The Anatomy of French Sounds© or The ABCs of the French Language Main | French Sounds | The DVDs | The Instructor | The Manual | Ordering

Jump to: Foreward How to Use Acknowledgements The Manual You can download the manual which contains the lessons: written texts, explanations and translations. The files are organized in the same fashion as the lessons on the DVDs. For example, the file labeled II-06 will be for the sixth lesson in DVD II (and II-06T will be the translation). Translations for all texts are available as separate files to assist you in understanding the material as well as to help you build your vocabulary. Back to Top Foreward Teaching is one of my passions. I thrive when facing the challenge of explaining a concept in such a way that the student comprehends. The best reward comes from knowing the information is making an impact. To my students of French, I start out by clearly teaching how to make the "sounds of French". It is an essential component in the study of the French language. It is my belief that it is also the first step. I have developed a "bite size" approach to the labyrinths of French pronunciation. Many students have difficulty in excavating the many layers of complexity demanded in turning written French into precisely pronounced oral French. I therefore had to find ways to motivate and encourage students to travel this bumpy road while avoiding losing them along the journey. Phonetic symbols are great in scholarly texts or reports. They are death in many French 101 classrooms. Converting individual French sounds into words can also be a formidable task. I really thrive on guiding students through this process. Each step of the study inches toward a better grasp of the predictable unit of sound as well as the uncovering of variations or exceptions in sounds and spelling. French has to be pronounced correctly to convey meaning correctly. English speakers have special challenges in this regard. The differences between the two languages are found in respective positions of the lips and the tongue. For example, the tip of the tongue curls upward for English; French vowels demand that the tip of the tongue remain behind the lower front teeth and some sounds cause the tongue to be convex. With precise formation of sounds one will be able to reproduce the musicality and charm of the French language. French is not a series of truncated sounds punctuated by gaps between the words. On the contrary, verbal clusters linked together communicate meaning with flowing and rhythmic tones. The valuable insight I have gained from students' struggles has contributed to the refinement of my explanations. In remembering my personal battles with English when I was a non-English speaker, I have acquired an appreciation for the linguistic impasses confronting some students. I try to impart my personal enthusiasm and love of the study of languages. I present French as an attractive and "tamable" dragon. When a student wins by befriending the dragon, only then can s/he start the compelling adventures of exploration and in-depth study. I was first introduced to the field of teaching when I was barely 19 and still a child in many respects. I had returned to France after living in the US for two years. In the fall of 1962, within a month of my return, a catholic school in Nīmes, my hometown hired me to teach English to female adolescents. Most of them were barely two years younger than I was. Wanting to please my father (who would boast that his daughter was a teacher at age 19 without any teaching credentials), I accepted. That experience, fantastically terrifying as it was, taught me many lessons which enrich many facets of my life, even today: Be prepared, be organized Have a plan and prioritize Create bite-size pieces; tackle life the same way Simplify Make it fun Respect others (never look down on anybody) Most importantly, enjoy what you are doing The reader may suspect correctly that I did not have any of these skills when I started out. At 19, I was too immature to absorb, let alone apply, the above guidelines. My life was a series of fracases; every day brought a new knee jerk re-action and after a few months I left for Paris. Unbeknownst to me, those few months in front of students gave me a taste for teaching. Out of the frustration of not being able to teach in a way that would effectively transmit the information to my students, I developed a hunger to enhance my communication skills and my teaching approach. Life had just given me a gift which I was to nurture for a number of years. A decade later I got my teaching certification from Montlclair State College, New Jersey. I now invite you along on a fascinating journey as we discover the melody and the intricacies of the spoken French language together. Your first step in learning English was to understand the relationship between the written symbols and the spoken language. One needs the same building blocks for French. I will present building blocks (essential oral formations and spelling structures) in small, palatable offerings. You may further sub-divide long lessons into shorter sections. You may start and pause at will. I build slowly and give you guidelines on how to optimize retention and enjoyment of the process. This invitation can be for the beginning or intermediate student as well as for anyone interested in dissecting and understanding the oral and spelling formations of French sounds. This practical approach will allow you to go in depth at your own pace, whether it be for travel, academic, business or pleasure purposes. Lastly, this work is an attempt at promoting world peace. Why? You ask? Well, these CD lessons being at your fingertips, your stress level ought to be alleviated; your brain can remain healthy and flexible thus contributing to less tension in our environment! Our earth will notice the difference! Back to Top How to Use this Program The Anatomy of French Sounds© offers written study materials and recorded lessons on three CDs to help you grasp the essential foundation of the sounds of French. Each lesson can be further subdivided into small building blocks to be studied at your own speed. The student will benefit most by adhering to the following suggestions. Initial Viewing Play the CDs once as sheer entertainment (complete at least one lesson at one sitting). Encourage a friend to enjoy the show with you Limit yourself to two or three lessons at one sitting. Avoid taking notes Keep an open mind Go with the flow of information Take your time, relax and enjoy the process Discuss the show with your friend. Repeat this process for each DVD. Finish DVD I before starting DVD II (most lessons build on the previous one). The lessons on DVD III can be viewed in any order (the study of each consonant stands by itself). Second Viewing Program this study time with the same friend. Tackle each lesson by reading the desired section in the manual first. Take your time, relax and enjoy the process. View the material and take notes. Compare notes and discuss the information viewed with your friend. Refer to the manual for clarification or verification. Re-read the lesson in the manual after each lesson. Develop your own style for studying each "Application." You may want to hear the application and read along with me first, to pause the DVD and read it on your own and, when you are done, to replay the DVD and review the application again with me in the background. Continue by repeating these steps for each lesson and for each CD. Happy studying and enjoy your adventure! Back to Top Acknowledgements For a number of years I polished my teaching skills as a Red Cross Water Safety Instructor and swimming instructor for visually impaired individuals. I worked for the New York Association for the Blind in Manhattan. I credit the clients I taught then for helping me to develop the patience, tenacity and perceptive finesse necessary to be an effective teacher. In addition, to swimming, I have taught a number of other subjects, including French, for over three decades in academic environments such as pre-schools, elementary grades high school, Universities, and adult education. I have also taught French in community organizations for individuals wanting to enjoy the sheer pleasure of learning French as a hobby. Dress-rehearsal of this work happened fast. Within a week my student and new friend, Steve Fischer, kindly agreed to be the cameraman as well as the video editor and splicing master to develop the first draft. His support of our project and his remarkable adaptability and poise gave us much encouragement. Rod Todorovich spontaneously doubled as a cameraman and coach. He saved us from much dreaded delays. Meriel Collins, with her mastery of the English language, gracefully agreed to edit my layman's English for the written material. Stan Rubens graciously responded by assisting us with the music. To Fay Zoeller, my dear friend and moral supporter. Her masterful hands styled my hair the night before shooting. Boris Bodé and Chester Lau offered their extremely constructive guidance and expertise in the arts of filming and editing. To Leimomi, my producer's assistant, I am deeply obliged since she transformed the arduous recording hours into very enjoyable sessions by her attentiveness, kindness and useful insights. My heartfelt "Mahalo" goes to my dear producer Grant Fu for his patience, flexibility and for trusting my vision. His solid presence and expertise supported me throughout the exciting production of this work. Our paths crossed accidentally; our work together was magical. At the very last minute, Ryan Ozawa rescued us with his expertise in developing the web page without much notice. We are extremely grateful for his awesome job at setting us up expediently. I am deeply indebted to two dear friends of over twenty years: Jack and Cathy. Professor Jack Canfield, excellent pedagogue, colleague and friend of our university teaching days, readily accepted the task of critique for the entire work as well as co-presenter in a number of "Applications." Cathy Dannenberg is the inspiration for The Anatomy of French Sounds©. I want to acknowledge her fabulous vision as well as her enthusiasm and trust in my teaching skills. She has motivated me to embark on one of the most exciting rides of my life. This work is truly an example of collaboration and creative synergy. In parting, my sincere gratitude goes to all mentioned above; your individual parts, large or small, made a big difference in my heart. Without you this work would not have become a reality. How do I Order?