Rolling with Your “R”s: For the Trill of It in Accent Modification!

pexels-photo-91227Most of the accent modification teaching I do is with students whose first language is not English. But from time to time, a native English speaker asks me about how to acquire and consistently produce a solid trill.  They understand that, in order to sound authentic in any language that uses the trill phonemically, they need to have it down. The trill is the rolling “rrrrr” commonly found in Spanish, and it can be very hard to pick up. I’ve had people say they’ve been trying for decades, and had given up. I’ve even had people tell me that they have been told to give up – that they  are genetically unable to produce a trill. I don’t know if there is a genetic inability among some people to produce a trill, but I know I’ve never taught someone who had that. Or, if they had it, they were – by some miracle – able to change their genetics!! Amazing! <smile>

Everyone I have taught whose goal is the trill has been able to pick it up within one or two hours. Yes, it is effortful. Yes, it requires concentration. Yes, there is some sloppy spitting  at first! (No worries!)  Yes, it sometimes requires seven or eight different, creative approaches to grasp it, but those approaches all happen, in sequence, within a couple of hours. Seriously, there has always been a way, using the right approach. And, of course, the key is approaching it with humor and a depth of patience on both sides. And, at the moment of getting it – often surprised – the student produces a trill…”Is that it?!” Yes, that’s it! Celebration, disbelief..it’s a wonderful moment. “Let’s do it again!” we both say. They’ve got it and go off sounding authentic and accomplished. Because, after all, they – and their newly nimble tongue – made it happen, with some guidance. (Side note: the human tongue can seem like an entity within the mouth that can’t be tamed, that only does certain things and not others. The tongue has eight muscles, and all can be trained to do what is needed by the speaker!)

The keys to successful trilling are: the right amount of tongue tension, the correct tongue angle, the correct position of the tongue, and the best use of the air flowing out of the mouth at just the right time, and the adding of voicing to the process when those other elements are solidly in place. If you are practicing this yourself, pay additional attention to engaging your diaphragm, as this will help modulate/control the air that your tongue is going to catch. Yes, lots of loving parts, but very exciting once it’s been mastered!

So it’s rrrreally do-able! And it’s trrrruly trilling when it happens!

© 2015-2021 Helen Kobek and helenkobek.com. All rights reserved.

The International Phonetic Alphabet (IPA): Why We Use IPA Charts during Accent Modification Training

Image of IPA vowel chart - accent instructionWhen an accent modification student first sees the International Phonetic Alphabet (IPA) charts on the table in front of us, their eyes somewhat glaze over..they do  have a pretty sterile, oddball look to them, I acknowledge that. Hmmm…are they really necessary for the learning process? I suggest, yes, they are really necessary. I refer to these charts constantly during lessons. I roll them out, place them on the table half-way through the very first lesson, after the assessment. I lay them out at the start of every following lesson. And they are the last things I put away at the end of a lesson. I teach the students the lay of the land of those charts – both vowel and consonant charts –  and students relate to them, with increasing curiosity and ownership of their learning. It really does help.

The symbols are the merest bit unusual, but it always heartens me when a student starts warming up to the process, and voluntarily learns the symbols that are key to their individual accent modification. In studying together, the charts become a focal point for movement between and among sounds. A goal, an adventure, an effort supported by the documented reality called “pronunciation.” It seems to offer students the support of knowing they are not alone in this learning process, this strenuous effort for change. Frequently, after some familiarity with the IPA, a student asks about the origins of the IPA…”Who came up with this?” they ask with amusement and delight. (The answer: Alexander Ellis, Henry Sweet, Daniel Jones, and Paul Passy, in the late 19th century.)

My IPA charts are fully visible, encased in plastic, and are also old, a bit crumpled, and I leave them that way, so students know – really know – that others have come before them and struggled, studied, and made progress using these charts. Okay, yes, I do replace them after a while, but the ones I’m using right now are ten years old. That’s ten years of shared curiosity and amusement, countless students who have handled these particular charts, pointed to the karat symbol, asking, “Is that what I’m going for?” I nod. “Oh!” they say. “I get it!” That karat’s presence helps them nail that phoneme. Very exciting.

So I look forward to sitting with you, the student, or with your family member, friend, neighbor, or colleague, who is making the effort to modify their accent. Peering together at this system, these charts, these worn tools of reference and learning. “Oh, I get it!” And you will get it. You will.

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© 2015-2020 Helen Kobek and helenkobek.com. All rights reserved.