[ Footnote 13: ] By “quality” is here meant the inherent nature and resonance of the sound as such. The general “quality” of the individual’s voice is another matter altogether. This is chiefly determined by the individual anatomical characteristics of the larynx and is of no linguistic interest whatever.
[ Footnote 14: ] As at the end of the snappily pronounced no! (sometimes written nope!) or in the over-carefully pronounced at all, where one may hear a slight check between the t and the a.
[ Footnote 15: ] “Singing” is here used in a wide sense. One cannot sing continuously on such a sound as b or d, but one may easily outline a tune on a series of b’s or d’s in the manner of the plucked “pizzicato” on stringed instruments. A series of tones executed on continuant consonants, like m, z, or l, gives the effect of humming, droning, or buzzing. The sound of “humming,” indeed, is nothing but a continuous voiced nasal, held on one pitch or varying in pitch, as desired.
[ Footnote 16: ] The whisper of ordinary speech is a combination of unvoiced sounds and “whispered” sounds, as the term is understood in phonetics.
[ Footnote 17: ] Aside from the involuntary nasalizing of all voiced sounds in the speech of those that talk with a “nasal twang.”
[ Footnote 18: ] These may be also defined as free unvoiced breath with varying vocalic timbres. In the long Paiute word quoted on [page 31] the first u and the final ü are pronounced without voice.
[ Footnote 19: ] Nasalized stops, say m or n, can naturally not be truly “stopped,” as there is no way of checking the stream of breath in the nose by a definite articulation.
[ Footnote 20: ] The lips also may theoretically so articulate. “Labial trills,” however, are certainly rare in natural speech.
[ Footnote 21: ] This position, known as “faucal,” is not common.
[ Footnote 22: ] “Points of articulation” must be understood to include tongue and lip positions of the vowels.