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This exercise is meant to develop your ability to use correct intonation when you act as a teacher.

a)Listen carefully to the extract from the lecture suggested below.[11] Mark the stresses and tunes. Your teacher will help you and all the members of the class to correct your variants. Practise reading every sentence of your corrected variant very carefully.

b)Concentrate your attention on the peculiarities of the lecturing style intro­duced in the text.

c)Act as a teacher. Make up a microlesson applying the structures, vocabu­lary and intonation of the lecture below.

J.D.O'Connor: We showed you last time two ways of com­bining the glide down and the glide up in English sentences. First­ly, we showed you how it was possible to have a glide up followed by a glide down. And here, as an example, is a sentence from our last talk, said with the words in a different order:

Miss Toole y: If you listen closely you'll hear us use this pat­tern very often.

O'C.: Then secondly, we said that you could have a glide down followed by a glide up. And taking the same sentence again with the words in their original order we get the example:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Both these combinations are very common indeed. The glide up followed by a glide down is generally used — not always, but generally— when the subordinate clause of a sentence is be­fore the main clause: and the glide down followed by a glide up is generally used when the main clause is before the subordinate clause. I'll just say that again (repeat words in italics). Well now, this was the case in our two examples. With the subordinate clause first we had:

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: And with the main clause first:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Now today, I think we'll start by considering what would happen to the sentences we have just used if we introduce special emphasis on one of the words. First just let's hear once more the sentence said with the subordinate clause first: the glide up fol­lowed by a glide down.

T.: If you listen closely you'll hear us use this pattern very of­ten.

O'C.: Now suppose that we want to draw special attention to the word 'closely' — to stress the fact that we want you to listen really closely— how do we do that? Well just listen, and you'll hear that a different tune is used.

T.: If you listen closely you'll hear us use this pattern very often. If you listen closely you'll hear us use this pattern very often.

O'C.: Now that pattern wasn't a glide up followed by a glide down, was it? No, it was a high dive followed by a glide down. And the rule is this: if the subordinate clause has a specially emphasized word in it, you must use a high dive. (Repeat.)


Intonation Pattern XV



Before the High Rise the Low Head often starts very low but then rises gradually, syllable by syllable, ending just below the starting pitch of the nucleus.

The high rising nucleus begins in high level; the medium rise begins in mid level. This intonation pattern is used;

1. In statements, heard in official speeches, lectures, over the radio (in latest news programmes); or in colloquial speech to draw the listener's attention by using this somewhat occasional in­tonation pattern, e. g.\ /English ^leather goods | are „also of ^great de'mand in other countries.

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

a) in general questions when they sound very inquisitive, important, willing to discuss; sometimes with a shade of disbelief or impatience, e. g,:

/Have you lived here 'long?

b) i n special questions, sounding insistent, inquisitive with a shade of doubt or sometimes even mockery, e. g.\

"And /what have you been Hdoing hither 'to?" I asked him.

3. In imperatives, used as official announcements, e. g.:

/Have your passports 'ready, please.


1."' Listen carefully to the following situations. Concentrate your attention on the phrases pronounced with the rising head + High Rise.

"Do you stay in town all day?" "Sometimes I do and sometimes I don't."


As a matter of fact I'm going in the same direction myself, so if you come with me I'll show you.


"And now what sweet will you have, Mrs. Thompson?"

"There's apple tart and cream or chocolate trifle."


"We're sure to have a good crossing."

"Oh well, I'll risk it, but if the worst comes to the worst, don't blame me."


"Do you travel much?"

"Not more than I can help by sea. I've crossed the channel once before but frankly I did not enjoy it."

"Why don't you fly across?"

"I think I shall one of these days. It couldn't possibly be worse than a really bad sea crossing."

Tennis is played all the year round, on hard courts or grass courts in summer and on hard or covered courts in winter.


"About how long will it be before I die?"

"You aren't going to die."

"I heard him say a hundred and two."

"People don't die with a fever of one hundred and two." (E.Hemingway)


I sat down and opened the Pirate book and commenced to read but I could see he was not following, so I stopped.

"About what time do you think I'm going to die?" he asked. (E.Hemingway)


"A five shilling book of stamps, please, and a large registered envelope."

"Will this size do?"


"I'm told one ought to see the British Museum."

"Do you think I shall have time for that?"


"I think the best way from here is to walk across Regent's Park."

"Is it much of a walk?"


However I'm quite ready to enter your name should your an­swers be what a really affectionate mother requires, Do you smoke? (O.Wilde)

Now to minor matters.


Are your parents living? (O.Wilde)

"And where is that?"

"Down here, sir."

"Would you put us up?"

"Oh, I think we would." "Will you show us the way?" "Yes, sir."

"Are you a Devonshire girl?" "No, sir."

"Have you lived here long?" "Seven years." (J.Galsworthy)


(On the boat.) This way for the Dover boat. Have your passports ready, please. Pass up the gangway. First class on the right, second class on the left.

Date: 2015-12-17; view: 1219

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Read the conversational situations above with a fellow-student, observing the narrowing of the pitch range and the proper emotional attitude. | Listen to the following poems. Mark the stresses and tunes. Read and memorize them.
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