c) Give a conversational context in which the following phrases co-jld be used:

1. Hello, Betty, dear! I'm so glad to meet you. 2. How do you do. 3. How are

you? 4. Quite well, thank you. 5. Pretty good, :hank you. 6. Excuse me, please. 7.

I'm so glad to see you. 3. Oh, he's getting on quite well, thank you. 9. Not too

good, I'm afraid. 10. Well, what's the news, (Tom)? 11. How are things (with

you) ? 12. No more, thank you. 13. I'm sorry to hear that.

17/** Read the dialogues. Mark the stresses and tunes. It is not expected that each

member of the group will intone the dialogues in exactly the same way. Practise reading

your corrected variant:

"Hello, John, I'm so glad you've come. How are you?" "Quite well, thank

you. How are you?" "Very well indeed, thank you. Have you met Mr. and Mrs.

Black? They are staying with us for the week-end." "Oh, yes, we know each

other quite well." "That's good. And now this is Mary with the tea, I think.

Yes, it is. Thank you, Mary. John, you can pass the tea round Do you have

sugar in your tea, Mrs. Black?"

"Just a little, please, but no milk."

"Any sugar for you, Mr. Black?"

"Yes, please, I like a lot of sugar."

"Most of men do, I think. My husband likes his tea very sweet."

"And what will you have with it, a sandwich, or one of these cakes?"

"A sandwich, please."

"How is your mother, Mrs. Black? I hear she's not been very well."

"No, she hasn't, but she's much better now. She's staying with my brother for

a few days and then she's coming to stay with us."

"I'm glad to hear she's getting better."

18.

Make up a conversation with the phrases from the dialogue "Afternoon Tea".

18. This exercise is meant to develop your ability to read and narrate a story with proper

intonation, a) Listen to the joke. Write it down. Mark the stresses and tunes. Practise reading

the joke, b) Listen carefully to the narration of the joke. Observe the peculiarities in

intonation-group division, pitch, stress and tempo. Note the use of the temporisers. Retell the

joke according to the model you have listened to.

19. Read the joke silently to make sure you understand each sentence. Find the most

important sentence in the text. Underline the main word in each sentence. Sptit up each

sentence into intonation-groups, mark the stresses and tunes. Practise reading the joke. Make

your reading expressive. Retell the joke according to the model (see Ex. 19):

Two Americans were travelling in Spain. Once they came into a little

restaurant for lunch. They didn't know Spanish and the waiter didn't know

English. In order to make him understand they wanted some milk and

sandwiches they drew a cow. The waiter looked at it and ran out of the

restaurant. Soon he was back and put down in front of the two men two tickets

for a bullfight.

Section Seven>

Intonation Pattern VI

(LOW PRE-HEAD + ) FALL RISE ( + TAIL)

M o d e l : Do you often go to the theatre?

^Some/times. "^^/

Of ^course, I ,do. 9 J

__________________.______________________I

Stress-and-tone marks in the text: Fall-Rise: | v | \ /1 \ ,. /|

t

e.g. \/Yes. vGeneral,ly. Well J don't ,think so.

This intonation pattern is used: s I n s t a t e m e n t s expressing concern,

reproach, contradiction, correction, hurt feelings, sometimes soothing.

The Fall-Rise is also used in non-final intonation-groups or in sentences of

different communicative types instead of the low-rising nuclear tone to draw

particular attention to one of the words for the purpose of contrast or to intensify

the significance of the communicative centre.

е. д. I wish we'd left earlier. — That wasn't xmy, fault. It's so hot in this room.

— VI don't,think so. You'll be thirty-five soon. — Thirty \/four. Is it going to rain?

I

—

vhope ,not. Do you work every day? — On vweek ,days | I vwork, |

but on vSun,days 11 xdon't.

FALL-RISE SPREAD OVER TWO SYLLABLES

M o d e l : v Sometimes.

The fall of the voice starts from a fairly high or medium pitch and usually

ends rather low. The rise begins very low and does not go up too high.

EXERCISES

1. a)* Listen carefully to the following conversational situations. Concentrate your

attention on the intonation of the replies:

Verbal Context Drill

I thought they all took one. Didn't Smith and Jones go? Can Jack and Bill

come to tea? Have Bob and Jane arrived? Hike oysters.

I've passed my driving test. I don't think she's at all nice.

S t a t e m e n t s

(expressing concern, hurt feelings, reproach,

contradiction, corrections, contrast)

Ann did. Smith went. Bill can. Jane's here. You may. That's good. I do.

John does. Tim does.

I suppose you're working all the time. On week days.

Must I go by train?

You don't have to.

b) Listen to the replies and repeat them in the intervals. Make your voice fall as low

as possible on the nuclear syllable. Start the rise from the lowest pitch and do not go up

too high. Do not accent the tail, c) Listen to the verbal context and reply in the interval.

FALL-RISE SPREAD OVER A NUMBER OF SYLLABLES

M o d e l : vHe can / manage it. t___________________. •

In this case the fall is on the stressed syllable and the rise is separated from

the fall by one or more syllables. The syllables between the fall and the rise are

always on a very low level.

EXERCISES

2. a)* Listen carefully to the following conversational situations. Con rentrate your

attention on the intonation of the replies:

Verbal Context

Drill

S t a t e m e n t s

(expressing concern, hurt feelings, reproach,

Can you play chess? I think they'd Л contradiction, correction, contrast)

agree. Have you finished? But you

Once I could. Stephen would. Practically. Usually

aren't free on Sundays. So you all

I am not. I didn't think he was. You couldn't help it.

thought him guilty. I'm sorry about the He won't know what's happened.

mess. Let's ask that fellow over there.

Lying won't get you anywhere.

Somebody must know who did it.

I didn't do it.

One goal's nothing to get excited about. The

colour is all right.

The whole thing's quite a mystery.

Guess what. I scored a goal.

It's difficult all right. There might be a better one

somewhere.

What do you think of my new suit?

It's difficult, isn't it? Is this the best

you've got?

b) Listen to the replies and repeat them in the

intervals. Make your voice fall as low as possible on the

nuclear syllable. Start the rise from the lowest pitch and

do not go up too high. Do not accent the tail, c) Listen to

the verbal context and reply in the interval.

FALL-RISE ONLY

M o d e l * \/No. V

The fall may start with a fairly high or medium tone and generally ends

rather low. It occurs on the first part of the vowel. The rise begins very low and

does not go up too high. It occurs on the second part of the vowel or on the

following sonorant. *