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International Phonetic Alphabet

The International Phonetic Alphabet (IPA) is an alphabetic system of phonetic notation based primarily on the Latin script. It was devised by the International Phonetic Association in the late 19th century as a standardized representation of speech sounds in written form. The IPA is used by lexicographers, foreign language students and teachers, linguists, speech–language pathologists, singers, actors, constructed language creators, and translators.

The IPA is designed to represent those qualities of speech that are part of lexical (and, to a limited extent, prosodic) sounds in oral language: phones, intonation and the separation of syllables. To represent additional qualities of speech—such as tooth gnashing, lisping, and sounds made with a cleft palate—an extended set of symbols may be used.

Segments are transcribed by one or more IPA symbols of two basic types: letters and diacritics. For example, the sound of the English digraph $⟨ch⟩$ may be transcribed in IPA with a single letter:, or with multiple letters plus diacritics: , depending on how precise one wishes to be. Slashes are used to signal phonemic transcription; therefore, is more abstract than either  or  and might refer to either, depending on the context and language.

Occasionally, letters or diacritics are added, removed, or modified by the International Phonetic Association. As of the most recent change in 2005, there are 107 segmental letters, an indefinitely large number of suprasegmental letters, 44 diacritics (not counting composites), and four extra-lexical prosodic marks in the IPA. These are illustrated in the current IPA chart, posted below in this article and at the website of the IPA.

History
In 1886, a group of French and English language teachers, led by the French linguist Paul Passy, formed what would be known from 1897 onwards as the International Phonetic Association (in French, l'Association phonétique internationale). Their original alphabet was based on a spelling reform for English known as the Romic alphabet, but to make it usable for other languages the values of the symbols were allowed to vary from language to language. For example, the sound (the sh in shoe) was originally represented with the letter $⟨t̠̺͡ʃʰ⟩$ in English, but with the digraph $⟨c⟩$ in French. In 1888, the alphabet was revised to be uniform across languages, thus providing the base for all future revisions. The idea of making the IPA was first suggested by Otto Jespersen in a letter to Passy. It was developed by Alexander John Ellis, Henry Sweet, Daniel Jones, and Passy.

Since its creation, the IPA has undergone a number of revisions. After revisions and expansions from the 1890s to the 1940s, the IPA remained primarily unchanged until the Kiel Convention in 1989. A minor revision took place in 1993 with the addition of four letters for mid central vowels and the removal of letters for voiceless implosives. The alphabet was last revised in May 2005 with the addition of a letter for a labiodental flap. Apart from the addition and removal of symbols, changes to the IPA have consisted largely of renaming symbols and categories and in modifying typefaces.

Extensions to the International Phonetic Alphabet for speech pathology (extIPA) were created in 1990 and were officially adopted by the International Clinical Phonetics and Linguistics Association in 1994.

Description
The general principle of the IPA is to provide one letter for each distinctive sound (speech segment). This means that:
 * It does not normally use combinations of letters to represent single sounds, the way English does with $⟨ch⟩$, $⟨sh⟩$ and $⟨th⟩$, nor single letters to represent multiple sounds, the way $⟨ng⟩$ represents or  in English.
 * There are no letters that have context-dependent sound values, the way $⟨x⟩$ and $⟨c⟩$ in several European languages have a "hard" or "soft" pronunciation.
 * The IPA does not usually have separate letters for two sounds if no known language makes a distinction between them, a property known as "selectiveness". However, if a large number of phonemically distinct letters can be derived with a diacritic, that may be used instead.

The alphabet is designed for transcribing sounds (phones), not phonemes, though it is used for phonemic transcription as well. A few letters that did not indicate specific sounds have been retired (⟨ˇ⟩, once used for the "compound" tone of Swedish and Norwegian, and ⟨ƞ⟩, once used for the moraic nasal of Japanese), though one remains: ⟨ɧ⟩, used for the sj-sound of Swedish. When the IPA is used for phonemic transcription, the letter–sound correspondence can be rather loose. For example, ⟨c⟩ and ⟨ɟ⟩ are used in the IPA Handbook for and.

Among the symbols of the IPA, 107 letters represent consonants and vowels, 31 diacritics are used to modify these, and 17 additional signs indicate suprasegmental qualities such as length, tone, stress, and intonation. These are organized into a chart; the chart displayed here is the official chart as posted at the website of the IPA.

Letter forms
The letters chosen for the IPA are meant to harmonize with the Latin alphabet. For this reason, most letters are either Latin or Greek, or modifications thereof. Some letters are neither: for example, the letter denoting the glottal stop, ⟨ʔ⟩, originally had the form of a question mark with the dot removed. A few letters, such as that of the voiced pharyngeal fricative, ⟨ʕ⟩, were inspired by other writing systems (in this case, the Arabic letter ⟨ﻉ⟩, , via the reversed apostrophe).

Some letter forms derive from existing letters:
 * The right-swinging tail, as in ⟨ʈ ɖ ɳ ɽ ʂ ʐ ɻ ɭ ⟩, indicates retroflex articulation. It originates from the hook of an r.
 * The top hook, as in ⟨ɠ ɗ ɓ⟩, indicates implosion.
 * Several nasal consonants are based on the form ⟨n⟩: ⟨n ɲ ɳ ŋ⟩. ⟨ɲ⟩ and ⟨ŋ⟩ derive from ligatures of gn and ng, and ⟨ɱ⟩ is an ad hoc imitation of ⟨ŋ⟩.
 * Letters turned 180 degrees for suggestive shapes, such as ⟨ɐ ɔ ə ɟ ɥ ɯ ɹ ʌ ʍ ʎ⟩ from ⟨a c e f h m r v w y⟩. Either the original letter may be reminiscent of the target sound (e.g., ⟨ɐ ə ɹ ʍ⟩) or the turned one (e.g., ⟨ɔ ɟ ɥ ɯ ʌ ʎ⟩). Rotation was popular in the era of mechanical typesetting, as it had the advantage of not requiring the casting of special type for IPA symbols, much as the sorts had traditionally often pulled double duty for $⟨g⟩$ and $⟨t d s z n l⟩$, $⟨τ δ ς ζ ν λ⟩$ and $⟨b⟩$, $⟨q⟩$ and $⟨d⟩$, $⟨p⟩$ and $⟨n⟩$ to reduce cost.
 * Turned small cap omega as a vowel.png
 * Among consonant letters, the small capital letters ⟨ɢ ʜ ʟ ɴ ʀ ʁ⟩, and also ⟨ꞯ⟩ in extIPA, indicate more guttural sounds than their base letters. (⟨ʙ⟩ is a late exception.) Among vowel letters, small capitals indicate "lax" vowels. Most of the original small-cap vowel letters have been modified into more distinctive shapes (e.g. ⟨ʊ ɤ ɛ ʌ⟩ from ), with only ⟨ɪ ʏ⟩ remaining as small capitals.

Typography and iconicity
The International Phonetic Alphabet is based on the Latin script, and uses as few non-Latin letters as possible. The Association created the IPA so that the sound values of most letters would correspond to "international usage" (approximately Classical Latin). Hence, the consonant letters ⟨b⟩, ⟨d⟩, ⟨f⟩, ⟨ɡ⟩, ⟨h⟩, ⟨k⟩, ⟨l⟩, ⟨m⟩, ⟨n⟩, ⟨p⟩, ⟨s⟩, ⟨t⟩, ⟨v⟩, ⟨w⟩, and ⟨z⟩ have more or less their word-initial values in English (g as in gill, h as in hill, though p t k are unaspirated as in spill, still, skill); and the vowel letters ⟨a⟩, ⟨e⟩, ⟨i⟩, ⟨o⟩, ⟨u⟩ correspond to the (long) sound values of Latin: is like the vowel in machne,  is as in rle, etc. Other Latin letters, particularly ⟨j⟩, ⟨r⟩ and ⟨y⟩, differ from English, but have their IPA values in Latin or other European languages.

This basic Latin inventory was extended by adding small-capital and cursive forms, diacritics and rotation. The sound values of these letters are related to those of the original letters, and their derivation may be iconic. For example, letters with a rightward-facing hook at the bottom represent retroflex equivalents of the source letters, and small capital letters usually represent uvular equivalents of their source letters.

There are also several letters from the Greek alphabet, though their sound values may differ from Greek. For most Greek letters, subtly different glyph shapes have been devised for the IPA, specifically ⟨ɑ⟩, ⟨ꞵ⟩, ⟨ɣ⟩, ⟨ɛ⟩, ⟨ɸ⟩, ⟨ꭓ⟩ and ⟨ʋ⟩, which are encoded in Unicode separately from their parent Greek letters. One, however – ⟨θ⟩ – has only its Greek form, while for ⟨ꞵ ~ β⟩ and ⟨ꭓ ~ χ⟩, both Greek and Latin forms are in common use. The tone letters are not derived from an alphabet, but from a pitch trace on a musical scale.

Beyond the letters themselves, there are a variety of secondary symbols which aid in transcription. Diacritic marks can be combined with IPA letters to add phonetic detail such as tone and secondary articulations. There are also special symbols for prosodic features such as stress and intonation.

Brackets and transcription delimiters
There are two principal types of brackets used to set off (delimit) IPA transcriptions:

Less common conventions include:

All three of the above are provided by the IPA Handbook. The following are not, but may be seen in IPA transcription or in associated material (especially angle brackets):

Some examples of contrasting brackets in the literature: "In some English accents, the phoneme, which is usually spelled as $⟨u⟩$ or $⟨6⟩$, is articulated as two distinct allophones: the clear occurs before vowels and the consonant, whereas the dark / occurs before consonants, except , and at the end of words."

"the alternations – in plural formation in one class of nouns, as in knife  – knives, which can be represented morphophonemically as  – . The morphophoneme  stands for the phoneme set."

"— f-finals held in Barcelona and Madrid."

Other representations
IPA letters have cursive forms designed for use in manuscripts and when taking field notes, but the Handbook recommended against their use, as cursive IPA is "harder for most people to decipher." A braille representation of the IPA for blind or visually impaired professionals and students has also been developed.

Modifying the IPA chart
The International Phonetic Alphabet is occasionally modified by the Association. After each modification, the Association provides an updated simplified presentation of the alphabet in the form of a chart. (See History of the IPA.) Not all aspects of the alphabet can be accommodated in a chart of the size published by the IPA. The alveolo-palatal and epiglottal consonants, for example, are not included in the consonant chart for reasons of space rather than of theory (two additional columns would be required, one between the retroflex and palatal columns and the other between the pharyngeal and glottal columns), and the lateral flap would require an additional row for that single consonant, so they are listed instead under the catchall block of "other symbols". The indefinitely large number of tone letters would make a full accounting impractical even on a larger page, and only a few examples are shown, and even the tone diacritics are not complete; the reversed tone letters are not illustrated at all.

The procedure for modifying the alphabet or the chart is to propose the change in the Journal of the IPA. (See, for example, December 2008 on an open central unrounded vowel and August 2011 on central approximants.) Reactions to the proposal may be published in the same or subsequent issues of the Journal (as in August 2009 on the open central vowel). A formal proposal is then put to the Council of the IPA – which is elected by the membership – for further discussion and a formal vote.

Many users of the alphabet, including the leadership of the Association itself, deviate from its standardized usage. The Journal of the IPA finds it acceptable to mix IPA and extIPA symbols in consonant charts in their articles. (For instance, including the extIPA letter ⟨𝼆⟩, rather than ⟨ʎ̝̊⟩, in an illustration of the IPA.)

Usage
Of more than 160 IPA symbols, relatively few will be used to transcribe speech in any one language, with various levels of precision. A precise phonetic transcription, in which sounds are specified in detail, is known as a narrow transcription. A coarser transcription with less detail is called a broad transcription. Both are relative terms, and both are generally enclosed in square brackets. Broad phonetic transcriptions may restrict themselves to easily heard details, or only to details that are relevant to the discussion at hand, and may differ little if at all from phonemic transcriptions, but they make no theoretical claim that all the distinctions transcribed are necessarily meaningful in the language.

For example, the English word little may be transcribed broadly as, approximately describing many pronunciations. A narrower transcription may focus on individual or dialectical details: in General American,  in Cockney, or  in Southern US English.

Phonemic transcriptions, which express the conceptual counterparts of spoken sounds, are usually enclosed in slashes (/ /) and tend to use simpler letters with few diacritics. The choice of IPA letters may reflect theoretical claims of how speakers conceptualize sounds as phonemes or they may be merely a convenience for typesetting. Phonemic approximations between slashes do not have absolute sound values. For instance, in English, either the vowel of pick or the vowel of peak may be transcribed as, so that pick, peak would be transcribed as or as ; and neither is identical to the vowel of the French pique which would also be transcribed. By contrast, a narrow phonetic transcription of pick, peak, pique could be:, ,.

Linguists
IPA is popular for transcription by linguists. Some American linguists, however, use a mix of IPA with Americanist phonetic notation or Sinological phonetic notation or otherwise use nonstandard symbols for various reasons. Authors who employ such nonstandard use are encouraged to include a chart or other explanation of their choices, which is good practice in general, as linguists differ in their understanding of the exact meaning of IPA symbols and common conventions change over time.

English
Many British dictionaries, including the Oxford English Dictionary and some learner's dictionaries such as the Oxford Advanced Learner's Dictionary and the Cambridge Advanced Learner's Dictionary, now use the International Phonetic Alphabet to represent the pronunciation of words. However, most American (and some British) volumes use one of a variety of pronunciation respelling systems, intended to be more comfortable for readers of English and to be more acceptable across dialects, without the implication of a preferred pronunciation that the IPA might convey. For example, the respelling systems in many American dictionaries (such as Merriam-Webster) use $⟨9⟩$ for IPA and $⟨ꭥ⟩$ for IPA, reflecting the usual spelling of those sounds in English. (In IPA, represents the sound of the French $⟨ᴜ⟩$, as in tu, and  represents the sequence of consonants in graopper.)

Other languages
The IPA is also not universal among dictionaries in languages other than English. Monolingual dictionaries of languages with phonemic orthographies generally do not bother with indicating the pronunciation of most words, and tend to use respelling systems for words with unexpected pronunciations. Dictionaries produced in Israel use the IPA rarely and sometimes use the Hebrew alphabet for transcription of foreign words. Bilingual dictionaries that translate from foreign languages into Russian usually employ the IPA, but monolingual Russian dictionaries occasionally use pronunciation respelling for foreign words. The IPA is more common in bilingual dictionaries, but there are exceptions here too. Mass-market bilingual Czech dictionaries, for instance, tend to use the IPA only for sounds not found in Czech.

Standard orthographies and case variants
IPA letters have been incorporated into the alphabets of various languages, notably via the Africa Alphabet in many sub-Saharan languages such as Hausa, Fula, Akan, Gbe languages, Manding languages, Lingala, etc. Capital case variants have been created for use in these languages. For example, Kabiyè of northern Togo has Ɖ ɖ, Ŋ ŋ, Ɣ ɣ, Ɔ ɔ, Ɛ ɛ, Ʋ|Ʋ ʋ. These, and others, are supported by Unicode, but appear in Latin ranges other than the IPA extensions.

In the IPA itself, however, only lower-case letters are used. The 1949 edition of the IPA handbook indicated that an asterisk $⟨a⟩$ might be prefixed to indicate that a word was a proper name, but this convention was not included in the 1999 Handbook, which notes the contrary use of the asterisk as a placeholder for a sound or feature that does not have a symbol.

Classical singing
The IPA has widespread use among classical singers during preparation as they are frequently required to sing in a variety of foreign languages. They are also taught by vocal coaches to perfect diction and improve tone quality and tuning. Opera librettos are authoritatively transcribed in IPA, such as Nico Castel's volumes and Timothy Cheek's book Singing in Czech. Opera singers' ability to read IPA was used by the site Visual Thesaurus, which employed several opera singers "to make recordings for the 150,000 words and phrases in VT's lexical database ... for their vocal stamina, attention to the details of enunciation, and most of all, knowledge of IPA".

Letters
The International Phonetic Association organizes the letters of the IPA into three categories: pulmonic consonants, non-pulmonic consonants, and vowels.

Pulmonic consonant letters are arranged singly or in pairs of voiceless (tenuis) and voiced sounds, with these then grouped in columns from front (labial) sounds on the left to back (glottal) sounds on the right. In official publications by the IPA, two columns are omitted to save space, with the letters listed among "other symbols" even though theoretically they belong in the main chart. They are arranged in rows from full closure (occlusives: stops and nasals) at top, to brief closure (vibrants: trills and taps), to partial closure (fricatives), and finally minimal closure (approximants) at bottom, again with a row left out to save space. In the table below, a slightly different arrangement is made: All pulmonic consonants are included in the pulmonic-consonant table, and the vibrants and laterals are separated out so that the rows reflect the common lenition pathway of stop → fricative → approximant, as well as the fact that several letters pull double duty as both fricative and approximant; affricates may then be created by joining stops and fricatives from adjacent cells. Shaded cells represent articulations that are judged to be impossible or not distinctive.

Vowel letters are also grouped in pairs—of unrounded and rounded vowel sounds—with these pairs also arranged from front on the left to back on the right, and from maximal closure at top to minimal closure at bottom. No vowel letters are omitted from the chart, though in the past some of the mid central vowels were listed among the "other symbols".

Pulmonic consonants
A pulmonic consonant is a consonant made by obstructing the glottis (the space between the vocal folds) or oral cavity (the mouth) and either simultaneously or subsequently letting out air from the lungs. Pulmonic consonants make up the majority of consonants in the IPA, as well as in human language. All consonants in English fall into this category.

The pulmonic consonant table, which includes most consonants, is arranged in rows that designate manner of articulation, meaning how the consonant is produced, and columns that designate place of articulation, meaning where in the vocal tract the consonant is produced. The main chart includes only consonants with a single place of articulation.

Notes
 * In rows where some letters appear in pairs (the obstruents), the letter to the right represents a voiced consonant (except breathy-voiced ). In the other rows (the sonorants), the single letter represents a voiced consonant.
 * While IPA provides a single letter for the coronal places of articulation (for all consonants but fricatives), these do not always have to be used exactly. When dealing with a particular language, the letters may be treated as specifically dental, alveolar, or post-alveolar, as appropriate for that language, without diacritics.
 * Shaded areas indicate articulations judged to be impossible.
 * The letters are canonically voiced fricatives but may be used for approximants.
 * In many languages, such as English, and  are not actually glottal, fricatives, or approximants. Rather, they are bare phonation.
 * It is primarily the shape of the tongue rather than its position that distinguishes the fricatives, , and.
 * are defined as epiglottal fricatives under the "Other symbols" section in the official IPA chart, but they may be treated as trills at the same place of articulation as because trilling of the aryepiglottic folds typically co-occurs.
 * Some listed phones are not known to exist as phonemes in any language.

Non-pulmonic consonants
Non-pulmonic consonants are sounds whose airflow is not dependent on the lungs. These include clicks (found in the Khoisan languages and some neighboring Bantu languages of Africa), implosives (found in languages such as Sindhi, Hausa, Swahili and Vietnamese), and ejectives (found in many Amerindian and Caucasian languages).

Notes
 * Clicks have traditionally been described as consisting of a forward place of articulation, commonly called the click "type" or historically the "influx", and a rear place of articulation, which when combined with the quality of the click is commonly called the click "accompaniment" or historically the "efflux". The IPA click letters indicate only the click type (forward articulation and release). Therefore, all clicks require two letters for proper notation: ⟨k͡ǀ, ɡ͡ǀ, q͡ǀ⟩, etc., or with the order reversed if both the forward and rear releases are audible. The letter for the rear articulation is frequently omitted, in which case a ⟨k⟩ may usually be assumed. However, some researchers dispute the idea that clicks should be analyzed as doubly articulated, as the traditional transcription implies, and analyze the rear occlusion as solely a part of the airstream mechanism. In transcriptions of such approaches, the click letter represents both places of articulation, with the different letters representing the different click types, and diacritics are used for the elements of the accompaniment: ⟨ǀ, ǀ̬, ǀ̃⟩, etc.
 * Letters for the voiceless implosives ⟨ƥ, ƭ, ƈ, ƙ, ʠ⟩ are no longer supported by the IPA, though they remain in Unicode. Instead, the IPA typically uses the voiced equivalent with a voiceless diacritic: ⟨ɓ̥, ɗ̥⟩, etc..
 * The letter for the retroflex implosive, ⟨ᶑ⟩, is not "explicitly IPA approved", but has the expected form if such a symbol were to be approved.
 * The ejective diacritic is placed at the right-hand margin of the consonant, rather than immediately after the letter for the stop: ⟨t͜ʃʼ⟩, ⟨kʷʼ⟩. In imprecise transcription, it often stands in for a superscript glottal stop in glottalized but pulmonic sonorants, such as, , , (also transcribable as creaky , , , ).

Affricates
Affricates and co-articulated stops are represented by two letters joined by a tie bar, either above or below the letters with no difference in meaning. Affricates are optionally represented by ligatures (e.g. ⟨ʧ, ʤ ⟩), though this is no longer official IPA usage because a great number of ligatures would be required to represent all affricates this way. Alternatively, a superscript notation for a consonant release is sometimes used to transcribe affricates, for example ⟨tˢ⟩ for, paralleling ~. The letters for the palatal plosives ⟨c⟩ and ⟨ɟ⟩ are often used as a convenience for and  or similar affricates, even in official IPA publications, so they must be interpreted with care.

Co-articulated consonants
Co-articulated consonants are sounds that involve two simultaneous places of articulation (are pronounced using two parts of the vocal tract). In English, the in "went" is a coarticulated consonant, being pronounced by rounding the lips and raising the back of the tongue. Similar sounds are and. In some languages, plosives can be double-articulated, for example in the name of Laurent Gbagbo.

Notes
 * , the Swedish sj-sound, is described by the IPA as a "simultaneous and ", but it is unlikely such a simultaneous fricative actually exists in any language.
 * Multiple tie bars can be used: ⟨a͡b͡c⟩ or ⟨a͜b͜c⟩. For instance, a pre-voiced velar affricate may be transcribed as ⟨g͡k͡x⟩
 * If a diacritic needs to be placed on or under a tie bar, the combining grapheme joiner (U+034F) needs to be used, as in 'chewed' (Margi). Font support is spotty, however.

Vowels

The IPA defines a vowel as a sound which occurs at a syllable center. Below is a chart depicting the vowels of the IPA. The IPA maps the vowels according to the position of the tongue.

The vertical axis of the chart is mapped by vowel height. Vowels pronounced with the tongue lowered are at the bottom, and vowels pronounced with the tongue raised are at the top. For example, (the first vowel in father) is at the bottom because the tongue is lowered in this position. (the vowel in "meet") is at the top because the sound is said with the tongue raised to the roof of the mouth.

In a similar fashion, the horizontal axis of the chart is determined by vowel backness. Vowels with the tongue moved towards the front of the mouth (such as, the vowel in "met") are to the left in the chart, while those in which it is moved to the back (such as , the vowel in "but") are placed to the right in the chart.

In places where vowels are paired, the right represents a rounded vowel (in which the lips are rounded) while the left is its unrounded counterpart.

Diphthongs
Diphthongs are typically specified with a non-syllabic diacritic, as in ⟨ui̯⟩ or ⟨u̯i⟩, or with a superscript for the on- or off-glide, as in ⟨uⁱ⟩ or ⟨ᵘi⟩. Sometimes a tie bar is used: ⟨u͜i⟩, especially when it is difficult to tell if the diphthong is characterized by an on-glide or an off-glide or when it is variable.

Notes
 * ⟨a⟩ officially represents a front vowel, but there is little if any distinction between front and central open vowels (see ), and ⟨a⟩ is frequently used for an open central vowel. If disambiguation is required, the retraction diacritic or the centralized diacritic may be added to indicate an open central vowel, as in ⟨a̠⟩ or ⟨ä⟩.

Diacritics and prosodic notation
Diacritics are used for phonetic detail. They are added to IPA letters to indicate a modification or specification of that letter's normal pronunciation.

By being made superscript, any IPA letter may function as a diacritic, conferring elements of its articulation to the base letter. Those superscript letters listed below are specifically provided for by the IPA Handbook; other uses can be illustrated with ⟨tˢ⟩ ( with fricative release), ⟨ᵗs⟩ ( with affricate onset), ⟨ⁿd⟩ (prenasalized ), ⟨bʱ⟩ ( with breathy voice), ⟨mˀ⟩ (glottalized ), ⟨sᶴ⟩ ( with a flavor of, i.e. a voiceless alveolar retracted sibilant), ⟨oᶷ⟩ ( with diphthongization), ⟨ɯᵝ⟩ (compressed ). Superscript diacritics placed after a letter are ambiguous between simultaneous modification of the sound and phonetic detail at the end of the sound. For example, labialized ⟨kʷ⟩ may mean either simultaneous and  or else  with a labialized release. Superscript diacritics placed before a letter, on the other hand, normally indicate a modification of the onset of the sound (⟨mˀ⟩ glottalized, ⟨ˀm⟩ with a glottal onset). (See .)

Notes:

Subdiacritics (diacritics normally placed below a letter) may be moved above a letter to avoid conflict with a descender, as in voiceless ⟨ŋ̊⟩. The raising and lowering diacritics have optional spacing forms ⟨˔⟩, ⟨˕⟩ that avoid descenders.

The state of the glottis can be finely transcribed with diacritics. A series of alveolar plosives ranging from open-glottis to closed-glottis phonation is:

Additional diacritics are provided by the Extensions to the IPA for speech pathology.

Suprasegmentals
These symbols describe the features of a language above the level of individual consonants and vowels, that is, at the level of syllable, word or phrase. These include prosody, pitch, length, stress, intensity, tone and gemination of the sounds of a language, as well as the rhythm and intonation of speech. Various ligatures of pitch/tone letters and diacritics are provided for by the Kiel Convention and used in the IPA Handbook despite not being found in the summary of the IPA alphabet found on the one-page chart.

Under capital letters below we will see how a carrier letter may be used to indicate suprasegmental features such as labialization or nasalization. Some authors omit the carrier letter, for e.g. suffixed or prefixed, or place a spacing variant of a diacritic such as ⟨˔⟩ or ⟨˜⟩ at the beginning or end of a word to indicate that it applies to the entire word.

Notes:

The old staveless tone letters, which are effectively obsolete, include high ⟨ˉe⟩, mid ⟨˗e⟩, low ⟨ˍe⟩, rising ⟨ˊe⟩, falling ⟨ˋe⟩, low rising ⟨ˏe⟩ and low falling ⟨ˎe⟩.

Stress
Officially, the stress marks ⟨ˈ ˌ⟩ appear before the stressed syllable, and thus mark the syllable boundary as well as stress (though the syllable boundary may still be explicitly marked with a period). Occasionally the stress mark is placed immediately before the nucleus of the syllable, after any consonantal onset. In such transcriptions, the stress mark does not mark a syllable boundary. The primary stress mark may be doubled ⟨ˈˈ⟩ for extra stress (such as prosodic stress). The secondary stress mark is sometimes seen doubled ⟨ˌˌ⟩ for extra-weak stress, but this convention has not been adopted by the IPA. Some dictionaries place both stress marks before a syllable, ⟨¦⟩, to indicate that pronunciations with either primary or secondary stress are heard, though this is not IPA usage.

Boundary markers
There are three boundary markers: ⟨.⟩ for a syllable break, ⟨⟩ for a minor prosodic break and ⟨‖⟩ for a major prosodic break. The tags 'minor' and 'major' are intentionally ambiguous. Depending on need, 'minor' may vary from a foot break to a break in list-intonation to a continuing–prosodic unit boundary (equivalent to a comma), and while 'major' is often any intonation break, it may be restricted to a final–prosodic unit boundary (equivalent to a period). The 'major' symbol may also be doubled, ⟨‖‖⟩, for a stronger break.

Although not part of the IPA, the following additional boundary markers are often used in conjunction with the IPA: ⟨μ⟩ for a mora or mora boundary, ⟨σ⟩ for a syllable or syllable boundary, ⟨+⟩ for a morpheme boundary, ⟨#⟩ for a word boundary (may be doubled, ⟨##⟩, for e.g. a breath-group boundary), ⟨$⟩ for a phrase or intermediate boundary and ⟨%⟩ for a prosodic boundary. For example, C# is a word-final consonant, %V a post-pausa vowel, and σC a syllable-initial consonant.

Pitch and tone
⟨ꜛ ꜜ⟩ are defined in the Handbook as "upstep" and "downstep", concepts from tonal languages. However, the upstep symbol can also be used for pitch reset, and the IPA Handbook uses it for prosody in the illustration for Portuguese, a non-tonal language.

Phonetic pitch and phonemic tone may be indicated by either diacritics placed over the nucleus of the syllable (e.g., high-pitch ⟨é⟩) or by Chao tone letters placed either before or after the word or syllable. There are three graphic variants of the tone letters: with or without a stave, and facing left or facing right from the stave. The stave was introduced with the 1989 Kiel Convention, as was the option of placing a staved letter after the word or syllable, while retaining the older conventions. There are therefore six ways to transcribe pitch/tone in the IPA: i.e., ⟨é⟩, ⟨˦e⟩, ⟨e˦⟩, ⟨꜓e⟩, ⟨e꜓⟩ and ⟨ˉe⟩ for a high pitch/tone. Of the tone letters, only left-facing staved letters and a few representative combinations are shown in the summary on the Chart, and in practice it is currently more common for tone letters to occur after the syllable/word than before, as in the Chao tradition. Placement before the word is a carry-over from the pre-Kiel IPA convention, as is still the case for the stress and upstep/downstep marks. The IPA endorses the Chao tradition of using the left-facing tone letters, ⟨˥ ˦ ˧ ˨ ˩⟩, for underlying tone, and the right-facing letters, ⟨꜒ ꜓ ꜔ ꜕ ꜖⟩, for surface tone, as occurs in tone sandhi, and for the intonation of non-tonal languages. In the Portuguese illustration in the 1999 Handbook, tone letters are placed before a word or syllable to indicate prosodic pitch (equivalent to global rise and  global fall, but allowing more precision), and in the Cantonese illustration they are placed after a word/syllable to indicate lexical tone. Theoretically therefore prosodic pitch and lexical tone could be simultaneously transcribed in a single text, though this is not a formalized distinction.

Rising and falling pitch, as in contour tones, are indicated by combining the pitch diacritics and letters in the table, such as grave plus acute for rising and acute plus grave for falling. Only six combinations of two diacritics are supported, and only across three levels (high, mid, low), despite the diacritics supporting five levels of pitch in isolation. The four other explicitly approved rising and falling diacritic combinations are high/mid rising, low rising , high falling , and low/mid falling.

The Chao tone letters, on the other hand, may be combined in any pattern, and are therefore used for more complex contours and finer distinctions than the diacritics allow, such as mid-rising, extra-high falling , etc. There are 20 such possibilities. However, in Chao's original proposal, which was adopted by the IPA in 1989, he stipulated that the half-high and half-low letters ⟨˦ ˨⟩ may be combined with each other, but not with the other three tone letters, so as not to create spuriously precise distinctions. With this restriction, there are 8 possibilities.

The old staveless tone letters tend to be more restricted than the staved letters, though not as restricted as the diacritics. Officially, they support as many distinctions as the staved letters, but typically only three pitch levels are distinguished. Unicode supports default or high-pitch ⟨ˉ ˊ ˋ ˆ ˇ ˜ ˙⟩ and low-pitch ⟨ˍ ˏ ˎ ꞈ ˬ ˷⟩. Only a few mid-pitch tones are supported (such as ⟨˗ ˴⟩), and then only accidentally.

Although tone diacritics and tone letters are presented as equivalent on the chart, "this was done only to simplify the layout of the chart. The two sets of symbols are not comparable in this way." Using diacritics, a high tone is ⟨é⟩ and a low tone is ⟨è⟩; in tone letters, these are ⟨e˥⟩ and ⟨e˩⟩. One can double the diacritics for extra-high ⟨e̋⟩ and extra-low ⟨ȅ⟩; there is no parallel to this using tone letters. Instead, tone letters have mid-high ⟨e˦⟩ and mid-low ⟨e˨⟩; again, there is no equivalent among the diacritics. Thus in a three-register tone system, ⟨é ē è⟩ are equivalent to ⟨e˥ e˧ e˩⟩, while in a four-register system, ⟨e̋ é è ȅ⟩ may be equivalent to ⟨e˥ e˦ e˨ e˩⟩.

The correspondence breaks down even further once they start combining. For more complex tones, one may combine three or four tone diacritics in any permutation, though in practice only generic peaking (rising-falling) and dipping (falling-rising)  combinations are used. Chao tone letters are required for finer detail (, etc.). Although only 10 peaking and dipping tones were proposed in Chao's original, limited set of tone letters, phoneticians often make finer distinctions, and indeed an example is found on the IPA Chart. The system allows the transcription of 112 peaking and dipping pitch contours, including tones that are level for part of their length.

More complex contours are possible. Chao gave an example of (mid-high-low-mid) from English prosody.

Chao tone letters generally appear after each syllable, for a language with syllable tone (⟨a˧vɔ˥˩⟩), or after the phonological word, for a language with word tone (⟨avɔ˧˥˩⟩). The IPA gives the option of placing the tone letters before the word or syllable (⟨˧a˥˩vɔ⟩, ⟨˧˥˩avɔ⟩), but this is rare for lexical tone. (And indeed reversed tone letters may be used to clarify that they apply to the following rather than to the preceding syllable: ⟨꜔a꜒꜖vɔ⟩, ⟨꜔꜒꜖avɔ⟩.) The staveless letters are not directly supported by Unicode, but some fonts allow the stave in Chao tone letters to be suppressed.

Comparative degree
IPA diacritics may be doubled to indicate an extra degree (greater intensity) of the feature indicated. This is a productive process, but apart from extra-high and extra-low tones being marked by doubled high- and low-tone diacritics, ⟨ə̋, ə̏⟩, the major prosodic break ⟨‖⟩ being marked as a doubled minor break ⟨⟩, and a couple other instances, such usage is not enumerated by the IPA.

For example, the stress mark may be doubled (or even tripled, etc.) to indicate an extra degree of stress, such as prosodic stress in English. An example in French, with a single stress mark for normal prosodic stress at the end of each prosodic unit (marked as a minor prosodic break), and a double or even triple stress mark for contrastive/emphatic stress: Entrez monsieur, voilà madame. Similarly, a doubled secondary stress mark ⟨ˌˌ⟩ is commonly used for tertiary (extra-light) stress, though a proposal to officially adopt this was rejected. In a similar vein, the effectively obsolete staveless tone letters were once doubled for an emphatic rising intonation ⟨˶⟩ and an emphatic falling intonation ⟨˵⟩.

Length is commonly extended by repeating the length mark, which may be phonetic, as in etc., as in English shhh!, or phonemic, as in the "overlong" segments of Estonian: (Normally additional phonemic degrees of length are handled by the extra-short or half-long diacritic, i.e. ⟨e eˑ eː⟩ or, but the first two words in each of the Estonian examples are analyzed as typically short and long, and , requiring a different remedy for the additional words.)
 * vere 'blood [gen.sg.]', veere  'edge [gen.sg.]', veere  'roll [imp. 2nd sg.]'
 * lina 'sheet', linna  'town [gen. sg.]', linna  'town [ine. sg.]'

Delimiters are similar: double slashes indicate extra phonemic (morpho-phonemic), double square brackets especially precise transcription, and double parentheses especially unintelligible.

Occasionally other diacritics are doubled:
 * Rhoticity in Badaga "mouth",  "bangle", and  "crop".
 * Mild and strong aspiration,,.
 * Nasalization, as in Palantla Chinantec lightly nasalized vs heavily nasalized, though some care can be needed to distinguish this from the extIPA diacritic for velopharyngeal frication in disordered speech, , which has also been analyzed as extreme nasalization.
 * Weak vs strong ejectives,,.
 * Especially lowered, e.g. (or, if the former symbol does not display properly) for  as a weak fricative in some pronunciations of register.
 * Especially retracted, e.g. or, though some care might be needed to distinguish this from indications of alveolar or alveolarized articulation in extIPA, e.g..
 * Especially guttural, e.g. (velarized l),  (pharyngealized l).
 * The transcription of strident and harsh voice as extra-creaky may be motivated by the similarities of these phonations.

The extIPA provides combining parentheses for weak intensity, which when combined with a doubled diacritic indicate an intermediate degree. For instance, increasing degrees of nasalization of the vowel might be written ⟨e ẽ᪻ ẽ ẽ̃᪻ ẽ̃⟩.

Ambiguous letters
A number of IPA letters are not consistently used for their official values. A distinction between voiced fricatives and approximants is only partially implemented by the IPA, for example. Even with the relatively recent addition of the palatal fricative ⟨ʝ⟩ and the velar approximant ⟨ɰ⟩ to the alphabet, other letters, though defined as fricatives, are often ambiguous between fricative and approximant. For forward places, ⟨β⟩ and ⟨ð⟩ can generally be assumed to be fricatives unless they carry a lowering diacritic. Rearward, however, ⟨ʁ⟩ and ⟨ʕ⟩ are perhaps more commonly intended to be approximants even without a lowering diacritic. ⟨h⟩ and ⟨ɦ⟩ are similarly either fricatives or approximants, depending on the language, or even glottal "transitions", without that often being specified in the transcription.

Another common ambiguity is among the letters for palatal consonants. ⟨c⟩ and ⟨ɟ⟩ are not uncommonly used as a typographic convenience for affricates, typically and, while ⟨ɲ⟩ and ⟨ʎ⟩ are commonly used for palatalized alveolar  and. To some extent this may be an effect of analysis, but it is common to match up single IPA letters to the phonemes of a language, without overly worrying about phonetic precision.

It has been argued that the lower-pharyngeal (epiglottal) fricatives ⟨ʜ⟩ and ⟨ʢ⟩ are better characterized as trills, rather than as fricatives that have incidental trilling. This has the advantage of merging the upper-pharyngeal fricatives together with the epiglottal plosive  and trills  into a single pharyngeal column in the consonant chart. However, in Shilha Berber the epiglottal fricatives are not trilled. Although they might be transcribed ⟨ħ̠ ʢ̠⟩ to indicate this, the far more common transcription is ⟨ʜ ʢ⟩, which is therefore ambiguous between languages.

Among vowels, ⟨a⟩ is officially a front vowel, but is more commonly treated as a central vowel. The difference, to the extent it is even possible, is not phonemic in any language.

For all phonetic notation, it is good practice for an author to specify exactly what they mean by the symbols that they use.

Superscript letters
Superscript IPA letters are used to indicate secondary aspects of articulation. These may be aspects of simultaneous articulation that are considered to be in some sense less dominant than the basic sound, or may be transitional articulations that are interpreted as secondary elements. Examples include secondary articulation; onsets, releases and other transitions; shades of sound; light epenthetic sounds and incompletely articulated sounds. The IPA and ICPLA endorse Unicode encoding of superscript variants of all contemporary segmental letters, including the "implicit" IPA retroflex letters ⟨ꞎ 𝼅 𝼈 ᶑ 𝼊 ⟩.

Superscript letters can be meaningfully modified by combining diacritics, just as baseline letters can. For example, a superscript dental nasal in ⟨ⁿ̪d̪⟩, a superscript voiceless velar nasal in ⟨ᵑ̊ǂ⟩, and labial-velar prenasalization in ⟨ᵑ͡ᵐɡ͡b⟩. Although the diacritic may seem a bit oversized compared to the superscript letter it modifies, e.g. ⟨ᵓ̃⟩, this can be an aid to legibility, just as it is with the composite superscript c-cedilla ⟨ᶜ̧⟩ and rhotic vowels ⟨ᵊ˞ ᶟ˞⟩. Superscript length marks can be used to indicate the length of aspiration of a consonant, e.g. . Another option is to use extIPA parentheses and a doubled diacritic: ⟨p⁽ʰ⁾ tʰ kʰʰ⟩.

Obsolete and nonstandard symbols
A number of IPA letters and diacritics have been retired or replaced over the years. This number includes duplicate symbols, symbols that were replaced due to user preference, and unitary symbols that were rendered with diacritics or digraphs to reduce the inventory of the IPA. The rejected symbols are now considered obsolete, though some are still seen in the literature.

The IPA once had several pairs of duplicate symbols from alternative proposals, but eventually settled on one or the other. An example is the vowel letter ⟨ɷ⟩, rejected in favor of ⟨ʊ⟩. Affricates were once transcribed with ligatures, such as ⟨ʧ ʤ ⟩ (and others, some of which not found in Unicode). These have been officially retired but are still used. Letters for specific combinations of primary and secondary articulation have also been mostly retired, with the idea that such features should be indicated with tie bars or diacritics: ⟨ƍ⟩ for is one. In addition, the rare voiceless implosives, ⟨ƥ ƭ ƈ ƙ ʠ ⟩, were dropped soon after their introduction and are now usually written ⟨ɓ̥ ɗ̥ ʄ̊ ɠ̊ ʛ̥ ⟩. The original set of click letters, ⟨ʇ, ʗ, ʖ, ʞ⟩, was retired but is still sometimes seen, as the current pipe letters ⟨ǀ, ǃ, ǁ, ǂ⟩ can cause problems with legibility, especially when used with brackets ([ ] or / /), the letter ⟨l⟩ (small L), or the prosodic marks ⟨⟩. (For this reason, some publications which use the current IPA pipe letters disallow IPA brackets.)

Individual non-IPA letters may find their way into publications that otherwise use the standard IPA. This is especially common with:
 * Affricates, such as the Americanist barred lambda ⟨ƛ⟩ for or ⟨č⟩ for.
 * The Karlgren letters for Chinese vowels, ⟨ɿ, ʅ , ʮ, ʯ ⟩.
 * Digits for tonal phonemes that have conventional numbers in a local tradition, such as the four tones of Standard Chinese. This may be more convenient for comparison between related languages and dialects than a phonetic transcription would be, because tones vary more unpredictably than segmental phonemes do.
 * Digits for tone levels, which are simpler to typeset, though the lack of standardization can cause confusion (e.g. ⟨1⟩ is high tone in some languages but low tone in others; ⟨3⟩ may be high, medium or low tone, depending on the local convention).
 * Iconic extensions of standard IPA letters that are implicit in the alphabet, such as retroflex ⟨ᶑ ⟩ and ⟨ꞎ ⟩. These are referred to in the Handbook and have been included in Unicode at IPA request.
 * Even presidents of the IPA have used para-IPA notation, such as resurrecting the old diacritic ⟨◌̫⟩ for purely labialized sounds (not simultaneously velarized), the lateral fricative letter ⟨ꞎ ⟩, and either the old dot diacritic ⟨ṣ ẓ⟩ or the novel letters ⟨ ᶘ ᶚ⟩ for the not-quite-retroflex fricatives of Polish sz, ż and of Russian ш ж.

In addition, it is common to see ad hoc typewriter substitutions, generally capital letters, for when IPA support is not available, e.g. S for ⟨ ʃ ⟩. (See also SAMPA and X-SAMPA substitute notation.)

Extensions
The Extensions to the International Phonetic Alphabet for Disordered Speech, commonly abbreviated "extIPA" and sometimes called "Extended IPA", are symbols whose original purpose was to accurately transcribe disordered speech. At the Kiel Convention in 1989, a group of linguists drew up the initial extensions, which were based on the previous work of the PRDS (Phonetic Representation of Disordered Speech) Group in the early 1980s. The extensions were first published in 1990, then modified, and published again in 1994 in the Journal of the International Phonetic Association, when they were officially adopted by the ICPLA. While the original purpose was to transcribe disordered speech, linguists have used the extensions to designate a number of sounds within standard communication, such as hushing, gnashing teeth, and smacking lips, as well as regular lexical sounds such as lateral fricatives that do not have standard IPA symbols.

In addition to the Extensions to the IPA for disordered speech, there are the conventions of the Voice Quality Symbols, which include a number of symbols for additional airstream mechanisms and secondary articulations in what they call "voice quality".

Associated notation
Capital letters and various characters on the number row of the keyboard are commonly used to extend the alphabet in various ways.

Associated symbols
There are various punctuation-like conventions for linguistic transcription that are commonly used together with IPA. Some of the more common are:

 * (a) A reconstructed form.
 * (b) An ungrammatical form (including an unphonemic form).
 * (b) An ungrammatical form (including an unphonemic form).

 * (a) A reconstructed form, deeper (more ancient) than a single $⟨l⟩$, used when reconstructing even further back from already-starred forms.
 * (b) An ungrammatical form. A less common convention than $⟨ll⟩$ (b), this is sometimes used when reconstructed and ungrammatical forms occur in the same text.
 * (b) An ungrammatical form. A less common convention than $⟨/c/⟩$ (b), this is sometimes used when reconstructed and ungrammatical forms occur in the same text.

 * $⟨y⟩$: An ungrammatical form. A less common convention than $⟨sh⟩$ (b), this is sometimes used when reconstructed and ungrammatical forms occur in the same text.

 * $⟨u⟩$: A doubtfully grammatical form.

 * $⟨⟩$: A generalized form, such as a typical shape of a wanderwort that has not actually been reconstructed.

 * $⟨е⟩$: A word boundary – e.g. $⟨н⟩$ for a word-initial vowel.

 * $⟨*⟩$: A phonological word boundary; e.g. $⟨*⟩$ for a high tone that occurs in such a position.

 * $⟨**⟩$: The location of a segment – e.g. $⟨*⟩$ for an intervocalic position, or $⟨*⟩$ for word-final position.

Capital letters
Full capital letters are not used as IPA symbols, except as typewriter substitutes (e.g. N for ⟨ŋ⟩, S for ⟨ ʃ ⟩, O for ⟨ɔ⟩ – see SAMPA). They are, however, often used in conjunction with the IPA in two cases:
 * 1) for (archi)phonemes and for natural classes of sounds (that is, as wildcards). The extIPA chart, for example, uses capital letters as wildcards in its illustrations.
 * 2) as carrying letters for the Voice Quality Symbols.

Wildcards are commonly used in phonology to summarize syllable or word shapes, or to show the evolution of classes of sounds. For example, the possible syllable shapes of Mandarin can be abstracted as ranging from (an atonic vowel) to  (a consonant-glide-vowel-nasal syllable with tone), and word-final devoicing may be schematized as  → /_#. In speech pathology, capital letters represent indeterminate sounds, and may be superscripted to indicate they are weakly articulated: e.g. is a weak indeterminate alveolar,  a weak indeterminate velar.

There is a degree of variation between authors as to the capital letters used, but ⟨C⟩ for {consonant}, ⟨V⟩ for {vowel} and ⟨N⟩ for {nasal} are ubiquitous in English-language material. Other common conventions are ⟨T⟩ for {tone/accent} (tonicity), ⟨P⟩ for {plosive}, ⟨F⟩ for {fricative}, ⟨S⟩ for {sibilant}, ⟨G⟩ for {glide/semivowel}, ⟨L⟩ for {lateral} or {liquid}, ⟨R⟩ for {rhotic} or {resonant/sonorant}, ⟨₵⟩ for {obstruent}, ⟨Ʞ⟩ for {click}, ⟨A, E, O, Ɨ, U⟩ for {open, front, back, close, rounded vowel} and ⟨B, D, Ɉ, K, Q, Φ, H⟩ for {labial, alveolar, post-alveolar/palatal, velar, uvular, pharyngeal, glottal consonant}, respectively, and ⟨X⟩ for {any sound}, as in ⟨CVX⟩ for a heavy syllable {{{IPA|CVC}},, }. The letters can be modified with IPA diacritics, for example ⟨Cʼ⟩ for {ejective}, ⟨Ƈ ⟩ for {implosive}, ⟨N͡C⟩ or ⟨ᴺC⟩ for {prenasalized consonant}, ⟨Ṽ⟩ for {nasal vowel}, ⟨CʰV́⟩ for {aspirated CV syllable with high tone}, ⟨S̬⟩ for {voiced sibilant}, ⟨N̥⟩ for {voiceless nasal}, ⟨P͡F⟩ or ⟨Pꟳ⟩ for {affricate}, ⟨Cᴳ⟩ for a consonant with a glide as secondary articulation (e.g. ⟨Cʲ⟩ for {palatalized consonant} and ⟨Cʷ⟩ for {labialized consonant}) and ⟨D̪⟩ for {dental consonant}. ⟨H⟩, ⟨M⟩, ⟨L⟩ are also commonly used for high, mid and low tone, with ⟨LH⟩ for rising tone and ⟨HL⟩ for falling tone, rather than transcribing them overly precisely with IPA tone letters or with ambiguous digits.

Typical examples of archiphonemic use of capital letters are ⟨I⟩ for the Turkish harmonic vowel set ; ⟨D⟩ for the conflated flapped middle consonant of American English writer and rider; ⟨N⟩ for the homorganic syllable-coda nasal of languages such as Spanish and Japanese (essentially equivalent to the wild-card usage of the letter); and ⟨R⟩ in cases where a phonemic distinction between trill and flap  is conflated, as in Spanish enrejar  (the n is homorganic and the first r is a trill, but the second r is variable). Similar usage is found for phonemic analysis, where a language does not distinguish sounds that have separate letters in the IPA. For instance, Castillian Spanish has been analyzed as having phonemes and, which surface as  and  in voiceless environments and as  and  in voiced environments (e.g. hazte , → , vs hazme , → ; or las manos , → ).

⟨V⟩, ⟨F⟩ and ⟨C⟩ have completely different meanings as Voice Quality Symbols, where they stand for "voice" (VoQS jargon for secondary articulation), "falsetto" and "creak". These three letters may take diacritics to indicate what kind of voice quality an utterance has, and may be used as carrier letters to extract a suprasegmental feature that occurs on all susceptible segments in a stretch of IPA. For instance, the transcription of Scottish Gaelic 'cat' and  'cats' (Islay dialect) can be made more economical by extracting the suprasegmental labialization of the words:  and. The conventional wildcards ⟨X⟩ or ⟨C⟩ might be used instead of VoQS ⟨V⟩ so that the reader does not misinterpret ⟨Vʷ⟩ as meaning that only vowels are labialized (i.e. for all segments labialized,  for all consonants labialized), or the carrier letter may be omitted altogether (e.g.,  or ). (See for other transcription conventions.)

This summary is to some extent valid internationally, but linguistic material written in other languages may have different associations with capital letters used as wildcards. For example, in German ⟨K⟩ and ⟨V⟩ are used for Konsonant (consonant) and Vokal (vowel); in French, tone may be transcribed with ⟨H⟩ and ⟨B⟩ for haut (high) and bas (low).

Segments without letters
The blank cells on the summary IPA chart can be filled without much difficulty if the need arises.

The missing retroflex letters, namely ⟨ᶑ ꞎ 𝼅 𝼈 𝼊 ⟩, are "implicit" in the alphabet, and the IPA supported their adoption into Unicode. Attested in the literature are the retroflex implosive ⟨ᶑ ⟩, the voiceless retroflex lateral fricative ⟨ꞎ ⟩, the retroflex lateral flap ⟨𝼈 ⟩ and the retroflex click ⟨𝼊 ⟩; the first is also mentioned in the IPA Handbook, and the lateral fricatives are provided for by the extIPA.

The epiglottal trill is arguably covered by the generally trilled epiglottal "fricatives" ⟨ʜ ʢ⟩. Ad hoc letters for near-close central vowels, ⟨ᵻ ᵿ⟩, are used in some descriptions of English, though those are specifically reduced vowels (forming a set with the IPA reduced vowels ⟨ə ɐ⟩), and the simple points in vowel space are easily transcribed with diacritics: ⟨ɪ̈ ʊ̈⟩ or ⟨ɨ̞ ʉ̞⟩. Diacritics are able to fill in most of the remainder of the charts. If a sound cannot be transcribed, an asterisk ⟨*⟩ may be used, either as a letter or as a diacritic (as in ⟨k*⟩ sometimes seen for the Korean "fortis" velar).

Consonants
Representations of consonant sounds outside of the core set are created by adding diacritics to letters with similar sound values. The Spanish bilabial and dental approximants are commonly written as lowered fricatives, and  respectively. Similarly, voiced lateral fricatives can be written as raised lateral approximants,, though the extIPA also provides ⟨𝼅⟩ for the first of these. A few languages such as Banda have a bilabial flap as the preferred allophone of what is elsewhere a labiodental flap. It has been suggested that this be written with the labiodental flap letter and the advanced diacritic,. Similarly, a labiodental trill would be written (bilabial trill and the dental sign), and the labiodental plosives are now universally ⟨p̪ b̪⟩ rather than the ad hoc letters ⟨ȹ ȸ⟩ once found in Bantuist literature. Other taps can be written as extra-short plosives or laterals, e.g., though in some cases the diacritic would need to be written below the letter. A retroflex trill can be written as a retracted, just as non-subapical retroflex fricatives sometimes are. The remaining pulmonic consonants – the uvular laterals and the palatal trill – while not strictly impossible, are very difficult to pronounce and are unlikely to occur even as allophones in the world's languages.

Vowels
The vowels are similarly manageable by using diacritics for raising, lowering, fronting, backing, centering, and mid-centering. For example, the unrounded equivalent of can be transcribed as mid-centered, and the rounded equivalent of  as raised  or lowered  (though for those who conceive of vowel space as a triangle, simple  already is the rounded equivalent of ). True mid vowels are lowered or raised, while centered  and  (or, less commonly, ) are near-close and open central vowels, respectively.

The only known vowels that cannot be represented in this scheme are vowels with unexpected roundedness, which would require a dedicated diacritic, such as protruded ⟨ʏʷ⟩ and compressed ⟨uᵝ⟩ (or protruded ⟨ɪʷ⟩ and compressed ⟨ɯᶹ⟩), though this transcription suggests that they are diphthongs (as indeed they are in Swedish). The extIPA 'spread' diacritic ⟨◌͍⟩ is sometimes seen, for compressed ⟨u͍⟩, ⟨o͍⟩, ⟨ɔ͍⟩, ⟨ɒ͍⟩, though the intended meaning needs to be explained or they will be interpreted as being spread the way is. Ladefoged & Maddieson used the old IPA omega diacritic for labialization, ⟨◌̫⟩, for protrusion (w-like labialization without velarization), e.g. protruded ⟨y᫇⟩, ⟨ʏ̫⟩, ⟨ø̫⟩, ⟨œ̫⟩; while Kelly & Local use a combining w diacritic ⟨◌ᪿ⟩ for protrusion (e.g. ⟨yᷱ øᪿ⟩) and a combining turned w diacritic ⟨◌ᫀ⟩ for compression (e.g. ⟨uᫀ oᫀ⟩). ⟨◌̫⟩ is the cursive form of ⟨◌ᪿ⟩, and these solutions recall an old IPA convention of rounding an unrounded vowel letter like i with a subscript ⟨◌̫⟩/omega, and unrounding a rounded letter like u with a turned omega.

Symbol names
An IPA symbol is often distinguished from the sound it is intended to represent, since there is not necessarily a one-to-one correspondence between letter and sound in broad transcription, making articulatory descriptions such as "mid front rounded vowel" or "voiced velar stop" unreliable. While the Handbook of the International Phonetic Association states that no official names exist for its symbols, it admits the presence of one or two common names for each. The symbols also have nonce names in the Unicode standard. In many cases, the names in Unicode and the IPA Handbook differ. For example, the Handbook calls ⟨ɛ⟩ "epsilon", while Unicode calls it "small letter open e".

The traditional names of the Latin and Greek letters are usually used for unmodified letters. Letters which are not directly derived from these alphabets, such as ⟨ʕ⟩, may have a variety of names, sometimes based on the appearance of the symbol or on the sound that it represents. In Unicode, some of the letters of Greek origin have Latin forms for use in IPA; the others use the characters from the Greek block.

For diacritics, there are two methods of naming. For traditional diacritics, the IPA notes the name in a well known language; for example, ⟨é⟩ is "e-acute", based on the name of the diacritic in English and French. Non-traditional diacritics are often named after objects they resemble, so ⟨d̪⟩ is called "d-bridge".

Geoffrey Pullum and William Ladusaw list a variety of names in use for both current and retired IPA symbols in their Phonetic Symbol Guide. Many of them found their way into Unicode.

Unicode
Unicode supports nearly all of the IPA alphabet. Apart from basic Latin and Greek and general punctuation, the primary blocks are IPA Extensions, Spacing Modifier Letters and Combining Diacritical Marks, with lesser support from Phonetic Extensions, Phonetic Extensions Supplement, Combining Diacritical Marks Supplement, and scattered characters elsewhere. The extended IPA is supported primarily by those blocks and Latin Extended-G.

IPA numbers
After the Kiel Convention in 1989, most IPA symbols were assigned an identifying number to prevent confusion between similar characters during the printing of manuscripts. The codes were never much used and have been superseded by Unicode.

Typefaces
Many typefaces have support for IPA characters, but good diacritic rendering remains rare. Web browsers generally do not need any configuration to display IPA characters, provided that a typeface capable of doing so is available to the operating system.

Free fonts
Typefaces that provide full IPA and nearly full extIPA support, including properly rendering the diacritics, include Gentium Plus, Charis SIL, Doulos SIL, and Andika. In addition to the level of support found in commercial and system fonts, these fonts support the full range of old-style (pre-Kiel) staveless tone letters, through a character variant option that suppresses the stave of the Chao tone letters. They also have an option to maintain the ⟨a⟩ ~ ⟨ɑ⟩ vowel distinction when set in italic. The only notable gaps are with the extIPA: the combining parentheses, which enclose diacritics, need to be set individually, as the character for paired parentheses is not supported; nor is the enclosing circle used to mark unidentified sounds supported, as it is essentially a copy-edit mark and Unicode handling has not been worked out.

The basic Latin Noto fonts also have decent IPA support, including diacritic placement, only failing with the more obscure characters.

Proprietary system fonts
The Microsoft Arial and Times New Roman fonts include IPA characters, but they are neither complete (especially Arial) nor render diacritics properly. The Apple system fonts Geneva, Lucida Grande and Hiragino (certain weights) have only basic IPA support. The Calibri font, which is the default font of Microsoft Office, has nearly complete IPA support with good diacritic rendering, though not as good as what is available with free fonts (see image at right).

Notable commercial fonts
Brill has complete IPA and extIPA coverage of characters added to Unicode by 2020, with good diacritic and tone-letter support. It is a commercial font but is freely available for non-commercial use.

ASCII and keyboard transliterations
Several systems have been developed that map the IPA symbols to ASCII characters. Notable systems include SAMPA and X-SAMPA. The usage of mapping systems in on-line text has to some extent been adopted in the context input methods, allowing convenient keying of IPA characters that would be otherwise unavailable on standard keyboard layouts.

IETF language tags
IETF language tags have registered fonipa as a variant subtag identifying text as written in IPA. Thus, an IPA transcription of English could be tagged as en-fonipa. For the use of IPA without attribution to a concrete language, und-fonipa is available.

Computer input using on-screen keyboard
Online IPA keyboard utilities are available, though none of them cover the complete range of IPA symbols and diacritics. Examples are the IPA 2018 i-charts hosted by the IPA, IPA character picker 27 at GitHub, Type IPA phonetic symbols at TypeIt.org, and an IPA Chart keyboard also at GitHub. In April 2019, Google's Gboard for Android added an IPA keyboard to its platform. For iOS there are multiple free keyboard layouts available, such as the IPA Phonetic Keyboard.

title: International Phonetic Alphabet


text:
Inspector Morse

Detective Chief Inspector Endeavour Morse, GM, is the eponymous fictional character in the series of detective novels by British author Colin Dexter. On television, he appears in the 33-episode drama series Inspector Morse (1987–2000), in which John Thaw played the character, as well as the (2012–2023) prequel series Endeavour, portrayed by Shaun Evans. The older Morse is a senior Criminal Investigation Department (CID) officer with the Thames Valley Police in Oxford in England and, in the prequel, Morse is a young detective constable rising through the ranks with the Oxford City Police and, in later series, the Thames Valley Police.

Morse presents, to some, a reasonably sympathetic personality, despite his sullen and snobbish temperament, with a classic Jaguar Mark 2 (a Lancia in the early novels), a thirst for English real ale, and a love of classical music (especially opera and Wagner), poetry, art and cryptic crossword puzzles. In his later career, he is usually assisted by Sergeant Robbie Lewis. Morse's partnership and formal friendship with Lewis is fundamental to the series.

Family
Morse's father was a taxi driver, and Morse likes to explain the origin of his additional private income by saying that he "used to drive the Aga Khan". In the episode of the television adaptation Cherubim and Seraphim, it is revealed that Morse's parents divorced when he was 12. He remained with his mother until her death three years later, upon which he had to return to his father. Morse had a dreadful relationship with his stepmother Gwen. He claims that he only read poetry to annoy her, and that her petty bullying almost drove him to suicide. He has a half-sister named Joyce with whom he is on better terms. Morse was devastated when Joyce's daughter Marilyn took her own life.

Morse prefers to use only his surname, and is generally evasive when asked about his first name, sometimes joking that it is Inspector. In The Dead of Jericho and The Wench Is Dead it is noted that his initial is E.  At the end of Death Is Now My Neighbour, his name is revealed to be Endeavour. Two-thirds of the way through the television episode based on the book, he gives the cryptic clue "My whole life's effort has revolved around Eve, nine letters". In the series, it is noted that Morse's reluctance to use his Christian name led to his receiving the nickname Pagan while at Stamford School (which Colin Dexter, the author of the Morse novels, attended). In the novels, Morse's first name came from the vessel HMS Endeavour; his mother was a member of the Religious Society of Friends (Quakers) who have a tradition of "virtue names", and his father admired Captain James Cook.

Dexter was a fan of cryptic crosswords and named Morse after champion setter Jeremy Morse, one of Dexter's arch-rivals in writing crossword clues. Dexter used to walk along the bank of the River Thames at Oxford, opposite the boathouse belonging to 22nd Oxford Sea Scout Group; the building is named T.S. Endeavour.

Education
Although details of Morse's education are kept vague, it is hinted that he won a scholarship to study at St John's College, Oxford. He lost the scholarship as the result of poor academic performance stemming from a failed love affair, which is mentioned in the second episode of the third series, "The Last Enemy", and recounted in detail in the novel The Riddle of the Third Mile, Chapter 7. Further details are revealed piece-by-piece in the prequel series. He often reflects on such renowned scholars as A. E. Housman who, like himself, failed to get an academic degree from Oxford.

Career
After university, he entered the army on National Service. This included serving in West Germany with the Royal Corps of Signals as a cipher clerk. Upon leaving, he joined the police at Carshall-Newtown, before being posted to Oxford with the Oxford City Police. He was awarded the George Medal in the last episode of Endeavour Series 4. He is assigned to a uniformed position in Series 6 despite having his opinions and observations disregarded by CID. He does not wear his GM ribbon, leaving his uniform breast bare.

Habits and personality
Morse is ostensibly the embodiment of middle-class Englishness, with a set of prejudices and assumptions to match, although his background, being the son of a taxi driver, might be considered working class. As a result, he may be considered an example of the gentleman detective, a staple of British detective fiction. This is in sharp contrast to the working-class lifestyle of his assistant Lewis (named after another rival clue-writer, Mrs. B. Lewis); in the novels, Lewis is Welsh, but in the TV series this is altered to a Tyneside (Geordie) background, appropriately for the actor Kevin Whately. Morse is in his forties at the start of the books (Service of all the Dead, Chapter Six: "… a bachelor still, forty-seven years old …"), and Lewis slightly younger (e.g. The Secret of Annexe 3, Chapter Twenty-Six: "a slightly younger man – another policeman, and one also in plain clothes"). John Thaw was 45 at the beginning of shooting the TV series and Kevin Whately was 36.

Morse's relationships with authority, the establishment, bastions of power and the status quo, are markedly ambiguous, as are some of his relations with women. He is frequently portrayed as patronising female characters, and once stereotyped the female sex as not naturally prone to crime, being caring and non-violent, but also often empathises with women. He is not shy to show his liking for attractive women and often dates those involved in cases. Indeed, a woman he falls in love with sometimes turns out to be the culprit.

Morse is highly intelligent. He is a crossword addict and dislikes grammatical and spelling errors; in every personal or private document that he receives, he manages to point out at least one mistake. He claims that his approach to crime-solving is deductive, and one of his key tenets is that "there is a 50 per cent chance that the person who finds the body is the murderer". Morse uses immense intuition and his fantastic memory to apprehend the perpetrator.

Among Morse's conservative tastes are that he likes to drink real ale and whisky, and in the early novels, drives a Lancia. In the television and radio productions (and reprints of the novels), this is altered to a suitably British classic Jaguar Mark 2. His favourite music is opera, which is echoed in the soundtracks to the television series. The original music is by Barrington Pheloung.

His dying words, said to Jim Strange, are "Thank Lewis for me."

Morse is portrayed as being an atheist. However, in some scenes, he does entertain the possibility of God and/or quote the Bible from memory, agreeing with the phrases, as he does with lines from various literary books/texts.

Novels
The novels in the series are:
 * Last Bus to Woodstock (1975)
 * Last Seen Wearing (1976)
 * The Silent World of Nicholas Quinn (1977)
 * Service of All the Dead (1979)
 * The Dead of Jericho (1981)
 * The Riddle of the Third Mile (1983)
 * The Secret of Annexe 3 (1986)
 * The Wench is Dead (1989)
 * The Jewel That Was Ours (1991)
 * The Way Through the Woods (1992)
 * The Daughters of Cain (1994)
 * Death Is Now My Neighbour (1996)
 * The Remorseful Day (1999)

Inspector Morse also appears in several stories in Dexter's short story collection, Morse's Greatest Mystery and Other Stories (1993, expanded edition 1994).

Inspector Morse (1987–2000)
The Inspector Morse novels were made into a TV series (also called Inspector Morse) for the British commercial TV network ITV. The series was made by Zenith Productions for Central (a company later acquired by Carlton) and comprised 33 two-hour episodes (100 minutes excluding commercials)—20 more episodes than there are novels—produced between 6 January 1987 and 15 November 2000. The last episode was adapted from the final novel The Remorseful Day, in which Morse dies from a heart attack. Morse was played by John Thaw and Lewis by Kevin Whateley.

Lewis (2006–2015)
A spin-off series, similarly comprising 33 two-hour episodes and based on the television incarnation of Lewis, was titled Lewis; it first aired on 29 January 2006 and last showed on 10 November 2015. The spin-off consisted the following cast members: Kevin Whately as DI Robbie Lewis, Laurence Fox as DS James Hathaway, Clare Holman as Dr Laura Hobson and Rebecca Front as CS Jean Innocent.

Endeavour (2012–2023)
In August 2011, ITV announced plans to film a prequel drama called Endeavour, with author Colin Dexter's participation. English actor Shaun Evans was cast as a young Morse in his early career. The pilot episode was broadcast on 2 January 2012 on ITV. The prequel was made by Mammoth Screen. Four new episodes were televised from 14 April 2013, showing Morse's early cases working for DI Fred Thursday (Roger Allam) and with Jim Strange (Sean Rigby), initially as PC Jim Strange, later DS Jim Strange, and pathologist Max De Bryn (James Bradshaw), plus Chief Superintendent Reginald Bright (Anton Lesser), DS Peter Jakes (Jack Laskey), WPC Shirley Trewlove (Dakota Blue Richards), DC George Fancy (Lewis Peek), DI Ronnie Box (Simon Harrison) and DS Alan Jago (Richard Riddell). Alongside the police department, the prequel also consisted of Fred Thursday’s family members: Win Thursday, (Caroline O’Neill), Sam Thursday (Jack Bannon), Joan Thursday (Sara Vickers) and the newspaper editor Dorothea Frazil (Abigail Thaw). A second series of four episodes followed, screening between 30 March 2014 and 20 April 2014. On 3 January 2016, the third series aired, also containing four episodes. A fourth series was aired, once again with four episodes, on 8 January 2017. Filming of a fifth series of six episodes began in early 2017 with the first episode of the fifth series aired on 4 February 2018. On 10 February 2019 the sixth series aired, which comprises four 1-hour-30-minute episodes. A seventh series of three episodes was filmed in late 2019, aired on 9 February 2020 and in August 2019 ITV announced that the series has been recommissioned for an eighth series, screened on 12 September 2021, also containing three episodes. Morse was voted number two on the top 25 list in ITV's Britain's Favourite Detective first broadcast on 30 August 2020.

On 23 May 2022, a day after filming began for the ninth series, ITV announced that Endeavour would end production after a decade on air at the conclusion of the ninth series, bringing the total number of Endeavour episodes to 36. The ninth and final series comprised the final three episodes, which aired from 26 February 2023 to 12 March 2023.

Radio
An adaptation by Melville Jones of Last Bus to Woodstock featured in BBC Radio 4's Saturday Night Theatre series in June 1985, with Andrew Burt as Morse and Christopher Douglas as Lewis.

In the 1990s, an occasional BBC Radio 4 series (for The Saturday Play) was made starring the voices of John Shrapnel as Morse and Robert Glenister as Lewis. The series was written by Guy Meredith and directed by Ned Chaillet. Episodes included: The Wench is Dead (23 March 1992); Last Seen Wearing (28 May 1994); and The Silent World of Nicholas Quinn (10 February 1996).

In 2018, Alma Cullen wrote an original drama entitled Morse: In The Shallows, with Neil Pearson as Morse and Lee Ingleby as Lewis.

Theatre
An Inspector Morse stage play appeared in 2010, written by Alma Cullen (writer of four Morse screenplays for ITV). The part of Morse was played by Colin Baker. The play, entitled Morse—House of Ghosts, saw DCI Morse looking to his past, when an old acquaintance becomes the lead suspect in a murder case that involves the on-stage death of a young actress. The play toured the UK from August to December 2010. It was broadcast by BBC Radio 4 on 25 March 2017 with Neil Pearson playing Morse and Lee Ingleby playing Lewis.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Inspector Morse


text:
History of the Isle of Man

The Isle of Man had become physically separated from Great Britain and Ireland by 6500 BC. It appears that colonisation took place by sea sometime during the Mesolithic era (about 6500 BC). The island has been visited by various raiders and trading peoples over the years. After being settled by people from Ireland in the first millennium AD, the Isle of Man was converted to Christianity and then suffered raids by Vikings from Norway. After becoming subject to Norwegian suzerainty as part of the Kingdom of Mann and the Isles, the Isle of Man later became a possession of the Scottish and then the English crowns.

Since 1866, the Isle of Man has been a Crown Dependency and has democratic self-government.

Mesolithic
The Isle of Man effectively became an island around 8,500 years ago at around the time when rising sea levels caused by the melting glaciers cut Mesolithic Britain off from continental Europe for the last time. There had earlier been a land bridge between the Isle of Man and Cumbria, but the location and opening of the land bridge remain poorly understood.

The earliest traces of people on the Isle of Man date back to the Mesolithic Period (Middle Stone Age, 8000 BC - 4000 BC). The first residents lived in small natural shelters, hunting, gathering and fishing for their food. They used small tools made of flint or bone, examples of which have been found near the coast. Examples of these artifacts are kept at the Manx National Heritage museum.

Neolithic to Bronze Age
The Neolithic Period marked the coming of farming, improved stone tools and pottery. During this period megalithic monuments began to appear around the island. Examples are found at Cashtal yn Ard near Maughold, King Orry's Grave in Laxey, Meayll Circle near Cregneash, and Ballaharra Stones in St John's. The builders of the megaliths were not the only culture during this time; there are also remains of the local Ronaldsway culture (lasting from the late Neolithic into the Bronze Age).

Iron Age
The Iron Age marked the beginning of Celtic cultural influence. Large hill forts appeared on hill summits and smaller promontory forts along the coastal cliffs, while large timber-framed roundhouses were built.

It is likely that the first Celts to inhabit the Island were Brythonic tribes from mainland Britain. The secular history of the Isle of Man during the Brythonic period remains mysterious. It is not known if the Romans ever made a landing on the island and if they did, little evidence has been discovered. There is evidence for contact with Roman Britain as an amphora was discovered at the settlement on the South Barrule; it is hypothesised this may have been trade goods or plunder.

It is generally assumed that Irish invasion or immigration formed the basis of the modern Manx language; Irish migration to the island probably began in the 5th century AD. This is evident in the change in language used in Ogham inscriptions. The transition between Manx Brythonic (a Brythonic language like modern Welsh) and Manx Gaelic (a Goidelic language like modern Scottish Gaelic and Irish) may have been gradual. One question is whether the present-day Manx language survives from pre-Norse days or reflects a linguistic reintroduction after the Norse invasion. The island lends its name to Manannán, the Brythonic and Gaelic sea god who is said in myth to have once ruled the island.

Early Middle Ages
Tradition attributes the island's conversion to Christianity to St Maughold (Maccul), an Irish missionary who gives his name to a parish. There are the remains of around 200 tiny early chapels called keeils scattered across the island. Evidence such as radiocarbon dating and magnetic drift points to many of these being built around AD 550–600.

The Brythonic culture of Manaw appears throughout early British tradition and later Welsh writings. The family origins of Gwriad ap Elidyr (father of Merfyn Frych and grandfather of Rhodri the Great) are attributed to a Manaw and he is sometimes named as Gwriad Manaw. The 1896 discovery of a cross inscribed Crux Guriat (Cross of Gwriad) and dated to the 8th or 9th century greatly supports this theory.

The best record of any event before the incursions of the Northmen is attributed to Báetán mac Cairill, king of Ulster, who (according to the Annals of Ulster) led an expedition to Man in 577–578, imposing his authority on the island (though some have thought this event may refer to Manau Gododdin between the Firths of Clyde and Forth, rather than the Isle of Man). After Báetán's death in 581, his rival Áedán mac Gabráin, king of Dál Riata, is said to have taken the island in 582.

Even if the supposed conquest of the Menavian islands – Mann and Anglesey – by Edwin of Northumbria, in 616, did take place, it could not have led to any permanent results, for when the English were driven from the coasts of Cumberland and Lancashire soon afterwards, they could not well have retained their hold on the island to the west of these coasts. One can speculate, however, that when Ecgfrið's Northumbrians laid Ireland waste from Dublin to Drogheda in 684, they temporarily occupied Mann.

Viking Age and Norse kingdom
The period of Scandinavian domination is divided into two main epochs – before and after the conquest of Mann by Godred Crovan in 1079. Warfare and unsettled rule characterise the earlier epoch, the later saw comparatively more peace. Between about AD 800 and 815 the Vikings came to Mann chiefly for plunder. Between about 850 and 990, when they settled, the island fell under the rule of the Scandinavian Kings of Dublin and between 990 and 1079, it became subject to the powerful Earls of Orkney.

There was a mint producing coins on Mann between c. 1025 and c. 1065. These Manx coins were minted from an imported type 2 Hiberno-Norse penny die from Dublin. Hiberno-Norse coins were first minted under Sihtric, King of Dublin. This illustrates that Mann may have been under the thumb of Dublin at this time.

Little is known about the conqueror, Godred Crovan. According to the Chronicon Manniae he subdued Dublin, and a great part of Leinster, and held the Scots in such subjection that supposedly no one who set out to build a vessel dared to insert more than three bolts. The memory of such a ruler would be likely to survive in tradition, and it seems probable therefore that he is the person commemorated in Manx legend under the name of King Gorse or Orry. He created the Kingdom of Mann and the Isles in around 1079 including the south-western islands of Scotland until 1164, when two separate kingdoms were formed from it. In 1154, later known as the Diocese of Sodor and Man, was formed by the Catholic Church.

The islands under his rule were called the Suðr-eyjar (South isles, in contrast to the Norðr-eyjar North isles", i.e. Orkney and Shetland), consisting of the Hebrides, all the smaller western islands of Scotland, and Mann. At a later date his successors took the title of Rex Manniae et Insularum (King of Mann and of the Isles). The kingdom's capital was on St Patrick's Isle, where Peel Castle was built on the site of a Celtic monastery.

Olaf, Godred's son, exercised considerable power and according to the Chronicle, maintained such close alliance with the kings of Ireland and Scotland that no one ventured to disturb the Isles during his time (1113–1152). In 1156 his son Godred (reigned 1153–1158), who for a short period also ruled over Dublin, lost the smaller islands off the coast of Argyll as a result of a quarrel with Somerled (the ruler of Argyll). An independent sovereignty thus appeared between the two divisions of his kingdom.

In the 1130s the Catholic Church sent a small mission to establish the first bishopric on the Isle of Man, and appointed Wimund as the first bishop. He soon afterwards embarked with a band of followers on a career of murder and looting throughout Scotland and the surrounding islands.

During the whole of the Scandinavian period, the Isles remained nominally under the suzerainty of the Kings of Norway but the Norwegians only occasionally asserted it with any vigour. The first such king to assert control over the region was likely Magnus Barelegs, at the turn of the 12th century. It was not until Hakon Hakonarson's 1263 expedition that another king returned to the Isles.

Decline of Norse rule

From the middle of the 12th century until 1217 the suzerainty had remained of a very shadowy character; Norway had become a prey to civil dissensions. But after that date it became a reality, and Norway consequently came into collision with the growing power of the kingdom of Scotland.

Early in the 13th century, when Ragnald (reigned 1187–1229) paid homage to King John of England (reigned 1199–1216), we hear for the first time of English intervention in the affairs of Mann. But a period of Scots domination would precede the establishment of full English control.

Finally, in 1261, Alexander III of Scotland sent envoys to Norway to negotiate for the cession of the isles, but their efforts led to no result. He therefore initiated a war, which ended in the indecisive Battle of Largs against the Norwegian fleet in 1263. However, the Norwegian king Haakon Haakonsson died the following winter, and this allowed King Alexander to bring the war to a successful conclusion. Magnus Olafsson, King of Mann and the Isles (reigned 1252–1265), who had campaigned on the Norwegian side, had to surrender all the islands over which he had ruled, except Mann, for which he did homage. Two years later Magnus died and in 1266 King Magnus VI of Norway ceded the islands, including Mann, to Scotland in the Treaty of Perth in consideration of the sum of 4,000 marks (known as merks in Scotland) and an annuity of 100 marks. But Scotland's rule over Mann did not become firmly established until 1275, when the Manx suffered defeat in the decisive Battle of Ronaldsway, near Castletown.

English dominance
In 1290 King Edward I of England sent Walter de Huntercombe to seize possession of Mann, and it remained in English hands until 1313, when Robert Bruce took it after besieging Castle Rushen for five weeks. In about 1333 King Edward III of England granted Mann to William de Montacute, 3rd Baron Montacute (later the 1st Earl of Salisbury), as his absolute possession, without reserving any service to be rendered to him.

Then, in 1346, the Battle of Neville's Cross decided the long struggle between England and Scotland in England's favour. King David II of Scotland, Robert Bruce's last male heir, had been captured in the Battle of Neville's Cross and ransomed; however, when Scotland was unable to raise one of the ransom instalments, David made a secret agreement with King Edward III of England to cancel it, in return for transferring the Scottish kingdom to an English prince.

Following the secret agreement, there followed a confused period when Mann sometimes experienced English rule and sometimes Scottish. In 1388 the island was "ravaged" by Sir William Douglas of Nithsdale on his way home from the destruction of the town of Carlingford.

In 1392 William de Montacute's son sold the island, including sovereignty, to Sir William le Scrope. In 1399 Henry Bolinbroke brought about the beheading of Le Scrope, who had taken the side of Richard II when Bolinbroke usurped the throne and appointed himself Henry IV. The island then came into the de facto possession of Henry, who granted it to Henry Percy, 1st Earl of Northumberland; but following the latter's later attainder, Henry IV, in 1405, made a lifetime grant of it, with the patronage of the bishopric, to Sir John Stanley. In 1406 this grant was extended – on a feudatory basis under the English Crown – to Sir John's heirs and assigns, the feudal fee being the service of rendering homage and two falcons to all future Kings of England on their coronations.

Early Modern period
With the accession of the Stanleys to the throne there begins a more settled epoch in Manx history. Though the island's new rulers rarely visited its shores, they placed it under governors, who, in the main, seem to have treated it with the justice of the time. Of the thirteen members of the family who ruled in Mann, the second Sir John Stanley (1414–1432), James, the 7th Earl (1627–1651), and the 10th Earl of the same name (1702–1736) had the most important influence on it. They first curbed the power of the spiritual barons, introduced trial by jury, which superseded trial by battle, and ordered the laws to be written. The second, known as the Great Stanley, and his wife, Charlotte de la Tremoille (or Tremouille), are probably the most striking figures in Manx history.

Wars of the Three Kingdoms and Interregnum; 1642 to 1660
Shortly after the Wars of the Three Kingdoms began in June 1643, James Stanley, 7th Earl of Derby returned to Mann to find the island on the brink of rebellion. Among the causes were complaints at the level of tithes payable to the Church of England, and Derby's attempts to replace the Manx ‘tenure of straw’ by which many of his tenants held their lands, a customary tenure akin to freehold, with commercial leases. He managed to restore the situation through a series of meetings, but made minimal concessions.

Six months after Charles I was executed on 30 January 1649, Derby received a summons from General Ireton to surrender the island, but declined to do so. In August 1651, he and 300 Manxmen landed in Lancashire to take part in the Third English Civil War; defeated at Wigan Lane on 25 August 1651, Derby escaped with only 30 troops to join Charles II. Captured after the Battle of Worcester in September, he was imprisoned in Chester Castle, tried by court-martial and executed at Bolton on 15 October.

Soon after Stanley's death, the Manx Militia, under the command of William Christian (known by his Manx name of Illiam Dhone), rose against the Countess and captured all the insular forts except Rushen and Peel. They were then joined by a Parliamentarian force sent from the mainland, led by Colonels Thomas Birch and Robert Duckenfield, to whom the Countess surrendered after a brief resistance.

Oliver Cromwell had appointed Thomas Fairfax "Lord of Mann and the Isles" in September 1651, so that Mann continued under a monarchical government and remained in the same relation to England as before.

1660 Restoration
The restoration of Stanley government in 1660 therefore caused as little friction and alteration as its temporary cessation had. One of the first acts of the new Lord, Charles Stanley, 8th Earl of Derby, was to order Christian to be tried. He was found guilty and executed. Of the other persons implicated in the rebellion only three were excepted from the general amnesty. But by Order in Council, Charles II pardoned them, and the judges responsible for the sentence on Christian were punished.

Charles Stanley's next act was to dispute the permanency of the tenants' holdings, which they had not at first regarded as being affected by the acceptance of leases, a proceeding which led to an almost open rebellion against his authority and to the neglect of agriculture, in lieu of which the people devoted themselves to the fisheries and to contraband trade.

Charles Stanley, who died in 1672, was succeeded first by his son William Richard George Stanley, 9th Earl of Derby until his death in 1702.

The agrarian question subsided only in 1704, when James Stanley, 10th Earl of Derby, William's brother and successor, largely through the influence of Bishop Wilson, entered into a compact with his tenants, which became embodied in an Act, called the Act of Settlement. Their compact secured the tenants in the possession of their estates in perpetuity subject only to a fixed rent, and a small fine on succession or alienation. From the great importance of this act to the Manx people it has been called their Magna Carta. As time went on, and the value of the estates increased, the rent payable to the Lord became so small in proportion as to be almost nominal, being extinguished by purchase in 1916.

Revestment
James died in 1736, and the suzerainty of the isle passed to James Murray, 2nd Duke of Atholl, his first cousin and heir-male. In 1764 he was succeeded by his only surviving child Charlotte, Baroness Strange, and her husband, John Murray, who (in right of his wife) became Lord of Mann. In about 1720 the contraband trade had greatly increased. In 1726 Parliament had checked it somewhat for a time, but during the last ten years of the Atholl regime (1756–1765) it assumed such proportions that, in the interests of the Imperial revenue, it became necessary to suppress it. With a view to so doing, Parliament passed the Isle of Man Purchase Act 1765 (commonly called the Revestment Act by the Manx), under which it purchased the rights of the Atholls as Lords of Mann, including the customs revenues of the island, for the sum of £70,000 sterling, and granted an annuity to the Duke and Duchess. The Atholls still retained their manorial rights, the patronage of the bishopric, and certain other perquisites, until they sold them for the sum of £417,144 in 1828.

Up to the time of the revestmentrevestment, Tynwald had passed laws concerning the government of the island in all respects and had control over its finances, subject to the approval of the Lord of Mann. After the revestment, or rather after the passage of the Smuggling Act 1765 (commonly called the Mischief Act by the Manx), the Parliament at Westminster legislated with respect to customs, harbours and merchant shipping, and, in measures of a general character, it occasionally inserted clauses permitting the enforcement in the island of penalties in contravention of the Acts of which they formed part. It also assumed the control of the insular customs duties. Such changes, rather than the transference of the full suzerainty to the King of Great Britain and Ireland, modified the (unwritten) constitution of the Isle of Man. Its ancient laws and tenures remained untouched, but in many ways the revestment affected it adversely. The hereditary Lords of Mann had seldom, if ever, functioned as model rulers, but most of them had taken some personal share in its government, and had interested themselves in the well-being of the inhabitants. But now the whole direction of its affairs became the work of officials who regarded the island as a pestilent nest of smugglers, from which it seemed their duty to extract as much revenue as possible.

There was some alleviation of this state of things between 1793 and 1826, when John Murray, 4th Duke of Atholl served as governor, since, though he quarrelled with the House of Keys and unduly cared for his own pecuniary interests, he did occasionally exert himself to promote the welfare of the island. After his departure the English officials resumed their sway, but they showed more consideration than before. Moreover, since smuggling, which the Isle of Man Purchase Act had only checked – not suppressed – had by that time almost disappeared, and since the Manx revenue had started to produce a large and increasing surplus, the authorities looked more favourably on the Isle of Man, and, thanks to this fact and to the representations of the Manx people to British ministers in 1837, 1844 and 1853, it obtained a somewhat less stringent customs tariff and an occasional dole towards erecting its much neglected public works.

Modern period
Since 1866, when the Isle of Man obtained a nominal measure of Home Rule, the Manx people have made remarkable progress, and currently form a prosperous community, with a thriving offshore financial centre, a tourist industry (albeit smaller than in the past) and a variety of other industries.

The Isle of Man was a base for alien civilian internment camps in both the First World War (1914–18) and the Second World War (1939–45). During the First World War there were two camps: one a requisitioned holiday camp in Douglas and the other the purpose-built Knockaloe camp near Peel in the parish of Patrick. During the Second World War there were a number of smaller camps in Douglas, Peel, Port Erin and Ramsey. The (now disbanded) Manx Regiment was raised in 1938 and saw action during the Second World War.

On 2 August 1973, a flash fire killed between 50 and 53 people at the Summerland amusement centre in Douglas.

Greater autonomy
The early 20th century saw a revival of music and dance, and a limited revival of the Manx language – although the last "native" speaker of Manx Gaelic died in the 1970s. In July 1947 the Taoiseach of the Republic of Ireland, Éamon de Valera, visited, and was so dissatisfied with the lack of support for Manx that he immediately had two recording vans sent over.

During the 20th century the Manx tourist economy declined, as the English and Irish started flying to Spain for package holidays. The Manx Government responded to this by successfully promoting the island, with its low tax rates, as an offshore financial centre, although Man has avoided a place on a 2009 UK blacklist of tax havens. The financial centre has had its detractors who have pointed to the potential for money laundering.

In 1949 an Executive Council, chaired by the Lieutenant-Governor and including members of Tynwald, was established. This marked the start of a transfer of executive power from the unelected Lieutenant-Governor to democratically elected Manx politicians. Finance and the police passed to Manx control between 1958 and 1976. In 1980 a chairman elected by Tynwald replaced the Lieutenant-Governor as Chairman of the Executive Council. Following legislation in 1984, the Executive Council was reconstituted in 1985 to include the chairmen of the eight principal Boards; in 1986 they were given the title of Minister and the chairman was re-titled "Chief Minister". In 1986 Sir Miles Walker CBE became the first Chief Minister of the Isle of Man. In 1990 the Executive Council was renamed the "Council of Ministers".

The 1960s also saw a rise in Manx nationalism, spawning the parties Mec Vannin and the Manx National Party, as well as the now defunct Fo Halloo (literally "Underground"), which mounted a direct-action campaign of spray-painting and attempted house-burning.

On 5 July 1973 control of the postal service passed from the UK General Post Office to the new Isle of Man Post, which began to issue its own postage stamps.

The 1990s and early 21st century have seen a greater recognition of indigenous Manx culture, including the opening of the first Manx-language primary school.

Since 1983 the Isle of Man government has designated more than 250 historic structures as Registered Buildings of the Isle of Man.

title: History of the Isle of Man