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 PN 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.
