2 syllables: night, mares. Stress on night.
NEYET-merz
/ˈnaɪˌtmɛɹz/
nightmares is pronounced NEYET-merz (/ˈnaɪˌtmɛɹz/). It has two syllables (night-mares), with the stress on "night". Nightmares are distressing dreams that produce anxiety, fear, or unease upon waking. They typically trigger vivid, immersive imagery and sometimes physical responses like rapid heartbeat. Although they occur in sleep, they can influence daytime mood and sleep quality, especially after a particularly frightening dream, prompting concern or rumination about one’s safety or well-being.
Nightmares are distressing dreams that produce anxiety, fear, or unease upon waking. They typically trigger vivid, immersive imagery and sometimes physical responses like rapid heartbeat. Although they occur in sleep, they can influence daytime mood and sleep quality, especially after a particularly frightening dream, prompting concern or rumination about one’s safety or well-being.
- Common Mistake 1: Not releasing the /t/ in the transition from night to mares, causing a clipped boundary. Correction: Practice the sequence slowly: /ˈnaɪt/ + /mɛər/; ensure a clean /t/ release and a distinct onset for /m/. - Common Mistake 2: Ending with an indistinct or muffled final /z/. Correction: Emphasize voicing for /z/ by gently voicing through the final consonant; avoid turning it into a soft /s/. - Common Mistake 3: Over-elongating the /aɪ/ or the second syllable, producing a sing-song rhythm. Correction: Keep the /aɪ/ crisp, then drop into the second syllable quickly; maintain even tempo across both syllables.
"Last night I had nightmares about being chased through a dark forest."
"Children often wake up from nightmares asking for a parent’s reassurance."
"The movie was tense enough to give adults a few nightmares."
You pronounce it as /ˈnaɪtˌmɛərz/ in broad terms, with two syllables: NIGHT-mayrz. Stress falls on the first syllable. For US and UK alike, the vowel in the first syllable is the long 'i' (as in night), and the second syllable uses a rhoticish /ɛər/ quality in non-rhotic accents or /ɛər/ in many American varieties. Lip position: start with rounded lips slightly for the /aɪ/ glide, then relax to spread lips for /mɛər/ even if your accent makes it an /mɛrz/ ending. Listen to native examples to tune the final -erz.
Two common mistakes: (1) Dropping the /t/ in the /t/ cluster between NIGHT and M-: avoid saying ‘ni-tmares’; keep a clear /t/ release before the /m/. (2) Slurring the final -s into a z too early: pronounce the plural with a crisp /z/ after the /mɛər/ to avoid a vague ending. Practice by isolating /ˈnaɪt/ and /ˌmɛərz/ and then blend them, ensuring the /t/ and /m/ have clean articulation and the final /z/ is voiced.
In US English, /ˈnaɪtˌmɛɚz/ with rhotic influence often realized as /ˈnaɪtˌmɛərz/; the /ər/ sequence in the second syllable can be more flattened. In UK English, non-rhotic tendencies may yield /ˈnaɪtˌmɛəz/ with a clearer diphthong in /aɪ/ and a trailing /ə/ quality; the final /z/ remains voiced. Australian English tends to be rhotic but with slightly broader vowel formation, so you might hear /ˈnaɪtˌmɛəz/ or /ˈnaɪtˌmɛɹz/ depending on speaker. Across all accents, keep the emphasis on the first syllable and ensure the /t/ is released before the /m/.
The difficulty lies in the consonant cluster between the two morphemes: the /t/ release before /m/, and the transition from /aɪ/ to /mɛə/ requiring precise tongue movement. The final /z/ must be voiced and clear, not muffled by preceding loudly rounded /r/ or /eɪ/ approximations. Additionally, the /t/ can be unreleased in rapid speech, causing a blend that hides the boundary between the two syllables. Mastery comes from isolating the two parts and linking them smoothly.
A useful tip is to practice the word in two stages: first echo the two parts separately: /ˈnaɪt/ and /mɛərz/, then connect with a quick, controlled link: /ˈnaɪtˌmɛərz/. Start with a slow pace, ensuring the /t/ is fully released before starting /m/. Use a short breath before the second syllable to avoid rushing the /m/.
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- US: rhoticity maintains /ɹ/ in the final syllable parts? In nightmares, ensure the /r/ is clear if your speaker uses rhoticity in the second syllable; the /ɛər/ often perceived as /ɛə/ or /ɛəɹ/ depending on the speaker. - UK: non-rhotic tendencies may reduce the /r/; the second syllable can be /mɛəz/ with a smoother glide; watch the vowel lengths to prevent a heavy /ə/ following /m/; - AU: rhotic but less emphasized; you may hear /ˈnaɪtmæːz/ with a longer A in /mæː/ depending on region. Focus on keeping the /t/ release clear and the /z/ voiced.
Nightmares comes from the combination of night + mare. The root mare in Old English was a mythic demon that sat on people’s chests while they slept, causing bad dreams. While the term ‘mare’ in reference to a demon is figurative, the modern sense evolved with the general idea of a disturbing dream that intrudes upon sleep. The earliest recorded uses of nightmare in English trace back to the 16th century, where the word appeared as an amalgam of ‘night’ and the old term for a goblin-like creature. Over time, the word broadened to encompass any troubling dream, not necessarily caused by any supernatural agent. In contemporary usage, nightmares are understood in clinical terms as intense, disturbing dreams that provoke awakening or distress, sometimes linked to anxiety or stress. The morphological blend of night + mare persists as a fossilized form, even as the informational content shifted from folklore to modern psychology and sleep science. The name captures the crossover appeal of fear-inducing imagery that one might “wake up” from, with the suffix -mares reinforcing the plural form. First known use in its modern sense is reflected in literary contexts of the 18th and 19th centuries as authors described evolving nocturnal experiences, gradually replacing older terms for false or frightening dreams with the more precise “nightmares.”
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Words that rhyme with "nightmares"
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