Considering is a multi-syllabic word used to indicate that one thing is being weighed in relation to another. It often functions as a preposition or conjunction, introducing a factor relevant to a decision or opinion. In everyday use, it signals deliberation or regard for circumstances before acting or judging.
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- You may default to a flat, single-stress pronunciation; intentionally place the primary stress on the second syllable (con-SID-er-ing) and practice alternating emphasis. - A common error is over-articulating the final -ing as a full /ɪŋ/ with tight jaw; instead, ease into a softer -ing, using a relaxed tongue and velum. - Another pitfall is merging the middle syllables into a single sound, producing /kənˈsaɪdərɪŋ/ or /kənˈsɪdɹɪŋ/; practice slower, crisp /d/ release and the schwa in the middle. - Poor linking or elision between /n/ and /d/ can create a blob; ensure a clean /n/ release into /d/ or /ɾ/ via gentle air flow.
- US: emphasize rhotic /r/ and a clear /ɪ/ in the second syllable; use a fuller /ə/ in the first syllable. - UK: lighter rhoticity, more clipped first syllable and a slightly-held /ə/ before /r/; strive for /kənˈsɪdə.rɪŋ/. - AU: often non-rhotic or weak rhotics, with relaxed vowels; aim for /kənˈsɪdə.rɪŋ/ or /kənˈsɪdərɪŋ/ depending on locality. IPA references: /kənˈsɪdərɪŋ/, /kənˈsɪdəˌrɪŋ/.
"Considering the traffic, we should leave a bit earlier than usual."
"She decided to enroll in the course, considering her interest in the subject."
"Considering his experience, he performed surprisingly well under pressure."
"The project was delayed, considering the budget constraints we faced."
The word considering comes from Middle English considren, a form derived from the verb consider (from Latin considerare, “to look at closely, to examine,” itself from com- “with” + sidere “to sit; to look at.” In earlier English, related forms carried senses of “to think about” or “to regard.” Over centuries, the gerund-participle -ing form began to operate as a connective and adverbial modifier, yielding modern uses like “Considering X, Y.” The semantic evolution reflects its function as a stance marker: it foregrounds a factor that bears on judgment. By the 17th–18th centuries, the phrase began to appear as a subordinating conjunction in more complex sentences, bridging evaluative clauses to outcomes. In contemporary English, considering is widely used as a connective that introduces a condition or context that influences the main clause, often signaling deliberation rather than absolute certainty. The form’s flexibility—preposition, conjunction, and adverbial modifier—has solidified in modern usage, with first attested written instances appearing in legal and scholarly prose as a dependent clause introducer. Overall, considering preserves its sense of weighing or reflecting on conditions before deciding or judging.
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💡 These words have similar meanings to "considering" and can often be used interchangeably.
🔄 These words have opposite meanings to "considering" and show contrast in usage.
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Words that rhyme with "considering"
-ing sounds
Practice with these rhyming pairs to improve your pronunciation consistency:
🎵 Rhyme tip: Practicing with rhyming words helps you master similar sound patterns and improves your overall pronunciation accuracy.
Pronounce it as /kənˈsɪd.ər.ɪŋ/ in US and UK English. The primary stress is on the second syllable: con-SID-er-ing. Start with a short schwa /ə/ for the first syllable, then a clear /ɪ/ in the stressed second syllable, followed by /d/ and a light /ər/ (schwa+r) and end with a final /ɪŋ/. In connected speech, the middle may blend softly: /kənˈsɪdɹɪŋ/ in very rapid speech. Mouth position: lips neutral, tongue high-mid for /ɪ/, tongue tip for /d/, relaxed velum for the trailing -ing.
Common errors: 1) Misplacing stress, saying con-SID-er-ing with wrong stress; 2) Slurring the /d/ into the following /ɪŋ/, producing /sɪdɪŋ/; 3) Over-articulating the final -ing as /ɪŋ/ with a stiff mouth. Corrections: practice the exact stress pattern con-SID-er-ing, keep the /d/ clearly released before the /ə/ or /ɜr/ in the unstressed syllables, and finish with a light, nasal -ing without tensing the jaw. Use minimal pairs and slow drills to stabilize the vowel quality and syllable boundaries.
In US English, /kənˈsɪdərɪŋ/ with vowel schwa in the first syllable and rhotic /r/. UK English tends to be /kənˈsɪdə.rɪŋ/ with lighter rhoticity and more syllable-timed rhythm; some speakers may reduce to /kənˈsɪdərɪŋ/ in rapid speech. Australian English often aligns with non-rhotic tendencies in some dialects, giving /kənˈsɪdə.rɪŋ/ or /kənˈsɪdərɪŋ/ with a slightly lowered vowel in the second syllable. Core stress remains on the second syllable; vowel quality shifts are subtle but present.
Two main challenges: 1) Correct stress placement on the second syllable while keeping the first syllable reduced; 2) Managing the sequence /ɪd.ɚ/ before the final /ɪŋ/, which requires a smooth transition from the alveolar /d/ to the schwa-like /ə/ (or /ɜr/) and then to the velar nasal /ŋ/. For some speakers, the /ɪ/ in the second syllable may be shortened in fast speech, making it easy to mispronounce as /sɪdərɪŋ/ or diffuse the syllable boundaries.
A distinctive feature is the transition from the alveolar stop /d/ into the schwa-like /ər/ before the final /ɪŋ/. You should slightly sustain the /ɹ/ or dental release before the /ər/ and keep the jaw relatively closed during the /ɪ/ of the second syllable. This subtle gliding through the /d/ to /ə/ requires light, controlled tongue-tip contact and a relaxed, lowered jaw for the unstressed syllables.
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- Shadowing: Listen to a 30–60 second clip of natural speech containing considerING, then repeat with identical timing. - Minimal pairs: compare /kənˈsɪdərɪŋ/ with /kənˈsaɪdɚɪŋ/ (incorrect alternative) to engrain the correct vowel. - Rhythm: practice 4-beat grouping: con-SID-er-ing, then con-SID-er-ing in fast speech; keep the stress strong and the rest lighter. - Stress practice: produce both a careful slow version and a normal conversation speed with the same stress pattern. - Recording: use your phone to record, then listen critically for (/ə/ reductions, /ɪ/ quality, /d/ release, final /ŋ/). - Context sentences: two sentences with natural emphasis to ensure fluency in real speech.
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