Why don't you ...? You'd better ...
EXERCISES IN INTONATION
SECTION ONE. Review of Fundamental Intonation Patterns and Their Use
PATTERN 1: (LOW PRE-HEAD+ ) LOW FALL
(+ТАП.)
Models: ,Yes.
I'm a ,doctor.
PATTERN П: (LOW PRE-HEAD +) DESCENDING
HEAD + LOW FALL (+ TAIL)
Model: It isn't 'quite 'what I ,want.
PATTERN III: (LOW PRE-HEAD +) LOW RISE (+TAIL)
Models: "Yes. "Is it? Go "on.
PATTERN IV: (LOW PRE-HEAD +) DESCENDING
HEAD + LOW RISE (+ TAIL)
Model: Haven't 'we 'met 'somewhere "before?
PATTERN V: (LOW PRE-HEAD'+) (HIGH HEAD + ) MID-LEVEL
Model: Sometimes | I >hate it.
PATTERN VI: (LOW PRE-HEAD + ) FALL-RISE (+TAIL
PATTERN VII: (LOW PRE-HEAD+) FALLING HEAD + + FALL-RISE (+ТАП.)
PATTERN VIII: (LOW PRE-HEAD+) LOW HEAD + + LOW RISE (+TAIL)
EXERCISES
The exercises below are meant to revise the intonation patterns you already know.
I. Read the following conversational situations. Define the communicative type
of the replies. Say what attitudes are conveyed in them. Give your own replies to the same
conversational contexts;
What is your favourite subject?
English.
He is at the institute.
Where, do you think?
I'll do it myself.
Don't.
Here's a note for you.
Thanks.
What do you think of the picture?
It's a true masterpiece.
May I have your book?
What do you want it for?
I shan't speak to him any more.
Don't be silly.
Come and look out here.
What a wonderful view!
Have you seen him?
I have.
Fm twenty-two.
How old are you?
(Teacher to class)
Go on.
So you think he's not coming.
Exactly.
I'm waiting for Mary.
When is she coming?
We are having a party tonight.
Don't stay too long there.
See you tomorrow.
Good-bye for the present.
He's coming on Saturday.
On Monday, I think.
May I leave you for a moment?
Be quick, then.
I'll leave on Friday. No, on Saturday.
Well, make up your mind.
What's that dress made of?
It's pure wool.
Which bus shall we take?
Which one do you prefer?
I can't do it so quickly.
Tell me how I can help you.
You've done a lot for him.
Not in the least.
I'm so sorry for her. She
You've no reason to worry.
seems to be terribly ill.
She'll be well very soon.
I don't think much of this book. I'm not taking it.
Which do you prefer, then?
Thanks awfully.
Don't mention it.
I'm afraid I can't help you.
Very well.
2. Read the following dialogues. Express the suggested attitudes:
— What troubles you? [sympathetically interested)
— I'm quite unwell. I feel giddy and I can hardly stand on m legs. (serious)
— Any pain? (sympathetically interested)
— Yes, I've a sore throat. (conveying personal concern)
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— Shall I have to stay in bed long? (genuinely interested)
— No, not more than a week, I hope. (uncertain)
— And shall I take any medicine? (genuinely interested)
— Yes, certainly. Here is a prescription for you. (weighty, catt goric)
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— What is your temperature? ( sympathetically interested)
— It's thirty-eight point seven.
— Please strip to the waist. I shall examine you. How long have you felt this way?
(sympathetically interested)
— Several days already. I've been taking pills, but I don't feel any better.
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A.: Hello, Pete, what's happened to you? Why is your arm in a sling? ( sympathetically
interested)
P.: I had a bad fall and broke my arm.
A.: How awful! Have you any pain now? (interested)
P.: It still hurts, but not so much as before. ( reserving judgement)
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D.: What's troubling you? (interested)
A.: One of my front teeth is working loose.
D.: You have to have this one out. It's a pity you didn't have it looked at before. ( grumbling)
A: I wish I had. ( conveying personal concern)
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— I have an abscess on my finger, it hurts me awfully. (serious)
— Did you run a splinter into your finger? (interested)
— No, I happened to pick it with a wire.
— What did you do for it? (searching)
— I did nothing, I thought it would heal by itself.
— That was not very clever of you. (reprimand)
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— Your voice is hoarse and your face is flushed. You must have a cold. I'm sure. Where did
you manage to get it? (sympathy)
— I don't know myself. I must have caught cold last night, when I took my coat off.
— How thoughtless of you, the evening was cold and windy. (reproachful) Now you'll have
to stay in.
3. a) Listen to the dialogue. Mark the stresses and tunes. Find sense-groups
and sentences pronounced with intonation Patterns I, II; III, IV, V, VI, VII, VIII. Say
what kind of sentences they are used in. Define the attitudes expressed in them:
— Let's have tea in the garden, shall we?
— That's a good idea. Shall I take the table out?
— Yes, please. And the chairs too.
— Right. Where shall I put them?
— Oh, anywhere. I'll bring the tea.
— Good. We'll have the table here and the chairs here.
— Why have you put the table there?
— Well, you said anywhere.
— Yes, but you must be sensible. It'll be too hot there.
— Where shall I put it then?
— Bring it under the tree here. That's better.
— Now perhaps we can have some tea.
— Oh, dear. I'm sorry I've forgotten the sugar. Would you mind getting it for me?
— Not at all.
— Now where did I put the milk? Ah, here it is.
— Here's the sugar.
— Thank you. That's your cup.
— Thank you. This is very pleasant.
— It is, isn't it? But I'm a bit cold here. Do you think you could move the table again? I'm
sorry to be a nuisance.
— All right. I'll put it back where it was. Is that better?
— Much. Where are you going?
— I'm going indoors. For a bit of peace and quiet.
b) Record your reading of the dialogue. Play the recording back for the teacher
and your fellow-students to detect the possible errors. Practise the dialogue for test
reading. Memorize and dramatize it.
c) Make up conversational situations, using the following phrases:
Let's .... shall we?
It'll be too ... .
That's a good idea.
That's better.
Yes, please.
Now, perhaps, ... .
Right.
Oh, dear, I'm so sorry.
Oh, ... .
Not at all.
Well, you said ... .
Do you think you could ... ?
d) Use the same phrases in a conversation.
4. This exercise is meant to develop your ability to hear and reproduce
intonation in different speech situations.
a) listen to the story "Helen's eyes were not very good... "82 carefully, sentence by sentence. Mark the stresses and tunes. (The teacher will help you to correct your variant.)
Practise reading your corrected variant
b) Listen carefully to the narration of the story. Observe the peculiarities in intonation-
group division, pitch, stress and tempo. Note the use of temporizers. Reproduce the model
narration of the story.
5. This exercise is meant to test your ability to read and reproduce a story with
