levels, shown by dots in a descending scale: [ ˥ ] high tone, [ ˦ ], [ ˧ ], [ ˨ ] 1st, 2nd and 3rd mid tones, [ ˩ ] low tone.
1. High Tone. An essential high tone is not always on the highest possible level in connected speech. When it occurs after a low tone, it is usually lower than a previous high tone in the same sentence. This may be shown graphically thus [ ˥ ˩ ˦ ] . After another low tone, a further lowering takes place [ ˥ ˩ ˦ ˩ ˧ ], and so on. These lowered variants of the “high” tone are not indicated in this book as they are brought about by assimilation to the preceding low tone, and therefore have no semantic or grammatical function of their own which would make it essential to distinguish them from other high tones. They will accordingly be represented thus [ ˥ ˩ ˥ ˩ ˥ ˩ ].
2. Low Tone. A low tone is frequently raised before a high tone and between high tones. This may be shown graphically thus: [ ˨ ˥ ], and combined with the phenomenon of the “lowered” high tone explained in the previous paragraph, thus: [ ˧ ˥ ˨ ˦ ˩ ˧ ]. Such variants are also the result of assimilation and will therefore not be shown here.
The simplification of tone marking brought about in this way leaves the signs for the mid tones free to mark only those tonal phenomena that have definite grammatical or syntactic functions.
In a final position, and in very slow speech also in the middle of a sentence, the low tone is generally not level but falling. The fall starts below the level of the preceding tone, i.e. after a high tone, it starts at a mid-level; after a mid tone, at a lower mid tone. There are, however, certain cases in which the low tone is level, and occasionly the only distinction between two grammatical forms is made by the occurrence of either the falling or the level variant of a low tone. The rules for the appearance of these variants could, however, clearly be ascertained with one informant only (S. Obayuwana), and at a time when a general notation of the phenomenon in this book was no longer possible (but v. the notes under the headings sikã [ ˩ ˥ ], xa 1 [ / ] and zɛ 1 [˥]). It seems to be most frequent in the case of second or third members of verbal combinations occurring after a high tone: then, the falling low tone is used in the ipf. and the level variant in the pf. The author intends to deal with this question more fully in a grammar of this language which he hopes to publish at some later period.
3. Mid Tones. Three levels of mid tones occur: [ ˦ ˧ ˨ ]; the 1st following on a high tone, the 2nd following on the 1st mid, and the 3rd on the 2nd mid tone. High tones following any of these mid tones are assimilated to them. The interval between high and mid and between two mid tones is not sufficiently wide to produce the impression of a high-low interval: it may vary between one and three tones. In a very few cases it has been necessary to mark mid tone after a low tone.
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