Examples of Words Which Differ Only in Pitch
In standard Tokyo Japanese, non-compound native nouns are accented about 30% of the time. Most of the time the accent falls on the ante-penultimate mora, or on the first mora for shorter words. A smaller number of nouns are accented on other syllables. (I-adjectives, however, are usually accented, and always on the penultimate mora.) Phonemic pitch accent is indicated with the phonetic symbol for downstep, .
Romanization | Accent on first syllable | Accent on second syllable | Accentless | ||||||
---|---|---|---|---|---|---|---|---|---|
hashi | /haꜜsi/ |
箸 | chopsticks | /hasiꜜ/ |
橋 | bridge | /hasi/ |
端 | edge |
hashi-ni | /haꜜsini/ |
箸に | at the chopsticks | /hasiꜜni/ |
橋に | at the bridge | /hasini/ |
端に | at the edge |
ima | /iꜜma/ |
今 | now | /imaꜜ/ |
居間 | living room | |||
kaki | /kaꜜki/ |
牡蠣 | oyster | /kakiꜜ/ |
垣 | fence | /kaki/ |
柿 | persimmon |
kaki-ni | /kaꜜkini/ |
牡蠣に | at the oyster | /kakiꜜni/ |
垣に | at the fence | /kakini/ |
柿に | at the persimmon |
sake | /saꜜke/ |
鮭 | salmon | /sake/ |
酒 | alcohol, sake | |||
nihon | /niꜜhoɴ/ |
二本 | two sticks of | /nihoꜜɴ/ |
日本 | Japan |
In isolation, the words hashi /hasiꜜ/ "bridge" and hashi /hasi/ "edge" are pronounced identically, starting low and rising to a high pitch. However, the difference becomes clear in context. With the simple addition of the particle ni "at", for example, /hasiꜜni/ "at the bridge" acquires a marked drop in pitch, while /hasini/ "at the edge" does not. However, because the downstep occurs after the first mora of the accented syllable, a word with a final long accented syllable would contrast all three patterns even in isolation: an accentless word nihon, for example, would be pronounced, differently than either of the words above.
This property of the Japanese language allows for a certain type of pun, called dajare (駄洒落, だじゃれ?), combining two words with the same or very similar sounds but different pitch accents and thus meanings. For example, kaeru-ga kaeru /kaeruɡa kaꜜeru/ (蛙が帰る?, lit. the frog will go home). These are considered quite corny, and are associated with oyaji gags (親父ギャグ, oyaji gyagu?, old man/uncle, terminally uncool).
Since any syllable, or none, may be accented, Tokyo-type dialects have N+1 possibilities, where N is the number of syllables (not moras) in a word, though this pattern only holds for a relatively small N.
accented syllable | one-syllable word | two-syllable word | three-syllable word |
---|---|---|---|
0 (no accent) |
/ki/ (気, mind?) | /kaze/ (風, wind?) | /yameru/ (止める, to stop?) |
1 | /kiꜜ/ (木, tree?) | /haꜜru/ (春, spring?) | /iꜜnoci/ (命, life?) |
2 | — | /kawaꜜ/ (川, river?) | /tamaꜜgo/ (卵, egg?) |
3 | — | /kotobaꜜ/ (言葉, word?) |
Read more about this topic: Japanese Pitch Accent
Famous quotes containing the words examples of, examples, words, differ and/or pitch:
“There are many examples of women that have excelled in learning, and even in war, but this is no reason we should bring em all up to Latin and Greek or else military discipline, instead of needle-work and housewifry.”
—Bernard Mandeville (16701733)
“Histories are more full of examples of the fidelity of dogs than of friends.”
—Alexander Pope (16881744)
“And consequently when wee Believe that the Scriptures are the word of God, having no immediate revelation from God himself, our Belief, Faith, and Trust is in the Church; whose words we take, and acquiesce therein.”
—Thomas Hobbes (15791688)
“Complete courage and absolute cowardice are extremes that very few men fall into. The vast middle space contains all the intermediate kinds and degrees of courage; and these differ as much from one another as mens faces or their humors do.”
—François, Duc De La Rochefoucauld (16131680)
“He maintained that the case was lost or won by the time the final juror had been sworn in; his summation was set in his mind before the first witness was called. It was all in the orchestration, he claimed: in knowing how and where to pitch each and every particular argument; who to intimidate; who to trust, who to flatter and court; who to challenge; when to underplay and exactly when to let out all the stops.”
—Dorothy Uhnak (b. 1933)