While standard vowel harmony decides which vowels can be roommates based on where they are produced in the mouth (front or back), labial harmony, also known as rounding harmony, organizes them based on whether your lips are rounded or spread. It’s a phonological “rule of attraction” that ensures a word maintains a consistent lip posture from one syllable to the next, creating a distinct, “rounding harmony.”
Before we dive into lip rounding, let’s quickly review the more common type of vowel harmony, often called palatal harmony. In Turkish, vowels are divided into two main families:
The fundamental rule is simple: a word’s vowels must all come from the same family. If the root word contains a back vowel, any suffix added to it must also contain a back vowel. Likewise, front vowels stick with other front vowels. This is why the plural suffix in Turkish has two forms: -lar (with a back vowel) and -ler (with a front vowel).
Consider these examples:
This system gives Turkish its melodic, consistent sound. But it’s only half the story.
Labial harmony adds a second dimension to this system. It splits the vowels not by their front/back position, but by what your lips are doing when you say them. This gives us two new categories:
The principle of labial harmony states that a rounded vowel in one syllable encourages the vowel in the next syllable to also be rounded. An unrounded vowel, conversely, wants the next vowel to be unrounded. However, the rules in Turkish are more specific and subtle than that. It isn’t a free-for-all; labial harmony primarily influences suffixes that contain high vowels (ı, i, u, ü).
Think of palatal harmony as the master rule that’s always in effect, and labial harmony as a secondary rule that activates under specific conditions. In Turkish, labial harmony is triggered by a rounded vowel in a root word, but its power is limited.
The most important thing to remember is that suffixes containing low vowels (a, e) are completely unaffected by labial harmony. They only obey the front/back rules of palatal harmony.
This is why the plural of yol (road) is yollar, not *yollor*. Even though ‘o’ is rounded, the plural suffix -lar/-ler contains a low vowel (‘a’ or ‘e’) that is immune to rounding. Similarly, the plural of göz (eye) is gözler, not *gözlör*.
Labial harmony comes into play with suffixes that use high vowels. These are suffixes that, depending on the harmony, can appear with one of four vowels: ı, i, u, or ü. The possessive suffixes are a perfect example.
Let’s look at the first-person singular possessive suffix (“my”), which can be -ım, -im, -um, or -üm.
Here’s how the two harmony systems work together to choose the right form:
Let’s see it in action:
Notice how the rounded vowels in kol and gül “force” the suffix vowel to also become rounded (u/ü). Meanwhile, the unrounded vowels in kız and dil keep the suffix vowel unrounded (ı/i).
For any 4-way harmony suffix (like the one that produces -lı, -li, -lu, -lü, meaning “with” or “from”), the choice of vowel is determined by the last vowel of the word it attaches to:
Let’s re-do that cheat sheet for clarity:
For a 4-way harmony suffix (like -lı/-li/-lu/-lü):
This might seem like a complex set of rules to memorize, but it stems from a very human principle: efficiency. Phoneticians call it coarticulation or, more simply, “articulatory ease.” Our tongues, jaws, and lips are inherently lazy. It’s physically easier to keep the lips in one position (rounded or unrounded) across several syllables than it is to constantly switch back and forth.
When you say the rounded vowel ‘o’ in kol (arm), your lips are already in a rounded position. To pronounce the suffix vowel in kolum (my arm), it’s far easier for your mouth to maintain that rounding and produce a ‘u’ than it would be to unround your lips for an ‘ı’ and then re-round them for the final ‘m’. In essence, your mouth is anticipating the next sound and taking a shortcut.
Labial harmony is a perfect example of how languages develop an internal logic that, while seemingly complex, is rooted in the simple mechanics of human speech. It adds a rich, resonant texture to Turkic languages, distinguishing the “ooh” and “ooh” sounds of a word like odunumuz (our firewood) from the flatter “eeh” and “eeh” sounds of evlerimiz (our houses).
So, the next time you hear a Turkish word, listen closely. You’re not just hearing a sequence of sounds; you’re hearing a delicate dance between the front and back of the mouth, and a beautiful rounding harmony conducted by the lips.
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