Practise reading the joke several times.

Reproduce the model narration of the joke:

Young Peter came in one day bursting with excitement. Walking down the main street he had suddenly discovered he was side-by-side with movie actor Clark Gable.

— Did you talk to him? we asked.

— Well, it was like this, he said slowly. I knew who he was and he knew who he was — and it just didn't make sense us discussing it.

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Some people were gathered on the verandah after dinner.

A young lady asked: "Can you name five days of the week without mentioning Monday, Tuesday, Wednesday, Thursday, Friday, Saturday or Sunday?" Nobody could guess. At last the young lady said: "It is very easy. Here are the five days: today, yesterday, the day before yesterday, tomorrow, and the day after tomorrow".

SECTION TWO. Intonation Pattern IX. High fall

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

Model: Why didn't you buy the picture?

— Much too ex,pensive.

Stress-and-tone marks in the text: High Fall. | ` |

The High Fall in the nucleus starts very high and usually reaches the lowest pitch. The syllables of the tail are pronounced on the low level.

The High Fall provides a greater degree of prominence for the word, making it more emphatic. The degree of prominence depends on the height of the fall.

This intonation pattern is used:

1. In statements, conveying personal concern or involvement, sounding lively, interested, airy; very common in conversation.

е.g. Do you know the man? — `No. (I `don't.) `Yes.| (I `do.) Where's my copy? — `Peter,took it,for you.

2. In questions:

a) In special questions, sounding lively, interested, е.g. I shall be late, I'm afraid. — `How,late?

b) In general questions, conveying mildly surprised acceptance of the listener's premises. е.g. I like it here. Do you? (I thought you'd hate it.)

3. In imperatives, sounding warm.

е.g. What's the matter? — Look. (It's raining.)

4. In exclamations, very emotional. е.g. It's eight o'clock. — Heavens! (I'm late.)

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, sounding interested, lively, airy)
Now what have you done to Mary?	Nothing.
Who's been eating my grapes?	No one. No one has. No one's been eating your wretched grapes.
Which will you take, Henry?	This one. That one.
How many of his books have you read?	All of them. None of them.
When did you see him?	On Thursday. (I thought you knew.)
Would you like to join us?	I'd love to.
Come on. Let's get going.	We can't. It's raining.
It was all your fault.	But it wasn't. And I can prove it.
	Special questions (lively, interested)
I shall have to give it to him.	Why?
I'm going to Switzerland.	When?
You'll never guess who's here.	Who?
You can win easily.	How? How so?
He's coming to stay with us.	When, may I ask?
I mustn't take them.	Why mustn't you take them?
Sorry to be so late.	What's happened?
I ought to write to him.	Why bother?
(Hullo, Dennis.)	How are you?
I said no such thing.	What did you say, then?
Today's out of the question, too.	When can you come, may I ask?
	General questions (conveying mildly surprised acceptance of the listener's premises)
I like it here.	Do you?
She is thirty-five.	Is she?
They won't help us.	Won't they?
I can't bear cats.	Can't you?
I must be home by six.	Must you?
I ought to go to the lecture.	But will you go, do you think?
	Imperatives (expressing warmth)
Do you think this hat will fit me?	Try it.
He'll be terribly angry.	Let him.
A letter won't reach Ann in time.	Phone her, then.
He doesn't want to play.	Then make him.
I'm awfully sorry.	Forget it.
He can't afford to pay.	Well, give it to him, then.
	Exclamations (very emotional)
He's over seventy.	Well!
Alice is coming as well.	Really! Splendid!
Will you have a drink?	Thank you!
(That you Mr. Archar?)	Good morning! Good morning to you.
I'll give it to you.	How lovely!
I'm most grateful to you.	Don't mention it, my dear chap.
She says you're to blame.	What nonsense!
Isn't it a lovely view!	Enchanting!

Listen to the replies and repeat them in the intervals. Start the fall high enough.

Listen to the Verbal Context and reply to it in the intervals.

In order to fix Intonation Pattern IX in your mind, ear and speech habits, pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies and point out his (her) errors in pronunciation.

6. Listen to the Verbal Contest said by a fellow-student. Make your replies sound lovely, warm, airy. Use the proper intonation patterns. Con­tinue the exercise until everyone has participated:

Verbal Context	Drill
Isn't it too far away from here?	Awfully far.
Where is my book?	Mary took it for you.
Have you been there before?	Of course, I have.
May I leave you for a mo­ment?	Why, yes.
You ought to let him know.	I have.
What is she doing here?	She's waiting for some­body.
I'd love to stay up for the play.	You can't. It's too late.
She's twenty.	Eighteen, I think, she said.
It'll take much time.	How much?
Give them one of these books.	Which one, do you think?
I must go there.	But when?
I'll find him.	But how can you find him?
You can't go there.	But why not?
She wouldn't listen to me.	Wouldn't she?
Everybody agrees with you.	Oh, do they?
Nobody can do it	Can I have a try?
Lock the door.	Wait a minute.
I'll phone her.	Don't.
May I help you?	Yes, do.
What has she done?	Look.
Thank you very much.	Thank you.
Would you like to stay up for the television?	Indeed I would.
I've been helping Tom, Mummy.	That's a good girl.
How are you getting on?	Wonderfully.
Hello, Mary!	Oh, there you are, Tom.
Do you play chess?	Surely, I do!