Sound receiver association to the word. How to memorize foreign words using sound associations. Soft consonants in Russian

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“We see the sound” “I weighed the sound, measured and calculated, I penetrated the riddle of the word with cunning. And I conceived a clever villainy - To betray my living tongue to iron...” (A. Zhuravlev) The property of sounds to evoke color images was noticed long ago. Much has been written about the color hearing of A. Scriabin, who saw musical sounds in color. An entire direction in art - color music - is based on this property of music sounds. There is evidence that speech sounds, especially vowels, can also be perceived in color. A. Rimbaud even wrote a sonnet “Vowels”, in which he colored the sounds like this: A - black; white - E; And - red; U - green; O is blue: I will tell their secret in my turn... But the French linguist K. Nirop attributed completely different colors to vowels: he considered I to be blue, U to be bright yellow, A to be red. The German linguist A. Schlegel wrote that for him I is sky blue, A is red, O is purple. But the Russian poet A. Bely claimed that A seems to him white, E - yellow-green, I - blue, U - black, O - bright orange. If we continue to name individual judgments about the color of vowels, then each sound will turn out to be painted in all the colors of the rainbow. So, in this case, are there any definite sound-color correspondences at all? Isn't this fantasy? Or perhaps randomly arising unstable associations between sound and color? Is it possible that sound connections are a consequence of exceptionally finely designed perception mechanisms of individual people? Various answers were given to these questions, but most often they agreed that the connection “speech sound - color” is a rare, purely individual phenomenon. Modern science recognizes a phenomenon as existing only when it is either directly observed, or manifests itself reproducibly in experiments, or is strictly calculated. Moreover, in any case, the last word remains with practice: it is necessary that the phenomenon functions observably or traces of its action are detected. But where we are talking about the human psyche, everything looks different. Science, like a “picnic on the side of the road” zone, penetrates into this area still rarely and with difficulty, and having penetrated, it comes across incomprehensible “complete dummies” that it cannot open with its instruments. Mental phenomena are most often not directly observed, they sometimes appear in experiments, sometimes they don’t, they are difficult to calculate, and the traces of their functioning are uncertain, unsteady, and irregular. Especially in the area of ​​the subconscious. Let's call it intuition. Everyone can remember cases when, as it seems to us, the right decision or action was prompted to us by intuition. Moreover, as it turned out in the process of working on artificial intelligence, a person in difficult situations makes a decision not by searching through all possible options, but heuristically, subconsciously, intuitively finds the right path. But on the other hand, intuition often fails. How can we understand when intuition whispers to us the right decision, and when it tricky pushes us into a dead end? This is how it is with sound-color correspondences. If they exist, then who is right - A. Rimbaud or A. Bely? Whose intuition is more correct? The idea of ​​the experiments is simple: the reactions of many subjects to a certain stimulus are recorded, and then statistical processing of the resulting material follows in order to identify the main trends in the reactions. The recording technique is varied: subjects are either presented with speech sounds - they need to select colors for them, or they are presented with various color cards - they need to write sounds on them, or they are given the task of arranging sounds by color, say, from “the reddest” to the “least red”, "most blue" to "least blue", etc. Many such experiments with thousands of informants have shown that in the overwhelming majority of subjects, at least the vowels are colored quite definitely. Opinions are especially unanimous regarding the three vowels - A, E, I. The sound and the letter (sound letter) A are quite consistently called red, E is clearly green, and I is definitely blue. Everyone considers the sound letter O to be light and bright, but although most subjects call it yellow, the answers “white” are still quite common. It turns out that it is sunny. Please note that linguists consider the vowels A, O, E, I to be the main ones, supporting ones for the human speech apparatus and the main ones in all languages. And physicists consider the colors corresponding to these vowels to be the main ones, because their combinations give all other colors and shades. This is what color photography and color television use. Is it not surprising that in language the correspondences to the main colors turned out to be the clearest? Apparently, the “collective intuition” of people is manifested here: the color structure of the world is reflected in the color structure of language. The names of the main colors occur most often in speech, and the sounds O, A, E, and I are the most frequent of the vowels. And between the names of the primary colors and these vowels, in turn, there is a connection: the name of a certain color contains a correspondingly “colored” sound, and it occupies the most important position in the word - the stressed position: red, blue. The remaining vowels have a shading color, just like the colors with which they are associated, moreover, this connection is less clearly visible - there is a greater range of opinions among the subjects. So, U - is associated with dark shades of blue: dark blue, dark blue, dark blue-green, dark purple. The sound letter Yu is also associated with shades of blue, but with light ones: blue, light lilac. The sound letter E behaves interestingly. In spelling, it is similar to E, and in sound, to O. And in terms of color, it is quite definitely located between the yellow O and the green EZh; approximately half of the subjects call it yellow, and half - green. So Yo is a light yellow-green. But I is almost no different in color from A, except that it is perceived as lighter and brighter. As for Y, we should not talk about color, but rather about the light characteristic. If O is the sound letter of light, then Y is the sound letter of darkness, darkness. It is the darkest of all vowels, and subjects unanimously give it the darkest characteristics - dark brown, black. It is curious that the perception, strictly speaking, of the consonant sound Y was clearly influenced by the graphic form of the letter Y, which conveys this sound. The similarity between Y and I also led to similar color assessments - Y is perceived as a blue sound letter, although with less certainty than I. The letter E had to be excluded from the analysis. Although it conveys almost the same sound, which in most cases is conveyed by the letter E, according to the responses of the subjects, the green sound letter E does not work out: the letter form is different. And in general, no specific color is associated with E. And since E is found extremely rarely in texts (much less often than all other vowels), it was decided not to take it into account in further analysis of the texts. Of course, not everyone’s sound-color correspondences are equally firmly anchored in the subconscious. There are subjects who in all experiments show clear and uniform results that coincide with the “collective opinion” of all respondents, and there are also those whose answers in different experiments are contradictory, unstable, and no specific coloring of sounds can be traced from their answers. Well, well, colorblind people do not see the color of objects, but this does not mean that the color of objects does not exist. It is important that the majority of subjects, in general, consistently and fairly uniformly establish very definite connections between sound and color, although almost no one is aware of this. Results of the experiment on sound-color correspondences |Sound-letters|Colors | |s | | |A |dense red | |I am |bright red | |O |light yellow or white | |E |green | |Ё |yellow-green | |And |blue | |Y |bluish | |U |dark blue, dark blue-green, | | |dark purple | |Yu |bluish | |S |gloomy dark brown or black | If correspondences between speech sounds and certain colors exist, even in the subconscious, then they must manifest themselves somewhere, the sound color must somehow function in speech. And perhaps, first of all, we need to look for manifestations of sound-color halos in poetry: where the sound side is especially important. The sound-color effect can play a role in the case when a certain color picture is created in a poem, and the pattern of the vowels of the verse should support, “illuminate” this picture with sounds of the corresponding color. If this is so, then it is natural to expect that when describing, for example, red objects and phenomena in the text, the role of red A and Z will be emphasized; they will occur more often than usual, especially in the most important, most visible positions (say, drums). The description of something blue will be accompanied by the intensification of blue I, U, Yu; green - by pumping E, E, etc. As soon as we began testing this hypothesis, dry statistical calculations revealed a living play of sound-colored halos of poetic language, striking in its unexpectedness, its diversity and exact correspondence to the conceptual meaning and general expressive-figurative structure of the works. Judge for yourself. A. Blok has a poem that he wrote under the impression of V. Vasnetsov’s painting “Gamayun, the Prophetic Bird.” The poem about terrible prophecies conveys the tragic coloring of the picture - the dark purple color of executions, fires, blood. On the surface of endless waters, Sunset clothed in purple... ...... Announces the yoke of the evil Tatars, Announces a series of bloody executions And coward, and hunger, and fire, The power of evildoers, the death of the right... ...... .. And the truth of things sounds from Lips caked in blood!.. If the initial hypothesis is correct, then in the sound-letter fabric of the poem there should be more often than normal, red A, Z and dark, gloomy U, Y. Is not it? Since both the problem of sound color itself and the analysis of poems from this point of view are very unusual, the mere statement that this is really the case will certainly not be enough. The usual reaction of anyone who first hears about sound color in poetry is: “This can’t be!” And machine calculations are most often looked at with a secret confidence in the catch. Therefore, we will at least briefly describe the method of computer analysis of this and other poems that will be discussed here. In the text of the poem (including the title), the number of each of the 10 sound letters listed in the table is counted. To take into account the special role of stressed vowels, they are doubled when counting. Since Yo, Ya, Yu, J are associated only with shades of primary colors and also because they are relatively rare, they do not have independent meaning in the sound-color picture of the verse. Therefore, they are added to the main vowels. Since the sound letter E turned out to be two-color, its number is divided equally between O and E. The blueness of Y is weakly expressed, so the number of Y is reduced by half and only then added to I. The number of all letters with doubling of stress (value N) is also counted. Then the proportion (frequency) of each vowel in the text of the poem () and the units of the range of vibrations for this text are determined: The obtained particulars are compared with the normal ones (the statistical average for the language), and the normalized differences of these frequencies are calculated to establish whether the frequencies observed in the poem differ by chance or not from normal ones and how exactly they differ: Sound colors in the poem “Gamayun, the prophetic bird” | Sound letters | n | | | |Z |Color | |O+0.5Ё |28 |0.089 |0.126 |0.019 |-1.95 | | |A+Z |50 |0.159 |0.116 |0.018 |2.39 |red | |E+0.5Ё |31 |0.098 |0.102 |0.017 |-0.24 | | |I+0.5Y |20.5 |0.065 |0.077 |0.015 |-0.80 | | |U+Yu |16 |0.051 |0.040 |0.011 |1.00 |dark | | | | | | | |blue-green| | | | | | | |th | |ы |11 |0.035 |0.024 |0.009 |1.22 |black, | | | | | | | |brown| | | | | | | | | |Total sound letters in the poem are 315 | | | | | | | | | | | | | | | As you can see, the sounds A and Z in ordinary speech should occur 116 per thousand, but in the poem there are much more of them (). With such a deviation of a particular (0.159 - 0.116 = 0.044) exceeds random by 2.39 times, that is, it can hardly be random. This means that the poet intuitively intensified the red A and Z, more often providing them with striking positions (he broadcasts a series of bloody executions). The second one that exceeds the norm is Y, giving the red tone a gloomy, tragic sound. Finally, U (also with an excess of frequency above the norm) adds dark blue-green and purple shades to the sound-color picture. The frequency of all other vowels is below normal. If we now depict in color the play of the dominant vowels in the poem, we will get a picture in red-purple and black-blue, with some dark green in some places. And this is the color scheme of V. Vasnetsov’s painting. One can only be amazed at how accurately the poet’s talent prompted him to choose and proportion the dominant sounds. Many poems have been “read” on the computer this way. For some of them, the total values ​​(Z) are given in the general table so that one can be convinced that the detected sound-color correspondences are not a statistical paradox, not a random coincidence of numbers. Significant frequency excesses are marked in bold. The last, eighth column gives a color code for the results. Sound colors in poetry | Poems | Sound letters and quantities | | | | | |Color | | | | | | | | | | | |O+0.5|A+I |E+0.5Ё|I+0.5Y|U+Y |Y | | | |Ё | | | | | | | | | | | | | | | | |Alexander Blok| | | | | | | | | | | | | | | | | |"Gamayun, bird |-1.95|2.39 |-0.24 |-0.80 |1.00 |1.22 |dark red,| |prophetic" | | | | | | |dark | | | | | | | | |blue-green | | | | | | | | | | |Sergey Yesenin | | | | | | | | |"Dissuaded |1.00 |-0.33 |0.82 |0.20 |-1.00|-0.17|yellow, | |grove | | | | | | |green | |gold..." | | | | | | | | |"Weaved not |-0.75|1.56 |-0.40 |-2.00 |2.70 |0.35 |red, | |lake scarlet light| | | | | | |dark | |dawn..." | | | | | | |blue-green | |"Air |-2.57|0.69 |-0.23 |1.18 |0.00 |0.00 |blue | |transparent and | | | | | | | | |blue" | | | | | | | | |"Green |-0.56|-2.00 |1.36 |-0.92 |1.22 |-0.29|green, | |hairstyle, | | | | | | |dark | |girlish | | | | | | |blue-green | |chest ..." | | | | | | | | | | | | | | | | | |Arseny | | | | | | | | |Tarkovsky | | | | | | | | |"Before |3.47 |1.93 |-1.43 |-0.83 |-3.33|0.14 |yellow, | |leaf fall" | | | | | | |red | |I stanza |2.80 |1.21 |-1.25 |-1.29 |-2.22|-0.50|yellow | | | | | | | | | | |II stanza |1.65 |-1.20 |-1.43 |1.88 |-0.28|2.71 |dark blue | | | | | | | | | | |III stanza |0.45 |2.27 |0.43 |-1.84 |-1.72|-0.43|red | | | | | | | | | | |"Tits" |-0.68|0.17 |0.29 |1.33 |-0.55|0.11 |blue | | | | | | | | | | |"You are lilacs, |0.29 |-1.94 |0.40 |0.08 |0.40 |-0.12|blue-green | |lilacs" | | | | | | | | |"Rain" |0.27 |-1.80 |0.36 |0.50 |1.78 |1.57 |dark | | | | | | | | |blue-green | |"Petrovsky |-0.21|0.50 |-1.47 |0.13 |0.45 |2.33 |black, | |executions" | | | | | | |crimson | |"Let him forgive me|1.93 |0.14 |-1.92 |-0.82 |1.25 |0.00 |yellow, | |me Vincent | | | | | | |dark blue | |Van Gogh" | | | | | | | | | | | | | | | | | |A. Voznesensky| | | | | | | | | | | | | | | | | |"Cornflowers |-1.50|-1.13 |1.38 |4.14 |-0.60|0.25 |blue, | |Chagala" | | | | | | |greenish | |"Fire in |0.17 |2.08 |-4.36 |1.80 |-0.29|0.33 |red, blue| |architectural" | | | | | | | | |"Lilac" Moscow|-3.09|-0.08 |2.50 |-0.75 |2.70 |-2.60|blue-green | |- Warsaw" | | | | | | | | |"Cleansing" |3.14 |-0.71 |-0.85 |-2.73 |4.36 |-1.83|dark blue, | | | | | | | | |white-yellow | It is clearly visible how accurately S. Yesenin uses the visual possibilities of sound-color halos.When comparing the very first lines of his poems with the colors of the dominant vowels, a clear correspondence between the verbal and sound-color pictures is immediately revealed. "The golden grove dissuaded..." - the dominant color is yellow, slightly greenish. “The scarlet light of dawn is woven on the lake...” - the sounds create a deep red and dark blue color scheme. “The air is transparent and blue...” - the sound color is blue, slightly pinkish. “Green hairstyle, girlish breasts...” - green and dark green with blue gamma of sound-color correspondences. As they say, comments are unnecessary. Yes, poets could say about themselves in the words of A. Voznesensky: “We see sound.” They really see it with the inner eye of talent, feel its rainbow halo and light up this rainbow in their poems. Well, the computer reveals color pictures hidden in the text, thereby showing that it is capable of capturing this amazing feature of poetic speech. Based on the book by A. Zhuravlev “Dialogue with a Computer.” "Young Guard", 1987.

The method of phonetic (sound) associations (PPA) arose because in the most diverse languages ​​of the world there are words or parts of words that sound the same, but have different meanings. In addition, in different languages ​​there are words that have a common origin, but over time have acquired different meanings. Often people use this method without realizing that they are using it.

The first mentions of the effectiveness of using methods similar to MFA can be found in the literature of the end of the last century. In the 70s of our century, Stanford University professor R. Atkinson conducted a detailed study of the use of associations in the process of language acquisition. He and his colleagues had a group of Russian language students memorize words using the "Keyword method" while a control group memorized the same words using traditional methods. Atkinson’s “key words” are nothing more than words that are phonetic (sound) associations to memorized words, consonant words. Numerous experiments by Atkinson and his colleagues have proven the high effectiveness of this method of memorizing foreign words. The method of phonetic associations as a method of memorizing foreign words is becoming more and more popular in the world.

Now let’s take a closer look at what exactly the sound association method is. In order to remember a foreign word, you need to choose a consonant word for it, that is, a word that sounds similar in your native or well-known language. Then you need to compose a short plot from the consonant word and translation. For example, a consonant word for the English word look (onion) “to look” will be the Russian word “onion”. The plot could be like this: “I can’t WATCH when I cut “ONION.” The plot must be compiled so that the approximate sound of the word and its translation appear as if in one connection, and are not torn off from each other, that is, actually for memorization. A consonant word does not have to completely coincide with a foreign one, a consonant part is enough. For example: MESH (mesh) LOOP, CELL (network). The words “bag”, or “to interfere”, or “to linger” can be considered consonant - as you prefer . Depending on the chosen consonance, the plots can be as follows: “A LOOP prevents you from getting out” or “The bag was tied with a LOOP” or “Stuck in a LOOP.” It is important that the remaining (auxiliary) words in the plot are as neutral as possible, not evoking vivid images. there should be as few words as possible. This is necessary so that when remembering, you do not confuse them with the necessary ones, that is, with the words that you memorized. The necessary words (consonant word and translation word), on the contrary, must be highlighted in every possible way , focus on them. If you can’t make a semantic emphasis, then at least an intonation one.

Using MFA, you can memorize many words in one sitting. And most importantly, this method will help you get rid of endless repetitions of memorized words - you just need to select a sound association for the word once and create a plot. Specific examples will tell you more about the nuances of using this method. DIVONA means "FOOL" in Dari (the language spoken in Afghanistan). The closest sounding Russian word to the word "divona" is "sofa". The consonant word does not have to completely coincide with the foreign word being remembered, the main thing is that it can serve as a kind of key with the help of which we could find the necessary word in our memory. But it can serve as a key only if we compose a plot from these two words, so that the actualization of one word from the plot entails the recall of another. At the same time, as you already know, the more unusual and vivid the plot, the better it is remembered. For the words “sofa” and “fool” the plot could be like this: “The fool fell from the SOFA.” It is important to pronounce out loud both the memorized word and the consonant word. First of all, this must be done so that your memory, in its natural course, captures how the consonant word is similar to the one you remember and how it is different. As a rule, it is enough to say both words 2-3 times.

Here's another example: ARRESTO - STOP in Italian. The consonant word “arrest” (this is exactly the case when the memorized word and the consonant word have a common origin, but over time the meanings of these words have diverged). The simplest plot is this: At a STOP, someone was ARRESTED. Here it is better not to specify who specifically, so that during reproduction you do not confuse the memorized word with this extra word. In such cases, you can use pronouns, and when reviving the plot, imagine that the matter happened with some friend of yours, or even better with yourself. At the same time, if you make up a story about yourself: “I was arrested at a traffic stop,” then it will be easy to apply the co-sensation method to it to increase the efficiency of memorization.

Surely you will record the words, consonances and plots you remember on paper. In this case, do not be lazy to highlight on the letter the memorized word, the translation, and that part of the consonant word that resembles the memorized one. To do this, you can use different sizes, italics, underlining, etc. It also promotes better memory (due to the interaction of visual and auditory memory).

In general, the best effect in memorizing foreign words is achieved with the simultaneous use of MVVO and MFA.

Often, to memorize a foreign word, you have to select not one, but two consonant words. This is necessary when the word is quite long, and there is no similar word in the native language. In this case, the foreign word must be divided into two parts and a consonant word must be selected for each of its parts (words should be short if possible and contain as many common sounds as possible with the one being memorized). For example, for the English word NAPKIN (napkin) - NAPKIN, we select two consonant words: “NEPTUNE” (or “Fidget” or “N.E.P.”) and KINul. All that remains is to create a plot, for example, “NEPTUNE THROWN A NAPKIN at me.” Moreover, in the plot, the first and second consonant words must necessarily follow one after the other, and there should be no words between them. It's good if, when reviving the plot and presenting it as a still from a film, you use exaggeration of associations. For example, imagine that they threw a huge napkin at you, so huge that it covered your head. Do not forget to also use the method of co-sensations.

Some people, when choosing an association for this word, will prefer a longer, but also more phonetically accurate association made up of two words: FOUNTAIN and GETRAS. And the corresponding plot: “I forgot my leggings in the Fountain.” Another part of people will prefer the less phonetically accurate, but shorter association “bassoon” (here “a” is unstressed and almost “o” is heard) and the corresponding plot, made up of the words “forget” and “bassoon”.

It should be noted that this method is not without reason called phonetic or sound associations. It is necessary to select an association specifically for the sound, and not the spelling of the word (after all, in many languages ​​the sound and spelling of words are very different). Therefore, first of all, even before selecting the consonance, make sure that you pronounce the word correctly. There are other methods for remembering the spelling of words.

It is also impossible not to say that due to purely anatomical differences in the pronunciation of sounds in different languages, the memorized word and the consonant word will never sound exactly the same, even if they seem to completely coincide, as is the case with the English word " look "and its Russian consonance "bow". It is enough to note that the sound “l” in Russian and English is pronounced completely differently. Therefore, pronunciation, strictly speaking, must be learned separately. The method of phonetic associations perfectly helps to remember the meanings of words. The method of phonetic associations is indispensable in conditions of lack of time: when preparing for an exam, for a tourist trip or business trip, that is, in any situation where you need to remember a large number of words in a short period of time. With its help, it is not difficult to memorize 30-50 words a day, which, you see, is not bad at all (that’s at least 11 thousand words a year). The most important thing is that this method allows you to avoid tedious cramming (which is simply impossible with traditional methods of learning foreign words) and can even turn memorizing foreign words into an exciting, creative process.

If you like this method and want to practice its application, you can try the following exercise. I hope you can appreciate the benefits of the association method. A little further you will find a variant of associations for the words from this exercise, as well as some comments on them.

Exercise: Here are words in different languages. Select sound associations for them and create stories to remember.

a) Here are 8 Italian words. They are read the same way as they are written.

ARIA - AIR
FAGOTTO - KNOT
BURRO - OIL
FRONTE - FOREIGN
GALERA - PRISON
GARBATO - POLITE
LAMPO - LIGHTNING
PANINO - BUN

b) Here are 8 English words with approximate transcription and translation.

BULL (bul) - BULL
CONCEAL (consil) - HIDE, CONCEAL
NUZZLE (mazzle) - MUZZLE
LIP (linden) - LIP
DESERT (desert) - DESERT
HILL (hill) - HILL
SMASH (smash) - BREAK (to pieces)
PIGEON (pidgin) - DOVE.

If, for some reason, you have not yet been able to find sound associations for foreign words or have difficulties composing a plot, look at how this could be done.

a) Italian words:

ARIA- AIR. “When you sing ARIA you take in a lot of air.”
FAGOTTO- KNOT. "BASSON tied in a knot." (Such a plot must be imagined.)
BURRO- OIL. “BURATino gives oil.”/ “BURATino slipped on oil.” “Oil is BROWN.” You can choose any of the proposed plots. Each has its own advantages. The first one is good because it is close to the “butter” theme. The second is the most dynamic and funny. The third is faceless, does not evoke vivid images and is unmemorable, in my opinion, but some may like it for its brevity.
FRONTE- FOREHEAD. “At the FRONT I was wounded in the forehead.” (Of course, in the Russian language there is also a similar word - “frontal”, but not everyone understands its meaning, especially since it means “front”, “frontal” (in medicine), but still not “forehead”.)
GALERA- JAIL. “They sailed away from prison on GALLERKA,” or “On GALLERKA it was (scary, uncomfortable...) like in prison.” The word "galley" contains more identical sounds in a row with the one being remembered. But an avid theatergoer will probably like it, and therefore will remember the second plot better.
GARBATO- POLITE. The key word is “Humpbacked” (we actually pronounce it “gArbaty”). It’s difficult to come up with a vivid story with these words. However, such moralizing statements are possible: “We must be polite to HUMPBACKS.” Or: “All HUMPBACKS are polite.” And someone will not be lazy and compose a whole story so that the plot becomes brighter and better remembered: “The boy is tired of being polite and give up seats in transport. Then he pretended to be HUMPBACK, and now the place is being given up to him." Of course, there are too many unnecessary words, but the significant words are clearly highlighted.
LAMPO- LIGHTNING. "The lamp flashed like lightning." Or “The lightning shone for a very long time, like a LAMP.” I like the second plot better, because it is more unusual and unrealistic, which means it will be better remembered.
PANINO- BUN. The consonant word is "PIANINO". There can be many plot options. The main thing is not to forget about the rules when compiling them. And DO NOT make up stories like: “The bun was lying on PiANINO.” It's much better if you imagine how she fell from him. And, of course, it’s very good if you learn to come up with more original stories to memorize foreign words, for example, this one: “PIANINO had to be fed buns from time to time.”

b) English words:

BULL- BULL. There can be several consonant words: BULL, COBBLE, PIN, BULL TERRIER, BOULEVARD, BULT, etc. It is better to use the word that first came to mind, taking into account, of course, that it should be bright. Accordingly, there may be even more plots, and I leave the choice of plot to your discretion.
CONCEAL- HIDE. "The CONSUL hid important facts." You can break the memorized word into two parts and come up with a consonance for each of them: “HORSE” and “STRONG”. "The Horse hid that it was STRONG."
MUZZLE- MUZZLE. "I smeared my whole face." Here it would be good to use your real memories of how some animal you know got smeared on its face; remember how it looked. In general, when the plot is intertwined with personal experience, it is remembered especially well, since not imaginary, but real sensations are actualized.
LIP- LIP. "Sticky lip" "lips stuck together." I think the second option is a little better because it has some action. You can use the co-sensation method: imagine that you are trying to open your lips and cannot.
DESERT- DESERT. "The deserter fled into the desert." The word “dessert” also suggests itself as an associative word; it, of course, can also be used if you remember that in English the word “desert” is pronounced with the sound “Z” and not “S”, so it is still better as a sound association use "deserter" to avoid mispronunciation. The stress in this and many other words should be memorized separately, since it is not always possible to select a consonant word in which the stress falls on the desired syllable.
HILL- HILL. "The frail one has difficulty climbing the hill."
SMASH- BREAK (to pieces). “He crashed into pieces, but everything is FUNNY for him.” / “He smashed everything into pieces and now it’s FUNNY for him.”
PIGEON- PIGEON. "Dove DRINK GIN."

Before moving on to phonetic analysis with examples, we draw your attention to the fact that letters and sounds in words are not always the same thing.

Letters- these are letters, graphic symbols, with the help of which the content of a text is conveyed or a conversation is outlined. Letters are used to visually convey meaning; we perceive them with our eyes. The letters can be read. When you read letters out loud, you form sounds - syllables - words.

A list of all letters is just an alphabet

Almost every schoolchild knows how many letters are in the Russian alphabet. That's right, there are 33 of them in total. The Russian alphabet is called the Cyrillic alphabet. The letters of the alphabet are arranged in a certain sequence:

Russian alphabet:

In total, the Russian alphabet uses:

• 21 letters for consonants;
• 10 letters - vowels;
• and two: ь (soft sign) and ъ (hard sign), which indicate properties, but do not themselves define any sound units.

You often pronounce sounds in phrases differently from how you write them in writing. In addition, a word may use more letters than sounds. For example, “children’s” - the letters “T” and “S” merge into one phoneme [ts]. And vice versa, the number of sounds in the word “blacken” is greater, since the letter “Yu” in this case is pronounced as [yu].

What is phonetic analysis?

We perceive spoken speech by ear. By phonetic analysis of a word we mean the characteristics of the sound composition. In the school curriculum, such analysis is more often called “sound-letter” analysis. So, with phonetic analysis, you simply describe the properties of sounds, their characteristics depending on the environment and the syllabic structure of a phrase united by a common word stress.

Phonetic transcription

For sound-letter parsing, a special transcription in square brackets is used. For example, it is correctly written:

• black -> [h"orny"]
• apple -> [yablaka]
• anchor -> [yakar"]
• Christmas tree -> [yolka]
• sun -> [sontse]

The phonetic parsing scheme uses special symbols. Thanks to this, it is possible to correctly designate and distinguish the letter notation (spelling) and the sound definition of letters (phonemes).

• The phonetically parsed word is enclosed in square brackets – ;
• a soft consonant is indicated by a transcription sign [’] - an apostrophe;
• percussive [´] - accent;
• in complex word forms from several roots, the secondary stress sign [`] - gravis is used (not practiced in the school curriculum);
• the letters of the alphabet Yu, Ya, E, Ё, ь and Ъ are NEVER used in transcription (in the curriculum);
• for doubled consonants, [:] is used - a sign of the longitude of the sound.

Below are detailed rules for orthoepic, alphabetic, phonetic and word analysis with online examples, in accordance with general school standards of the modern Russian language. Professional linguists' transcriptions of phonetic characteristics differ in accents and other symbols with additional acoustic features of vowel and consonant phonemes.

How to make a phonetic analysis of a word?

The following diagram will help you carry out letter analysis:

• Write down the necessary word and say it out loud several times.
• Count how many vowels and consonants there are in it.
• Indicate the stressed syllable. (Stress, using intensity (energy), distinguishes a certain phoneme in speech from a number of homogeneous sound units.)
• Divide the phonetic word into syllables and indicate their total number. Remember that syllable division in is different from the rules of transfer. The total number of syllables always matches the number of vowels.
• In the transcription, sort the word by sounds.
• Write the letters from the phrase in a column.
• Opposite each letter in square brackets, indicate its sound definition (how it is heard). Remember that sounds in words are not always identical to letters. The letters "ь" and "ъ" do not represent any sounds. The letters “e”, “e”, “yu”, “ya”, “i” can represent 2 sounds at once.
• Analyze each phoneme separately and indicate its properties separated by commas:
  • for a vowel we indicate in the characteristic: vowel sound; stressed or unstressed;
  • in the characteristics of consonants we indicate: consonant sound; hard or soft, voiced or deaf, sonorant, paired/unpaired in hardness-softness and sonority-dullness.
• At the end of the phonetic analysis of the word, draw a line and count the total number of letters and sounds.

This scheme is practiced in the school curriculum.

An example of phonetic analysis of a word

Here is a sample phonetic analysis of the composition for the word “phenomenon” → [yivl’e′n’ie]. In this example there are 4 vowels and 3 consonants. There are only 4 syllables: I-vle′-n-e. The emphasis falls on the second.

Sound characteristics of letters:

i [th] - acc., unpaired soft, unpaired voiced, sonorant [i] - vowel, unstressedv [v] - acc., paired hard, paired sound l [l'] - acc., paired soft., unpaired . sound, sonorant [e′] - vowel, stressed [n’] - consonant, paired soft, unpaired sound, sonorant and [i] - vowel, unstressed [th] - consonant, unpaired. soft, unpaired sound, sonorant [e] - vowel, unstressed________________________In total, the word phenomenon has 7 letters, 9 sounds. The first letter “I” and the last “E” each represent two sounds.

Now you know how to do sound-letter analysis yourself. The following is a classification of sound units of the Russian language, their relationships and transcription rules for sound-letter parsing.

Phonetics and sounds in Russian

What sounds are there?

All sound units are divided into vowels and consonants. Vowel sounds, in turn, can be stressed or unstressed. The consonant sound in Russian words can be: hard - soft, voiced - deaf, hissing, sonorous.

How many sounds are there in Russian living speech?

The correct answer is 42.

Doing phonetic analysis online, you will find that 36 consonant sounds and 6 vowels are involved in word formation. Many people have a reasonable question: why is there such a strange inconsistency? Why does the total number of sounds and letters differ for both vowels and consonants?

All this is easily explained. A number of letters, when participating in word formation, can denote 2 sounds at once. For example, softness-hardness pairs:

• [b] - cheerful and [b’] - squirrel;
• or [d]-[d’]: home - to do.

And some do not have a pair, for example [h’] will always be soft. If you doubt it, try to say it firmly and make sure it is impossible: stream, pack, spoon, black, Chegevara, boy, little rabbit, bird cherry, bees. Thanks to this practical solution, our alphabet has not reached dimensionless proportions, and the sound units are optimally complemented, merging with each other.

Vowel sounds in Russian words

Vowel sounds Unlike consonants, they are melodic; they flow freely, as if in a chant, from the larynx, without barriers or tension of the ligaments. The louder you try to pronounce the vowel, the wider you will have to open your mouth. And vice versa, the louder you try to pronounce a consonant, the more energetically you will close your mouth. This is the most striking articulatory difference between these phoneme classes.

The stress in any word form can only fall on the vowel sound, but there are also unstressed vowels.

How many vowel sounds are there in Russian phonetics?

Russian speech uses fewer vowel phonemes than letters. There are only six shock sounds: [a], [i], [o], [e], [u], [s]. And let us remind you that there are ten letters: a, e, e, i, o, u, y, e, i, yu. The vowels E, E, Yu, I are not “pure” sounds in transcription are not used. Often, when parsing words by letter, the emphasis falls on the listed letters.

Phonetics: characteristics of stressed vowels

The main phonemic feature of Russian speech is the clear pronunciation of vowel phonemes in stressed syllables. Stressed syllables in Russian phonetics are distinguished by the force of exhalation, increased duration of sound and are pronounced undistorted. Since they are pronounced clearly and expressively, sound analysis of syllables with stressed vowel phonemes is much easier to carry out. The position in which the sound does not undergo changes and retains its basic form is called strong position. This position can only be occupied by a stressed sound and a syllable. Unstressed phonemes and syllables remain in a weak position.

• The vowel in a stressed syllable is always in a strong position, that is, it is pronounced more clearly, with the greatest strength and duration.
• A vowel in an unstressed position is in a weak position, that is, it is pronounced with less force and not so clearly.

In the Russian language, only one phoneme “U” retains unchangeable phonetic properties: kuruza, tablet, u chus, u lov - in all positions it is pronounced clearly as [u]. This means that the vowel “U” is not subject to qualitative reduction. Attention: in writing, the phoneme [y] can also be indicated by another letter “U”: muesli [m’u ´sl’i], key [kl’u ´ch’], etc.

Analysis of the sounds of stressed vowels

The vowel phoneme [o] occurs only in a strong position (under stress). In such cases, “O” is not subject to reduction: cat [ko´ t'ik], bell [kalako´ l'ch'yk], milk [malako´], eight [vo´ s'im'], search [paisko´ vaya], dialect [go´ var], autumn [o´ s'in'].

An exception to the rule of a strong position for “O”, when the unstressed [o] is also pronounced clearly, are only some foreign words: cocoa [kaka "o], patio [pa"tio], radio [ra"dio], boa [bo a "] and a number of service units, for example, the conjunction but. The sound [o] in writing can be reflected by another letter “ё” - [o]: thorn [t’o´ rn], fire [kas’t’o´ r]. It will also not be difficult to analyze the sounds of the remaining four vowels in the stressed position.

Unstressed vowels and sounds in Russian words

It is possible to make a correct sound analysis and accurately determine the characteristics of a vowel only after placing stress in the word. Do not forget also about the existence of homonymy in our language: zamok - zamok and about the change in phonetic qualities depending on the context (case, number):

• I'm home [ya do "ma].
• New houses [no "vye da ma"].

IN unstressed position the vowel is modified, that is, pronounced differently than written:

• mountains - mountain = [go "ry] - [ga ra"];
• he - online = [o "n] - [a nla"yn]
• witness line = [sv’id’e “t’i l’n’itsa].

Such changes in vowels in unstressed syllables are called reduction. Quantitative, when the duration of the sound changes. And high-quality reduction, when the characteristics of the original sound change.

The same unstressed vowel letter can change its phonetic characteristics depending on its position:

• primarily relative to the stressed syllable;
• at the absolute beginning or end of a word;
• in open syllables (consisting of only one vowel);
• on the influence of neighboring signs (ь, ъ) and consonant.

Yes, it varies 1st degree of reduction. It is subject to:

• vowels in the first pre-stressed syllable;
• naked syllable at the very beginning;
• repeated vowels.

Note: To make a sound-letter analysis, the first pre-stressed syllable is determined not from the “head” of the phonetic word, but in relation to the stressed syllable: the first to the left of it. In principle, it can be the only pre-shock: not-here [n’iz’d’e’shn’ii].

(uncovered syllable)+(2-3 pre-stressed syllable)+ 1st pre-stressed syllable ← Stressed syllable → over-stressed syllable (+2/3 over-stressed syllable)

• vper-re -di [fp’ir’i d’i´];
• e -ste-ste-st-no [yi s’t’e´s’t’v’in:a];

Any other pre-stressed syllables and all post-stressed syllables during sound analysis are classified as reduction of the 2nd degree. It is also called a “weak position of the second degree.”

• kiss [pa-tsy-la-va´t’];
• model [ma-dy-l’i´-ra-vat’];
• swallow [la´-sta -ch’ka];
• kerosene [k'i-ra-s'i´-na-vy].

The reduction of vowels in a weak position also differs in stages: second, third (after hard and soft consonants - this is outside the curriculum): learn [uch'i´ts:a], become numb [atsyp'in'e´t '], hope [nad'e´zhda]. During letter analysis, the reduction of the vowel in the weak position in the final open syllable (= at the absolute end of the word) will appear very slightly:

• cup;
• goddess;
• with songs;
• turn.

Sound-letter analysis: iotized sounds

Phonetically, the letters E - [ye], Yo - [yo], Yu - [yu], Ya - [ya] often mean two sounds at once. Have you noticed that in all the indicated cases the additional phoneme is “Y”? That is why these vowels are called iotized. The meaning of the letters E, E, Yu, I is determined by their positional position.

When analyzed phonetically, the vowels e, e, yu, i form 2 sounds:

◊ Yo - [yo], Yu - [yu], E - [ye], I - [ya] in cases where there are:

• At the beginning of the words “Yo” and “Yu” are always:
  • - shudder [yo´ zhyts:a], Christmas tree [yo´ lach’nyy], hedgehog [yo´ zhyk], container [yo´ mcast’];
  • - jeweler [yuv ’il’i´r], top [yu la´], skirt [yu´ pka], Jupiter [yu p’i´t’ir], nimbleness [yu ´rkas’t’];
• at the beginning of the words “E” and “I” only under stress*:
  • - spruce [ye´ l’], travel [ye´ w:u], huntsman [ye´ g’ir’], eunuch [ye´ vnukh];
  • - yacht [ya´ hta], anchor [ya´ kar’], yaki [ya´ ki], apple [ya´ blaka];
  • (*to perform sound-letter analysis of the unstressed vowels “E” and “I”, a different phonetic transcription is used, see below);
• in the position immediately after the vowel “Yo” and “Yu” always. But “E” and “I” are in stressed and unstressed syllables, except in cases where these letters are located after a vowel in the 1st pre-stressed syllable or in the 1st, 2nd unstressed syllable in the middle of words. Phonetic analysis online and examples in specified cases:
  • - receiver [pr’iyo´mn’ik], sings t [payo´t], klyyo t [kl’uyo ´t];
  • -ayu rveda [ayu r’v’e´da], I sing t [payu ´t], melt [ta´yu t], cabin [kayu ´ta],
• after the dividing solid “Ъ” the sign “Ё” and “Yu” - always, and “E” and “I” only under stress or at the absolute end of the word: - volume [ab yo´m], shooting [syo´mka], adjutant [adyu "ta´nt]
• after the dividing soft “b” the sign “Ё” and “Yu” is always, and “E” and “I” are under stress or at the absolute end of the word: - interview [intyrv'yu´], trees [d'ir'e´ v'ya], friends [druz'ya´], brothers [bra´t'ya], monkey [ab'iz'ya´ na], blizzard [v'yu´ ga], family [s'em'ya´ ]

As you can see, in the phonemic system of the Russian language, stress is of decisive importance. Vowels in unstressed syllables undergo the greatest reduction. Let's continue the sound-letter analysis of the remaining iotized ones and see how they can still change characteristics depending on the environment in the words.

◊ Unstressed vowels“E” and “I” designate two sounds and in phonetic transcription and are written as [YI]:

• at the very beginning of the word:
  • - unity [yi d'in'e´n'i'ye], spruce [yil´vyy], blackberry [yizhiv'i´ka], him [yivo´], fidget [yigaza´], Yenisei [yin'is 'e´y], Egypt [yig'i´p'it];
  • - January [yi nvarskiy], core [yidro´], sting [yiz'v'i´t'], label [yirly´k], Japan [yipo´n'iya], lamb [yign'o´nak ];
  • (The only exceptions are rare foreign word forms and names: Caucasoid [ye vrap'io´idnaya], Evgeniy [ye] vgeny, European [ye vrap'e´yits], diocese [ye] pa´rkhiya, etc.).
• immediately after a vowel in the 1st pre-stressed syllable or in the 1st, 2nd post-stressed syllable, except for the location at the absolute end of the word.
  • in a timely manner [svai vr'e´m'ina], trains [payi zda´], let's eat [payi d'i´m], run into [nayi w:a´t'], Belgian [b'il'g'i´ yi c], students [uch'a´sh'iyi s'a], with sentences [pr'idlazhe´n'iyi m'i], vanity [suyi ta´],
  • bark [la´yi t'], pendulum [ma´yi tn'ik], hare [za´yi c], belt [po´yi s], declare [zayi v'i´t'], show [prayi in 'l'u´]
• after the dividing hard “Ъ” or soft “b” sign: - intoxicating [p'yi n'i´t], express [izyi v'i´t'], announcement [abyi vl'e´n'iye], edible [syi dobny].

Note: The St. Petersburg phonological school is characterized by “ecane”, and the Moscow school is characterized by “hiccup”. Previously, the iotrated “Yo” was pronounced with a more accented “Ye”. When changing capitals, performing sound-letter analysis, they adhere to Moscow norms in orthoepy.

Some people in fluent speech pronounce the vowel “I” the same way in syllables with a strong and weak position. This pronunciation is considered a dialect and is not literary. Remember, the vowel “I” under stress and without stress is voiced differently: fair [ya ´marka], but egg [yi ytso´].

Important:

The letter “I” after the soft sign “b” also represents 2 sounds - [YI] in sound-letter analysis. (This rule is relevant for syllables in both strong and weak positions). Let's conduct a sample of online sound-letter analysis: - nightingales [salav'yi´], on chicken legs [na ku´r'yi' x" no´shkah], rabbit [kro´l'ich'yi], no family [s'im 'yi´], judges [su´d'yi], draws [n'ich'yi´], streams [ruch'yi´], foxes [li´s'yi]. But: Vowel “O” after a soft sign “b” is transcribed as an apostrophe of softness ['] of the preceding consonant and [O], although when pronouncing the phoneme, iotization can be heard: broth [bul'o´n], pavilion n [pav'il'o´n], similarly: postman n , champignon n, chignon n, companion n, medallion n, battalion n, guillot tina, carmagno la, mignon n and others.

Phonetic analysis of words, when the vowels “Yu” “E” “E” “I” form 1 sound

According to the rules of phonetics of the Russian language, at a certain position in words, the designated letters give one sound when:

• sound units “Yo” “Yu” “E” are under stress after an unpaired consonant in hardness: zh, sh, ts. Then they represent phonemes:
  • ё - [o],
  • e - [e],
  • yu - [y].
  Examples of online analysis by sounds: yellow [zho´ lty], silk [sho´ lk], whole [tse´ ly], recipe [r'itse´ pt], pearls [zhe´ mch'uk], six [she´ st '], hornet [she'rshen'], parachute [parashu't];
• The letters “I” “Yu” “E” “E” and “I” indicate the softness of the preceding consonant [’]. Exception only for: [f], [w], [c]. In such cases in a striking position they form one vowel sound:
  • ё – [o]: ticket [put'o´ fka], easy [l'o´ hk'iy], honey fungus [ap'o´ nak], actor [akt'o´ r], child [r'ib' o´nak];
  • e – [e]: seal [t’ul’e´ n’], mirror [z’e’ rkala], smarter [umn’e´ ye], conveyor [kanv’e´ yir];
  • I – [a]: kittens [kat'a´ ta], softly [m'a´ hka], oath [kl'a´ tva], took [vz'a´ l], mattress [t'u f'a ´ k], swan [l'ib'a´ zhy];
  • yu – [y]: beak [kl'u´ f], people [l'u´ d'am], gateway [shl'u´ s], tulle [t'u´ l'], suit [kas't 'mind].
  • Note: in words borrowed from other languages, the stressed vowel “E” does not always signal the softness of the previous consonant. This positional softening ceased to be a mandatory norm in Russian phonetics only in the 20th century. In such cases, when you do a phonetic analysis of the composition, such a vowel sound is transcribed as [e] without a preceding apostrophe of softness: hotel [ate´ l'], strap [br'ite´ l'ka], test [te´ st] , tennis [te´ n:is], cafe [cafe´], puree [p'ure´], amber [ambre´], delta [de´ l'ta], tender [te´ nder], masterpiece [shede´ vr], tablet [table´ t].
• Attention! After soft consonants in prestressed syllables the vowels “E” and “I” undergo qualitative reduction and are transformed into the sound [i] (except for [ts], [zh], [sh]). Examples of phonetic analysis of words with similar phonemes: - grain [z'i rno´], earth [z'i ml'a´], cheerful [v'i s'o´ly], ringing [z'v 'and n'i´t], forest [l'i sno´y], blizzard [m'i t'e´l'itsa], feather [p'i ro´], brought [pr' in'i sla´], knit [v'i za´t'], lie [l'i ga´t'], five grater [p'i t'o´rka]

Phonetic analysis: consonants of the Russian language

There is an absolute majority of consonants in the Russian language. When pronouncing a consonant sound, the air flow encounters obstacles. They are formed by organs of articulation: teeth, tongue, palate, vibrations of the vocal cords, lips. Due to this, noise, hissing, whistling or ringing appears in the voice.

How many consonants are there in Russian speech?

In the alphabet they are designated by 21 letters. However, when performing sound-letter analysis, you will find that in Russian phonetics consonant sounds more, namely 36.

Sound-letter analysis: what are the consonant sounds?

In our language there are consonants:

• hard - soft and form the corresponding pairs:
  • [b] - [b’]: b anan - b tree,
  • [in] - [in’]: in height - in yun,
  • [g] - [g’]: city - duke,
  • [d] - [d’]: dacha - dolphin,
  • [z] - [z’]: z von - z ether,
  • [k] - [k’]: k onfeta - to enguru,
  • [l] - [l’]: boat - l lux,
  • [m] - [m’]: magic - dreams,
  • [n] - [n’]: new - nectar,
  • [p] - [p’]: p alma- p yosik,
  • [r] - [r’]: daisy - row of poison,
  • [s] - [s’]: with uvenir - with urpriz,
  • [t] - [t’]: tuchka - t ulpan,
  • [f] - [f’]: f lag - f February,
  • [x] - [x’]: x orek - x seeker.
• Certain consonants do not have a hard-soft pair. Unpaired ones include:
  • sounds [zh], [ts], [sh] - always hard (zhzn, tsikl, mouse);
  • [ch’], [sch’] and [th’] are always soft (daughter, more often than not, yours).
• The sounds [zh], [ch’], [sh], [sh’] in our language are called hissing.

A consonant can be voiced - voiceless, as well as sonorous and noisy.

You can determine the voicedness-voicelessness or sonority of a consonant by the degree of noise-voice. These characteristics will vary depending on the method of formation and the participation of the organs of articulation.

• Sonorant (l, m, n, r, y) are the most sonorous phonemes, in them a maximum of voices and a few noises are heard: l ev, rai, n o l.
• If, when pronouncing a word during sound parsing, both a voice and noise are formed, it means that you have a voiced consonant (g, b, z, etc.): plant, b people, life.
• When pronouncing voiceless consonants (p, s, t and others), the vocal cords do not tense, only noise is made: st opka, fishka, k ost yum, tsirk, sew up.

Note: In phonetics, consonant sound units also have a division according to the nature of formation: stop (b, p, d, t) - gap (zh, w, z, s) and method of articulation: labiolabial (b, p, m) , labiodental (f, v), anterior lingual (t, d, z, s, c, g, w, sch, h, n, l, r), midlingual (th), posterior lingual (k, g, x) . The names are given based on the organs of articulation that are involved in sound production.

Tip: If you're just starting to practice spelling words phonetically, try placing your hands on your ears and saying the phoneme. If you were able to hear a voice, then the sound being studied is a voiced consonant, but if noise is heard, then it is voiceless.

Hint: For associative communication, remember the phrases: “Oh, we didn’t forget our friend.” - this sentence contains absolutely the entire set of voiced consonants (excluding softness-hardness pairs). “Styopka, do you want to eat some soup? - Fi! - similarly, the indicated replicas contain a set of all voiceless consonants.

Positional changes of consonants in Russian

The consonant sound, just like the vowel, undergoes changes. The same letter phonetically can represent a different sound, depending on the position it occupies. In the flow of speech, the sound of one consonant is compared to the articulation of a consonant located next to it. This effect makes pronunciation easier and is called assimilation in phonetics.

Positional stun/voicing

In a certain position for consonants, the phonetic law of assimilation according to deafness and voicedness applies. The voiced paired consonant is replaced by a voiceless one:

• at the absolute end of a phonetic word: but [no´sh], snow [s’n’e´k], garden [agaro´t], club [klu´p];
• before voiceless consonants: forget-me-not a [n’izabu´t ka], obkh vatit [apkh vat’i´t’], Tuesday [ft o´rn’ik], tube a [corpse a].
• doing a sound-letter analysis online, you will notice that the voiceless paired consonant standing before the voiced one (except for [th'], [v] - [v'], [l] - [l'], [m] - [m'] , [n] - [n'], [r] - [r']) is also voiced, that is, replaced by its voiced pair: surrender [zda´ch'a], mowing [kaz'ba´], threshing [malad 'ba´], request [pro´z'ba], guess [adgada´t'].

In Russian phonetics, a voiceless noisy consonant does not combine with a subsequent voiced noisy consonant, except for the sounds [v] - [v’]: whipped cream. In this case, the transcription of both the phoneme [z] and [s] is equally acceptable.

When parsing the sounds of words: total, today, today, etc., the letter “G” is replaced by the phoneme [v].

According to the rules of sound-letter analysis, in the endings “-ого”, “-го” of adjectives, participles and pronouns, the consonant “G” is transcribed as the sound [в]: red [kra´snava], blue [s'i´n'iva] , white [b'e´lava], sharp, full, former, that, that, whom. If, after assimilation, two consonants of the same type are formed, they merge. In the school curriculum on phonetics, this process is called consonant contraction: separate [ad:'il'i´t'] → the letters “T” and “D” are reduced into sounds [d'd'], besh smart [b'ish: u ´much]. When analyzing the composition of a number of words in sound-letter analysis, dissimilation is observed - the opposite process to assimilation. In this case, the common feature of two adjacent consonants changes: the combination “GK” sounds like [xk] (instead of the standard [kk]): light [l'o′kh'k'ii], soft [m'a′kh' k'ii].

Soft consonants in Russian

In the phonetic parsing scheme, an apostrophe [’] is used to indicate the softness of consonants.

• Softening of paired hard consonants occurs before “b”;
• the softness of the consonant sound in a syllable in writing will help determine the vowel letter that follows it (e, ё, i, yu, i);
• [ш'], [ч'] and [й] are only soft by default;
• The sound [n] is always softened before soft consonants “Z”, “S”, “D”, “T”: claim [pr'iten'z 'iya], review [r'itseen'z 'iya], pension [pen 's' iya], ve[n'z'] el, licé[n'z'] iya, ka[n'd'] idat, ba[n'd'] it, i[n'd'] ivid , blo[n'd']in, stipe[n'd']iya, ba[n't']ik, vi[n't']ik, zo[n't']ik, ve[n' t'] il, a[n't'] ical, co[n't'] text, remo[n't'] edit;
• the letters “N”, “K”, “P” during phonetic analysis of their composition can be softened before the soft sounds [ch'], [sch']: glass ik [staka'n'ch'ik], smenschik ik [sm'e ′n'sch'ik], donch ik [po'n'ch'ik], mason ik [kam'e'n'sch'ik], boulevard [bul'va'r'sh'ina], borscht [ borsch'];
• often the sounds [з], [с], [р], [н] before a soft consonant undergo assimilation in terms of hardness-softness: wall [s't'e′nka], life [zhyz'n'], here [ z'd'es'];
• in order to correctly perform sound-letter analysis, take into account the exception words when the consonant [p] before soft dental and labial ones, as well as before [ch’], [sch’] is pronounced firmly: artel, feed, cornet, samovar;

Note: the letter “b” after a consonant unpaired in hardness/softness in some word forms performs only a grammatical function and does not impose a phonetic load: study, night, mouse, rye, etc. In such words, during letter analysis, a [-] dash is placed in square brackets opposite the letter “b”.

Positional changes in paired voiced-voiceless consonants before hissing consonants and their transcription during sound-letter parsing

To determine the number of sounds in a word, it is necessary to take into account their positional changes. Paired voiced-voiceless: [d-t] or [z-s] before sibilants (zh, sh, shch, h) are phonetically replaced by a sibilant consonant.

• Literal analysis and examples of words with hissing sounds: arrival [pr'ie'zhzh ii], ascend [vashsh e´st'iye], izzh elta [i´zh elta], take pity [zh a´l'its: A].

The phenomenon when two different letters are pronounced as one is called complete assimilation in all respects. When performing sound-letter analysis of a word, you must denote one of the repeated sounds in the transcription with the longitude symbol [:].

• Letter combinations with a hissing “szh” - “zzh” are pronounced like a double hard consonant [zh:], and “ssh” - “zsh” - like [sh:]: squeezed, sewed, without a splint, climbed in.
• The combinations “zzh”, “zhzh” inside the root, when parsed by letters and sounds, are written in transcription as a long consonant [zh:]: I ride, I squeal, later, reins, yeast, zhzhenka.
• The combinations “sch”, “zch” at the junction of a root and a suffix/prefix are pronounced as a long soft [sch’:]: account [sch’: o´t], scribe, customer.
• At the junction of the preposition with the following word in place of “sch”, “zch” is transcribed as [sch'ch']: without number [b'esh' ch' isla´], with something [sch'ch' e'mta] .
• During sound-letter analysis, the combinations “tch”, “dch” at the junction of morphemes are defined as double soft [ch':]: pilot [l'o´ch': ik], good fellow [little-ch': ik], report [ach': o´t].

Cheat sheet for comparing consonant sounds by place of formation

• sch → [sch':]: happiness [sch': a´s't'ye], sandstone [p'ish': a´n'ik], peddler [vari´sch': ik], paving stones, calculations, exhaust, clear;
• zch → [sch’:]: carver [r’e’sch’: ik], loader [gru’sch’: ik], storyteller [raska’sch’: ik];
• zhch → [sch’:]: defector [p’ir’ibe´ sch’: ik], man [musch’: i´na];
• shch → [sch’:]: freckled [in’isnu’sch’: ity];
• stch → [sch’:]: tougher [zho’sch’: e], biting, rigger;
• zdch → [sch’:]: roundabout [abye’sch’: ik], furrowed [baro’sch’: ity];
• ssch → [sch’:]: split [rasch’: ip’i′t’], became generous [rasch’: e’dr’ils’a];
• thsch → [ch'sch']: to split off [ach'sch' ip'i′t'], to snap off [ach'sch' o´lk'ivat'], in vain [ch'sch' etna], carefully [ch' sch' at'el'na];
• tch → [ch’:]: report [ach’: o′t], fatherland [ach’: i′zna], ciliated [r’is’n’i′ch’: i′ty];
• dch → [ch’:]: emphasize [pach’: o’rk’ivat’], stepdaughter [pach’: ir’itsa];
• szh → [zh:]: compress [zh: a´t’];
• zzh → [zh:]: get rid of [izh: y´t’], kindle [ro´zh: yk], leave [uyizh: a´t’];
• ssh → [sh:]: brought [pr’in’o′sh: y], embroidered [rash: y’ty];
• zsh → [sh:]: lower [n’ish: s′y]
• th → [pcs], in word forms with “what” and its derivatives, doing a sound-letter analysis, we write [pcs]: so that [pcs] , for nothing [n'e′ zasht a], something [ sht o n'ibut'], something;
• th → [h't] in other cases of letter parsing: dreamer [m'ich't a´t'il'], mail [po´ch't a], preference [pr'itpach't 'e´n' ie] etc;
• chn → [shn] in exception words: of course [kan'e´shn a′], boring [sku´shn a′], bakery, laundry, scrambled eggs, trifling, birdhouse, bachelorette party, mustard plaster, rag, as well as in female patronymics ending in “-ichna”: Ilyinichna, Nikitichna, Kuzminichna, etc.;
• chn → [ch'n] - letter analysis for all other options: fabulous [ska´zach'n y], dacha [da´ch'n y], strawberry [z'im'l'in'i´ch'n y], wake up, cloudy, sunny, etc.;
• !zhd → in place of the letter combination “zhd”, double pronunciation and transcription [sch’] or [sht’] is allowed in the word rain and in the word forms derived from it: rainy, rainy.

Unpronounceable consonants in Russian words

During the pronunciation of an entire phonetic word with a chain of many different consonant letters, one or another sound may be lost. As a result, in the spelling of words there are letters devoid of sound meaning, the so-called unpronounceable consonants. To correctly perform phonetic analysis online, the unpronounceable consonant is not displayed in the transcription. The number of sounds in such phonetic words will be less than letters.

In Russian phonetics, unpronounceable consonants include:

• "T" - in combinations:
  • stn → [sn]: local [m’e´sn y], reed [tras’n ’i´k]. By analogy, one can perform a phonetic analysis of the words staircase, honest, famous, joyful, sad, participant, messenger, rainy, furious and others;
  • stl → [sl]: happy [sh':asl 'i´vyy"], happy, conscientious, boastful (exception words: bony and postlat, in them the letter “T” is pronounced);
  • ntsk → [nsk]: gigantic [g'iga´nsk 'ii], agency, presidential;
  • sts → [s:]: sixs from [shes: o´t], to eat up [take´s: a], to swear I [kl’a´s: a];
  • sts → [s:]: tourist [tur'i´s: k'iy], maximalist cue [max'imal'i´s: k'iy], racist cue [ras'i´s: k'iy] , bestseller, propaganda, expressionist, Hindu, careerist;
  • ntg → [ng]: x-ray en [r’eng ’e´n];
  • “–tsya”, “–tsya” → [ts:] in verb endings: smile [smile´ts: a], wash [my´ts: a], looks, will do, bow, shave, fit;
  • ts → [ts] for adjectives in combinations at the junction of a root and a suffix: childish [d’e´ts k’ii], bratskiy [bratskyi];
  • ts → [ts:] / [tss]: athlete [sparts: m’e´n], send [atss yla´t’];
  • tts → [ts:] at the junction of morphemes during phonetic analysis online is written as a long “ts”: bratz a [bra´ts: a], father epit [ats: yp'i´t'], to father u [k atz: y´];
• “D” - when parsing by sounds in the following letter combinations:
  • zdn → [zn]: late [z'n'y], star [z'v'ozn'y], holiday [pra'z'n'ik], free [b'izvazm' e′know];
  • ndsh → [nsh]: mundsh tuk [munsh tu´k], landsh aft [lansh a´ft];
  • NDsk → [NSK]: Dutch [Galansk ’ii], Thai [Thailansk ’ii], Norman [Narmansk ’ii];
  • zdts → [ss]: under the bridles [fall uss s´];
  • ndc → [nts]: Dutch [galans];
  • rdc → [rts]: heart [s’e´rts e], serdts evin [s’irts yv’i´na];
  • rdch → [rch"]: heart ishko [s’erch ’i´shka];
  • dts → [ts:] at the junction of morphemes, less often in roots, are pronounced and when parsed soundly, the word is written as double [ts]: pick up [pats: yp'i´t'], twenty [dva´ts: yt'] ;
  • ds → [ts]: factory [zavac ko´y], rods tvo [rac tvo´], means [sr’e´ts tva], Kislovods k [k’islavo´ts k];
• “L” - in combinations:
  • sun → [nz]: sun [so´nts e], solar state;
• “B” - in combinations:
  • vstv → [stv] literal analysis of words: hello [hello, go away], feelings about [ch's'tva], sensuality [ch'us'tv 'inas't'], pampering about [pampering o´], virgin [d'e´stv 'in:y].

Note: In some words of the Russian language, when there is a cluster of consonant sounds “stk”, “ntk”, “zdk”, “ndk” the loss of the phoneme [t] is not allowed: trip [payestka], daughter-in-law, typist, summons, laboratory assistant, student , patient, bulky, Irish, Scottish.

• When parsing letters, two identical letters immediately after the stressed vowel are transcribed as a single sound and a longitude symbol [:]: class, bath, mass, group, program.
• Doubled consonants in pre-stressed syllables are indicated in transcription and pronounced as one sound: tunnel [tane´l’], terrace, apparatus.

If you find it difficult to perform phonetic analysis of a word online according to the indicated rules, or you have an ambiguous analysis of the word being studied, use the help of a reference dictionary. Literary norms of orthoepy are regulated by the publication: “Russian literary pronunciation and stress. Dictionary - reference book." M. 1959

References:

• Litnevskaya E.I. Russian language: short theoretical course for schoolchildren. – MSU, M.: 2000
• Panov M.V. Russian phonetics. – Enlightenment, M.: 1967
• Beshenkova E.V., Ivanova O.E. Rules of Russian spelling with comments.
• Tutorial. – “Institute for Advanced Training of Education Workers”, Tambov: 2012
• Rosenthal D.E., Dzhandzhakova E.V., Kabanova N.P. Handbook of spelling, pronunciation, literary editing. Russian literary pronunciation. – M.: CheRo, 1999

Now you know how to parse a word into sounds, make a sound-letter analysis of each syllable and determine their number. The described rules explain the laws of phonetics in the school curriculum format. They will help you phonetically characterize any letter.

In this lesson we will talk a little about this method of memorizing words, the method of sound associations.

The method of sound associations arose because in the most diverse languages ​​of the world there are words or parts of words that sound the same, but have different meanings. In addition, in different languages ​​there are words that have a common origin, but over time have acquired different meanings. Often people use this method without realizing that they are using it.

Now let’s take a closer look at what exactly the sound association method is. In order to remember a foreign word, you need to choose a consonant word for it, that is, a word that sounds similar in your native or well-known language. Then you need to compose a short plot from the consonant word and translation. For example, a consonant word for the Azerbaijani word kök - “root” will be the Russian word “kok”. The plot could be like this: “COK roasts the ROOT of a tree.” The plot must be compiled so that the approximate sound of the word and its translation appear as if in one connection, and are not torn off from each other, that is, actually for memorization. A consonant word does not have to completely coincide with a foreign one, a consonant part is enough. For example: kef - “mood”. The word “kefir” can be considered consonant. Depending on the chosen consonance, the plot may be like this: “Spoiled KEFIR lifts the MOOD.” It is important that the remaining (auxiliary) words in the plot are as neutral as possible, not evoking vivid images. There should be as few such words as possible. This is necessary so that when remembering, you do not confuse them with the right ones, that is, with the words that you memorized. The necessary words (consonant word and translation word), on the contrary, must be highlighted in every possible way and emphasis placed on them. If you can’t make a semantic emphasis, then at least an intonation one.

It is important to pronounce out loud both the memorized word and the consonant word. First of all, this must be done so that your memory, in its natural course, captures how the consonant word is similar to the one you remember and how it is different. As a rule, it is enough to say both words 2-3 times.

Surely you will record the words, consonances and plots you remember on paper. In this case, do not be lazy to highlight on the letter the memorized word, the translation, and that part of the consonant word that resembles the memorized one. To do this, you can use different sizes, italics, underlining, etc. It also promotes better memory (due to the interaction of visual and auditory memory).

Often, to memorize a foreign word, you have to select not one, but two consonant words. This is necessary when the word is quite long, and there is no similar word in the native language. In this case, the foreign word must be divided into two parts and a consonant word must be selected for each of its parts (words should be short if possible and contain as many common sounds as possible with the one being memorized). For example, for the Azerbaijani word armud - “pear”, we select two consonant words: “AREST” and WISE. All that remains is to create a plot, for example: THE ARREST OF THE WISE PEAR. Moreover, in the plot, the first and second consonant words must necessarily follow one after the other, and there should be no words between them. It is good if, when reviving the plot and presenting it as a still from a film, you use exaggeration of associations and, if possible, good humor. For example, imagine that this pear is huge - the size of a human body, how he is grabbed and taken to the police station. Do not forget to also use the method of co-sensations.

Come up with bright, unusual stories. Things that could hardly happen in everyday life. Try to come up with stories that are as UNUSUAL and illogical as possible. It is the commonality and logic of the plot that should alarm you, and not vice versa.

Try to create short stories and include more actions with memorable meanings. Abstract phrases are poorly remembered, and if they are not related to the words being remembered, this can cause confusion in the head.

Enlarge objects in your stories. Let the apple in your fantasy be the size of a house!

Take an active part in your story. Let yourself be the main character in your fantasy. Use the method of co-sensations in your fantasies. Hear the sounds that objects make, feel the pain from any action you perform, smell the smells. The maximum number of your senses should work to remember the plot.

Try to choose a word that is consonant so that it fully corresponds to the word you are memorizing (so that it has as few extra syllables as possible).

If it is difficult to come up with a sound association for a foreign word in Russian, you can easily use a sound association in the same foreign language. The foreign word used in this case as a sound association should be familiar to you for a long time.

This system does not allow you to remember the pronunciation exactly the first time, but it does make it possible to firmly remember the skeleton of the word. Repeating words at night is very effective - it is believed that in this case the words are remembered more firmly. A slightly more energy-intensive way to memorize is the following: write down each word on a small card. On one side of the card there is a word in a foreign language with transcription, on the other there is a translation. By periodically going through the cards, you can either control yourself, or ask your loved ones and friends about it. For people whose auditory memory is better developed than visual memory, we can recommend recording words with translation onto an audio tape and listening to it. Memorizing short poems, proverbs and sayings in a foreign language will allow you to learn the norms of using words and phrases. In the future, you will automatically construct your statements using these phrases and sentence models. Of course, the process of memorizing foreign words is quite complicated. It requires, first of all, the efforts of your will and your desire.

In this lesson we will focus on vocabulary development. Below are the words and associated associations. At the moment, our mini-dictionary contains almost 150 words. The task is to learn them. We hope you enjoy this method.

alət – instrument
(in b alet e yours tools)

bash – head
(bash poppy fell on head)

adət - custom
(dressed By custom tribe)

üz – face
(bonds some face)

qardaş - brother
(my Brother small as pencil)

yazıçı – writer
(y writer big tongues yet)

yazıq – poor, pathetic
(poor...he got pinched language)

əl – hand
(el electricians are working hands)

mənim – mine
(my labor is not for change)

bərk – strong, hard
(Burke ut tightly grabbed the loot)

zar – crying, moaning
(from this zar raise the boards cry)

quş – bird
(la gush ka in bird)

lap – very, completely
(Very big paws A)

amma – but
(sofa is good, But G ama for the better)

indi – now
(indie ec Now on the moon)

dağ – mountain
(chicken ku duh even on mountains)(or analogy with the word Doug estan – which means “country” mountains«)

sanki - as if, as if
(pulling a tank as if sled)

küçə - street
(a bunch money for street)

iş – work
(ha ish nickname on work)

toy – wedding
(us that kindness leads to wedding)

digər – other
(tiger once had stripes others)

hətta – even
(even hut not reliable for lard)

qəza – accident
(gas no - you'll end up in accident)

ləzzət – pleasure, pleasure
(climbs behind pleasure)

şir – lion
(y lion shire eye mouth)

əsər – work, work
(above Yeser t - scientific work)

ətibar – trust
(these bar Ana's not trust to him)

talə - fate
(With tale var is fate)

zibil - garbage
(scored Goal garbage)

ət – meat
(this and ham with meat)

bəzən – sometimes
(Sometimes and the car is not needed petrol)

süd – milk
(milk court punishment for harmfulness is due)

yük – heavy
(tr yuk With heavy barbell)

pilləkən – stairs
(pelican stands at stairs)

diş – tooth
(disch!!! and no tooth)

arvad - wife
(With wife n Arvat b turnips)

vergi – tax
(from Vergi squeeze out taxes)

var – yes
(y by var A There is what to eat)

kitab – book
(kita b teach to read books)

pas – rust
(rust O pass on the)

fil – elephant
(elephant looks fil m)

təmiz – clean
(river Thames – clean)

Below we present a number of more associations, but, unfortunately, without pictures yet.

dil – tongue (croco dil stuck out language)

vaxt – time (I’m leaving for shifts at time)

ləhcə - talk (if there is no strange dialect – easier understand speech)

zəmanət – guarantee (I give guarantee – lure It's easy to trap them)

zəfər – victory (to win victory With marshmallows ohm)

bıçaq – knife ( bull holds knife)

maral – deer ( deer behind maral me clothes)

bal – honey (on ball u eat honey)

sınaq – test, exam ( son hand over exam)

adil – fair (p odil fair person)

yaz – spring (uv language in the dirt, that is spring outside)

bəy – groom (not hit groom)

bağ – garden (Johann Sebastian Bach loved to walk around garden)

cib – pocket (this jeep not according to pocket)

çanta – bag (in bag lies to Chan Ta Nina's cabbage)

çirkin – disgusting (notebook from chirkana disgusting)

dəlil – argument, argument (times shared argument into parts)

bəndə - servant (my servant V gang)

yol – road, path (on road growing ate ka)

zol – stripe (he angry to black strip in life)

yelli – windy (on Ate it happens in seiya fields windy)

yaş – age (pl yash old grandfather forgot about age)

vida – farewell, parting (after with kind there will be parting)

vəzifə - position, duty (he has job title, take Fe du)

vəd – promise (ш Vedas restrained Promise)

mal – product (this product too much small)

mane – obstacle, hindrance (to get around let, Do It maneuver)

saç – hair (he cuts hair ku sach kami)

saray – palace (yours) castle look like barn)

ürək – heart ( by the rivers and offered his hand and heart)

ev – house (good to have house in the village ev Not)

qapı – door (no need door behind mouthguards wat)

daha – more, more (with taha the newcomer is working more everyone)

kök – root ( cook fries root)

kef – mood (spoiled kef ir raises mood)

kin – hatred (and in kin oh there is hatred)

külək – wind ( bag persecuted by the wind)

qar – snow (for gar on snow)

qısa – short (milk quickly with kitty et – short best before date)

acı – bitter (this aji ka bitter, not spicy)

ac – hungry ( hungry R aj A)

ətli – meat (remove meat sausage with n no whether)

nəvə - grandson (my grandson –neve waiting)

əbədi – eternal (l fuck forever don't live)

nikah – marriage (I was not in marriage never Yes)

qol – hand (above the hand) (to score Goal hand like Maradona)

qaçmaq – to run ( runs bo slack V magician azine)

tanış – acquaintance (from acquaintance w tany torn)

tarix – history (with tariq knows history)

çəki – weight (by check indicated weight)

düşmən – enemy (analogy with the word dushman)

azı – minimum, at least ( at least need to know basics grammar)

dəniz – sea ( Denis bathes in sea)

ölkə - country ( a country Christmas trees)

sıra – row (on the counter) row from cheese)

mum – wax ( mum I'm from wax)

şəy – thing (dressmaker, with neck to me thing)

burun – nose ( nose like breaker duka)

boş – empty (washing machine Bosch Bye empty)

cəza – punishment ( What a punishment?)

imtahan – test, exam (during exam, they don't care)

borc – debt (he has duty – borsch)

məhəbbət – love ( fly lunch oh, she loves food)

paltar – clothes ( one and a half a kilogram clothes)

müdir – director ( director V uniform e)

belə - such (received such But whiter World Prize)

yaşlı – elderly ( I went ndal idle and became elderly)

qoca – old ( Gotcha – old Georgian)

körpü – bridge (the bus travels along body su bridge)

xoşbəxt – happy ( want to be happy)

kiçik – small ( tip needles – small)

müharibə - war ( fly to fish not a friend, so war)

səhər – morning, in the morning ( in the morning put it in tea sugar)

dul – widow, widower (de blew I have already widower)

bəs – enough ( bass and in Italian too enough)

dost - friend ( dost oyny Friend)

sonra – then, after (first dream, ra bota - Then)

qabaq – before ( before tavern oh the horses are worth)

səhra – desert (in desert Sahara hot)

arıq – thin ( thin b aryg A)

azad – freedom (ok Azate I'm on freedom)

armud – pear ( ar eating wisdom Roy pears)

aş – porridge (D ash and all in porridge)

ayin – ritual (t ain national ritual)

az – little (in k az Not few money)

sadə - simple (my garden bka no simple)

nöqtə - point (on nail X points)

könüllü – voluntarily (give voluntarily horse lu ka)

varlı – rich ( rich- means with warli vyy)

şəfa – recovery ( recovery For boss)

nisbətən – compared to ( compared with top bottom concrete and better)

nar – pomegranate ( nar hedgehog pomegranate)

qul – slave ( slave ate mine hum yash)

qorxu – fear, fear ( fear eat peas)

həmin – this one ( this one man – Ernest Hemin Guey)

oruc – post (he gave p oruch to hold - to hold fast)

oyaq – vigilant (in oyak there should be vigilant)

Track your language learning progress3 students studied this topic

SOUND, noun. What is heard is perceived by the ear; high-frequency vibrations of air or other medium

SOUND, noun. Same as sound

SOUND, noun. Linguistic articulate element of human spoken speech

Ushakov's Explanatory Dictionary

SOUND, sound, m. 1. Rapid oscillatory movement of particles of air or other medium, perceived by the organ of hearing (physical). || everything generated by movement, vibration of something. and perceived by hearing, everything that causes auditory sensations. Sounds of voices. The sound of a song. The sound of a piano. The sound of a kiss. The sound of footsteps. Monotonous sounds of raindrops. The sounds of fun are painful to me. Lermontov. Sounds of coughing. 2. A tone of a certain pitch, as opposed to noise (music). Musical sound. The scale consists of 8 simple sounds. 3. Articulate element of spoken speech (linguistic). History of sounds of the Russian language. Alternation of sounds. Changing the sound "o" to "a". An empty sound - about something devoid of any content or meaning. In capitalist Europe, freedom, equality and fraternity have become empty words. Not a sound - about complete silence. I call him, but he doesn’t make a sound.

Dahl's Explanatory Dictionary

SOUND, m. everything that the ear hears, that reaches the ear. | old garbage, scrap stones, rubbish. To sound, sound, make, make a hum, sound, ringing. This piano sounds especially good. Sound the rivet. The string sounded, sounded, only sounded, sounded and fell silent, did not sound. It would sound again. She sounded tired of me. Sounding Wed. condition according to verb. Sound, related to sound. Sound vibrations, waves. Sonorous, sonorous, loud, booming, sonorous, noisy sounding. Sonority g. state of being sonorous, or property of something being sonorous. Sound law, sound science, sound science cf. acoustics, the science of sounds, part of physics. A sound meter is a projectile for measuring sounds or the number of tremors of a sounding object. Sound mood Wed. okay, the mood of the sounds. Onomatopoeia cf. the action of someone who imitates any sounds: the similarity of a word, speech, speech, voice with some other sound. Thunder, crackling, whistling, onomatopoeic words. Sound concord cf. agreement, correspondence, mutual harmony of sounds.