3 syllables: mul, ti, tudes. Stress on mul.
MUHL-tuh-tyoodz
/ˈmʌltəˌtjudz/
multitudes is pronounced MUHL-tuh-tyoodz (/ˈmʌltəˌtjudz/). It has three syllables (mul-ti-tudes), with the stress on "mul". Multitudes refers to a large number of people or things; a great quantity. In usage, it often implies more than a few, sometimes overwhelming, amounts or crowds. The term can describe both observable counts and abstract abundance, and is commonly used in formal or literary contexts to emphasize scale.
Multitudes refers to a large number of people or things; a great quantity. In usage, it often implies more than a few, sometimes overwhelming, amounts or crowds. The term can describe both observable counts and abstract abundance, and is commonly used in formal or literary contexts to emphasize scale.
- You’ll often mispronounce the /tjuː/ cluster; avoid separating /t/ and /j/ too much. Practice by saying ‘mull-tyouz’ slowly, then speed up until it becomes /ˈmʌl.tjuːdz/. - Final consonant voice: ensure the final /dz/ is voiced; don't reduce it to a simple /z/ or /s/. - Vowel quality in the first syllable: ensure /ʌ/ as in 'strut' rather than a reduced schwa. - Do not reduce the middle syllable; keep a clear /tɪ/ or /tə/ depending on tempo. Action steps: isolate the /tjuː/ portion; use tongue-tip contact for /t/ and high-front tongue for /j/; then glide into /uː/.
"A multitude gathered in the town square to hear the announcement."
"The project faced multitudes of challenges, from funding to logistics."
"There were multitudes of stars in the clear night sky."
Pronounced /ˈmʌl.tɪ.tjuːdz/ (US) or /ˈmʌl.tɪ.tjuːdz/ (UK), with primary stress on the first syllable. Break it as MUL-tih-tyoods. The middle /t/ links to the final /juːd/ sound, so aim for a light, quick transition rather than a hard cluster. In careful speech you might hear a very slight schwa in unstressed positions: /ˈmʌl.tɪ.tjuːdz/. IPA: US /ˈmʌl.tɪ.tɔːdz/ is less common; use /ˈmʌl.tɪ.tjuːdz/ for accuracy. Audio reference: listen to natural speech examples on Pronounce and YouGlish to hear the /tjuː/ transition.
Common errors: 1) Splitting /tjuː/ into /tj/ plus /uː/ too abruptly; keep the /t/ and /j/ glide together as /tjuː/. 2) Reducing the second syllable too much, saying /ˈmʌl.tɪ.dz/ or /ˈmʌl.tɪ.tʃəz/; keep a distinct /tjuː/ sound. 3) Final consonant misarticulation, finishing with a weak/voiceless /s/ instead of a voiced /dz/: aim for /dz/ at the end. Correction tips: practice with minimal pairs like mul-tih-tyooz vs mul-tih-tuhz; exaggerate the /tjuː/ sequence slowly, then reduce to natural speed.
US tends to /ˈmʌl.tɪ.tjuːdz/, with a clear /juː/ onset after /t/. UK often features a quicker /tjuː/ glide and slightly more rounded vowel in the first syllable, /ˈmʌl.tɪ.tjuːdz/. Australian accents resemble UK in rhoticity but may tilt toward a shorter final /dz/ or a softer /juː/ depending on speaker, sometimes edging toward /ˈmʌl.tɪ.dz/ in fast speech. Across all, the stress remains on the first syllable; the main variation is the treatment of /tjuː/.
The difficulty lies in the consonant cluster and the /tjuː/ sequence: you have a voiceless /t/ followed by a /j/ (y) before a long /uː/ or /juː/ sound, which can blur in connected speech. Also, maintaining primary stress on the first syllable while ensuring the middle syllable doesn’t compress the vowel. Practicing the /tjuː/ bridge in isolation helps you keep the transition precise. IPA cues: /ˈmʌl.tɪ.tjuːdz/.
The unique feature is the /tjuː/ consonant cluster that blends the /t/ and /j/ into a single affricate-like transition before the long /uː/ sound. It’s important to avoid a too-strong pause between /t/ and /j/ and to maintain the following /dz/ at the end. Practicing the /tjuː/ sequence with a slow tempo and gradual speed-up captures the word’s characteristic flow.
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- US: crisp /ˈmʌl.tɪ.tjuːdz/ with a strong /juː/; keep /t/ release clean before /j/. - UK: slightly clipped /ˈmʌl.tɪ.tjuːdz/; traditional non-rhoticity affects rhotic vowels less; ensure /juː/ remains intact. - AU: similar to UK, but often a shorter /uː/ or a lighter /dz/; may sound more centralized vowels. IPA references: US /ˈmʌl.tɪ.tjuːdz/, UK /ˈmʌl.tɪ.tjuːdz/, AU /ˈmʌl.tɪ.tjuːdz/.
Multitudes comes from the French multitude, from Latin multitūdō, from_multus_ meaning many and -tūdō a suffix denoting a state or condition. The root mult- signifies ‘many’, common across Romance languages (fr: multitude, it: moltitudine). The term entered English in the late Middle English period as part of a broader adoption of Latinate vocabulary in print and formal discourse. Originally, it referred to a great number of people or things and carried a sense of mass or crowd. Over centuries, its nuance broadened to include abstract abundance and the idea of large-scale quantity. In 16th- and 17th-century literature, multitudes was frequently used to evoke grandeur or overwhelm, often in almost rhetorical contexts. Today, multitudes retains its formal register but is common in both written and spoken English, particularly in analytical, descriptive, and literary styles. First known uses appear in ecclesiastical and scholarly writings, aligning with the sense of a large, complex grouping rather than a simple numeric count.
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Words that rhyme with "multitudes"
-des sounds
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