M r s . B r o w n : Yes, but you forget he infected the whole school!

SECTION THREE. Intonation Pattern X

(LOW PRE-HEAD+) RISING HEAD + HIGH FALL (+ TAIL)

Model: I wonder when Alice's train is due.

—  Look it 'up in thètime-,table.

The syllables of the Rising Head preceding the High Fall gradually carry the pitch up.

Stress-and-tone mark in the text:

The first stressed syllable: ││

This intonation pattern is used:

1 . I n s t a t e m e n t s , conveying personal concern, involvement, disgruntled

protest.

е.g. Haven't you brought the carp? — You didn't ask me ,to.



2 . I n q u e s t i o n s :

a ) I n s p e c i a l questions sounding unpleasantly surprised or displeased,

protesting.

е.g. Send them at once. — Where to?



b ) I n g e n e r a l questions, protesting, sometimes impatient.

е.g. Thursday's a hopeless day for me. — Can't we 'make it àFriday, ,then?



3 . I n i m p e r a t i v e s , lively, with a note of critical surprise.

е.g. What shall I do? — Try it àgain.



4 . I n e x c l a m a t i o n s , conveying affronted surprise, protesting.

е.g. John's coming. — What an ex traordinary `thing.



EXERCISES

1. Listen carefully to the following conversational situations. Concentrate your attention

on the intonation of the replies:

Verbal Context

Drill

Statements

(conveying personal concern or

involvement, disgruntled protest)

I must see Mr. Roberts.

I'm afraid you can't. He's just gone out.

What did you think of the house?

I was rather taken with it. It seems quite nice.

He says he knows nothing about it.

I just can't understand it. I distinctly

remember telling him.

Haven't you finished that book yet?

I've only just begun it.

I'm afraid I failed my exam.

I'm not at all surprised. You must try working

a bit harder.

You ought to have informed me at once.

I didn't realize, it was so important.

Special questions

(sounding displeased, unpleasantly

surprised, protesting)

What's that you say?

Why don't you listen?

I can't find the file anywhere.

What have you done with it?

You can't easily mend it.

What do you mean, easily?

I gave it to her personally.

But when did you see her?

Which one shall I have?

Which would you prefer?

I shall write to him again.

Whatever do you hope to gain by that?

I was too late. They'd sold out.

Whyever didn't you buy it when you had the

chance?

General questions ( protesting, impatient)

I'm terribly hard up!

Aren't we all?

It's always possible.

But do you think it's likely?

I'm quite booked up next week.

Will the week after suit you better?

In my view he's a culprit.

Could you be mistaken?

I can't meet you this Tuesday,

Shall we leave it till next week?

1 can't say I do like this coat.

Would you have preferred the plum coloured

one?

Imperatives ( lively, with a note of critical

surprise)

What on earth shall I do?

Try it again. You've no alternative.

What should I tell him?

Tell him exactly what you think.

How many sandwiches shall I make?

Make as many as you think we'll eat.

I don't want to go alone.

Come along with us, then.

I've lost my invitation.

Well write and ask them to send you another

one.

Exclamations (conveying affronted

surprise, protesting)

I told him what I thought of him.

Good for you!

She says she's twenty-nine.

Absolute nonsense!

But I can't take you out tonight. I'm

What a pity you didn't say so sooner.

working late.

Look. It works.

So it does. How very odd!

You're a bit grumpy today.

Not in the least!

2. Listen to the replies and repeat them in the intervals. Pronounce the first stressed

syllable as low as possible; the following stressed syllables of the head gradually rise to the high

level. Start the fall on the nucleus high enough.

3, Listen to the Verbal Context and reply in the intervals.

4. In order to fix Intonation Pattern X in your mind, ear and speech habits, pronounce

each reply several times until it sounds perfectly natural to you.

5. listen to your fellow-student reading the replies, tell him (her) what his (her) errors in

intonation are.

6. Listen to the Verbal Context suggested by the teacher. Reply by using one of the

sentences below. Pronounce it with Intonation Pattern X. Say what attitude you mean to

render:

Verbal Context

Drill

Why don't you stay longer?

I've no time. I'm so busy now.

When do we go there?

I've just told you. At seven.

Do you really want to see her?

I haven't seen her for ages.

What made you go there?

I went there because I wanted to.

Why didn't you come there in time?

You know how far it is.

What do you think of this picture?

It's nothing less than a masterpiece.

I've no time now. I'm leaving.

Where to?

You must look through it again.

What's wrong about it?

He'll be here by six.

What makes you so sure?

You must phone her at once.

Why not you?

I missed some words.

Why don't you listen?

You'd better take a taxi.

What for?

Monday is a very busy day for me.

Can't we meet on Friday then?

You are not a good swimmer, are you?

Have I ever pretended tc be?

Mary's not here yet.

Go alone, then.

It's too late to walk.

Take a bus, then.

I doubt if I can do it better.

Try again.

He's given up this idea.

Sensible chap!

He's won.

Would you believe it!

7. Give your own replies to the Verbal Context of Ex. 1 and 6. Use Intonation

Pattern X.

8. The teacher or one of the students suggests a Verbal Context The students

reply to it in turn using:

a) statements conveying personal concern, involvement or protest;

b) special questions sounding unpleasantly surprised, displeased or protesting;

c) general questions sounding impatient, protesting;

d) imperatives sounding lively, with a note of critical surprise;

e) exclamations conveying affronted surprise, protesting. Continue the exercise until

everyone has participated. Work in pairs.

9. Read the following extracts. Observe the position of the logical stress:

"Tell her that you intend to marry her, but after you return from this outing, not before." (Гл.

Dreiser. "An American Tragedy")

"You don't live here?" — "No," I said, "I don't. You wouldn't if I did." [J. K. Jerome. "Three

Men in a Boat")

"She was so pretty and cute. Yet she was a working girl, as he remembered now, too — a

factory girl, as Gilbert would say, and he was her superior. But she was so pretty and cute." (Th.

Dreiser. "An American Tragedy")

"In the taxi, returning at last to Chesborough Terrace he proclaimed happily: "First rate chaps

these, Chris! Has been a wonderful evening, hasn't it?" She answered in a thin steady voice: "It's

been a hateful evening!" ( Cronin. "The Citadel")