Okay, last time we ran a bit long. This one should be fairly short. Today, we’ll look at the syllable structure and stress patterns of our two conlangs, Isian and Ardari. There’s no sense wasting time; let’s get right to it!
Isian, remember, is going to be the simpler of the two, so we’ll start with it. Isian syllables, for the sake of simplicity, will be of the form CVC. In other words, we can have a consonant on either side of a vowel. We don’t have to, of course. Syllables like an or de are just fine. CVC is the “maximum” complexity we can have.
Obviously, the V can stand for any vowel. (It’d be kind of silly to have a vowel you couldn’t use, wouldn’t it?) Similarly, the first C stands for any consonant. For the second C, the coda, that’s where things get a little more complicated. Two rules come into effect here. First, h isn’t allowed as a final consonant. That makes a lot of sense for English speakers, who find it hard to pronounce a final /h/, although it might upset speakers of other languages. Again, simple is the name of the game.
The second rule concerns diphthongs. If you’ll recall from Part 1, Isian has six of them. Here, we’ll say that /w/ and /j/ (written w and y) can only be the final consonant if they follow a, e, or o. This matches our phonology, where /ij/, /iw/, /uj/, and /uw/ aren’t allowed. Thus, diphthongs can be neatly analyzed as nothing more than a combination of vowel and consonant.
Moving on, we’ll give Isian a fixed stress: always on the penultimate syllable. So a word like baro will always be pronounced /ˈbaro/, never /baˈro/. Words with three syllables follow the same pattern: lamani is /laˈmani/. Since a diphthong is just a vowel plus a consonant, they don’t affect stress at all: paylow will be /ˈpajlow/.
In longer words, we’ll extend this stress in the same way. Or, to put it another way, every other syllable will get some sort of stress. A hypothetical word like solantafayan would have a secondary stress: /soˌlantaˈfajan/.
There won’t be any vowel reduction in Isian. Like Spanish, every vowel will be sounded in full, and each syllable will take up about the same time. This, combined with the regular stress, will probably give the conlang a distinct rhythm. (The dominant form of poetic meter, for example, will definitely be trochaic, and Isian musicians would probably find Western 4/4 rhythms very appealing.)
As usual, Ardari is a bit more complicated. For this language, syllables will have the structure CCVCC, and each of the four C’s will have a different set of possibilities:
- The first C can be any stop consonant, /m/, or /n/.
- The second C can be any fricative or liquid except /ɫ/, except a fricative can’t follow a nasal.
- V, of course, stands for any of the ten Ardari vowels.
- The third C is restricted to four liquid sounds: /w j ɫ ɾ/
- Finally, the fourth C can be any consonant except those four liquids.
Now, in addition to these definitions, Ardari syllables have a few rules about which clusters of consonants are available. In the onset, there are three broad categories: stop + fricative, stop + liquid, and nasal + liquid. The last is the smallest, so we’ll deal with it first. For that combination, there are eight possibilities: /mw mj ml mɾ nw nj nl nɾ/. Of these, we’ll say that Ardari doesn’t allow a nasal followed by /l/. Also, /nj/ isn’t that much different from /ɲ/, so we’ll say that those two sounds merge, allowing a syllable that starts with /ɲ/, but nothing else. The remaining five clusters can go in as they are.
For the combination of stop and fricative, things get trickier, because of Ardari’s rules about voicing and palatalization. Rather than a system, it might be best to show precisely which clusters are allowed:
- Bilabial + fricative: /pɸ bβ pʁ bʁ/
- Alveolar + fricative: /ts dz tɬ tʲs dʲz tʁ dʁ/
- Velar + fricative: /kʁ gʁ kʲɕ gʲʑ/
For stops and liquids, we’ll do the same thing:
- Bilabial + liquid: /pl pɾ pʲʎ pw bl bɾ bʲʎ bw/
- Alveolar + liquid: /tw tɾ tʲɾ dw dr dʲr/
- Velar + liquid: /kw kl kɾ kʲɾ kʲʎ gw gl gʲɾ gʲʎ/
At the end of a syllable, the clusters /ɫʁ ɾʁ ɫl ɫʎ wʎ ɾʎ ɫɲ ɾɲ/ aren’t allowed, but any others that fit the syllable structure are. (This is mainly because I find them too hard to pronounce.)
Ardari stress is free, but predictable. Syllables that have coda consonants other than just /w/ or /j/ are considered heavy, while all others are light. For most words, the stress will be on the last heavy syllable. (Secondary stress will fall on any heavy syllable not adjacent to another one.) Words with only light syllables are stressed on the penultimate, as are all words with exactly two syllables. For all of these rules, there is an overriding exception: /ɨ/ and /ə/ can never be stressed. If they would be, then the stress is moved to the next syllable. So, examples of all of these, using hypothetical words:
- Basic stress pattern: sembina /ˈsembina/, karosti /kaˈɾosti/, dyëfar /dʲəˈfaɾ/.
- Secondary stress in long words: andanyeskaro /ˌandaˈɲeskaɾo/.
- Two syllables: meto /ˈmeto/, kyasayn /ˈkʲasajn/.
- All light syllables: taralèko /taɾaˈlɛko/.
- Stress moved because of vowel: lysmo /lɨsˈmo/, mönchado /mənˈɕado/.
Because of the vowel reduction, Ardari will likely be a more free-form language than Isian, poetically speaking. Indeed, it will probably sound a lot more like English.
With this post, we now have enough information to start making words in both our conlangs. That may even be enough for some people. If all you need is a “naming” language, you don’t have to worry too much about grammar. That said, stick around, because there’s plenty more to see. Next up is a theory post where we begin to give our words meaning, and we find out just how many words the Eskimos have for snow. See you then!