English: Learn To Speak Properly: Hip-hop Afrikan Alphabet

[Akyeame Kwame]

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ENGLISH: LEARN TO SPEAK PROPERLY: HIP-HOP AFRIKAN ALPHABET
AFRIKUANDIKA: AFRICAN-AMERICAN, PAN-AFRICAN ALPHABET

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IMPROVE YOUR ABILITY TO SPEAK

LEARN TO UNDERSTAND, PRONOUNCE PROPERLY, SPEAK AND WRITE PROPER ENGLISH, ANY AFRICAN LANGUAGE OR ANY LANGUAGE SPOKEN, WITH THIS ALPHABET THAT ACTUALLY SHOWS YOU HOW TO SAY WORDS PROPERLY WITHOUT A THICK ACCENT.

WRITE POSITIVE WISHES AND PRAYERS

THE SACRED AFRICAN SCRIPT REPRESENTING SACRED BREATH: STUDY THIS AFRICAN SCRIPT/ALPHABET, GET SOME BRAND NEW PARCHMENT, A BRAND NEW PEN AND WRITE A PRAYER USING THIS ALPAHBET ON THE PARCHMENT. PUT THE PRAYER IN YOUR WALLET OR LOCKET AND KEEP YOUR FAITH. ONLY POSITIVE THINGS AND GOODNESS CAN BE HAD.

The African Hieroglyphic alphabet is a system of powerful symbols. They represent words and these words are depictions of the actual way one's breath and body utters them.

SAY A WISH, THINK A POSITIVE THOUGHT, WRITE A POSITIVE PRAYER OR POEM AND GET A POSITIVE RESPONSE IF THIS ALHABET IS USED, BECAUSE ONE'S VOICE, ONE'S BREATH WILL BE ILLUSTRATED ON PAPER AND KEPT SO GREATER AND POSITIVE ELEMENTS CAN SEE AND RESPOND WITH GOODNESS.

This practice is part of the ancient religion and one sees the use in the African religion of Haiti, in the Hopi Indian religion, the West African shango religion and the Buddhist religion. In fact "sand drawings," or drawings of "thought" is done by all these cultures and the result is effective on the mind and the desire.

So apart from learning an alphabet inspired by the devine thought and devine expression (positive speech, goodness, the sacred "talking drums," of Africa), that has the ability to help many, the use of devine characters that represent actual speech in the use of great thought (meditation, prayer) is also a reality.

TITLE OF THIS PAGE IN SPANISH/TITULO DE PAGINA EN ESPANOL:

AFRIKUANDIKA: EL SYSTEMA JEROGLIFICO CACEROLO - AFRICANO DE LA ESCRITURA

Afrikuandika, un alfabeto fonetico jeroglifico Africano-Americano, Cecerola-Africano inspirado por los "tambores que hablan africanos."


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AFRIKUANDIKA: THE AFRICAN HIEROGLYPHIC WRITING SYSTEM

(The book is called: Afrikuandika: The African Hieroglyphic Writing System. It can be found at www.barnesandnoble.com Go to "search" on the Barnes and Noble website and input the book title exactly as shown above.

AFRIKUANDIKA EXPLAINED

This writing system known as Afrikuandika "African writing," in Bantu, was inspired by the talking drum codes.

THIS AFRICAN/AFRICAN-AMERICAN ALPHABET COMES FROM THE SAME AFRICAN ROOTS AS HIP-HOP, RAP, BLUES, JAZZ, CALYPSO, GRIOT EPIC POETRY, AFRICAN RELIGION, THE "TALKING DRUMS" AND "TALKING HARP" (THEY CAN IMMITATE AFRICAN SPEECH) AND THE "BLUE" NOTES IN BLUES IS A REMNANT OF THAT) USED IN AFRICAN MUSIC AND FOR COMMUNICATION.

Afrikuandika is an hieroglyphic alphabet used as a phonetic alphabet in that the characters are designed in the hieroglyphic style but the application is phonetic in a similar manner as the Roman-English alphabet. Afrikuandika is a revived African writing system, one of the many used for worship, (like the Hopi sand paintings, the Haitian symbols, the sacred andrinka symbols of the Yorubas and the Buddhist Mandalas) and keeping records. Afrikuandika can be applied to writing any spoken language but is very practical in writing African languages, Black dialects and Pan-African speech patterns. It is already being used worldwide by some and has the potential of becoming an international script on the same level as Hebrew (a revived language and alphabet), English-Roman alphabet, Chinese, Arabic, Hindi or Amharic.

THE AFRICAN HIEROGLYPHIC ALPHABET CAN BE USED TO IMPROVE SPEECH

This alphabet can also be used to show hearing impaired people how to make sounds by using the techniques described in the book. Another function of the system is its ability to allow the user to write the correct pronunciation of a word and use it correctly when reading.

Afrikuandika is unlike any other alphabet in existance or any other alphabet ever invented. In the Afrikan hieroglyphic alphabet, each hieroglyph represents a distinct drawing of the mouth and its sound-making parts shown exactly or similar to the position assumed when the mouth is actually making the sound. Each heiroglyh represents a distinct sound.

Each character or glyph is a drawing of the lips, tongue, teeth, throat, upper and lower palate and all the other parts that are vital to producing sound. The major sound-producing part, the vocal cords are not represented.

In the Afrikuandika system, the word complete when written is represented by a series of glyphs. The glyphs show how the sound-making parts are used for each distinct sound.

c = = kuh

o = = om (m is silent)

m = = mmm

p = = puh

l = = luh

e= = ee

t= = tuh

e= = ( "e" is silent)


Notice that the last "e" in "complete" is not represented by a glyph. This shows that the last "e" is not pronounced. Each character represnets a pronounced syllable or word.
When the system is compared to English letters, notice how it would have to be written if the word was written in the same way that English is written:

c = = see

o = = oh

m = = e

p = = pee

l = = el

e = = ee

t = = tee

e = = e

When all the glyphs (characters) are combined, a word is created. When compared to the English alphabet, which contains "silent" letters, Afrikuandika is different; there are no silent glyphs in Afrikuandika. Each glyph represents a sound that is always the only sound represented by that glyph.

This symbol represents air from the mouth made when a word is spoken. It is called the "upepo"
or "air" symbol. One such symbol represents the sound "eee," which is made by air being pushed from the lower part of the throat.

Two air symbols represent the sound "ah."

Two air symbols are drawn to show more air being thrust out from the throat.

The "eee" glyph, e.g. with a darkened

air symbol, automatically becomes an "a" as in "hay." Any air symbol on top of a glyph represents a change in the sound or it may be part of another character, for example, the parts

for the "air" , "o" , or "nnn"

shortens the word and allows them to be prounced as syllables.

The air symbol for the "a" or any other vowel sound must be shown on top of the glyph or inside of it, as shown below:

k = a = j =

Any air symbol on top of a glyph is called "juu na ndani" or the "high, inside wind," if it represents an air symbol. It can be placed on top of the glyph.

"Mbele upepo," or "frontal wind," is one or two air sybols in front of the glyphs that represent the upper and lower lips. Air symbols in front of the glyph, as shown in the illustration, represent air fr sounds that are made by thrusting air between and from the teeth with the tongue as shown.

tuh =

The above glyph shows that air is thrust out by the tongue through the teeth.

duh = vuh = fuh =

The glyphs shown above also show air being thrust out between the tongue and teeth or lips and teeth.

yee =

These are two large air glyphs drawn at a forty-five degree angle. The angle of the yee air sybols suggests air from the throat thrusting upward, such as in yes, arrive, night or style.

When using the "yee" air symbol in each of the characters, they are written as shown below

yes = arrive =

night = style =

This air symbol ( ) is called the "nasal air symbol." It is used for sounds that depend on the nose for completeness, for example:

mmm = ng =

It also shows the importance of nasal air in the pronunciation of these sounds.

'Nyuma upepo" or the "back glyph," is any air symbol at the back of a glyph. It represents a glyph where the sound "hee" is made.

------------------ o ---------------- o ----------------

Swahili =

Hemenez (Jemenez) =

Unlike the "yee" symbol which slants at forty-five degrees, the air smybols for "hee" must be drawn horizontally. This is to show that the sound, when being made, does not use the lower part of the throat and muscles in the same manner as "yee."

= upper or "juu" lip

= lower or "chini" lip

The "juu" and "chini" lip when drawn without showinig the throat means that the throat is not used in producing the sound it represents.

tuh =

The "tuh" sound does not use ah =

or the throat muscles in order to be produced.
The throat is vital in the production of the "ah" sound.

This glyph shows the back of the tongue

during the making of "kuh" or "guh."

This glyph without a bar below the

"guh."

A bar below the tongue is "kuh." or "kh."

Both glyps are similar because the sounds are almost alike when produced. The bar is used to show the slight difference and to emphasize it.

Two air symbols one after the other represents a hissing sound. They must be drawn horizontally, as shown. These upepos are called "twin upepos"
or "twin air symbols."

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THE AFRICAN-AMERICAN ALPHABET FOR THE HIP-HOP GENERATION AND BLACK WORLD CULTURE

s = = sss


e = = ee


s = = sss


t = = tuh


e = = eh


m = = mmm


In showing the way the "twin air symbols" should be used, the "y" was replaced with an "e." This was done to show that "y" cannot be used in Afrikuandika in the same manner as it is used in English.


Here are some "hissing air" glyphs:


chee =


ssh =


zzz =


sss =


kss =


zzh =



------------------- o ------------- o -------------------


The glyphs anove represent a combination of
hissing and twin air symbol (air upepo) sounds.

The tongue symbol is used to show the difference between the sounds.

In the Afrikuandika hieroglyphic writing system, each character represents a distinct sound. For
example, the letters "c" and "k" sometimes consist of the same sound as in "cream" and "shark."

When the same words are written in Afrikuandika


as shown here = cream


the round remains the same. This rule applies to all glyphs.


The following words:


Cyril =


and


credit =


both begin with the same character when written in English letters. However, a different glyph is used for the "sss" in Cyril and the 'kuh" in credit. The glyphs for "sss" and "kuh" represent different sounds and the speaking parts used to produce these sounds are not used in the same manner.

If two or more words are alike in sound but consist of different meanings, the glyph remains the same however a number is placed on top of each set of glyphs or word to differenciate and show their different meanings even if they may be spelled or written the same way.

----------------------------- o -------------------------------

Notice how they are differentiated below:


bar = = a place where alcohol is sold


bar = = to stop or to prevent


In order not to confuse the reader or writer of Afrikan when identical glyphs are being used but with different meanings, a number, beginning with 1, must be placed on the first glyph or character. Should another identical glyph or character be used in the same sentencewith a different meaning to the first, the number 2 must be placed on top. If there are three, four, five, or more identical glyphs with the different meanings, the numbers 3, 4, 5...ect....must follow.

If a number of words are being used in a sentence or paragraph, some with one identical meaning and the others with another identical meaning or meanings, the number used to differencitate the glyphs of one meaning from another must be used any time that same glyph is eing used. For example, if the number "1" is used for "bar" to define that word as "a place where alcohol is sold," it should be used whenever the word "bar" with that meaning is being used in a sentence paragraph or page.

The "samduku" or "box," makes each set of glyphs that represent a word to stand apart. A word surrounded by the sanduku is easy to identify. The sanduku is not mandatory, but in some instances, it may be used to make writing legible, especially for the capitalization of words.

For words that are cannot be finished at the end
of a page, such as in the African name of "Kawa-
nga," the sanduku (box, cartouche) must be


broken off as shown in this drawing:


The word must be broken off at the nearest syllable to the edge and the remainder must continue on the bottom line.

When writing many words such as in sentences,
paragraphs, pages, or books, certain important words must be enclosed by a sanduku. These words are to be pronouns or titles. A line directly above the word will also serve the same purpose. It is not necessary to enclose every word if the
writer space out each word evenly or legibly, for
example:

"My name is Kawanga Wa Iyieshiba and I am
twenty-five years old," is written as:





Sentences can be written in any position. The standard positions are horizontally, written from left to right and horizontally written from top to bottom.
Below are examples of the same sentence written above:












AFRICA =


Africa =


The line on top of the sanduku emphasizes uppercase letters. It also shows the importance of the word as a proper noun.


"Afrikuandika" when written in vertical form:


A = = ah


F = = ffh


R = = rrh


I = = ee


C = = kuh


A = = ah


(the character (glyph) for "er" can also be used
as the last sound in "Africa."

The line that shows block letters or proper nouns
must be enclosed by a sanduku and a line must be drawn above the set of characters to show that they are emphasized as in capital letters. The same procedure should be applied when entitling a business as in "KAWANGA'S ELECTRONICS."


KAWANGA'S ELECTRONICS =



Kawanga Wa Iyeshiba =



SENTENCES AND PARAGRAPHS WRITTEN IN
AFRIKUANDIKA


The following paragraph written in English, then translated to the Afrikuandika heiroglyphic system, illustrates the rules explaned in the preceeding pages:


This system of writing was designed for the use of African-Americans, Africans, Afro-Caribbeans, Afro-Brazilians, Afro-Latinos, Blacks of Europe, India, Melanesia and Blacks world wide. It is specially suited to write African languages and Black speech patterns and dialects. This alphabet can also be used to write English, or any language spoken in the world community.

Afrikuandika is an African alphanet inspired by the "talking drums" used to transmit speech sounds over long distances by using coded sounds that compare with the African language system, particularly the tonal languages.

This is the translation in Afrikuandika:

















THE BENEFITS OF THE AFRICAN HIEROGLYPHIC WRITING SYSTEM


The African hieroglyphic writing system is a sophisticated and practical form of writing, yet it also can be very simple and more effective in producing the exact tone of voice or sound. It is easy to rememer.

The glyphs (characters) represent parts of the mouth, which we all have. It is quite easy to remember how to write a glyph if we can relate it to the position of the speaking parts that produces the sound represented by that glyph. In other words, take for example characters in the Chinese alphabet. A simple or abstract drawing of a fist hitting a punching bag may mean "hit" or "punch."

In the African system, drawings are used to show the speaking parts drawn as they are exactly during the time when specific sounds are being created by the speaking parts of the mouth to produce a specific sound, syllable or word. The meaning of the word and the corresponding hieroglyph, along with the idea, registers as quickly as any other alphabet or writing system.

Afrikuandika can produce sounds exactly the way they are heard. In writing the speech of a person with an accent, the exact sounds can be used. The lilting dialects of some types of Caribbean English, the drawl of the American Southerner, the rhythms of African-American English, or the exact dialect of any language can be written as it is spoken.

When many tones are used with differing levels of pitch, the exact pitch or tone can be shown by placing the appropriate line to represent high, medium or low tones beneath the syllable. This addition changes the pitch of the syllable.

In the word "really," used as a question, the last syllabe "ly" has a high tone. When pronounced in such manner, a question is usually being asked. The word "really" as a reply has a medium tone for the "ly."

In some languages a word may have various meanings, or a syllable a word may change in tone to show a different meaning. In both cases,
the tone of the word or syllable determines the meaning of the word.

Afrikuandika is also helpful in teaching the proper pronunciation of words by showing how the mouth makes the sound to produce the word. The system can be used to help the hearing impaired or the deaf to produce sounds. By following the glyph and associating the sound-producing parts of the mouth with a particular sound, it will be easier to make that sound.


The Speaking Parts







The speaking parts are shown below as they are drawn for the African hieroglyphic writing system.






The series of drawings below show how the mouth is used to produce the sound "krr."


(a) tongue at rest (b) "kh" (c) "rrr"






The glyphs below are the drawings above as written in Afrikuandika:

(a) tongue at rest (b) "kh" (c) "rrr"







The back of the tongue
show that part as it is
pressed against the
upper palate.






If you think this African hieroglyphic phonetic alphabet is useful to helping your children pronounce words properly, or helps you learn an ancient and unique African alphabet that can contribute to the betterment of African-American and African/Black culture worldwide, let me know how you feel.

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EZ TRAFFIX




AFRIKUANDIKA: THE AFRICAN-AMERICAN (PAN-AFRICAN) ALPHABET



"ah" as in "car," "seminar." "ae" as in "stay," "day."
BASIC AMERICAN ENGLISH PRONUNCIATION COMPARED TO BRITISH ENGLISH PRONUNCIATION:


ah as in;


abstract

Amer. Eng.
"Whad (light "d" pronunciation for the "t") aboud an abstract drawing?" (smooth flow of words)

Brit. Eng:
"What (emphasis on the "t" sound) about an abstract drawing." (emphasis and full pronunciation of certain words)

access

American English:
"Have you gad (got) access to the compuder (computer)?"

Brit. Eng:
"Have you got (emphasis on "t") access to the computer?"


accurate

Amer. Eng:
"Give me an accurate accounding." (accounting) (slight "d" sound instead of "t" sound)

Brit. Eng:
"Give me an accurate account of it." (emphasis on 't")


absolute

Amer. Eng.
"It is the absolute (less "d" emphasis) truth."

British Eng.
"It is the absolute truth."

academic

Amer. Eng.
"You gad (got) your academic record wid (with) you?"

Brit. Eng:
"You got our academic record with you?"

ae as in;

Aden

Aegean
American Eng:
"You wanna vacation in the Agean?"

Brit. Eng.
"Do you want to vacation in the Agean?"

Amer. Eng.
able
"I'm gonna, 'cause I'm able."

Brit standard Eng.
"I'm going to, because I'm able."

ale
Amer. Eng.
"This ale is kinda' dry, man."

Brit. standard English.
"This ale is somewhat dry, mate."


ache
Amer. Eng.
"Toothaches drive me up the wall."

Brit. Eng.
"Toothaches are intolerable to me."



"o" as in "hello" or "bordeaux."
o as in;

okra
Amer. Eng:
"This okra's gad (got) a whole lada (lot of) spice."

British/Standard Eng.
"This okra has got lots of spice."

ovation

Amer. Eng.
"Well allright! Isn't that great? Another standing ovation.
Brit. Eng.
"Bravo! Is that not great? Another standing ovation.


over

Amer. Eng.
"How's it goin' J, wanna come over?

British Eng.
Good Day, J, would you like to come over?
crow

toe

Amer. Eng.
"My toe ain't (or my toe's nad all that big) all that big, whaddya think aboud it?

Brit. Eng.
"My toe is not quite big. What do you think about it?

ee as in;

eagle
Amer. Eng.
"Wow! check out that eagle way over there!"

Brit. Eng.
"Great Scot! Look at that eagle over there!"


eat
Amer. Eng.
"We gad a lada eading to do."

Brit. Eng.
"We've got lots of eating to do."


free
Amer. Eng.
"Ma buddy gave me a free ticket to the game. It's gonna be great!"

Brit. Eng.
"My friend gave me a free ticket to the football game. It's going to be wonderful."

silly
Amer. Eng.
"I'm sick of these silly songs, when are they gonna play somethin' bedder?"

Brit. Eng.
"I'm tired of these silly songs, when are they going to play something better?"

mini
Amer. Eng.
"I'm gonna git one of 'em mini vans and I'm gonna cruise on outta here."

British/standard Eng.
"I'm going to get one of these mini vans and I'm going to drive out of here."



"ooh" as in "you" or "stew"
oo as in;

ooze
British/Standard English:
"What's this ooze from beneath the table?"

American Eng.
"What's this stuff under the table?

Ebonics/African Syntax Black English
"Wha's dis thang under the table?"

Jamaican/Caribbean English
"Wha' dat deah, 'neath de table?"

through
British/Standard English
"I'll be through shortly."

American English
"I'll be through in a sec."

Ebonics/Afram-African syntax English
"I'mma be thu' inna minute"

Jamaican/Caribbean English
"Ah go' be done soon."



too

British English
'He's just too bloody good, mate!

American English
"He's just too damn good, man!

Ebonics
"He's just too duggone good, man!

Jamaican/Caribbean English
"He bettah dan ah expert, mon!

blew

British English/Standard English

"They blew out the candles before singing happy birthday."

American vernacular English
"They blue out the candles before they started singing 'happy birthday.'

Ebonics/Afram African syntax
"They blow the candles out before singing 'happy birthday."

Jamaican/Caribbean English

'Dey blew de candles out, before dem a' start fe sing, "happy birthday."

do
British/Standard English
"We shan't do it untill it's time."

American vernacular English
"We're nat gonna do it, till its time."

Ebonics/African-American Syntax
"We 'ain't gon' do it, till the time comes."

Jamaican/Caribbean English
"We nah gwine do a t'ing, till de time come."



"air" as in "stair," "stare" or "err." : "an" as in "croissant," or "Angola."
you as in'

yule

British English:
"The yuletide is over."

American English:
"The yuletide has pased."

Ebonics/Afram syntax English
"The yuletide is done."

Jamaican/Caribbean
"De yuletide it a' gwan."


you
British English/Standard
"You look fantastic, smashing clothes."

American vernacular
"You look great, cool clothes."

Ebonics/Afram syntax
"You shining, fine threads."

Jamaican/Caribbean English
"You look irie, dem a' nice clothes."


news
British English
"What's the news today?

American vernacular
"What's on the news? What's the latest?"

Ebonics/Afram syntax
"What's up with the news? What's the haps?

Jamaican/Caribbean vernacular English
"Wha' 'appenin' inna de news?"


unit
British/Standard English
"How many units have you got?

American vernacular
"How many units you got?

Ebonics/African syntax
"How many units ya'ave?

Jamaican/Caribbean vernacular English
"How much units ya keepin'?


Uganda
British English/Standard
"Uganda has some wonderful people."

American vernacular English
"Uganda's gat some great people."

Ebonics/African-American syntax
"Uganda's gat some cool folk."

Jamaican/Caribbean vernacular english
"De people in Uganda, dem a irie."

air as in;

ear
British:
"G'day mate, put your ear closer to the phone."

American vernacular English
"How you doing? Lift the phone close to your ear.

Ebonics/Afram syntax
Wha's up? Listen up, pull the phone close to your ear.

Jamaican/Caribbean vernacular
"Wha' 'appenin? Press de phone 'pun you ear."


there
British/Standard English
"Look! That's it over there."

American English
"Over there! That's it, Isn't it?

Ebonics/Afram syntax
"Check over there! There it is!


dear
British/Standard English
"Dear Mollie, How's the weather in Bath?

American English:
Dear Jim, "How does it feel over there, with all ice?

Ebonics/Afram syntax english
Dear Jess, "Whaddup, mang, I know its cold out deah, but ah done told ya to move to California.

Jamaican/Caribbean english
Dear Charlie, "What a' gwan, brethren. De people dem say it a' cold inna you area."

fair
British
"That's not fair"

American vernacular
"That's unfair.'

Ebonics, AfriAmerican eng

"It ain't fair."

Jamaican/Caribbean vernacular
"Dat ain' fair."


care
British English
"Take good care of it till I return."

American English
"Take good care of this till I get back."

AfricanAmerican english
"Care for this, I'mma be back."

Jamaican/Caribbean english
"Take care a' dis, till ah kom back."


an as in;

ant
run
done
tan
man



"er" as in "her" or "mirror." : "or" as in "for" or "halt."
er as in;

again
adore
water
azure
daughter


or as in;

floor
order
roar
tore
door



"en" as in "men" or "end." : "ur" as in "turn," "bird," "word."
en;

bend
enter
blend
endure
when

ur as in;

girl
twirl
hurl
Earl
world



CONSONANTS: "woo" as "wood," "would," : "puh" as in "please" or "sharp."
Find the 'woo" sound in:

swell
swoon
when
we
what


Find the "puh" sound in:

upper
group
pink
Mississippi
puppy



"buh" as in "bread," "baobab," "Benin." : "guh" as in "guy" "hog," "pagan."
Find the "buh" sound in:

yabba-dabba-do
brother
rubber
cherub
dub

Find the "guh" sound in :

girl
goose
tiger
brag
August




"kuh" or "Kh" as in "cream" "king" "steak." : "dh" as in "do" "add" or "good."
Find the 'kuh" sound in"

cure
sticking
think
cream
attic

Find the "dh" sound in:

dean
adding
read
garden
code



"djay" as in "jade" or "jane." : "djee" as in "wedge" or "Jill."
Find the "djay" sound in:

Jake
Jane
jade
Jason
Jada

Find the "djee" sound in:

Jill
jiff
jelly
gee-wizz
seige



"tuh" as in "ten" or "butter." : "th" as in "thin" "forth"
Find the "tuh" sound in:

eat
sitting
Tuscany
water
it

Find the "th" sound in:

thrill
forth
with
Ruth
through



"vh" as in "very" or "Slav." : "ffh" as in "found" or "staff."
Find the "vh" sound in:

veal
river
above
love
Pablov

Find the "fh" sound in:

feel
rift
reef
uplift
thrift



"rh" as in "Robert," "greed," "where." : "nn" as in "green," "Nigeria."
Find the 'rh" sound in:

rah-rah
airy
lair
read
cream

Find the "nn" sound in:

nanny
queen
Gwen
nine
green



"ng" as in "inning," "Ngala," "English." : "sss" as in "system," "Senegal," "Mississippi."
Find the "ng" sound in:

Congo
singing
gong
wrong
think

Find the "sss" sound in:

steel
grease
waste
certain
cent



"zh" as in "jour," "Zhou," "deja vu." : "zzz," "Zulu," "Azizi."
Find the "zh" sound in:

rouge
Asia
deja
Fraisure
seizure

Find the "zzz" sound in:

Zanzibar
greasy
grizzly
rise
gee-wizz



"kss" as in "Xmas," "tax," "exclaim," : "tch" or "chee" as in "Chad," "starch," "choose."
Find the "kss" sound in:

stiks
fix
exactly
tricks
chocs (chocolates)

Find the "tch" sound in:
teach
chill
watch
chin
charity