Skip to main content
Humanities LibreTexts

6.5: Phonétique

  • Page ID
    195204
  • \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    \( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

    ( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\id}{\mathrm{id}}\)

    \( \newcommand{\Span}{\mathrm{span}}\)

    \( \newcommand{\kernel}{\mathrm{null}\,}\)

    \( \newcommand{\range}{\mathrm{range}\,}\)

    \( \newcommand{\RealPart}{\mathrm{Re}}\)

    \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

    \( \newcommand{\Argument}{\mathrm{Arg}}\)

    \( \newcommand{\norm}[1]{\| #1 \|}\)

    \( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

    \( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

    \( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

    \( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

    \( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vectorC}[1]{\textbf{#1}} \)

    \( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

    \( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

    \( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

    \( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

    \( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

    Les syllabes

    In previous chapters, we have analyzed intonation, stress, liaison and elision as separate phenomena. We now focus on the structure of the syllables in order to show that these phenomena are related. The syllables of spoken French tend to begin with a consonant and end with a vowel (often called a CV syllable), as illustrated here:

    Bon appétit ! [bɔ-na-pe-ti] = [CV-CV-CV-CV]

    The consonant-vowel pattern of French syllables contrasts with English syllables which tend to end with a consonant (CVC). The following cognates exemplify this tendency of syllabification:

    Ca.rotte - Carr.ot

    Recall that French words are subject to liaison or linking of a consonant to a following vowel. It is important to realize that liaison and elision (dropping a vowel) actually contribute to a more regular C/V alternation.

    Liaison: des épinards [de.ze.pi.nar]

    Élision: l'éntrée [lã-tre]

    Listen and repeat the following sentences. Pronounce all the syllables with the same force.

    Je vais boire_un verre.
    Vous mangez trop de chocolat!
    Je prends du café le matin.
    La tarte_au citron ou la tarte_aux pommes ...
    C'est l'embarras du choix, n'est-ce pas?
    Les consonnes finales /k/, /r/, /f/, /l/

    You have learned that French spelling is not to be trusted. For example, many French words are spelled with final consonants which aren't pronounced (e.g. fruit)! As a rule, final consonant letters are silent in French except for c, r, f, and l. (They spell the English word careful!) These final consonants are often (but not always) pronounced.

    Listen to the following examples and repeat.

    sec avec chic lac parc (mais ... porc!)
    avoir obéir mer cher cancer (mais ... manger, aller, parler, etc.)
    un apéritif du boeuf un oeuf (mais ... des boeufs, des oeufs)
    bol principal avril bel (mais ... l'ail, le travail)

    Aknowledgment: some parts of this page are partially adopted from Francais Interactif.


    6.5: Phonétique is shared under a CC BY 4.0 license and was authored, remixed, and/or curated by LibreTexts.

    • Was this article helpful?