Laboratory Work № 1

The Anatomy of English Intonation

In speaking and reading aloud, long sentences are usually divided into sense-groups,
separated from each other by pauses.
Sense-groups may consist of a single word or a number of words connected
semantically and grammatically. Each sense-group is characterized by a certain
intonation pattern.
The intonation pattern consists of the following parts: The pre-head, the head, the
nucleus and the tail.
The pre-head includes the unstressed syllables preceding the first stressed
syllable.
The head includes the stressed and unstressed syllables preceding the nucleus
(excluding the pre-head).
The nucleus is the last stressed syllable (it is always present).
The tail includes unstressed and half-stressed syllables that follow the
nucleus.
Note. The nucleus is the only essential part of the intonation pattern, the rest of
the elements are optional. Their presence or absence depends on the structure of the
sentence.
E.g. But 'why didn’t he 'tell me that he was 'busy?
— ---
— ----
- -

E.g. 'Didn’t you 'know that?

- -    -

E.g. He will 'go with me.

--
E.g. He 'will.- -
 -

Go to the following link, read practise:

https://thesoundofenglish.org/introduction-intonation/

Unit 1

Cathy
Simon Kathy! Have you got anything planned for Thursday?
Kathy This Thursday?
Simon Yes, Thursday the thirteenth, it’s my birthday.
Kathy Your birthday! I thought it was the thirteenth of next month!
Simon No, it’s this Thursday. I’m thirty this year, so…
Kathy Thirty… never! I thought you were only about twenty-five!
Simon Thanks! Anyway, I thought we could go out for a meal, or do
something to celebrate! Do you think you’ll be able to?
Kathy Thursday the thirteenth… let me think… no, that should be fine, I
can’t think of anything else that’s happening.
Simon Well, let’s say about six then. I’ll tell the others… and have a think
about where to go.
Kathy Great. Thanks for inviting me – I’ll see you then, then.

Judith and Timothy

A How are Judith and Timothy Thorpe’s triplets?
B Those three? Well… both Heather and Cathy are very healthy, but I think
they’re having rather a lot of trouble with Matthew.
A With Matthew? What’s the matter with Matthew?
B Teething troubles, I think, and then he won’t eat anything.
A Teething troubles? But how old are the triplets now?
B I think they’re about thirteen months.
A Thirteen months? Oh, I thought they were a lot younger than that.
B No, they must be thirteen months because it was their first birthday at the
end of last month – on the thirtieth… or was it the thirty-first?
A Oh, dear, and I didn’t send them anything, not even a birthday card… I
wonder what Judith and Timothy thought?
B Don’t distress yourself, dear, they didn’t say anything to me…
 Laboratory work № 2
Stress in Compound Nouns
Compound nouns are usually pronounced with the stress on the first element: dining-
room, a 'sitting-room, a 'bedroom, a 'bathroom, a 'tea-pot, a 'tea-cup, a 'table-cloth, a
'bookcase, a 'newspaper, 'homework, etc.
Note: But some have two primary stresses: an 'arm'chair, a 'beef'steak, an 'ice-'cream.
And a few have a primary stress on the second element: man'kind, short'coming, etc.

Stress in Compound Adjectives

Compound adjectives, as a rule, have two primary stresses. Practise and memorise:
'Ready-'made, 'first-'class, 'good-'looking, 'well-'bred, 'ill-'tempered, 'absent-'minded,
'old-'fashioned, 'short-sighted, 'well-'known, 'polysyl'labic, 'good-'natured,
'kind-'hearted, 'hard-'working, 'middle-'aged, 'narrow-'minded, 'blue-'eyed, 'turned-'up.
Note: It should be remarked, however, that the stress of compound adjectives is easily
modified by rhythm. The first element is apt to lose its stress when closely preceded by
another stressed syllable. Similarly the second clement loses its stress when closely
followed by another stressed syllable. The following are examples of variations in stress
due to this cause:
l. 'Good-'looking. 'Very good-'looking. A 'good-looking 'girl. 'Kitty is a 'good-looking
girl.
2. 'Ready-'made. A 'ready-made 'dress. The 'dress is ready-'made. 'Lily's 'dress is
ready-'made.
3.'Absent-'minded. 'Teddy is absent-'minded. He IS an 'absent-minded 'boy. 4.
'Old-'fashioned. An 'old-fashioned 'dress. The 'dress is old-'fashioned.

Unit 2

Sarah’s Profile

Sarah Fox is easy-going and is rarely bad-tempered. She’s very public-spirited

and does a lot of time-consuming work for charity. She’s quite good-looking.
She has close-cropped hair and wears glasses because she’s short-sighted.
She’s a high-flying surgeon, world-famous in her field, and is extremely hard-
working. She’s recently introduced some ground-breaking changes into her
hospital. She’s always well-dressed at work. At home, though, she prefers to
wear loose-fitting shirts, often in eye-catching colours. Surprisingly, she’s a
rather introverted person, and sometimes gets a bit tongue-tied in public. And
she’s rather camera-shy, too. Because of a long-termed problem with her
health, her diet has to be fat-free. At the moment she’s taking a well-earned
holiday in Majorca.

Laboratory work № 3
Strong and weak forms of some words
In English there are certain words which have two forms of pronunciation:
1) strong, or full, form
2) weak, or reduced, form
These words include form-words and the following pronouns: personal,
possessive, reflexive, relative and the indefinite pronouns some denoting indefinite
quantity. These words have strong, or full, forms when they are stressed.
e.g. He will do it. ['hι: wιl 'du: ιt]
When unstressed they usually have weak, or reduced, forms:
e.g. He will do it [ hi wil 'du: it ]
List of Strong and Weak Forms
Note 1. The articles "the" and "a" or "an" rarely have their strong forms, unless
they are stressed in some exceptional cases. e.g.'He is the man (we were speaking
about). [ði:]
Note 2. Prepositions have their strong forms:
a) When they are final.
e.g. 'Where are you 'from? [fr‫כּ‬m]
b) when they are followed by an unstressed personal pronoun at the end of a sense-
group or a sentence. e.g. She was 'not listening'to him. [tu:]
Note 3. Auxiliary and modal verbs, as well as the link-verb “to be”. have their
strong forms at the end of a sense-group or a sentence.
e.g. -'Who is a teacher ? -I am. [ǽm]
 -'Who is absent? - Ann is. [iz]
-'What is 'hanging on the wall ? -Pictures are. [ α: ]
- I 'don't 'know where Tom was. [ w‫כּ‬z ]
Note 4. The personal pronouns have their strong forms when they are stressed,
logically accented.
e.g. 'He will ֽdo it. [hi:]
'She is on duty toֽday. [Si:]

Unit 3

The Arrow and the Song

I shot an arrow into the air,
It fell to earth, I knew not where;
For, so swiftly it flew, the sight
Could not follow it in its flight.

I breathed a song into the air,

It fell to earth, I knew not where;
For who has sight so keen and strong,
That it can follow the flight of song?

Long, long afterward, in an oak

I found the arrow, still unbroke;
And the song, from beginning to end,
I found again in the heart of a friend.
 1. Articles
Word Strong Forms Weak Forms
the [ði:] [ðə]-before consonants
[ði]-before vowels
A [ei] [ə] -before consonants

An [ǽn] [ən] -before vowels

2. Prepositions
Word Strong Forms Weak Forms
At [ǽt] [ət]
From [from] [frəm]
Of [vo] [əv]
To [tu:] [tu ], [tu]
On [on] no weak forms
For [:fo] [fə]-before consonants
[fər]-before vowels
3. Verbs
Word Strong Forms Weak Forms
can [k ǽ n] [k ə n], [kn]
must [m Λ st] [m ə st], [mst], [m ə s], [ms]
will [wil] [l]
shall [S ǽ l] [S ə l], [Sl], [l]
do [du:] [du], [d ə], [d]
does [d Λ z] [d ə z]
have [h ǽ v] [h ə v], [ev], [v]
has [h ǽ z] [h ə z], [z]
[z]-after vowels and voiced
consonants
[s]-after voiceless consonants
had [h ǽ d] [h ə d], [d]
 are [α:] [α]-before consonants
[ər]-before vowels
am [ǽ m] [ə m], [m]
is [iz] [z]-after vowels and voiced
consonants
[s]-after voiceless consonants
was [woz] [w ə z]
were [w ə:] [wə]-before consonants
[wə r]-before vowels
4. Pronouns
Word Strong Forms Weak Forms
You [ju:] [ju ], [ju]
He [hi:] [hi ], [hi]
She [Si:] [Si ], [Si]
We [wi:] [wi ], [wi]
5. Conjunctions
Word Strong Forms Weak Forms
And [ǽ nd] [ə nd], [ə n], [n]
But [b Λ t] [b ə t]
6. Particles
Word Strong Forms Weak Forms
There [ð ε ə] [ðə]-before consonants
[ðər]-before vowels
To [tu:] [tə]-before consonants
[tu]-before vowels
 Laboratory work № 4
Intonation of Enumeration
Models:
I’ve 'visited the 'British ˏMuseum, the 'Nationalˏ gallery and the ʹTate.

▬--- ▬-
▬- - -
▬ - ▬- --

If a sentence contains enumeration, all non-final intonation-groups are

usually pronounced with a rising tone, each being a bit lower than the
preceding one. The final intonation-group is pronounced with a falling tone
(low or high) if the choice of enumeration is exhausted.
If the feeling of the utterance (enumeration) requires some emphasis all the
items named take a Falling tone (high or low).
 Laboratory work № 5
Intonation of Statements

Statements sound final, categorical, considered, weighty, dispassionate

when said with the intonation pattern [low pre-head +stepping head+ low fall].
This gradually descending scale is widely need in reading aloud descriptive and
narrative texts.
The dispassionateness often shades into withdrawal and impatience.

Examples:
-What’s the time, please.
- 'Ten ' minutes to 'nine.
—
— --

-When can you come?

-I 'think I shall be 'free on 'Sunday.

— ---
- — -
-

-Why did he do it?

-I 'haven’t the 'slightest i'dea.
— --
- — --

Intonation of Dispassionate Statements (with Low Head)

Statements sound cool, calm, detached, reserved, dispassionate when they are said with
the Intonation Pattern (Low Pre –Head +) Low Head + Low Fall ( +Tail).

Model: I’ve lost my gloves.

▬ -

Intonation of Polite Statements

Statements sound polite, airy, light and friendly when they are said with the
intonation pattern (Low Pre-Head) + Stepping Head + High Fall (+Tail).

This intonation pattern is used to express warmth, a desire not to appear cool to
the listener, to express the effect of personal participation in the situation.
 Model: I ʹdidn’t ʹknow hоw ʹlate it was.
▬ -
▬ - --
-
 Statements with Low Rise
a) statements sound not categorical, soothing, reassuring, when said with the
intonation pattern [low pre-head + stepping head + low rise +tail]. This pattern is also
used for remarks of concern, sorrow, apology and almost for any statement to make it
less definite.
Examples:
Where are you going? – Just to 'post a 'letter.
— - -
-- —

I’ve no head for heights. – It’s 'all 'right. You 'won’t 'fall.

—
Are
- you ready to go? —
– It 'shan’t be a 'moment.
-

— -- -
- —

b) Statements sound very detached and give the impression that the speaker is
reserving judgment, when they are said with the intonation pattern [low pre-head +
low head + low rise + tail]
Examples:
Do you go to the theatre? – Some'times.

Shall we be in time? – I 'think so.

-
- —

You must apologize at once. – I 'don’t think I 'should.

 - — --
c) Statements beginning with a subsidiary clause or phrase normally have the Low rise
for this introductory part, followed by a falling tone for the main clause.
Example:
'When he 'saw us, he 'ran a'way.
— - - — -
— -

Statements with Fall-Rise

The Fall-Rise is a complex tone which consists of two elements: the falling and
the rising. It may be realized in different forms. The choice between the forms depends
on the structure of the word on which this tone is pronounced. The falling-rising tone
may be spread over two or more syllables or it may be compressed into one syllable; the
voice first falls from a fairly high to a rather low pitch and then, still within the world,
rises to a medium pitch.
'Yes.

'Never.

'Wonderfully.

The Fall-Rise is an implicatory tone. It always gives the impression that something has
been left unsaid, and that the speaker expects the listener to imagine the extra meaning.
The exact character of the implication is always deduced from the concrete situation in
which the Fall-Rise is used.
Typical attitudes, often conveyed with the help of Fall-Rise may be described as
follows:
 1) Grudging admission
 I’d like it as soon as possible. – You could 'have it by 'dinner time. (But not
earlier)
2) Contradictions and corrections
 It didn’t take you long. – It 'did. (It took ages)
3) Concern, reproach or hurt
 I went to London today. – I 'wish you’d 'told me.
4) Warnings
 You’ll 'fall.
5) In apologies to suggest reservation on the part of the speaker.
 I’m sorry, but I’m afraid it’s impossible.
6) Tentative suggestions
 We need another player. - You could ask 'John.
The Fall-Rise is usually combined with the Sliding Scale.
 He’ll 'never 'do it 'again.
The Fall-Rise is often used in incomplete groups, where it draws particular attention to
one element for the purpose of contrast, and at the same time shows an intention to
continue the utterance.
 On 'weekdays I 'work, but on 'Sundays I 'don’t.
Unit 5

Felix Cat

Felix Catt is a typical resident of Siberia Avenue, Surbiton. He looks

gloomy, but in fact he is quite happy, and he leads a quiet life in this suburb of
London. His wife Gertie looks after him carefully; she cleans the house
regularly, and feeds him daily on well cooked meat and tinned vegetables.
There is always a supply of fresh water for his whisky, and plenty of carpet
space for putting practice, so he is very comfortable and content with suburban
life.Felix is very fond of his old dog, Sam. They go for walks together on
Sundays. Today he is taking Sam to the local vet, because he is afraid that he
is going blind. However, the vet is confident of curing him by means of a small
operation. He is giving Sam an injection before operating on him, so that he will
sleep peacefully the whole time and not feel any pain. There is even a pretty
nurse standing by to comfort Sam in case he feels unhappy and lonely in the
strange surroundings.
In general, both Felix and Sam think that they don't have a bad life, and
they have no desire to change it for anything more adventurous.

A Date for the Theatre

Mik Hello, Jack. Why the rush? Where are you

e going?
Jac Hello, Mike. I'm on my way to meet Joyce at the
k station. We're having dinner at a Chinese
restaurant and then we're off to the theatre.
Mik Do you often go to the theatre?
e
Jac Yes, Joyce and I usually go at least once a
k fortnight; sometimes more. Do you ever go?
Mik Yes, but I don't often find time these days.
e There are so many other things to do.
Jac True, true.
k
Mik Listen, perhaps Janet and I can arrange to meet
e you and Joyce one Saturday evening. We can
have dinner together and go on to a theatre.
Jac That's a good idea. Look, I forget the name of
k the play, but there's a good comedy on at the
Theatre Royal next week. If you like, I can book
four seats for next Saturday.
Mik All right. I'm meeting Janet later this evening so
e I can make sure that she's free next Saturday.
I'll ring you tomorrow to confirm if we are
coming.
Jac Fine. I must fly now. It's six o'clock already and
k
 Joyce's bus arrives at ten past. She hates
waiting around and I don't want to spoil
everything by upsetting her before we start our
evening.
Mik I'll phone you tomorrow then. Give my regards
e to Joyce. Have a good evening.

Laboratory Work № 6

Intonation of General Questions.

The most typical intonation pattern for general questions in unemphatic speech is

[Low pre-head + Stepping head + Low rise + Tail].

The speaker sounds generally interested, polite and friendly.

Examples: 'Are you 'coming 'with us?

—
—

'Did you en'joy the 'play?

—

—
Note: When the prominent syllable occurs before the nucleus, the High pre-head is used
to avoid skepticism.
Examples: Is 'this the 'one?

―-

'Can 'I help?

The Expert’s Fee

Ron That's the cleaning finished, Ted. It looks

almost brand new now.
Ted Shall we adjust the clutch and check the
brakes?
Ron O.K. And then I'll change the spark plugs.
We won't be long now.
Ted Will you pass me that spanner, please,
Ron? No, not that one. The big one behind
your left foot.
Ron Here you are.
Ted Your front tyres are nearly worn out, Ron.
Had you noticed?
Ron No I hadn't. I'll buy two new ones tomorrow.
Ted I've checked the oil level - I'll just look at the
battery now. Hmm! There's no water. Shall I
fill it up?
Ron Yes, please. But get a move on, Ted; it's
going to rain in a minute.
Ted Start the engine then, Ron.
Ron Funny! It won't start. I wonder what's up with
it?
 Ted Look, there's Sid Greenham over there.
He'll know what's wrong. Shall I ask him?
Ron All right.
Ted Will you come and see what's up with my
friend's car, Sid? We can't make it start.
Sid I'll put it right for you in a jiffy, but I'm a
professional mechanic and It'll cost you a
pound. All right, go ahead.
Sid Just disconnect these two wires, change
them around like this and connect them up
again. Now the engine will start with no
trouble.
Ron A pound for that? It only took twenty
seconds.
Sid Ah, but you've paid for what I know, not for
what I've done!

Laboratory Work № 7

Intonation of Special Questions

The most usual intonation pattern for unemphatic special questions is (Low pre-
head) + stepping head + Low Fall + (Tail). They sound serious, responsible, intense.

E.g.: 1. 'What 'place does he 'live in?

2. Then 'why are you so 'angry?

NOTE: Special questions with such intonation pattern are sometimes used to suggest
impatience and irritability.
E.g.: 1. What the devil do you mean by that?

2. How can you say such a thing?

Intonation of Polite Special Questions

Special Questions sound polite, friendly, brisk and businesslike when they are
said with the intonation pattern (Low Pre-Head) + Stepping Head + High Fall (+Tail).
This is a common way of asking these questions. This intonation pattern with special
questions avoids the coldness, tension and possible hostility of Low Pre-Head +
Stepping Head+Low Fall+Tail.

Model: ʹWhere would you ʹlike to ʹgo?

▬ - -
▬ -

Animals
(I – interviewer, T - Tim)
I: Can you describe your pet?
T: She’s very fat and not very pretty. But she’s got a lovely curly tail.
I: What does she eat?
T: Anything and everything. She’s very fond of banana skins.
I: Is she a good companion?
T: Yes, I always go and speak to her when I’m fed up. She listens to my
problems when no one else will.
I: When you go away, who looks after her?
T: If I go away for work, my girlfriend looks after her. But if my girlfriend comes
away with me, we have to take her over to my parents. She doesn’t like that
very much because they’ve got a dog that annoys her.
I: Do you and your pet look alike?
T: I hope not.
I: If you were an animal, what animal would you like to be?
T: I used to say a dolphin when I was younger, but I don’t like the sea very
much now. I don’t know - a giraffe maybe, though I’d hate to be stuck in a zoo.

Intonation of Interested Special Questions

Special questions, when pronounced with Low Pre-Head + Stepping Head + Low
Rise + Tail indicate that the speaker is sympathetically interested. Some phoneticians
call them Interested Special Questions. Special Questions addressed by a grown-up to a
child are often pronounced this way.

Model:

1. 'What’s your 'name?

2. How 'long are you 'going to 'stay here?

 Note that when the nucleus is the interrogative word the effect of repetition and
puzzlement is made.

E.g. I saw him at the club yesterday.

– You 'saw him 'where?

Low Pre-Head + Stepping Head + Low Rise + Tail is especially used in an

opening special question, when the speaker wants to establish that it is friendly inquiry,
not an attempt to pry or criticism. Once this friendliness has been established he may
revert to Low Pre-Head + Stepping Head + High Fall + Tail.

Special Questions Calling for Repetition

Special Questions may be asked with the intonation pattern Low Pre-Head +
Stepping Head + High Rise + Tail. When the nuclear tone is on the interrogative word,
the speaker calls for the repetition of the information already given, because he hasn’t
heard it or he hasn’t understood it properly. Model: What did you say?
 Laboratory Work № 8

Intonation of the Author’s Words

Phrases such as “He says”, “She says”, “She asked”, “Answered they”, “She
replied”, used in conversational texts and also in actual speech, are called author’s
words. They may occur at the beginning, middle or end of the quoted speech.

Models:

1. “I’m 'not ready”, she 'said.

2. “Are you 'sure?”, she asked, 'looking a'round her as she 'spoke.
3. He said: “'Pardon me, sir.”
4. “Pardon me, 'sir”, she 'said. “I feel 'guilty about it.”
The author’s words which follow the direct speech are usually pronounced as
unstressed or half-stressed tail of the preceding intonation group.

E.g.: 1. “I’m 'not 'old”, he 'said.

2. “Is 'this for 'me?”, she asked with surprise.

If the tail gets longer, it may form a separate intonation group. In this case it is
stressed and is pronounced with the same nuclear tone as the preceding intonation group
but on a lower pitch level.

E.g.: “I’m 'sorry”, a'gain re'peated the 'landlord.

 If the author’s words consist of two or more intonation groups, the first of them
doesn’t form a separate intonation group. The second and the third are always stressed
and pronounced each on a lower pitch level. The nuclear tone of the final intonation
group is usually that of the sentence in the indirect speech. The non-final intonation
groups may be pronounced either with the low-rising tone or with the low-falling tone
according to their semantic importance.

E.g.: “What a 'pity!” was 'all I 'said when he 'broke a 'glass.

Little Red Riding Hood and the Wolf

As soon as Wolf began to feel

That he would like a decent meal,
He went and knocked on Grandma's door.
When Grandma opened it, she saw
The sharp white teeth, the horrid grin,
And Wolfie said, ``May I come in?''
Poor Grandmamma was terrified,
``He's going to eat me up!'' she cried.
And she was absolutely right.
He ate her up in one big bite.
But Grandmamma was small and tough,
And Wolfie wailed, ``That's not enough!
I haven't yet begun to feel
That I have had a decent meal!''
He ran around the kitchen yelping,
``I've got to have a second helping!''
Then added with a frightful leer,
``I'm therefore going to wait right here
Till Little Miss Red Riding Hood
Comes home from walking in the wood.''
He quickly put on Grandma's clothes,
(Of course he hadn't eaten those).
He dressed himself in coat and hat.
He put on shoes, and after that
He even brushed and curled his hair,
Then sat himself in Grandma's chair.
In came the little girl in red.
She stopped. She stared. And then she said,

``What great big ears you have, Grandma.''

``All the better to hear you with,'' the Wolf replied.
``What great big eyes you have, Grandma.''
said Little Red Riding Hood.
``All the better to see you with,'' the Wolf replied.

He sat there watching her and smiled.

He thought, I'm going to eat this child.
Compared with her old Grandmamma
She's going to taste like caviar.

Then Little Red Riding Hood said, ``But Grandma,

what a lovely great big furry coat you have on.''

``That's wrong!'' cried Wolf. ``Have you forgot

To tell me what BIG TEETH I've got?
Ah well, no matter what you say,
I'm going to eat you anyway.''
The small girl smiles. One eyelid flickers.
She whips a pistol from her knickers.
She aims it at the creature's head
And bang bang bang, she shoots him dead.

A few weeks later, in the wood,

I came across Miss Riding Hood.
But what a change! No cloak of red,
No silly hood upon her head.
She said, ``Hello, and do please note
My lovely furry wolfskin coat.''
 Laboratory work № 9

Intonation of Alternative Questions

Model: Do you speak English, or German?

The most usual way of pronouncing alternative question is to make two sense groups
and to use the rising tone in the first sense group and falling tone in the last one. The
final fall shows that these are only choices and that the list is complete.

Intonation of Disjunctive Questions

Models: You’ve 'met her, 'haven’t you?

- -

You’ve 'met her, ˏhaven’t you?

- __ -

Disjunctive questions consist of two intonation-groups. The sequence of

tones in disjunctive questions depends on the attitude of the speaker towards
the significance of the utterance.
The first intonation-group has generally the Low-falling nuclear tone.
The Low-rising nuclear tone of the final intonation-group, or tag, shows
that the speaker is not certain of the facts expressed in the first part of the
question. An answer is expected.
E.g. I rang you up yesterday. You were 'meeting your 'wife, ˏweren’t you? - Yes, I
was.
The Low-rising nuclear tone of the tag shows that the speaker is certain
of the facts expressed in the first part of the question. No answer is
 expected.
E.g. I saw you at the station. You were 'meeting your 'wife, 'weren't you?
She looked so young and happy.

Liza Minelli
A Liza Minnelli is just fantastic! Her concert was amazing!
B It was, wasn’t it? And she puts so much energy into her songs, doesn’t she?
A Yes, she does. Who wrote that song about marriage, and the way it changes
the world?
B She did. It’s one of the few songs she ever wrote, actually.
A So she can write as well as sing, can’t she? What a talent! Did you like her
costumes?
B Yes, I did. I thought they were fantastic. I’ve seen most of them before.
A Have you? I haven’t. She’s playing again tomorrow, isn’t she?
B Yes, I think so. Let’s go again, shall we?
A All right. She’s one of the all time greats, Liza Minnelli is.

Laboratory work № 10

Intonation of Commands
Commands are stressed with an intonation indicating that the speaker intends
to be obeyed, whether the hearer is willing or not. They press the hearer to
accept what is being offered.
a) The intonation pattern (Low Pre-head + ) Low Head + Low Fall ( + Tail)
makes a command sound calm, unemotional, often cold.

Tone group 1:
Verbal context
1. -What 'shall I 'do with this 'rubbish?
-'Burn it. 'Bury it. 'Lose it. 'Keep it.
2. - May I 'borrow this ˏpen?
- Yes, 'do.

3. –I ʹcan’t tell you 'how.

 -Then 'phone me a'bout it.
4. -'Thank you so 'much.
-Don’t 'mention it.
b) ( L o w Pre-head + ) Stepping Head + Low Fall is the most usual intonation pattern
for firm, serious, considered commands.
Tone group 2:
Verbal context.
1. -'What do you 'think you are 'doing?
-'Mind your 'own 'business.
2. -'What do you 'want me to 'do?
- 'Read the 'paragraph.

3. -We’ll be 'there in 'no 'time.

-Now, 'take it 'slowly.
4. -It’s 'not 'much of a 'risk.
-Well, 'can’t 'say I 'didn’t 'warn you.
5. - 'How shall I 'make my 'peace?
-'Give the 'girl the 'most ex'pensive 'meal you can af 'ford.

Intonation of Requests
(Low pre-head + ) Stepping head + Low rise (-V Tail) is the most usual intonation
pattern for polite requests. When there’s no Head, High pre-head is used.
Very often they have soothing, reassuring effect and perhaps calmly
patronizing. For this reason, these requests are frequently used to children.

Call
(M= Mum, L= Lorna)
M: Hello.
L: Mum, it’s me!
M: Oh, hello, darling. How are you?
L: I can’t hear you, Mum. It’s a really bad line.
M: Sorry, dear. I said how are you?
L: Terrible, Mum. My back’s killing me, and the house is a mess.
M: Don’t worry, darling. I’ll come and help you clean the house.
L: But that’s not all – the kids are driving me mad. ELLA PUT HIM DOWN!
M: Don’t worry, darling. When we’ve cleaned the house, I’ll take the children to
the park.
L: Oh, thanks, Mum. There’s something else though. ELLA, I SAID PUT HIM
DOWN! Sorry – the thing is, I’m expecting six people for dinner, and the fridge
is bare. Do you think you could do some shopping on your way over here?
M: No problem, darling. I’ll stop at the supermarket and then I’ll make a meal
your friends will never forget.
L: Thanks, Mum. I don’t know what I’d do without you. Could you do one more
thing for me?
M: Of course, darling, what is it?
L: Well, I’ve run out of money. Could you possibly pay for the shopping, and I’ll
pay you back at the end of the month?
M: That’s fine. You don’t have to pay me back.

Laboratory work № 11

Intonation of Compound Sentences

A compound sentence consists of two or more independent parts. Each part is

pronounced with a falling tone if they are independent semantically and complete by
themselves.

Model: 'Summer is 'warm and 'hot, 'autumn and 'spring are 'cool, 'winter is 'cold.

NOTE: If the non-final part of a compound sentence is less semantically independent

and non equally important, it is pronounced with a rising tone.

Model: 'Well, it was 'cold but 'not 'windy.

 Intonation of Complex Sentences

A complex sentence consists of a principal clause and one or more subordinate clauses.
The subordinate clause may either follow or precede the principal clause. If a
subordinate clause precedes the principal one and makes a separate intonation group, it
is usually pronounced with the Low-Rise or Mid-Level as it implies continuation.

Model: 'If you 'want to have a 'rest, 'go to the 'country.

In case the principal clause precedes the subordinate one, both the clauses are usually
pronounced with the Low falling nuclear tone.

Model: 'Go to the 'country, if you 'want to have a 'rest.

If the principal clause implies continuation and makes a separate intonation group, it is
pronounced with Low rising or Falling-Rising nuclear tone.

Model: I’ll 'tell him at once 'you 'want to 'see him.

Loyal Fans

Te
Hello, Bill. Are you ready yet?
d
Bill Oh, come in, Ted. Is it two o'clock already? I
have finished my lunch yet, but I won't be long.
Te We'll miss the kick-off unless you hurry.
d
 Bill Take a seat for a minute. If we miss the kick-off,
it won't really be a tragedy, will it? I don't
suppose the game will be worth watching
anyway.
Te Probably not. But I bet if we arrive five minutes
d late they'll score the only goal of the game
before we get there.
Bill And if we arrived early, they wouldn't score any
goals at all. I don't know why we persist in going
to watch them every other Saturday.
Te We wouldn't know what to do if we didn't go,
d would we?
Bill They're bound to lose again, unless there's a
miracle.
Te I don't know. They've dropped old Ford and
d picked that youngster, Wade, in his place.
Perhaps they'll win, if they strike form.
Bill If they strike their usual form, they'll lose five-nil
against this team. They've already lost at home
twice this season... But let's get a move on, we'll
be late.

Loyal Fans. An ear-training exercise. Listen to the continuation of the fans’

conversation. Write it down. Mark the intonation in the sentences and imitate it out loud
at least three times.
 She Walks in Beauty
by LORD BYRON

She walks in beauty, like the night

Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes;
Thus mellowed to that tender light
Which heaven to gaudy day denies.

One shade the more, one ray the less,

Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.

And on that cheek, and o’er that brow,

So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!

Laboratory work № 12

Intonation of Direct Address.

Direct address is a word or a group of words used to address a person or several

people. Direct address may be expressed by:

a) Names of people
b) Common nouns (mum, sir, miss)
c) Emotionally colored words (dear, darling, brute)
The noun, by which direct address is expressed, may have attributes, e.g. young
man, my dear Mary, etc.

In impolite address the personal pronoun you is often used, e.g. I'd like to kill you,
You selfish brute!

However, the personal pronoun you may also be used in polite address, e.g. You
sweet girl!

The intonation of direct address in English depends on its semantic importance,

which in its turn determines the position of the direct address in the sentence.

Direct address may be placed:

1. at the beginning of the sentence (initial position)

2. in the middle of the sentence (medial position)
3. at the end of the sentence (final position)

Direct Address at the beginning of the sentence

Initial direct address is usually important in meaning. In this position it is often

emphatic in character and highly emotional. It is therefore always stressed. Direct
address forms, as a rule, a separate sense-group. The sense-group may be pronounced
either with a falling tone (low or high) or with a falling-rising tone, or with a low rising
tone.

Direct address pronounced with a Low rising tone is less emphatic than with a
falling tone.

Examples:

1. 'Harry, 'look at this 'hat.

—
 2. 'Peter, I 'wish you’d 'find something to 'do.

—---

3. 'Mum, 'isn’t this 'shirt too 'big for 'me?

— -

—
—

Direct address in Sentence - Medial position

Medial direct address is, as a rule, not very important semantically. It breaks up
the sentence into two sense-groups and is created as the unstressed end of the first
sense-group or as its last stressed word pronounced with low rising tone.

Examples: 1. I 'say Robert, you 'do look 'clean.

—

--

2. 'Never 'mind, Nora, let 'me help you.

—

— -- -

3. 'Come 'on, Jim, we shall 'have to 'hurry-'up with this 'piano.

— —

— -- —
–-
-

4. It is 'no 'use 'talking, Nora, it 'doesn't suit 'me.

 —
- — — -
--- -

Direct address in Sentence - Final position

Final direct address is either unstressed or partially stressed. It depends on the

degree of its semantic importance. When unstressed it forms the tail or part of the tail of
the terminal tone.

When partially stressed, it usually takes the rising tone or fall-rise.

Examples: 1. I am 'not, Mum. (Categoric statement)

2. Now 'don’t you be 'rude, young Peter. (Command)

— -

--

3. 'How are 'you, Mary? (Special question)

—

4. 'Don’t 'worry, Parker. (Request)

--

Sea or Air
Susan Are you looking forward to your trip to
 Canada, Julie?
Julie I can't wait to see Canada, Susan, but I'm
scared stiff of the journey. My husband
insists on flying, but I want to sail. Planes
make me nervous.
Susan There's nothing to be frightened of. How
many planes fly across the Atlantic every
day?
Julie I've no idea. Hundreds, I suppose.
Susan And how often do you hear of a crash?...
Once or twice a year?
Julie Yes, but aeroplanes fly so high and fast that
once is enough.
Susan Look, there are more road casualties per
day than air deaths per year. Air transport is
really safe compared with road transport.
Julie I'd still prefer to go by sea. Ships may not
travel fast but at least you can relax. I'd love
a trip on a luxury liner like the Queen
Elizabeth II.
Susan It's fine if you're a good sailor, but have you
ever travelled far in a rough sea?
Julie No. I've only been in a boat once. I sailed
down the River Thames on a sightseeing
tour... But in any case I'd rather be sea-sick
than dead.

Laboratory work № 13

High-Fall

 GB English speakers use a high fall in their intonation to show that they are
being enthusiastic or genuine.
 A high fall starts with a high pitch level followed by falling ↘ tone.
 If the speaker starts at a lower pitch, it can show lack of interest or even sarcasm.

To practice the following intonation pattern, please, go to:

https://thesoundofenglish.org/high-fall/
 A Little Gossip
Mrs. Good morning, Mrs. Smith. What beautiful
Jones weather again!

Mrs. Yes, lovely? What a splendid summer we've

Smith had so far this year!
Mrs. Yes, but some people are complaining about
Jones the heat and grumbling because we haven't
had much rain for the gardens.
Mrs.
Some people are never satisfied.
Smith
Mrs. By the way, have you heard that young
Jones Patrick Ellis has had another accident in his
car?
Mrs.
A How awful! Is he badly hurt?
Smith
Mrs. Well, they took him to hospital but I don't think
Jones it was serious because he's coming home
again today.
Mrs. I suppose he was driving flat out again. Only
Smith yesterday I was telling Mrs. Tailor how madly
he drives. And all his friends are just the
same.
Mrs. I know. What wild things young men are these
Jones days!
Mrs. Mm... I've got some news for you, too. Have
Smith you heard that Eva Browning is getting
married for the third time on September the
tenth?
Mrs. Fancy that! She only got her second divorce
Jones in the spring. What a dreadful woman she is!
 Mrs. Her first marriage only lasted six months - and
Smith that was only in 1972, wasn't it?
Mrs. Yes, that's right. At this rate she'll lose count
Jones of her husbands before she's forty.
Mrs. She may lose count, Mrs. Jones but we
Smith certainly won't.

Utterances with High Rise

The High Rise tone is used in echoed utterances of all communicative types,
when the speaker seems to be calling for the repetition of the information already given.
They sound light, airy and rather casual and don’t imply disapproval or puzzlement
(surprise). The use of the Low Rise in similar utterances would add a shade of surprise
and disbelief.
The High Rise is used:
1.In echoed Statements:
- We start tomorrow.
-You start tomorrow?
▬ - -
- ▬

2. In echoed General Questions:

- Did you enjoy the play?
- Did I enjoy it?

▬-- -
▬

3.In echoed Special Questions:

- How old is he?
- How old is he? Forty, I think.
-
▬ -
-
4.In echoed Orders or Requests:
-Telephone me, then.
-Telephone you? All right.

-
-
▬ -

5.In echoed Exclamations:

-Wonderful news!
-Wonderful news! (Nothing of the kind)

-
-
▬ -

Utterances with Rise- Fall

The Rise -Fall is a complex tone which consists of two elements: the rising
and the falling.
This phonetic unit may be spread over two or three syllables. It may be
compressed into one syllable. The voice first rises from a fairly low to a high pitch,
and then quickly falls to a very low pitch.
In a monosyllable word the rise and the fall are realized in one syllable, e.g.
^Fine. ^Well.

In a word of two syllables, the first stressed syllable is pronounced with a High
Rise and the second (unstressed) syllable with a rapid fall to a very low pitch (to the
bottom) e.g. ^Better. ^Nonsense.

.
 In a word of three syllables, the first (stressed) syllable is pronounced on a medium
level tone, the second (unstressed) syllable is very high pitched, and the last syllable is
very low pitched.
e.g. ^Wonderful ^ Certainly.

It should be mentioned that the Rise-Fall cannot be spread over more than three
syllables. The remaining syllables form the tail. e.g. ^Surprisingly well, dear.
The Rise-Fall is definite, final and categorical IN CHARACTER. Utterances with
the Rise-Fall have emphatic usage. This tone expresses attitude both pleasant and
unpleasant. It may suggest mockery, irony, sarcasm, impatience. At times it suggests
intolerance on the part of the speaker that the hearer has not realized a certain point, or
at least has not taken it into account.
It also expresses what may be called a quizzical feeling. That is why the Rise-
Fail is often called A quizzical tone.
The Rise-Fall preceded by a Gradually Descending Scale may sound mocking,
sarcastic, ironical, impressed, awed, challenging , antagonistic, teasing or reproachful,
e.g. ʹWhy are you ʹtelling ^me about it? ʹPete is ʹcoming tomorrow.
When preceded by a Low Head it may sound friendly OR warning,
e.g. What else could I say? He's drinking coffee.
With a High pre-Head the Rise-Fall conveys admiration, astonishment or
agitation e.g. "Most ^kind of him. How ^nice!
The Rise-Fall also exists in Russian as in a kind of mocking or envious remarks of
the type.
Examples:
* You didn't give me any.( mocking or suspicious statement).
* Have you given them the rest of it ?(quizzical question).
* It's going to rain, isn't it?( quizzical TAG question).
* Who may I ask? (impatient question).
* Good morning. Good afternoon. (portentous or ironical greetings).
* Leave me alone. (inpatient petulant command).
* Goodness. Dear me. (enthusiastic impressed exclamation).
* Oh, indeed. How nice for you (sarcastic).

Laboratory work № 14

Intonation of Adverbials
Simple sentences with adverbial phrases at the beginning of the sentence are
usually divided into two sense groups. The non-final sense group is pronounced with
the Low Rise or mid-level tone.
E.g. In ˏspring 'nature a'wakens from her 'long 'winter 'sleep.

▬--
▬- –
▬
▬-

Adverbial phrases at the end of the sentence do not form separate sense groups as
a rule and often remain unstressed or half-stressed.
E.g. We are going out tonight.
We 'come 'home 'early as a rule.

▬
▬
----
 Intonation of Parentheses
Parentheses express the speaker’s attitude towards the utterance. Parentheses may
stand at the beginning, in the middle or at the end of the sentence. Parentheses,
introduced at the beginning of the sentence, also make a separate sense-group,
pronounced with the rising tone, as a rule.
To his great surprise, Jesse wanted to take that job.

It appears you can do it.

If the parenthesis is too closely connected in the meaning with the following
words it may or one sense group.
When the speaker doesn’t attach any importance to the parenthetical words they
do not form a separate intonation group and are often unstressed and pronounced very
quickly.
→Well, I ˎdo. Well, I ˎdo.
If the speaker attaches more importance to parentheses they form an intonation group.
In this case they are stressed and are pronounced with the nuclear tone: Low Fall, Low
Rise, Mid-Level or Fall-Rise.
ˎWell, I ˎdo. To →tell you the ˏtruth, I ˎdon’t ˈwant to go there.
˃Well, I do.
For my ˎown ˏpart, I should ˎlove it.

Parentheses at the end or in the middle of the sentence

In the middle or at the end of the sentence parenthetical words and phrases are generally
pronounced as the unstressed or half-stressed tail of the preceding intonation group.
There is something more, I think.
Parentheses introduced at the end of the sentence do not as a rule, make a separate
intonation group, but continue the melody of the preceding intonation group.
You ˏknow, of course, he is my ˎbrother.

Our Sitting-Room

Let’s have a look at this picture of our sitting-room. As you come into the
room you notice a piano with a low music-stool in front of it. Next to the piano
there is a tall bookcase standing against the wall. On the left is a large window.
Under the window there’s a radiator, but you can’t see it because it’s behind the
settee. On the settee there are two cushions. The fireplace is at the other end of
the room. On each side of the fireplace there’s an armchair. An old lady is
sitting in one of the chairs, but nobody’s sitting in the other one: it’s empty.
In the centre of the mantelpiece there’s a clock and above it an oval
mirror. On the right you can see a standard lamp. Opposite the fireplace you
can see a small table with an ash-tray and some newspapers on it. By the table
there is a small chair. On the extreme right there’s a radio-set. The floor is
covered with a beautiful thick carpet. An electric light is hanging from the middle
of the ceiling. At night when it gets dark we switch on the light and draw the
curtains. During the day, the light comes in through the window.

Laboratory work № 15

Intonation of Greetings and Partings

1.Basic greetings . These take a High Pre-head + Low Fall.
E.g. Good 'morning. How do you 'do?
When the first word is stressed and is said on a high pitch, then greetings sound very
hearty.
E.g. 'Good 'morning.
Greetings with a High fall are more emotional but less weighty.
The greeting “Hello” is usually pronounced with a Low rise preceded by a
High Pre-head.
E.g. 'Helˏlo.
2. Perfunctory greetings.
These are used among friends, especially when they meet regularly. They take a
Low-rise only and sound bright and friendly.
E.g. Good ˏmorning.
When the first word is stressed and said on a Low pitch ( Low head) the effect is
rather detached and reserved.
3.Basic partings. These take a Low rise only preceded by a High Pre-head and
sound bright and friendly.
E.g. ″Good ˏnight, dear.
When the pre-nuclear pattern is stressed and said on a low pitch (Low head) they
sound too reserved and detached.
E.g. ʹGood ˏbye. ʹGood ˏnight. ʹSee you ˏthen.
4.Dismissals.
These are usually used when the speaker wishes to dismiss someone quite firmly
and rudely with the suggestion that he does not want to meet him again. They take
a Fall (High or Low).
E.g. Good-'bye.

Laboratory Work № 16
Accidental Rise
If the speaker wants to make one word of the descending head more
prominent than the others he pronounces it a little higher than the preceding syllables
thus breaking their descending succession. This non-final rise is called a c c i d e n t a l .
It never occurs on the first stressed syllable as this syllable is always the highest in the
descending head.
E.g. 'Tom 'Brown is the best 'pupil in 'class.

▬ ▬
▬ -- ▬--
 Holiday Plans

Mary Have you had your holiday for this year yet, Jane?
Jane Not yet. I’m taking it at the end of September.
Mary Where are you going? Have you made up your mind?
Jane Not really. I thought of going to Spain again, but I’ve already been there
twice and I’d like to try somewhere new.
Mary My brother’s just gone to Mexico for two weeks. I had a card from him
yesterday and he seems to be having a good time. Why don’t you go there?
Jane That’s OK for you well-off people, but I couldn’t possibly afford it. I’m much
too hard up at the moment.
Mary The air-fare is quite expensive, I admit, but you needn’t spend a lot when
you get there.
Jane I’ve already spent a lot of money this year. My flat was done up last
month, so I haven’t got much to spare for expensive holidays abroad.
Mary Oh, I see.
Jane Perhaps I’ll just go to Scotland or Ireland in the end. I’ve heard they’re
both very beautiful, and I haven’t been to either of them.
Mary We went to Ireland two years ago to pay Jill and her husband a visit.
They’re in Dublin now.
Jane Oh, yes, there they are!
Mary If you decide on Ireland you can call in on them. Jill would willingly put you
up for a few days, I’m sure.
Jane That’s a god idea! I haven’t seen Jill for more than three years now and I’d
like to know how she’s getting on.