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], [i̯], 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], [ts],͡ [tʃ͡ ], [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] The Singer's Guide to German Diction: Supplements
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], [ɑ͡o], 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], [ts],͡ [tʃ͡ ], [k͡s], and [k͡v] Worksheet: Review Section II. Vowels Quiz: Section II. Vowels Quiz: Vowel Length Exceptions The Singer's Guide to German Diction: Supplements
LYRIC DICTION IN MUSICAL CONTEXT
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
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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
The Singer's Guide to German Diction: Supplements
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. 17.1.17: Robert Schumann, In der Fremde
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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. 17.2.1: Johannes Brahms, Abenddämmerung
Music Ex. 17.2.2: Franz Liszt, Die Lorelei
The Singer's Guide to German Diction: Supplements
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.
In singing, [ə] may be modified slightly toward a veiled open vowel [(ɛ)] [ə] in harmonization with a preceding tongue vowel: [i], [ɪ], [e], [ɛ],[ɑ], [a] [(ɛ)] 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 [a͡e] meine [ˈma͡enə → ˈma͡en(ɛ)]
in the unstressed prefixes be, ge be/denken [bəˈdɛŋken → b(ɛ)ˈdɛŋken] ge/hören [ɡəˈhøːɾen → ɡ(ɛ)ˈhøːɾen]
The Singer's Guide to German Diction: Supplements
In singing, [ə] may be modified slightly toward a veiled mixed vowel [(œ)] [(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: [ɑ͡o], [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
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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].
In singing, final -er, which is normally pronounced as [ɐ], may be sustained according to the [ɐ] musical notation as [(ɛ)ɐ] in harmonization with a preceding tongue vowel: [i], [ɪ], [e], [ɛ],[ɑ], [a] [(ɛ)ɐ] 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 [a͡e] meiner [ˈma͡enɐ → ˈma͡en(ɛ)ɐ]
The Singer's Guide to German Diction: Supplements
In singing, final -er, which is normally pronounced as [ɐ], may be sustained according to the [(œ)ɐ] 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
The Singer's Guide to German Diction: Supplements
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
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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.
The Singer's Guide to German Diction: Supplements
Music Ex. 17.4.4: Peter Cornelius, Ein Ton
The Singer's Guide to German Diction: Supplements
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. The Singer's Guide to German Diction: Supplements
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 [t͡s], [t͡ʃ], [p͡f], [p͡s], [k͡s] [k͡v]
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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.
The Singer's Guide to German Diction: Supplements
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.
The Singer's Guide to German Diction: Supplements
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 manchmal͜ 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
The Singer's Guide to German Diction: Supplements
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.ʃ͡]. 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 Singer's Guide to German Diction: Supplements
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 [ɛʃˈ͡ʃprɪŋən].
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].
Music Ex. 18.3.6: W. A. Mozart, Die Zauberflöte
The Singer's Guide to German Diction: Supplements
Students often struggle with the combination [x.t͡s], as in schluchzen (Music Ex. 18.3.7), and [ç.t͡s], as in nichts (Music Ex. 18.3.8).
Music Ex. 18.3.7: Robert Schumann, Dichterliebe
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
The Singer's Guide to German Diction: Supplements
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] → [s͡s]. 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 [ˈɑːbəntˌ͡dɛməɾʊŋ], und͜ der [ʊnt d͡ eɐ]
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.
The Singer's Guide to German Diction: Supplements
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 [m͡m] m m um/mauern [ʊmˈ͡mɑ͡oərn am Morgen [am ͡ˈmɔrɡən] [n͡n] n n hin/nehmen [ˈhɪnˌ͡neːmən] den Nachen [den ͡ˈnaxən] [l͡l] l l Viel/liebchen [fiːlˈ͡liːpçən] Voll Lust [fɔl ͡lʊst] [ɾ͡r] r r Wasser/rauschen [ˈvasəɾ͡rɑ͡oʃən] Wasser rauscht [ˈvasəɾ ͡rɑ͡oʃt] [f͡f] f f, f v auf/fliegen [ˈɑ͡ofˌ͡fliːɡən] auf Flügeln [ɑ͡of ͡ˈflyːɡəln] [s͡s] s s Aussortieren [ˈɑ͡os͡sɔrˌtiːɾən] was soll’s [vas s͡ ɔls]
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
The Singer's Guide to German Diction: Supplements
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 [z͡z].
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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 [b] [p͡b] b b ob bald [ɔp͡ balt] [p] [p] [p͡p] b p ab Prag [ap͡ prak] d d und die [ʊnt ͡diː] [d] [t͡d] t d mit der [mɪt ͡deːɐ] [t] d t Stund und Tag [ʃtunt unt ͡tɑːk] [t] [t͡t] t t mit tausend [mit ͡tausend] t͡s [tt͡s] t z und zu [ʊnt ͡tsuː] [ɡ] [k͡ɡ] g g Truggebilde [truːk͡ɡəˈbildə] [k] ck k zurück/keren [zuɾʏk͡ˈkeːɾən] [k] [k͡k] 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 [ˈɑːbəntˌ͡dɛməɾʊŋ] (twilight) Implosion is optional and only recommended when intelligibility allows: between incidental words mit der Wetterfahne [mɪt d͡ eɾ ˈvɛtəɾˌfɑːnə] (with the weathervane) between an incidental word followed by an important word Stund und Tag [ʃtʊnt ʊnt t͡ ɑːk] (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)
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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. 18.4.13: Franz Schubert, Gute Nacht
Music Ex. 18.4.14: Franz Schubert, Wasserflut
The Singer's Guide to German Diction: Supplements
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.
Music Ex. 18.4.15: Franz Schubert, Gute Nacht
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
The Singer's Guide to German Diction: Supplements
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.
The Singer's Guide to German Diction: Supplements
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.
Music Ex. 18.5.1: Ludwig van Beethoven, An die ferne Geliebte
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.
The Singer's Guide to German Diction: Supplements
SUPPLEMENTAL EXERCISES AND WORKSHEETS
The Singer's Guide to German Diction: Supplements
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.) The Singer's Guide to German Diction: Supplements
Musical Exercises for [iː], [i], [i̯], 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 Ex. 4.1.3: W. A. Mozart, Die Zauberflöte
The Singer's Guide to German Diction: Supplements
Music Ex. 4.1.4: Franz Schubert, Du bist die Ruh
Music Ex. 4.1.5: Ludwig van Beethoven, An die ferne Geliebte
Music Exercises 4.1.6–4.1.7 [iː], [i], and [i̯] Compare long and closed [iː] with short and closed [i] and non-syllabic [i̯] 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 [i̯] (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
The Singer's Guide to German Diction: Supplements
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. 4.2.1: Franz Schubert, Lied der Mignon
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
Music Ex. 4.3.8: Robert Schumann, Frühlingsnacht
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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. 5.2.3: Franz Schubert, Lied der Mignon
Music Ex. 5.2.4: Richard Strauss, Ruhe, meine Seele
The Singer's Guide to German Diction: Supplements
Music Ex. 5.2.5: Johannes Brahms, Unbewegte laue Luft
Music Ex. 5.2.6: Richard Strauss, Mohnblumen
The Singer's Guide to German Diction: Supplements
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. 6.1.1: Robert Schumann, Frühlingsnacht
Music Ex. 6.1.2: Robert Schumann, Dichterliebe
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 Ex. 6.1.4: Robert Schumann, Frühlingsnacht
The Singer's Guide to German Diction: Supplements
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. 6.1.5: W. A. Mozart, Die Zauberflöte
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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. 6.2.1: Robert Schumann, Dichterliebe
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 Ex. 6.2.3: W. A. Mozart, Die Zauberflöte
Music Ex. 6.2.4: Johannes Brahms, O wüsst ich doch den Weg zurück
The Singer's Guide to German Diction: Supplements
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. 6.2.6: Robert Schumann, Frühlingsnacht
Music Ex. 6.2.7: Robert Schumann, Dichterliebe
Music Ex. 6.2.8: Hugo Wolf, Die Bekehrte
The Singer's Guide to German Diction: Supplements
Musical Exercises for [a͡e], [ɑ͡o], 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.
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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. 9.4.1: Robert Schumann, In der Fremde
Music Ex. 9.4.2: Johannes Brahms, Sapphische Ode
Music Exercise 9.4.3 [ʝ] Practice voiced velar fricative [ʝ].
The Singer's Guide to German Diction: Supplements
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. 9.4.4: Robert Schumann, Dichterliebe
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
The Singer's Guide to German Diction: Supplements
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. 9.6.1: Robert Schumann, Frauenliebe und Leben
Music Ex. 9.6.2: Franz Schubert, Gretchen am Spinnrade
Music Ex. 9.6.3: Franz Schubert, Gute Nacht
Music Ex. 9.6.4: W. A. Mozart, Die Zauberflöte
The Singer's Guide to German Diction: Supplements
Music Exercises 9.6.5–9.6.6 [ǀ] Practice the glottal separaton in the following example.
Music Ex. 9.6.5: Robert Schumann, Dichterliebe
Music Ex. 9.6.6: Johannes Brahms, Abenddämmerung
The Singer's Guide to German Diction: Supplements
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 Ex. 10.1.3: Robert Schumann, Dichterliebe
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
Music Ex. 10.2.5: Robert Schumann, Dichterliebe
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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 Ex. 11.3.4: W. A. Mozart, Die Zauberflöte
The Singer's Guide to German Diction: Supplements
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. 11.3.6: Robert Schumann, Frauenliebe und Leben
Music Ex. 11.3.7: Franz Schubert, Halt!
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
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.
Music Ex. 12.1.5: Franz Schubert, Du bist die Ruh
The Singer's Guide to German Diction: Supplements
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. 12.2.1: Robert Schumann, Die beiden Grenadiere
Music Ex. 12.2.2: Robert Schumann, Die beiden Grenadiere
Music Ex. 12.2.3: Robert Schumann, Dichterliebe
Music Ex. 12.2.4: Franz Schubert, Aufenthalt
The Singer's Guide to German Diction: Supplements
Musical Exercises for [p͡s], [p͡f], [t͡s], [t͡ʃ], [k͡s], and [k͡v] 13.1
Music Exercises 13.1.1–13.1.6 [p͡s], [p͡f], [t͡s], [t͡ʃ], [k͡s], and [k͡v]
Practice [p͡s], [p͡f], [t͡s], [t͡ʃ], [k͡s], and [k͡v] in the following musical examples.
Music Ex. 13.1.1:Franz Schubert, Seligkeit
Music Ex. 13.1.2: Franz Schubert, Wanderers Nachtlied
Music Ex. 13.1.3: Johannes Brahms, O wüsst ich doch den Weg zurück
The Singer's Guide to German Diction: Supplements
Music Ex. 13.1.4: Robert Schumann, Die beiden Grenadiere
Music Ex. 13.1.5: Hugo Wolf, Der Tambour
Music Ex. 13.1.6: Franz Schubert, Der Jüngling and der Quelle
The Singer's Guide to German Diction: Supplements
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.
The Singer's Guide to German Diction: Supplements
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) herein (inside) hinausgehen (to go outside) entschwebt (floats away) vergeht (ceases) herkommen (to come here)
Suffixes ______(precede/follow) the word stem. Suffixes are ______(stressed/unstressed) except for one, ______, which is ______(stressed/unstressed).
The Singer's Guide to German Diction: Supplements
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) Männlein (Little man) Zauberei (magic) 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 Present Tense: Simple Past: Subjunctive: Pronoun: 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.
The Singer's Guide to German Diction: Supplements
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 herzaubern Hexenzauber Zauber Zauberin Hexenzauberei verzaubern Zauberei 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 Harmonie Melodie Arie
In words of foreign origin the following five endings are also stressed: _____, _____, _____, _____, and _____.
The Singer's Guide to German Diction: Supplements
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] [hɔ͡øsçən] eilig schnellen Häuschen hastily (adverb) fast (adj.) little house
[liːptən] [ɑːɾi̯ə] [hɪnɑ͡of] liebten Arie hinauf loved aria upward (adverb)
[zʏmfoniː] [nat͡si̯oːn] [vaxət] Symphonie Nation wachet Symphony nation keep watch (3rd pers. plur.)
[pi̯anɪst] [mɪtfɑːɾən] [piːni̯e] 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)
The Singer's Guide to German Diction: Supplements
Worksheet 4.1: [iː], [i], [i̯], 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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 4.2: [eː], [e], [ɛː], [ɛ], and [ə] 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.
[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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 4.3: [ɑː] and [a] 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.
[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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 5.1: [oː], [o], and [ɔ] 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 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
The Singer's Guide to German Diction: Supplements
[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] [ p͡st] 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
The Singer's Guide to German Diction: Supplements
Worksheet 5.2: [uː], [u], and [ʊ] 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.
[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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 6.1: [øː] and [œ] 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.
[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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 6.2: [yː], [y], and [ʏ] 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.
[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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 7.1: [a͡e], [ɑ͡o], and [ɔ͡ø] 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.
[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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
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 i̯oːla] Fluss Welle Viola river wave viola
[ɑ͡o ] [ uːs] [ ɛɾˈlʊst] auf Fuß Verlust on foot loss
[ˈtɑ͡o ə] [ˈa ə] [ i̯oˈlɛt] 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
[ ɑ͡en] [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
The Singer's Guide to German Diction: Supplements
[ˈʃa ən] [ˈʃ ɛstəɾ] [ˈ ɑːɡən] schaffen Schwester wagen to work sister to risk
[ˈhar ə] [ˈ eːrdən] [ i̯oˈliːnə] 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
The Singer's Guide to German Diction: Supplements
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 ] [ˈhɔ͡ø 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
The Singer's Guide to German Diction: Supplements
[ ɑ͡om] [ 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 plɑ͡odərn] 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
The Singer's Guide to German Diction: Supplements
Worksheet 9.4: [ʝ], [ç], and [x] 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. 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
The Singer's Guide to German Diction: Supplements
[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] [hɔ͡ø əˈla͡e] Furcht jucken Heuchelei fear to itch hypocrisy
[rɛ t] [ˈt͡sa͡e ən] [ˈfriːtlɪ ] Recht Zeichen friedlich right sign peacful
[ˈzuː ən] [ɡəˈʃtrɔ͡ø ] [ 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 fleetingly boozer word
[ˈkøːnɪkra͡e ] [ eˈdɔ ] [fluː ] Königreich jedoch Fluch kingdom however curse
The Singer's Guide to German Diction: Supplements
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 ɑ͡os] [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 ɑ͡os] 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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 11.3: [m], [n], and [ŋ] 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. 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 ɡətrɔ͡ø] 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
The Singer's Guide to German Diction: Supplements
[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
The Singer's Guide to German Diction: Supplements
Worksheet 12.2: [l], [r], [ɾ], and [ɐ] 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. 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 ɑ͡o] [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
The Singer's Guide to German Diction: Supplements
[ 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
The Singer's Guide to German Diction: Supplements
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 i̯oːn] 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 i̯ɛnt] [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
The Singer's Guide to German Diction: Supplements
Worksheet: Review Section II. Vowels 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.
[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
The Singer's Guide to German Diction: Supplements
[ 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
The Singer's Guide to German Diction: Supplements
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] [i̯ə] [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
The Singer's Guide to German Diction: Supplements
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.
[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
The Singer's Guide to German Diction: Supplements
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 ______.”
The Singer's Guide to German Diction: Supplements
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