MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
Using gloves, place the mouth in
the same position as for /ʃ/; place
thumb and forefinger on corners
of client’s upper lip pressing
against the upper jaw; thumb and
forefinger of other hand placed
under lower lip; lips help open but
teeth are closed; firmly make the
upper lips protrude slightly and
quickly bring lower jaw down with
other hand while removing hand
touching upper lip.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008). Articulatory
and phonological impairments: A clinical focus.
(3rd ed.) Needham Heights, MA: Allyn
& Bacon.
/ʧ/ SOUND
Bleile, K. (2006). Late eight. San Diego,
CA: Plural Publishing.
Lindamood, P. & Lindamood, P. (1998).
The Lindamood Phoneme Sequencing
Program for Reading, Spelling, and
Speech: The LiPS Program. (3rd ed.).
Austin, TX: Pro-Ed.
Sacks, S. (2006). SATPAC Articulation
Therapy. Retrieved on 6/12/2008 from
http://www.satpac.com/support/faqs.h
tml#1.
Secord, W., Boyce, S., Donohue, J., Fox,
R., & Shine, R. (2007). Eliciting sounds.
(2nd ed.) Florence, KY: Thomson
Delmar Learning.
Taps, J. (2008). Response to Intervention
(RTI): Single Sound Articulation Errors.
Presentation at Fort Hays State
University, Hays, KS.
PREPARED BY: GROUP F
AMANDA BAILEY
SUSAN URBAN
JESSE GUAJARDO
JENNIFER SULLIVAN
KASSY KLEYMANN
ANGELA BAGGS
JANICE BUNKER
JADA SHARP
SARAH IRWIN
KYLE ASHTON
JENNY DILLER
SAM JACKSON
PATRICIA D’ADAMO
PLACE: PALATOALVEOLAR
VOICE: VOICELESS
MANNER: AFFRICATE
CONTEXTS:
INITIAL: CHEEK
MEDIAL: EXCHANGE
FINAL: BEACH
SHAPING
TECHNIQUES:
• Shape from /t/ +/ʃ/ to
/ʧ/
• Shape from [tr] to [ch]
• Ask the student to say a
quick [sh] with the tongue
tip touching “the bump”
resulting in [ch].
PHONETIC
PLACEMENT
TECHNIQUES:
KEY
ENVIRONMENTS:
• Teach coarticulation of a
word that ends in /t/ and
one that begins with /j/
(e.g., betyou, hotchip,
gotyou).
•
Tip and blade of tongue raised to
contact post-alveolar ridge with sides
of tongue coming in contact with
upper molars, which causes
complete stopping of airstream;
midline of tongue is suddenly
lowered to form a broad shallow
constriction and the unvoiced intraoral breath pressure is released and
directed through the point of
constriction.
•
Using a strip of lightweight paper,
demonstrate the plosive release of
/ʧ/ on the hand.
• End of a syllable or word
(batch).
• Try an [oo] in “pooch”.
METAPHORS
• Choo-choo sound.
• Teach affricates prior to
fricatives since affricates
imply fricatives.
• Provide visual cues (Lindamood,
mouth shape + orthographic
representation + clip art photo
train).
• Sneezing sound.
• Quiet fat pushed air.
•
Instruct client to touch “bump”
located behind upper central
incisors; pucker lips as tongue tip
is lowered and air forced out of
mouth.
•
Hold a Kleenex in front of the lips
and have the child make their /ʧ/
sound to make the tissue move.
• Quiet brother of /ʤ/.
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
Using gloves, place the mouth in
the same position as for /ʧ/; place
thumb and forefinger on corners
of client’s upper lip pressing
against the upper jaw; thumb and
forefinger of other hand placed
under lower lip; lips help open but
teeth are closed; firmly make the
upper lips protrude slightly and
quickly bring lower jaw down with
other hand while removing hand
touching upper lip; place client’s
hand on throat as a reminder for
voicing.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008). Articulatory
and phonological impairments: A clinical focus.
(3rd ed.) Needham Heights, MA: Allyn
& Bacon.
/dʒ/ SOUND
Lindamood, P. & Lindamood, P. (1998).
The Lindamood Phoneme Sequencing
Program for Reading, Spelling, and
Speech: The LiPS Program. (3rd ed.).
Austin, TX: Pro-Ed..
Secord, W., Boyce, S., Donohue, J., Fox,
R., & Shine, R. (2007). Eliciting sounds.
(2nd ed.) Florence, KY: Thomson
Delmar Learning.
Taps, J. (2008). Response to Intervention
(RTI): Single Sound Articulation Errors.
Presentation at Fort Hays State
University, Hays, KS.
PREPARED BY:
NANCY JERNBERG PEGGY FISHER
MEGAN GASPER CHARLA SEYMORE
MARCIA BANNISTER TARA LINENBERGER
AMY WESSEL JANET SCHMIDT
JULIE KAISER MARIA STAPLES
TARA STRONG
PLACE: PALATALALVEOLAR
VOICE: VOICED
MANNER: AFFRICATE
CONTEXTS:
INITIAL: JUICE
MEDIAL: PROJECT
FINAL: HUGE
SHAPING
TECHNIQUES:
•
Shape from /d/ + /ʒ/ to /dʒ/.
•
Shape from /ð, z, ʒ/ by
prolonging /ð/ and retracting
tongue to /z/ then to /ʒ/; when
/ʒ/ sound produced, hold sound
, inhale more air and say /ʤ/.
•
Shape from /ʒ/ to /ʤ/ by
prolonging /ʒ/ and interrupting
its flow by elevating tongue to
/d/ and then returning to /ʒ/.
•
Shape from /i/ to /ʤ/ by
closing teeth and prolonging /i/
then raise tongue up for /d/ and
explode air.
METAPHORS
• Motor boat sound.
• Sneezing sound.
• Noisy fat pushed air.
• Noisy brother of /ʧ/.
KEY
ENVRIONMENTS:
• Use context of final /d/
words and initial /ʤ/ words
because /d/ is a voiced
alveolar sound that facilitates
productions of /dʒ/ (e.g.,
bedjuice, redjoker).
• Use context of final /n/
words and initial /ʤ/ words
because /n/ is a voiced
alveolar sound that facilitates
production of /dʒ/
(ninejokers).
• Use context of final /ʧ/
words and initial /ʤ/ words
(latchjuice).
PHONETIC
PLACEMENT
TECHNIQUES:
•
Tip and blade of tongue raised to
contact post-alveolar ridge with sides
of tongue coming in contact with
upper molars, which causes
complete stopping of airstream;
midline of tongue is suddenly
lowered to form a broad shallow
constriction and the voiced intra-oral
breath pressure is released and
directed through the point of
constriction.
•
Using a piece of string, paper, or
feather, illustrate the plosive release
of /dʒ/ on the client’s hand.
•
Instruct client to touch “bump”
located behind upper central
incisors; pucker lips as tongue tip
is lowered and voiced air forced
out of mouth.
•
Provide visual cues (Lindamood,
mouth shape + orthographic
representation + clip art photo
train).
• Teach / ʤ/ prior to
teaching/ʧ/ since voiced
obstruents imply voiceless
obstruents.
MOTOKINESTHETIC
TECHNIQUES:
• Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007).
• Use gloves to slightly retract
the lips and position the jaw
fairly open.
REFERENCES
Bauman-Waengler, J. (2000).
Articulatory and phonological
impairments: A clinical focus.
Needham Heights, MA: Allyn &
Bacon.
Bleile, K. (2006). Late eight. San
Diego, CA: Plural Publishing.
TEACHING THE
/ɚ/ SOUND
PREPARED BY:
Erin Bixenman, Gerry Heil, Jodi Romeiser,
Betsy Bumgarner, Heather Barleen
Ristuccia, C. (2002). The Entire
World of R. Carlsbad, Say It Right.
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
MID-CENTRAL,
ROUNDED RHOTICIZED
VOWEL, WHICH ONLY
OCCURS IN
UNSTRESSED
SYLLABLES
CONTEXTS:
INITIAL: NO INITIAL
SOUND IN WORDS
MEDIAL: ENTERTAIN
FINAL: TEACHER
SHAPING
TECHNIQUES:
KEY
ENVIRONMENTS:
• Shape /l/ to /ɚ/ by
prolonging sound and
dragging tongue from the
front to the back.
• Blend /ɚ/with phonemes
/k/ & /g/. The back
placement of /k/ and /g/
should lead to correct
production of /ɚ/.
• Shape /g/ to /ɚ/ by
dropping tongue slightly.
•
Shape from /ɑ/ to /ɚ/ by
prolonging sound as tongue
tip is slowly raised up and
back; use tongue depressor
to guide movement of
tongue.
METAPHORS
• Rooster sound.
• Fire truck sound
• Lifter sound.
• Use words that contain a
vocalic /ɚ/and a prevocalic /r/, such as teacher
to ring (e.g., teacher ring).
This technique is also
known as back chaining.
PHONETIC
PLACEMENT
TECHNIQUES:
• The unstressed /ɚ/is
produced by a bunched or
retroflexed tongue position
depending on the individual.;
see descriptions in Bleile
(2006) and Secord, Boyce,
Donohue, Fox, & Shine,
(2007).
• Instruct client to lie on floor
on his back, relax mouth and
say /ɚ/.
• Use a tongue depressor to help
with tongue posture for /ɚ/;
place tip of depressor on
gum ridge behind lower
central incisors; have client
hold it there with underside
of tongue; move tongue back
with a lever action of tongue
depressor while client
attempts /ɚ/.
MOTOKINESTHETIC
TECHNIQUES:
• Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007).
• With gloves, the thumb and
forefinger are used to move
the lower lip upward until it
comes in contact with the
upper teeth and blow
voiceless air over lips.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008).
Articulatory and phonological
impairments: A clinical focus. (3rd ed.)
Needham Heights, MA: Allyn &
Bacon.
/f/ SOUND
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
Taps, J. (2008). Response to
Intervention (RTI): Single Sound
Articulation Errors. Presentation at
Fort Hays State University, Hays,
KS.
PREPARED BY:
Jacque Jacobs, Anne Bemis, Tina Blew,
Jennifer Karnatz, Kristen Rorabaugh,
Hollie Porsi, Debbe Jantz, Marla Staab,
Jenna Hoffhines, Marsha Haines,
Janet Porter, Annette Smith, Janice Cundiff,
Mary Stackhouse, Barbara Pagel,
Becky Long, Somary Vilaysing,
Marcy Beougher
PLACE: Labiodental
VOICE: Voiceless
MANNER: Fricative
CONTEXTS:
INITIAL: FOOD
MEDIAL: SOFA
FINAL: ROOF
SHAPING
TECHNIQUES:
KEY
ENVIRONMENTS:
• Shape from /h/ to /f/
(Prolong /h/ and put upper
teeth on lower lips.
• Teach coarticulation of highfront, mid-front, and lowfront vowels (e.g., feel, fit, fat,
fake)
• Shape from /v/ to /f/
while turning off voice
• Avoid words that require lip
rounding
METAPHORS
• Firecracker sizzling sound
• Voiceless lip cooler
• Quiet brother of /v/
• Angry cat sound
• Work in the initial position
of words first since fricatives
in the initial position imply
fricatives in the final position.
PHONETIC
PLACEMENT
TECHNIQUES:
• Lower edges of upper teeth
contact with lower lip to create
a constriction; then voiceless
airstream directed through this
constriction.
• Place upper teeth on lower lip
and blow unvoiced air over lip.
• Use a feather or small piece of
tissue to indicate airflow.
• Use mirror to monitor teeth
and lip placement.
• As a touch cue, place the
client’s finger below his
bottom lip. Use one finger
to indicate voiceless sound
production.
MOTOKINESTHETIC
TECHNIQUES:
• Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007).
• Using gloves place the thumb
and forefinger under the jaw
near the throat with the
thumb on one side of throat
and forefinger on other side;
apply upward and inward
then release pressure; turn on
voicing.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008).
Articulatory and phonological
impairments: A clinical focus. (3rd ed.)
Needham Heights, MA: Allyn &
Bacon.
/g/ SOUND
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
Taps, J. (2008). Response to
Intervention (RTI): Single Sound
Articulation Errors. Presentation at
Fort Hays State University, Hays,
KS.
PREPARED BY:
SUSAN SCHEFFER, JOYCE ZEY, DANELE
BENISCH, JENNIFER JUENEMANN, LEA
BENDER, SUSAN STEINERT, JUDY
EDWARDS, LEILA EVANS, JESS JACKSON,
ALYSSA BAKER, TRACI LONG, ROBIN
HARMS, BETH ZILLINGER
PLACE: VELAR
VOICE: VOICED
MANNER: STOP
CONTEXTS:
INITIAL: GIVE
MEDIAL: BEGIN
FINAL: DOG
SHAPING
TECHNIQUES:
• Shape from /i/ to /g/ by
sustaining /i/, then raise the
back of the tongue to touch
the top of the mouth, then
release quickly.
• Shape from /k/ to /g/ and
teach voicing.
• Shape / ŋ / to /k/,
forcefully explode / ŋ /.
METAPHORS
• Gurgling baby sound
• Noisy tongue scraper
• Noisy brother of /k/
PHONETIC
PLACEMENT
TECHNIQUES:
KEY
ENVIRONMENTS:
• Teaching back vowels with
/g/ is advantageous
because production of /g/
is posterior.
•
• Practice phrases or words
that end in /k/ (e.g., pink
gum).
• Practice phrases or words
that end in /ng/ (e.g.,
playing games).
• Teach /g/ prior to /k/
since voiced obstruents
imply voiceless obstruents.
• Teach final /g/ prior to
initial /g/ since stops in
final position imply stops in
initial position.
Dorsum of tongue is in contact with
velum, second molars, and posterior
gum ridge forming a seal which
complete blocks the airstream; begin
voicing then back of tongue is
suddenly pulled down to release
intra-oral breath pressure.
• Make the gargle sound.
•
Use a tongue depressor to guide the
tongue in a backward movement.
• Instruct the client to make the /k/
sound and then turn on the voice
box or the motor.
•
Because this is not a visible sound,
the use of illustrations of tongue
placement is helpful. To
emphasize the velar placement,
have the client cough or gargle.
•
Tell the client to lay head back
allowing tongue to fall to back of
mouth.
MOTOKINESTHETIC
TECHNIQUES:
• Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007).
• With gloves, place the thumb
and forefinger under the jaw
near the throat and apply
upward and downward
pressure, leading to the lifting
and releasing of the back of
the tongue
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008).
Articulatory and phonological
impairments: A clinical focus. (3rd ed.)
Needham Heights, MA: Allyn &
Bacon.
/k/ SOUND
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
Taps, J. (2008). Response to
Intervention (RTI): Single Sound
Articulation Errors. Presentation at
Fort Hays State University, Hays,
KS.
PREPARED BY:
NANCY JERNBERG
MEGAN GASPER
MARCIA BANNISTER
AMY WESSEL
JULIE KAISER
TARA STRONG
PEGGY FISHER
CHARLA SEYMORE
TARA LINENBERGER
JANET SCHMIDT
MARIA STAPLES
PLACE: VELAR
VOICE: VOICELESS
MANNER: STOP
CONTEXTS
INITIAL: KEY
MEDIAL: BLANKET
FINAL: BOOK
SHAPING
TECHNIQUES:
•
• Shape from /g/ to /k/, ask
the client to whisper (turn
voice off) the /g/
sound to produce the /k/
sound.
•
• Shape from /i/ to /k/ by
sustaining /i/, then raise the
back of the tongue to touch
the top of the mouth to
block air stream, then
release quickly.
• Shape / ŋ / to /k/, lightly
explode air in the quiet
production of / ŋ /.
METAPHORS
• Car crash sound
• Quiet tongue scraper
• Quiet brother of /ɡ/
PHONETIC
PLACEMENT
TECHNIQUES:
KEY
ENVIRONMENTS:
•
Teaching /k/ in combination
with the back vowels is
advantageous because the
place of articulation is
posterior.
Ask the child to produce a
word with / ŋ / in the final
position of a word and then
produce a word with the /k/
sound in the initial position of
the word such as “ping car” =
“pink car”
Teach /k/ in final position,
since stops in final position
imply stops in initial position.
• Dorsum of tongue raised to
contact soft palate, second
molars, and posterior gum
ridge to form a seal, which
blocks the air stream; back of
tongue suddenly pulled away
from velum to release
unvoiced intra-oral breath
pressure.
•
Demonstrate the plosive
release of /k/ on the back side
of the hand or hold a feather
or lightweight paper in front of
your mouth.
• Because this is not a visible
sound, the use of illustrations
of tongue placement is
helpful. To emphasize the
velar placement, have the
client cough or gargle.
• Use a tongue depressor to
guide the tongue in a
backward movement.
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
Using gloves, place your hands on
the clients lower jaw in order to set
the client’s mouth slightly open;
thumb and forefinger of one hand
are place three-fourths to one inch
apart from each other at the center
of the upper lip; pressure is
applied there to first stimulate
vocalic /l/. Thumb and forefinger
of other hand are placed similarly
under lower lip in order to move
jaw down quickly toward next
vowel.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008). Articulatory
and phonological impairments: A clinical focus.
(3rd ed.) Needham Heights, MA: Allyn
& Bacon.
/l/ SOUND
Bleile, K. (2006). Late eight. San Diego,
CA: Plural Publishing.
Lindamood, P. & Lindamood, P. (1998).
The Lindamood Phoneme Sequencing
Program for Reading, Spelling, and
Speech: The LiPS Program. (3rd ed.).
Austin, TX: Pro-Ed.
Secord, W., Boyce, S., Donohue, J., Fox,
R., & Shine, R. (2007). Eliciting sounds.
(2nd ed.) Florence, KY: Thomson
Delmar Learning.
Taps, J. (2008). Response to Intervention
(RTI): Single Sound Articulation Errors.
Presentation at Fort Hays State
University, Hays, KS.
PREPARED BY:
HEATHER
WRIGHT, ROXY O’DEA, DONNA
WALKER, COLLEEN HERMANN,
CAROL THOMAS, JANET MCASEY,
THERESA BEACH, KEN KLIEWER,
TINDI AKPEM, KRISTI KERST,
AMANDA FARMER
PLACE: ALVEOLAR
VOICE: VOICED
MANNER: LIQUID
CONTEXTS:
INITIAL: LEAK
MEDIAL: SAILOR
FINAL: BELL
SHAPING
TECHNIQUES:
• Shape from /s/ to /l/. Try
/sl/ clusters.
• Shape /l/ from any tonguetip sound the child already
has.
• Prolong /a/ and interrupt
its production by raising
tongue tip to the alveolar
ridge (e.g..,
/a…la…la…la/).
• Prolong /i/ and raise the
tongue tip to the alveolar
ridge while slowly opening
the mouth wider.
METAPHORS
• Singing sound.
• Lullaby sound.
• Lifter sound.
KEY
ENVIRONMENTS:
• For visibility, teach words
that contain high front
vowels with /l/ (e.g., leaf).
• Avoid using /l/ with
rounded vowels.
• Teach words ending in /nl/
because /n/ is a voiced
alveolar sound that
facilitates production of /l/.
• Practice phrases that
include words that end in
alveolar sound before initial
/l/ words. (e.g., mad lady).
• Practice phrases that
include words that end in
/l/ before words that begin
with alveolar sounds. (e.g.,
call dad).
PHONETIC
PLACEMENT
TECHNIQUES:
• Tongue tip raised and
touching alveolar ridge with
voicing on
• Place tongue depressor under
the tongue tip and raise it
behind the upper front teeth,
then say /l/ while keeping
contact with the tongue tip
and the alveolar ridge.
• Have client practice raising
and lowering tongue tip first
slowly and then faster to
alveolar ridge; mouth should
be open wide in order to
check placement.
• Use mirrors to help client
with placement.
• Have client flatten tongue
and then raise tip to alveolar
ridge; remind client to keep
lips unrounded.
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
Using gloves, place thumb and
forefinger of one hand on upper
lip; thumb and forefinger should
be about an inch apart; thumb
and forefinger of other hand are
place similarly on lower lip;
mouth is open slightly; lips held
firmly to inhibit rounding; as /r/
begins, lower jaw downward
toward next vowel.
REFERENCES
Bauman-Waengler, J. (2000).
Articulatory and phonological
impairments: A clinical focus.
Needham Heights, MA: Allyn &
Bacon.
Bleile, K. (2006). Late eight. San
Diego, CA: Plural Publishing.
Ristuccia, C. (2002). The Entire
World of R. Carlsbad, Say It Right.
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
TEACHING THE
PREVOCALIC /r/
SOUND
PREPARED BY: DEANNE
FAVINGER, LINDA MARTIN, NETA
JANE DORIS, RUTH GIBSON, LOIS
WALDO, DANA WRIGHT, CHARLIE
BECKER, DIANNA RICKE-PEDEN,
KAREN PERRY-HAYES, CELINA
KONRADE
PLACE: PALATAL
VOICE: VOICED
MANNER: LIQUID
CONTEXTS:
INITIAL: RUN, RACE, RAIN,
TREE, SPRAY
SHAPING
TECHNIQUES:
• Shape from /ɡr/
as in “grr” to /r/.
• Shape from /ʃ/ to /r/
using the word “sure”
• Shape from /l/ or /n/ to
/r/ by producing an /l/ or
/n/ sound and dragging the
tongue back.
METAPHORS
• Barking dog sound (i.e.,
“Ruf!”)
• Growling tiger sound
PHONETIC
PLACEMENT
TECHNIQUES:
KEY
ENVIRONMENTS:
• In words, teach /r/ before a
high front vowel (read)
•
Prevocalic /r/ occurs either in
syllabic initial position or as the last
element in a prevocalic consonant
cluster; may be made as a retroflex
or bunched tongue; see descriptions
in Bleile (2006) and Secord,
Boyce, Donohue, Fox, & Shine,
(2007).
• Use /kr/ to elicit prevocalic
/r/ by pairing words ending
in /k/ with prevocalic /r/
words (e.g., lakeroad,
takerug).
•
Show client how to raise tongue
using either retroflex or bunched
tongue; use tongue depressor to
guide movement and hold tongue to
focus attention on tongue
movement.
• Use syllable-initial
consonant velar cluster (e.g.,
creek).
•
Use a mirror to display the lip
retraction in production of /r/
•
Quiet Lips: have student put finger
or tongue blade on right or left side
of mouth between teeth to prevent
lips from rounding during
production.
•
Use a smiley face to remind students
to retract their lips
•
Use illustrations of tongue
placement or demonstrate tongue
movement with the hand.
• Blend a final /r/ word with
an initial /r/ word e.g.,
earring, dear run, car wreck,
car race then use the
whisper technique to fade
out the first word.
• Pirate sound
• Lifter sound
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
Using some type of glove, place
thumb and forefinger of left
hand at corners of client’s upper
lip with same fingers of right
hand on corners of lower lip;
push lower jaw into position for
normal bite; ask client to blow
unvoiced air through teeth.
\
REFERENCES
Bauman-Waengler, J. (2008). Articulatory
and phonological impairments: A clinical focus.
(3rd ed.) Needham Heights, MA: Allyn
& Bacon.
Bleile, K. (2006). Late eight. San Diego,
CA: Plural Publishing.
Lindamood, P. & Lindamood, P. (1998).
The Lindamood Phoneme Sequencing
Program for Reading, Spelling, and
Speech: The LiPS Program. (3rd ed.).
Austin, TX: Pro-Ed.
Ristuccia, C. (2006). The Entire World of
S & Z. Carlsbad, Say It Right.
Secord, W., Boyce, S., Donohue, J., Fox,
R., & Shine, R. (2007). Eliciting sounds.
(2nd ed.) Florence, KY: Thomson
Delmar Learning.
Taps, J. (2008). Response to Intervention
(RTI): Single Sound Articulation Errors.
Presentation at Fort Hays State
University, Hays, KS.
TEACHING THE
/S/ SOUND
PREPARED BY: SUSAN
SCHEFFER, JOYCE ZEY,
LEILA EVANS, DANELE
BENISCH, JENNIFER
JUENEMAN, LEA BENDER,
SUSAN STEINERT,
JUDY EDWARDS,
ALYSSA BAKER,
TRACI LONG,
ROBIN HARMS,
JESS JACKSON, BETH
ZILLINGER
PLACE: LINGUA
ALVEOLAR
VOICE: VOICELESS
MANNER: FRICATIVE
CONTEXTS:
INITIAL: SOAP
MEDIAL: MESSY
FINAL: DICE
SHAPING
TECHNIQUES:
•
Shape /s/ from /t/ by making
rapid productions of /t/ and
prolonging the last one into an
/s/
•
Shape from /θ/ to /s/ by
prolonging /θ/ and gradually
pulling tongue back into mouth;
use a tongue depressor to guide
movement.
•
•
Shape from /t/ to /s/
instructing client to rapidly
produce /t/ and prolong last
one into /s/.
Shape from /i/ to /s/ by
instructing client to say /i/ then
gradually close teeth and turn off
voice.
METAPHORS
• Snake sound.
• Quiet skinny air sound.
• Quiet brother of /z/.
KEY
ENVIRONMENTS:
•
Teach words ending in /t/
and add a /s/ (i.e. “boat –
boats”) since /t/ is a voiceless
alveolar sound that facilitates
production of /s/.
•
Teach /s/ prior to a high front
vowel.
•
Teach /s/ in the initial
position since fricatives in
initial position imply fricatives
in final position.
•
May want to teach /z/ prior to
/s/ since voiced obstruents
imply voiceless obstruents.
PHONETIC
PLACEMENT
TECHNIQUES:
• Blade of the tongue nearly
touching the alveolar ridge;
sides of tongue contact upper
teeth; voiceless airstream is
directed through this
constriction.
• Make air go right down middle
using the finger, moving from
the lips outward as a visual cue
• Keep the sound “SOFT” and
“SMALL”
• Ask client to make a little smile
and hide tongue behind the
“white gate”; tongue sides
should be resting along upper
back teeth; direct airstream
straight out through the
constriction.
MOTOKINESTHETIC
TECHNIQUES:
• Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007)
• Using gloves place a thumb
and forefinger on the corners
of the upper lip; then move
upper lip toward the center
to allow them to protrude
slightly.
REFERENCES
Bauman-Waengler, J. (2008).
Articulatory and phonological
impairments: A clinical focus. (3rd ed.)
Needham Heights, MA: Allyn &
Bacon.
Bleile, K. (2006). Late eight. San
Diego, CA: Plural Publishing.
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
TEACHING THE
/ʃ/ SOUND
PREPARED BY:
JACQUE JACOBS, ANNE BEMIS,
JENNIFER KARNATZ, TINA BLEW
KRISTEN RORABOUGH,
HOLLIE PORSI, DEBBE JANTZ,
JENNA HOFFHINES, MARLA STAAB,
MARSHA HAINES, JANET PORTER,
ANNETTE SMITH, JANICE CUNDIFF,
MARY STACKHOUSE,
BARBARA PAGEL, BECKY LONG,
SOMARY VILAYSING,
MARCY BEOUGHER
PLACE: PALATOALVEOLAR
VOICE: VOICELESS
MANNER: FRICATIVE
CONTEXTS:
INITIAL: SHAKE
MEDIAL: FASHION
FINAL: BRUSH
SHAPING
TECHNIQUES:
KEY
ENVIRONMENTS:
• Shape from /s/ to /ʃ/
• Teach words that contain
/ʃ/ at the end of a syllable
or word.
• Shape from /ʧ/to / ʃ /
• Shape from /h/ to / ʃ /
METAPHORS
• The “quiet” or “hushing”
sound
• Quiet fat air sound
• Quiet brother of /ʒ/
• If the problem is tongue
placement use high front
vowels (e.g., she) .
• If the problem is with lip
rounding use the high back
vowels (e.g., shoe).
• Practice phrases that
include words that end in
/s/ before initial /sh/
words for example “this
ship”.
PHONETIC
PLACEMENT
TECHNIQUES:
• Raise back of the tongue to
feel upper teeth; put tip of the
tongue behind upper teeth and
pull tongue back slightly;
pucker the lips; blow voiceless
air over the center of the
tongue
• Demonstrate the procedures
above using a mirror and use
a tongue depressor to make
fine adjustments for place of
articulation.
• Direct air through a straw or
towards a feather held in
front of client’s mouth
(especially if lateralizing).
• Teeth close together, “fish
lips”, and blow voiceless air.
MOTOKINESTHETIC
TECHNIQUES:
• Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007).
• Using some type of glove,
clinician places thumb and
forefinger on corners of
client’s upper lip pressing
against the upper jaw.
Upper lips moved toward
center to allow them to
protrude slightly.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008). Articulatory
and phonological impairments: A clinical focus.
(3rd ed.) Needham Heights, MA: Allyn
& Bacon.
/ð/ SOUND
Bleile, K. (2006). Late eight. San Diego,
CA: Plural Publishing.
Bleile, K. (1995). Manual of articulation and
phonological disorders. San Diego: Singular
Publishing Group.
Lindamood, P. & Lindamood, P. (1998).
The Lindamood Phoneme Sequencing
Program for Reading, Spelling, and
Speech: The LiPS Program. (3rd ed.).
Austin, TX: Pro-Ed.
Secord, W., Boyce, S., Donohue, J., Fox,
R., & Shine, R. (2007). Eliciting sounds.
(2nd ed.) Florence, KY: Thomson
Delmar Learning.
Taps, J. (2008). Response to Intervention
(RTI): Single Sound Articulation Errors.
Presentation at Fort Hays State
University, Hays, KS.
Prepared by:
Jodi Ruda, Leasa Hrabe, Jodi Bowman,
Belita Birzer, Lacey Cleveland
PLACE: LINGUA
INTERDENTAL
VOICE: VOICED
MANNER: FRICATIVE
CONTEXTS:
INITIAL: THEMSELVES
MEDIAL: FATHER
FINAL: SMOOTH
SHAPING
TECHNIQUES:
KEY
ENVIRONMENTS:
• Shape from /z/ to /ð/
• Teach /ð/ between vowels
(weather) and before a high
front vowel (these)
• Shape from /v/ to /ð/
• If the client can produce
/θ/, then work on turning
on the voice.
METAPHORS
• Leaky tire sound with
motor on
• Noisy tongue cooler
• Noisy brother of /θ/
• Teach /ð/ following /i/
(breathe, either, teethe)
• Practice phrases that
include words that end in
/v/ before initial /ð/
words, e.g. have the
• Practice phrases that
include words that end in
/z/ before initial /ð/
words, e.g. use the
• Practice phrases that
include words that end in
/i/ before initial /ð/ words,
e.g. see the
• Teach voiced obstruents
prior to teaching voiceless
obstruents since voiced
obstruents imply voiceless
obstruents.
PHONETIC
PLACEMENT
TECHNIQUES:
• Tip of tongue in contact with
bottom edge of upper and
lower central incisors or the
inner surfaces of the upper
incisors; voiced airstream
directed through constriction.
• Use a mirror and tongue
depressor to show correct
placement of tongue; then
blow voiced air down the
center of the tongue and
between the teeth.
• Place a tiny straw where the
tongue tip contacts the upper
and lower front teeth, and
have the client direct the air
into the straw.
• Similar to /θ/, except
emphasize a firmer contact
of the tongue against the
teeth and indicate the voice is
turned on.
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007)
Using gloves, place the jaw in the
appropriate position for /θ/. The
forefinger of one hand curves over
the upper lip, the thumb and
forefinger of the other hand rests
on the chin. The tongue is brought
forward and sound is attempted.
REFERENCES
Bauman-Waengler, J. (2008).
Articulatory and phonological
impairments: A clinical focus. (3rd ed.)
Needham Heights, MA: Allyn &
Bacon.
Bleile, K. (2006). Late eight. San
Diego, CA: Plural Publishing.
Bleile, K. (1995). Manual of
articulation and phonological disorders.
San Diego: Singular Publishing
Group.
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
TEACHING THE
/θ/ SOUND
PREPARED BY:
HEATHER
WRIGHT, ROXY O’DEA, DONNA
WALKER, COLLEEN HERMANN,
CAROL THOMAS, JANET MCASEY,
THERESA BEACH, KEN KLIEWER,
TINDI AKPEM, KRISTI KERST,
AMANDA FARMER
PLACE: LINGUA
INTERDENTAL
VOICE: VOICELESS
MANNER: FRICATIVE
CONTEXTS:
INITIAL: THIN
MEDIAL: ATHLETE
FINAL: TOOTH
SHAPING
TECHNIQUES:
• Shape from /s/ to /θ/
• Shape from /h/ to /θ/
• Shape from /f/ to /θ/
METAPHORS
• Leaky tire sound with
motor off
• Quiet tongue cooler
• Quiet brother of /ð/
KEY
ENVIRONMENTS:
• High front vowels offer the
best coarticulatory
conditions because /θ/ is a
high-front position of the
tongue
• Teach words that /i/ prior
to /θ/ e.g. teeth and wreath.
• Teach words that begin
with /θ/ followed by /i/ or
/ɪ / e.g. thing, think, theme,
theatre.
• Contrast /f/ and /θ/ in
minimal pairs once /θ/ is
established.
PHONETIC
PLACEMENT
TECHNIQUES:
• Instruct client to open teeth
slightly and let tip of tongue
show between upper and
lower teeth; then blow air in
continuous flow down center
of tongue and between teeth.
• Instruct client to “peek” his
tongue out between upper and
lower teeth and then slowly
and gently close mouth as he
blows out the front of his
mouth and “cools” his tongue
• Use mirror to monitor
tongue placement and/or
contrast client’s incorrect
production with correct
production.
• Place a straw where the
tongue tip contacts the upper
and lower front teeth, and
have the client direct the air
into the straw.
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the motokinesthetic method. These
methods involve the clinician
using her/his hands on the
client’s lips, jaw or face to
direct movement necessary
for each speech sound. This
manipulation provides
information to the client
related to the place at which
movement beings, amount of
tension or pressure needed,
overall shape and direction of
movement and timing. Use
tactile and kinesthetic senses
to help client feel the way
sound is produced (Secord,
Boyce, Donohue, Fox, &
Shine, 2007).
With gloves, the thumb and
forefinger used to move
client’s lower lip upward until
it contacts upper teeth; blow
voiced air through
constriction.
REFERENCES
TEACHING THE
Bauman-Waengler, J. (2008).
Articulatory and phonological
impairments: A clinical focus. (3rd ed.)
Needham Heights, MA: Allyn &
Bacon.
/v/ SOUND
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
Taps, J. (2008). Response to
Intervention (RTI): Single Sound
Articulation Errors. Presentation at
Fort Hays State University, Hays,
KS.
PREPARED BY:
KARA MCATEE-NEWELL, KASSY
KLEYMANN, JANICE BUNKER,
JADA SHARP, SUSAN URBAN,
JENNY DILLER, JESSE GUAJARDO,
PATRICIA D’ADIAMO, JENNIFER
SULLIVAN, ANGELA BAGGS,
SARAH IRWIN, KYLE ASHTON, SAM
JACKSON, AMANDA BAILEY
PLACE: LABIODENTAL
VOICE: VOICED
MANNER: FRICATIVE
CONTEXTS:
INITIAL: VOTE
MEDIAL: BEAVER
FINAL: GLOVE
SHAPING
TECHNIQUES:
• Shape from /f/ to /v/ Tell
the client to put one hand
on his throat, prolong /f/,
and turn the vocal folds on
while saying /f/.
•
Ask client to pucker and
blow air while he slowly
changes the shape of the lips
into a smile.
METAPHORS
• Motor boat sound.
• Noisy lip cooler.
• Noisy brother of /f/.
KEY
ENVIRONMENTS
•
Avoid words that require lip
rounding.
•
Teach words beginning in
/v/ because initial fricatives
imply fricatives in final
position.
•
Teach voiced obstruents
prior to teaching voiceless
obstruents because voice
obstruents imply voiceless
obstruents.
PHONETIC
PLACEMENT
TECHNIQUES:
• Smile slightly and lightly bite
down on lower lip with upper
teeth, then blow air with the
voice on.
• Use feather or small piece of
paper in front of mouth to
show air movement.
• Use mirror to monitor
placement of articulators.
• As a touch cue, place the
client’s finger below his
bottom lip. Use two fingers
to indicate voiced sound
production.
MOTOKINESTHETIC
TECHNIQUES:
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
• Using latex gloves, place the
thumb and forefinger on the
corners of the upper lip, pressing
against the upper jaw. Upper lips
are then moved toward the center
to allow them to protrude slightly.
Place client’s hand on throat to
feel vocal cord vibration.
REFERENCES
Lindamood, P. & Lindamood, P.
(1998). The Lindamood Phoneme
Sequencing Program for Reading,
Spelling, and Speech: The LiPS
Program. (3rd ed.). Austin, TX:
Pro-Ed.
Secord, W., Boyce, S., Donohue,
J., Fox, R., & Shine, R. (2007).
Eliciting sounds. (2nd ed.) Florence,
KY: Thomson Delmar Learning.
TEACHING THE
/ʒ/ SOUND
PREPARED BY:
Erin Bixenman, Gerry Heil,
Jodi Romeiser, Betsy Bumgarner,
Heather Barleen
Shriberg, L. & Kent, R. (2003).
Clinical Phonetics (3rd ed.). New
York, NY: Macmillan Inc.
Taps, J. (2008). Response to
Intervention (RTI): Single Sound
Articulation Errors. Presentation at
Fort Hays State University, Hays,
KS.
PLACE: PALATALALVEOLAR
VOICE: VOICED
MANNER: FRICATIVE
CONTEXTS:
INITIAL: NO INITIAL
SOUND IN WORDS
MEDIAL: TREASURE
FINAL: BEIGE
7LHJO
P„N
SHAPING
TECHNIQUES:
• Shape from /n/ to /ʒ/,
instruct the client to raise
the tongue to the position
for /n/, pull the tongue
back slightly, bite down
gradually, pucker a little,
and blow air.
• Shape from /z/ to /ʒ/ by
pulling tongue back and
puckering lips.
• Shape from /ʃ/ to /ʒ/ and
add voice.
METAPHORS
• Vacuum cleaner sound
• Noisy fat air sound
• Noisy brother of /ʃ/
KEY
ENVIRONMENTS:
• Use coarticulation of /z/
and /j/ (e.g. , the phrase
“quiz you”).
• Teach voiced obstruents
prior to teaching voiceless
obstruents since voiced
obstruents imply voiceless
obstruents.
PHONETIC
PLACEMENT
TECHNIQUES:
• The tongue is raised to contact
the sides of the tongue with
the upper back teeth, while the
blade of the tongue almost
contacts the front of the palate,
creating a broad shallow
groove at the midline of the
tongue; voiced airstream
directed through constriction
created by tongue
• Using a tongue depressor, raise
the back of the tongue, put the
tip of the tongue behind upper
teeth and pull back slightly,
pucker lips, and blow voiced
air slowly over the center of
the tongue.
• To develop central airstream,
use the following techniques:
forcing air onto a target;
directing air through a straw;
directing air toward a feather
held in front of client’s mouth.
MOTOKINESTHETIC
TECHNIQUES:
•
•
Edna Young in the late 1930s
developed the moto-kinesthetic
method. These methods involve
the clinician using her/his hands
on the client’s lips, jaw or face to
direct movement necessary for
each speech sound. This
manipulation provides
information to the client related to
the place at which movement
beings, amount of tension or
pressure needed, overall shape and
direction of movement and
timing. Use tactile and kinesthetic
senses to help client feel the way
sound is produced (Secord, Boyce,
Donohue, Fox, & Shine, 2007).
Using some type of glove, place
thumb and forefinger of left
hand at corners of client’s upper
lip with same fingers of right
hand on corners of lower lip;
push lower jaw into position for
normal bite; ask client to blow
voiced air through teeth.
REFERENCES
Bauman-Waengler, J. (2008). Articulatory
and phonological impairments: A clinical focus.
(3rd ed.) Needham Heights, MA: Allyn
& Bacon.
Bleile, K. (2006). Late eight. San Diego,
CA: Plural Publishing.
Lindamood, P. & Lindamood, P. (1998).
The Lindamood Phoneme Sequencing
Program for Reading, Spelling, and
Speech: The LiPS Program. (3rd ed.).
Austin, TX: Pro-Ed.
Ristuccia, C. (2006). The Entire World of
S & Z. Carlsbad, Say It Right.
Secord, W., Boyce, S., Donohue, J., Fox,
R., & Shine, R. (2007). Eliciting sounds.
(2nd ed.) Florence, KY: Thomson
Delmar Learning.
Taps, J. (2008). Response to Intervention
(RTI): Single Sound Articulation Errors.
Presentation at Fort Hays State
University, Hays, KS.
TEACHING THE
/z/ SOUND
PREPARED BY:
JENNIFER TAPS, AMY
FINCH
PLACE: LINGUA
ALVEOLAR
VOICE: VOICED
MANNER: FRICATIVE
CONTEXTS:
INITIAL: ZOO
MEDIAL: EASY
FINAL: EYES
SHAPING
TECHNIQUES:
• Shape from /d/ to /z/ by
asking client to make rapid
productions of /d/ and
prolong last one into /z/.
• Shape from /i/ to /z/ by
instructing client to say /i/
then gradually close teeth.
• Shape from /ð/ to /z/ by
prolonging /ð/ and
gradually pulling tongue
back into mouth; use a
tongue depressor to guide
movement.
METAPHORS
• Bee sound.
• Noisy skinny air sound.
• Noisy brother of /s/.
KEY
ENVIRONMENTS:
• Teach words that end in /dz/
(beds) because /d/ is a voiced
alveolar sound that facilitates
production of /z/.
• Teach words that end in
/lz/(calls) because /l/ is a
voiced alveolar sound that
facilitates production of /z/.
• Teach words that end in
/nz/(lines) because /n/ is a
voiced alveolar sound that
facilitates production of /z/.
• Teach /z/ prior to /s/ since
voiced obstruents imply
voiceless obstruents.
• Teach /z/ in initial position
since initial position fricatives
imply final position fricatives.
PHONETIC
PLACEMENT
TECHNIQUES:
• Blade of the tongue nearly
touching the alveolar ridge;
sides of tongue contact upper
teeth; voiced airstream is
directed through this
constriction.
• Put tongue tip behind teeth,
slightly touching bottom teeth
while blade bunches a little and
comes close to alveolar ridge.
Then turn sound “on” and
have air push through a
narrow path down tongue.
• “Keep the gate closed”.
• Use straw up against teeth,
listen for whistling in straw.
• Use mirror to monitor
tongue placement.