This page proposes a new system for encoding the
pronunciation of English. I call it RESCUE (Readable Easy Sound
Coding for Use with English - I was tempted to define the first two
letters as Really Excellent, but I'll be realistic about this).
While the idea for RESCUE was my own, I'd like to express my
appreciation to David Barrow for very
useful discussions on how to improve it, particularly for use with
British English.
The purpose of RESCUE is not to be an English spelling system, or an initial teaching alphabet. Its purpose is to be a code in which the members of the Saundspel group can easily communicate how they (or those they hear) pronounce the English language. It is not intended to compete with or replace IPA or SAMPA - its goals are much more modest. I developed it due to significant opposition to the use of SAMPA by a number of prominent Saundspel members.
As David pointed out on the Saundspel group, using keywords is not a very efficient way of communicating pronunciation, but a code, such as SAMPA, is.
I proposed this code because of the need for some easy and
well-defined code in which members could communicate pronunciation
differences to each other. (SAMPA/IPA is not easy,
and because it is a system designed for and by experts,
it seems that many of us non-experts cannot understand it or use
it accurately.) I've tried to set RESCUE up so that
objections like 'it uses "j" for "y" - which is too unlike English to
tolerate' will not apply. It will not serve to discuss
minute differences in pronunciation - SAMPA/IPA is needed for that -
but
an awful lot of the Saundspel discussions could be accommodated by it,
I think.
I have promised that I will never attempt to promote RESCUE as a full-fledged alternate spelling system. Group members can use it without concern that it will compete in some fashion with their own creations. This is one reason that RESCUE eschews abbreviations and other conveniences that can make an orthography more attractive, but are of less utility in a pronunciation code.
In response to an earlier version of RESCUE, David
suggested some conventions for more accurate representation of
diphthongs. Such conventions could be added, but they are not part of
this proposal. In essence, RESCUE defines encodings for each English
phoneme, but does not attempt to represent more exact phonetic
information about them. For purposes of RESCUE, /eI/ and /EI/ are the
same thing.
The basic principles of RESCUE are as follows:
First and foremost, it tries to be transparent. This
means that a literate English-speaking reader is likely to interpret it
correctly, without having
to study a detailed set of rules. Wherever possible it tries to
use familiar notations, even if there might be technically superior
alternatives. (For instance it represents the diphthong of cow by
ow, even though au would be more phonetically accurate.)
It uses commonly understood digraphs to bring order to the
English vowel system. Most of the digraphs can be replaced by
letters with accents.
It uses digraphs ending in h to add consonants which are not generally associated with a single English letter.
It uses the underscore to separate digraph elements when the occurrence of the digraph is misleading.
It does not allow abbreviations, even when a reasonable person would understand the meaning of the abbreviation.RESCUE is not a spelling system. The idea is that
you use RESCUE to describe a sequence of sounds, as perceived by the
writer, and that there is no such
thing as a "wrong spelling", if it accurately describes that sequence.
RESCUE is written in back-slashes, to avoid confusion with
SAMPA. (Alternately, for those with keyboards which place the
backslash inconveniently, forward slashes can be used, preceded by "rs"
to indicate RESCUE rather than SAMPA. Thus, the preferred form
for the normal American pronunciation of rescue is \reskyue\, but
rs/reskyue/ may be used instead,)
RESCUE uses the normal English consonant letters,
including y and w - I will save myself typing by not listing these
here.
It uses the following consonant digraphs:
ch - /tS/ {ch}ip
dh - /D/ {th}en
ng - /N/ ri{ng}
sh - /S/ {sh}ip
th - /T/ {th}in
wh - /hw/ or /W/
{wh}ale
zh - /Z/ vi{si}on
When the ng sound is followed by a k or g, the combination is written ngk or ngg. An n followed by a g, as in "ungrateful", is written n_g (\un_graetf&l\).
The wh sound can also be written hw, if you wish to commit to this specific realization, excluding the voiceless w /W/ .
Often the letter h must be preceded by an underscore to avoid ambiguity, as in \mis_hap\, \not_hoel\ or \ad_heesiv\.
The digraph qh may be used to indicate the final sound of
loch (/x/). I have added this digraph because the sound occurs in
a handful of English words - this is not intended to imply that RESCUE
is useful for describing languages other than English. (While the
digraph kh is more familiar for this sound, using it would necessitate
disambiguation of words like \singkhoel\.)
The vowels are written as follows in RESCUE. Example words were taken from Bob Boden's NBC English work:
a -
/{/ p{a}t
aa - /A:/ f{a}ther
ae - /eI/ or /EI/
b{ai}t
aw - /O:/ w{a}ter
e - /E/ p{e}t
ee - /i:/ or /i/
p{e}nal
e& - /E@/
b{ear} - mostly British
i -
/I/ p{i}t
ie - /aI/ p{i}nt
i& - /I@/
b{eer} - mostly British
o -
/Q/ p{o}t - British only
oe - /oU/ or /@U/
d{o}nate
oo - /U/
p{u}t
ow - /aU/ {ou}t
oy -
/OI/ v{oi}d
u -
/V/ p{u}p
ue - /u:/ or /u/
r{u}by
uu - alternative to oo
u& - /U@/ t{our} - mostly British
& - /@/ circ{u}s - the schwa
&& - /3/ f{ur} - British
&&r - /3`/ f{ur} - American
An American pronunciation of
ue never has an implied y sound. The word unite is rendered in RESCUE as \yueniet\.
The y in sill{y} would be written as i in RESCUE if pronounced that way (a short i), or as ee if pronounced as a long e. I would transcribe silly as \silee\ in RESCUE, while \sili\ might be more appropriate for a British speaker.
Though the e&, i& and u& diphthongs are shown for British English, they might be sometimes appropriate, before r, in American English as well, as in minority pronunciations of Mary \me&ree\ or theoretical \thi&retik&l\.
Technically, some vowel trigraphs are ambiguous, because the letters can be grouped in two different ways. In practice, this does not create any problems. For instance, \plae&r\ can only be \plae_&r\ (player) - \pla_e&r\ is not a combination of sounds which could ever occur in the English language. Similarly, \dueet\ must be \due_et\ (duet), not \du_eet\. It is always permissible to use the underscore in such cases for clarity, as in \boo_yaan\ (an American pronunciation of "bouillon").
The tilde may be used after a vowel to indicate
nasality as in (some pronunciations of) uh-huh \u~hu~\ or denouement
\daenuemaa~\.
r's which are not pronounced are not written. If my
Longman's is to be believed about the British pronunciation of barbe
If you choose to write RESCUE with case distinctions (though there is no reason to do so), you should use @ as the upper case of &, as in \@merik&\.
You are not allowed to leave the ending e off of an ending
long vowel: you cannot write \heero\ for \heeroe\ - RESCUE is a
precise notation, not a spelling system.
RESCUE is intended to adapt to several theories about
English phonemes held by members of the Saundspel group to which others
may not subscribe. If you believe that there is no schwa, and
it's just an unstressed short u, you should write campus
(Allowing a choice between circumflexed vowels and umlauted vowels is just a way of accomodating input with different keyboard maps, for which one or the other may be easier to enter. Allowing ý as an alternative to í is for the benefit of those, like myself, who often have trouble distinguishing i and í.)
Here is a famous passage from Douglas Adams' Hitchhiker's Guide to the Galaxy rendered into RESCUE twice (once for my own brand of American English, and once for David's British sort), first with digraphs and then with the Latin-1 alternatives. I expect that no one interested in spelling reform should have any problems reading either one, but that many may notice differences from their preferred pronunciations. Normally, of course, one would not expect to see such long passages in RESCUE, but it is an easy way of illustrating the system with a variety of words.
In menee &v dh& mawr
rilakst siv&l&zaesh&nz awn dh& Owt&r Eest&rn
Rim &v dh& galiksee, dh& Hichhiek&rz Gied h&z
awlredee s&plant&d dh& graet Insiekl&peedee&
G&laktik& az dh& stand&rd ripaaz&tawree &v awl
naalij &nd wizd&m, fawr dhoe it haz menee oemish&nz &nd
k&ntaenz much dhat iz &paakrif&l,
awr &t leest wie&ldlee inakyoorit, it skawrz oev&r dh&
oeld&r, mawr p&destree&n w&rk in tue impawrt&nt
rispekts. F&rst, it iz slietlee cheep&r; &nd sek&nd, it
haz dh& w&rdz DOENT PANIK inskriebd in laarj frendlee
let&rz awn its kuv&r.
(This transcription represents my own speech. The spellings of \w&rk\, \f&rst\ and \w&rdz\ accurately reflect my pronounciation. An American speaker with different vowels in the syllables of murder would denote them \w&&rk\, \f&&rst\ and \w&&rdz\.)
In mené øv
ðø mô rilakst
siviløzáshønz on ðø Owtør
Éstørn Rim øv ðø galøksé,
ðø Hichhýkøz Gýd høz
ôlredé søplântid
ðø grát
Insýkløpédéø
Gølaktikø az ðø standød
ripozitré øv ôl nolij ønd
wizdøm, fø ðó it haz
mené omishønz ønd køntánz much
ðat iz øpokriføl, ôr øt lést
wýldlé inakyûrit, it skôs
óvø ðø óldø,
mô pødestréøn wêk in
tú impôtønt rispekts. Fêst, it iz
slýtlé chépø; ønd
sekønd, it haz ðø wêdz DÓNT PANIK
inskrýbd in lâj frendlé letøz on its
kuvø.
(This transcription represents David Barrow's
speech. Many thanks to David for offering it to me.)
To comment on this page,
e-mail Alan at wyrdplay.org