt͡sa͡e ən] [ˈfriːtlɪ ] Recht Zeichen friedlich

right sign peacful

[ˈzuː ən] [ɡəˈʃtrɔø͡ ] [ ɑːɾ] suchen Gesträuch Jahr

to look for shrubbery year

[ˈnɛ tlɪ ] [hɑ͡o ] [ˈbɛ ɐ] nächtlich Hauch

Becher nightly breath cup

[ˈflʏ tɪ ] [ˈt͡sɛ ɐ] [ˈvœrt ən] flüchtig Zecher Wörtchen

fleet ingly boozer word

[ˈkøːnɪkra͡e ] [ eˈdɔ ] [fluː ] Königreich jedoch Fluch

kingdom however curse


Worksheet 9.6: [h] and [ǀ] Name:__________________________

Complete the IPA in the square brackets above the text when applicable. We have provided an IPA transcription for all the

sounds not covered in this section and left gaps where corrections might be needed. Notice that some words need multiple

corrections and others need none. Fill in the gaps when needed, and leave the gap blank when no correction is required.

[ ɛlt] [ ɛˈɾ ʊntɐ] [ˈ ʊlmən] Held herunter Ulmen

hero down elm trees

[ ɔrt] [ˈkluːk a͡et] [ˈ ɛrt͡s ɛŋəl] Ort Klugheit Erzengel

place wisdom archangel

[ˈɡartən ɑo͡s] [vɑː n] [fɛɾˈ axtən] Gartenhaus Wahn verachten

summer house mania to despise

[ˈ a͡en ɑːtmən] [reː ] [ˈ an øːɾən] einatmen Reh anhören

inhale deer to listen to

[ˈbøːs ɑːrtɪç] [ ɪˈn yːbɐ] [loː n] bösartig hinüber Lohn

malicious over wage

[ʃuː ] [ˈ ɑːbə] [ʃtroː ] Schuh Habe Stroh

shoe possessions straw

[zeː t] [daˈɾ ʊntɐ] [ˈɡɔtəs ɑo͡s] seht darunter Gotteshaus

sehen – to see among them place of worship

[daˈ eːɐ] [ˈ akɐ] [ˈmɑː lən] daher Acker mahlen

therefore acre to grind

[ˈ ɑ͡os altən] [fɛɐˈ øːɐ] [ ant] aushalten Verhör Hand

withstand interrogation hand


[fryː ] [fɔˈɾ yːbɐ] [ˈ ɑ͡oɡən] früh vorüber Augen

early past eyes

[foˈɾ ɑ͡os] [ˈ ɑ͡os ɑːrtən] [ˈ eːrdə] voraus ausarten Herde

ahead degenerate herd

[daˈɾ yːbɐ] [ eːɐ] [ˈ ʊn eː rlɪç] darüber er unehrlich

about that he dishonest

[voˈ eːɐ] [ˈ ɑ͡ofˈ eːbən] [nɑː ] woher aufheben nah

where from cancel close

[ ɛˈɾ ap] [ iː m] [ ɪˈn ɑ͡of] herab ihm hinauf

down him up

[ ɑːl] [ˈʃteː lən] [ˈ uːf a͡ezən] Aal stehlen Hufeisen

eel steal horseshoe

[ˈɡeː ən] [ˈ an a͡eɡnən] [ ɛˈɾ a͡en] gehen aneignen herein

to go appropriate in

[daˈ ɪn] [bəˈ altən] [ ɛrt͡s] dahin behalten Herz

there to keep heart

[ˈfrɔ͡ønd ɪn] [blyː t] [bəˈ ɑːɡən] Freundin blüht behagen

girl friend blühen – to bloom to relish

[ˈ iː ɾəm] [ˈ ɑːkən] [ˈmyː zeːlɪç] ihrem Haken mühselig

their hook toilsome


Worksheet 10.3: [p], [b], [t], [d], [k], and [ɡ] Name:__________________________

Complete the IPA in the square brackets above the text when applicable. We have provided an IPA transcription for all the

sounds not covered in this section and left gaps where corrections might be needed. Notice that some words need multiple

corrections and others need none. Fill in the gaps when needed, and leave the gap blank when no correction is required.

[ rax ] [fɛɐˈ ɔr ən] [ˈzɛŋ ən] Pracht verborgen senken

splendor hidden to lower

[ˈmɛː çən] [ˈzan yːnə] [t͡sɑːr ] Mädchen Sanddüne zart

girl sand dune tender

[ˈ rɛːnə] [aˈ ɔr eɔn] [ raŋ ] Träne Akkordeon krank

tear accordion sick

[ˈyː lɐ] [ ɑː ] [ˈ ʊ ə] übler Tag Puppe

worse day doll

[ ʊr ] [liː ] [ˈvɛn ən] Burg lieb wenden

castle dear turn

[ˈʃ ɛː ə] [ˈra ə] [ˈ lɔ ə] Städte Ratte Glocke

cities rat bell

[ˈʃɛŋ ən] [moːn ] [ aˈ oːlɪʃ] schenken Mond katholisch

to give moon catholic

[ˈa͡en rɪŋ ən] [ ɔr ] [ʃrɪ ] eindringen dort Schritt

penetration there step

[loː ] [ aˈra ɐ] [ˈ eː ən] lobt Charakter beben

loben – to praise character to shake


[ˈ øːnɪ ə] [ˈfɛː çən] [ˈ ɑː ə] Könige Fädchen Tage

kings filaments days

[ aɾaˈ iːs] [ˈfɑː ən] [ˈʃ a ] Paradies Faden Stadt

paradise thread city

[ˈ eː ən] [ a͡es ] [ as ] beten Geist Gast

to pray spirit guest

[ˈvan əɾəɾ] [frɔ͡øn ] [ iː ] Wanderer Freund Dieb

wanderer friend thief

[ˈ rʊ ə] [ˈ eːlə] [ˈreː nən] Truppe Kehle regnen

troupe throat to rain

[ˈkøːnɪ lɪç] [t͡suˈɾʏ eːɾən] [t͡sva͡e ] königlich zurückkehren Zweig

kingly to return branch

[ rɪs ] [ ɛ ] [ˈrɛ ɐ] Christ Bett Retter

Christ bed savior

[ˈlɑː ən] [ˈa ɪ ə] [ˈrɛ ə] laben Abbitte Recke

refresh Atonement warrior

[fɛɐ rɛŋ ən] [ˈ iːfə] [ˈ øːzə] verdrängen Tiefe böse

to repress depth evil

[ eː ] [ziː ] [ˈvɪ ɐ] gebt Sieb Widder

geben – to give sieve Aries


Worksheet 11.3: [m], [n], and [ŋ] Name:__________________________


this section. For conjugated verbs we have listed the infinitive form next to the English translation.

[ oː t] [ axt] [ˈba ə ] Mond Nacht bangen

moon night to fear

[ˈtrɪ kə ] [sfɪ k͡s] [ˈvɛ də ] trinken Sphinx wenden

to drink sphinx to turn

[kla ] [ˈrɑː ə ] [ha ] Klang Ramen Hang

sound frame slope

[ˈkɛ ə ] [ˈt͡sɪ ɐ] [ʊ ˈ ɑ͡oər ] kennen Zimmer ummauern

to know room to wall in

[a ˈ eː ə ] [ˈt͡sʊ ə] [ˈʊ ɡətrɔø͡] annehmen Zunge ungetreu

to assume tongue faithless

[ba k] [ˈa kʊ ft] [ˈzɛ ɐ] Bank Ankunft Sänger

bench arrival singer

[drɪ t] [ʃtɪ t] [fʏ f] dringt stimmt fünf

dringen – to penetrate stimmen – to be right five

[ɪ ˈ ʊnt] [fɔ ˈ ɪçt͡s] [ eːɐ] im Mund von nichts Meer

in the mouth from nothing sea

[ uːɐ] [ˈbrɪ ə ] [ʃla k] nur bringen schlank

only to bring slender


[va t] [rɪ ] [ˈ iː a t] Wand Ring niemand

wall ring nobody

[ɡəˈza ] [ˈ ɔ ə] [ˈhɪ əl] Gesang Nonne Himmel

singing nun sky

[ˈhɪ eː ə ] [a ˈ ɪtɑːk] [ˈʝʏ lɪ ] hinnehmen am Mittag Jüngling

to accept at noon youth

[ˈʊ ɡə yːtlɪç] [ˈfʊ kə ] [ˈʊ klɑːɾ] ungemütlich Funken unklar

uncomfortable sparks obscure

[ˈbrɪ ə ] [klɪ t] [kɛ t] bringen klingt kämmt

to bring klingen – to sound kämmen – to brush

[ˈkʏ ftɪç] [ɪ ˈ oːnɑːt] [ˈʊ atyːɐlɪç] künftig im Monat unnatürlich

hencforth in the month artificial

[ˈdʊ kəl] [ˈzɔ ə] [ˈzɔ ɐ] dunkel Sonne Sommer

dark sun summer

[tʊr ] [ma ] [ɛ ] Turm Mann eng

tower man narrow

[ˈvɪ kən] [ʃ ɛrt͡s] [ˈva kən] winken Schmerz wanken

wave pain to waver

[ʃprɛ t] [ˈmɛ ə] [doː ] sprengt Menge Dom

sprengen – to burst amount cathedral


Worksheet 12.2: [l], [r], [ɾ], and [ɐ] Name:__________________________


this section. Use the vocalic R, [ɐ], when possible. For conjugated verbs we have listed the infinitive form next to the English

translation.

[ˈt uːə] [ˈɡa tən] [hɔ t] Truhe Garten Hort

chest garden hoard

[ˈbɑː ə] [ˈʃnɛ ə ] [veː ] Bahre schneller wer

bier faster who

[ʃ ɑo͡] [ˈa ə uːm] [ʃɑː ] schlau aller Ruhm Schar

clever all the glory crowd

[ˈ atə] [ˈʊnt ɡaŋ] [ ɑ͡ot] Ratte Untergang laut

rat downfall loud

[hɪnt ] [ˈ ɛtə ] [tyː ] hinter Retter Tür

behind savior door

[miː ] [ɛ ˈʃ ɛkən] [ˈmɪ d t] mir erschrecken mildert

me to frighten mildern – to mitigate

[f uː ] [ˈva͡et ] [ˈeː ən] Flur weiter ehren

corridor further to honor

[k ɑː ] [ˈ ɔ ən] [yːb ˈ aʃən] klar rollen überraschen

clear to roll to surprise

[na ] [ˈɪ ən] [ˈd ɪŋən] Narr irren dringen

fool to stray to penetrate


[ eː] [ˈhɑːɡə ] [ˈf iːdə] Reh hager Friede

deer gaunt peace

[ˈk a͡edə] [t͡sɑː ] [ˈ iːzə] Kreide Zahl Riese

chalk number giant

[vɪ t] [ oːt] [fɛ ˈ oː ən] Wirt rot verloren

host red lost

[hɛ ] [ˈfoː zɪŋən] [ɡ ɑ͡o] Herr vorsingen grau

mister to audition gray

[fiː ˈ ɛːd ] [ˈɑːb ] [ʃa ] vier Räder aber Schall

four wheels but sound

[fɔ ˈ iːbə] [heː ] [ˈha͡et ] voll liebe her heiter

full of love here cheerful

[ˈvɑː ən] [vɑː ] [fyː ] Waren war für

goods sein – to be for

[hɑː ] [eː ] [ɡɑː ] Haar er gar

hair he quite

[heː ] [ˈe də] [ʃɑː ] Heer Erde Schal

army earth scarf

[viː ] [ˈøː ampə] [deː ˈ ɪt ] wir Öllampe der Ritter

we oil lamp the knight


Worksheet 13.1: [p͡s], [p͡f], [t͡s],[t͡ʃ], [k͡s], and [k͡v] Name:__________________________

Complete the IPA in the square brackets above the text. We have provided an IPA transcription for most of the sounds not

covered in this section. In a few words you will have to fill in sounds covered in earlier chapters, i.e., [z], [ʃ], [x], and [t].

[ alm] [ˈhɛ ə] [ va͡e] Psalm Hexe zwei

psalm witch two

[ˈ leːɡən] [ eːɾ] [ˈrɪ ə] pflegen quer Ritze

to look after crosswise chink

[ ɔrn] [ɛn ˈ ʊldɪɡən] [ˈflɛ ən] Zorn entschuldigen fletschen

wrath to apologize to bare

[ɛn ˈ ʏndən] [bəˈ eːm] [akˈ io̯ːn] entzünden bequem Aktion

ignite comfortable action

[ɛn ˈ ɑːɡən] [ˈʃlʏ ən] [ˈnɪ ə] entsagen schlüpfen Nixe

renounce hatch mermaid

[lʊ ] [ˈhɛ ən] [ alm] Luchs hetzen Qualm

[ˈva ɑːm] [paˈ iɛ̯nt] [hɛr ] wachsahm Patient Herz

lynx patient heart

[ˈrʊ ən] [dɔ͡ø ] [ ɑ͡o] rutschen deutsch Pfau

slide German peacock

[ɪntəɾˈmɛ o] [kɔ ] [ɛn ˈ va͡e] Intermezzo Kopf entzwei

interlude head asunder


Worksheet: Review Section II. Vowels Name:__________________________




translation.

[ˈz n ] [ˈb m ] [ˈv st ] Söhne Bäume Wüste

sons trees desert

[ˈm çt ] [ˈ ɾ ] [ˈ n n] möchte Ähre ahnen

mögen – to like ear suspect

[m ɐ] [h ɾ] [ˈt͡s n] mir Haar ziehen

me hair to pull

[ p] [t͡s ] [fr ] ab zu froh

from to happy

[ɡ ˈʃpr ç] [ˈl b ] [p͡f rt] Gespräch Liebe Pferd

conversation love horse

[ˈm s ] [h rt] [ʃ ] Muße Herd Schuh

leisure hearth shoe

[ˈl b n] [m ɐ] [ˈz l ç] leben mehr selig

live more blessed

[f n] [ˈbr n n] [h çst] von Brunnen höchst

from fontain highly

[ mˈh ɐ] [b ˈv kt] [tr st] umher bewegt Trost

around bewegen – to move comfort


[ ɾ] [v rt] [ɡ ft] ihr Wert Gift

her value poison

[ˈkn pl n] [v kt] [m ˈz k] Knäblein wagt Musik

baby boy wagen – to risk music

[v ] [ˈn k͡s ] [ˈm s ] wo Nixe Maße

where

[ˈt ɡ ] [ˈf rt l] [ˈm tç n] Tage Viertel Mädchen

days quarter girl

[ˈz s ] [ ɐˈh pt] [ m] säße erhebt im

sitzen – to sit erheben – to raise in the

[h x] [t n] [ˈf tç n] hoch Ton Fädchen

high tone filaments

[ rt͡s] [ʃv rt] [f l] Erz Schwert voll

metal sword full

[r t͡s l] [ɡr s] [f ɐˈl ɾ n] Rätsel groß verloren

riddle tall lost

[ˈ ɾ ] [ˈb ltn s] [m nt] Arie Bildnis Mond

aria portrait moon

[m l ˈd ] [ʃt x] [ˈt͡s rtl ç] Melodie stach zärtlich

melody stechen – to stab affectionate


Quiz: Section II. Vowels Name:__________________________

Which of the following vowels have lip rounding? Circle the right

answers:

[iː] [ɪ] [eː] [ɛ] [ɛː] [ə] [a] [ɑː] [oː] [ɔ] [uː] [ʊ] [øː] [œ] [yː] [ʏ]

The vowels in the following words have a common pronunciation

feature (complete the sentence): See, Jahr, Mut, and spät are all

pronounced with a ___________ vowel.

The vowel length in the words Stadt and Stunde is governed by the

following rule (complete the sentence): “Usually a vowel letter is short

when the vowel is followed by __________________________

_______________________________________.”

Monophthongs that are formed by using the tongue position of a

tongue vowel and the lip position of a lip vowel are called

___________________________. They are represented in writing by

what is called an umlaut (vowel letter with diacritical mark). Spell the

two vowel letters: ___, ___.

The stressed -ie- in words such as Riesen and Wiesen is pronounced

(circle the right answer): [a͡e] [iə̯] [iː]

The letter ä can be pronounced in two ways, as in the words spät and

hätte (circle the right answers): [a] [ɑː] [ɛː] [ɛ] [eː]

A vowel sound that changes its quality from one vowel sound to

another vowel sound throughout the duration of one syllable is called a

___________________________. Which of the following spellings

represent [ɔ͡ø] (circle the right answers):

au ei eu ay ai äu ey





translation.

[ˈr tç n] [ˈh n] [ˈm s ] Rädchen Höhen Maße

little wheel heights measures

[b ˈɡr st] [ˈr sl n] [ˈn k͡s ] begrüßt Röslein Nixe

begrüßen – to greet little rose mermaid

[ˈʃt nd ] [ˈr sl n] [ˈz l ] Stunde Rösslein Seele

hour little horse soul

[ˈh mk ɾ] [ˈv n ç] [ˈtr ] Heimkehr wenig Truhe

return little cabinet

[ˈb s ] [f l] [ˈm sç n] Buße viel Mäuschen

penance much little mouse

[ ɐˈt͡s l n] [ˈ ɾ ] [h l] erzählen Arie hohl

to tell aria empty

[z mf ˈn ] [z t] [fl t] Symphonie Saat flieht

Symphony sowing fliehen – to flee

[m l ˈd ] [b n] [ˈt çt ɾ] Melodie Bahn Töchter

melody path daughters

[h rç] [ ˈz l] [v nst] horch Asyl weinst

horchen – to listen asylum weinen – to cry


Quiz: Vowel Length Exceptions Name:__________________________

The words in, im, bin, bis, hin, mit, and April are pronounced with

(circle the right answer):

a) long and closed [iː] b) short and closed [i] c) short and open [ɪ]

The above words are an exception to the following rule (complete the

sentence): “Pronounce [__] in spellings of the letter i before ________

__________________________________.”

The final -ie in words with penultimate stress like Lilie and Arie is

pronounced [___].

The final stressed -ie in words such as Melodie and Harmonie is

pronounced [___].

The words Erde, Herd, Pferd, Schwert, and Wert are pronounced with

(circle the right answer):

a) long and closed [eː] b) short and open [ɛ] c) long and open [ɛː]

The above words are an exception to the following rule (complete the

sentence): “Pronounce [__] in spellings of the letter e before ________

_________________________________________.”


Which of the following words are an exception to this rule:

“Pronounce [a] in spellings of the letter a before two or more

consonant letters”? (Circle four exceptions.)

Schmach, Ratte, Sprache, zart, halt, Jagd, Schatten, hassen

Which of the following words are exceptions to this rule: “Pronounce

[ɔ] in spellings of the letter o before two or more consonant letters”?

(Circle four exceptions.)

Trost, Wonne, Knospe, Mond, hoch, voll, Kloster, hoffen

Which of the following words are an exception to this rule:

“Pronounce [ʊ] in spellings of the letter u before two or more

consonant letters”? (Circle four exceptions.)

Mund, Buch, Mutter, Fluch, gesund, suchen, Geburt, Kuss

Complete the IPA in the square brackets:

[ˈv stə] [ˈd stəɾ] [ˈb çəɾ] Wüste düster Bücher

desert gloomy books

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to German Diction - Oxford University Press · 2019. 11. 19. · The Singer's Guide to German Diction: Supplements Vowels in Singing This and the next chapters build on the diction