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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 the intonation pattern 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, point out his errors in pronunciation.

6. Use the Fall + Rise in the replies. Say what attitude you mean to render

Verbal Context Drill
How's your mother getting on? She's off to the Crimea in a week.
And when do we start? At nine in the morning, imagine.
Whose plan is it then? It's Fred's, 1 suppose.
But you said he lived in St. Petersburg. So he did, the last time I heard from him.
Oughtn't she to tell father? She did, apparently.
You're going out in the rain? Yes. I like walking in such weather.
What's the film like? It's not bad, actually.
I wonder where the children are. Oh, there they are.
I thought you finished your.-work at five. So I do, usually.
I'm a student of the Univer­sity now. I'd love to study at the Uni­versity.
Oh, why are you late? I'm awfully sorry. It was not my fault.
(Can I borrow your um­brella?) I seem to have lost mine.
She got the leading part in the new play. I didn't know she was such a good actress.
It's a wonderful picture! I knew you'd like it.
I missed you so much. You can't imagine how glad I'm to see you.
My mother is dangerously ill, Jane. You have all my sympathy. Sorry, I can't come and help you, dear.
I feel so miserable, mother. What's the matter, dearest?
No, you mustn't go to the cinema today. But I've only been there once this week.
I think, I'll never be happy again. Oh, you'll soon get over it.
I tell you, I won't do it. Why are you always so ob­stinate?
You must follow her advice. Must I always do as she says?
I'm going to get up. Now, don't be so silly. (You'll catch another cold.)
Mummy, I'm bored, come and play with me. When are you going to stop bothering me?
You must bring the book at once. Would you mind waiting until evening?
I must go now. Good night, Jane!
Oh dear, oh dear! What shall 1 do? Do stop crying! What's the matter?
May I come and see you on Monday? Do you really think you can come?
(Come, Margaret. It is too late.) I insist on going home im­mediately.
(Here you are at last.) I am happy to see you.
I think I'll never do it. Oh, don't say that!
Mother, I've lost your gloves. I told you not to take them.
But I can't speak English. Yes, you can.
Do you really want him to come? I wish he would.
Are you ready, Bill? No, I can't work it out for myself.
No, no, I shall never do it Now, do be reasonable.
Do you write poetry? I do, occasionally.
Would you like to hear one of my records? (Oh, I'd love to.) I adore music.
How are you, Mrs. Nelson? Very well indeed, thank you.
Do you' have milk in your tea, Tony? Yes, please.
How is your daughter, Mrs. Smith? She is staying with my mother for a few days.
What's her name? That's the third time you've asked me that.
She's failed the second time today. What a disappointment for her!

7. Say the following sentences with a) the High Fall + the Low Rise; b) the Descending Head + the Low Rise. Observe the difference in attitudes:

Verbal Context Drill
I love marmalade! Don't eat it all at once.
I must be off now. Good-bye! Let me see you again to­morrow.
Would you like a cup of tea? Yes, please.
Here I am, Mother. Where have you been all this time?
Why don't you join our golf club? I think I shall one of these days.
He has been away for two hours. Don't worry. It's not too late.
(Look! Everything is white!) I thought it was going to snow.
(Cheer up!) I do hope you'll pass your exam.
He said he forgot to ring you up. Was that the real reason?
Your son was late for the first lesson today. I was afraid he might be late.
(Oh, stop bothering me, child.) Can't you see I'm tired?
Will you post this letter for me? All right.
Good morning, David. Hullo there.
I thought 1 asked you to go to the dean's office. All right. Just a minute.

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

9. Read the following situations. Convey the attitudes suggested in brackets:

Don't cry. I wish I hadn't been so rude. You have all me sym­pathy. (regret, sympathy)

Oh, tell me it is not true! Lie to me! Lie to me! Tell me it is not true! (pleading)

Oh, what a dear little puppy! (sincere appreciation)

Thank you so much. (sincere gratitude)

I don't think it will last long. (reassuring)

I think I'll go to bed. I'm so tired. (plaintive)

10. Listen to the dialogue on the tape ("Dinner-table Talk"). Pick out sentences containing the High Fail + the Low Rise. Say what attitude is conveyed in them. Use these sentences in conversational situations of your own.

11. Listen to the Verbal Context and express sympathy in the replies. Use the proper intonation pattern:

Verbal Context Drill
Oh I'm cold. Poor thing! I do think, it's a pity. I'm so sorry! Never mind.
He says he's ill. What a disappointment! Can you imagine it! Too bad! Bad luck! Just fancy! Things do happen!
I can't come this evening. Oughtn't you to be ashamed of it! What a disappointment! How extraordinary!
I haven't seen Jenny for ages! Terrible, isn't it! Too bad for words! Good Heavens! How very peculiar! What a pity!
Janet seems to be avoiding me. Isn't she a fool! What a tragedy! I simply can't think! I do think it's a pity!
You've made the same mistake again. Aren't I a fool! Good Heavens! Fancy that! I simply can't think! What a shame!
The jacket's worn out already. What a disappointment! Poor me! What a pity!
Michael has just died. Perfectly horrid! Too bad for words! What a tragedy! Wasn't it absolutely tragic!
They won't help us. Wouldn't it be simply appalling. Oughtn't they to be ashamed of it! Beastly, isn't it!

12. This exercise is meant to develop your ability to hear and re­produce intonation in conversation.

a) Listen to the dialogue "About the Job" carefully, sentence by sen­tence. Write it down. Mark the stresses and tunes. The teacher will help you to correct your variant. Practise reading each sentence of your correct­ed variant after the cassette-recorder.

b) Record your reading. Play the recording back immediately for your teacher and your fellow-students to detect your errors. Practise the dialogue for test reading.

13. Make up conversational situations, using the following phrases:

He hasn't even got to ... yet.

That's my idea of ... .

Are you sure you don't want to be ...?

Is it my ... we're planning, or yours?

No, I'm sorry, ... but I... .

Look here.

All right, all right, there is no need to ... .

I really wanted to be ... .

I haven't made up my mind yet.

Maybe not.

Well, that's not the way I look at it.

You haven't answered my question yet.

I don't want to at all.

Make up a dialogue about your future profession.

This exercise is meant to develop your ability to hear intonation and reproduce it in reading and narration.

a) listen to the joke "Nothing to Complain About", sentence by sen­tence. Write it down. Mark stresses and tunes. Practise the joke for test reading.

b) Listen to the narration of the joke. Observe the peculiarities in intonation-group division, pitch, stress and tempo. Note the use of tempo­rizers. Reproduce the model narration of the joke.

This exercise is meant to test your ability to analyze and reproduce material for reading and retelling.

a) Read the jokes silently to make sure you understand each sentence. Underline the sentence expressing the essence of the joke. Split up each sentence into intonation groups if necessary. Locate the communicative centre of each sentence. Mark the stresses and tunes, concentrating your attention on the attitude expressed. It is not expected that each student will mark the story in exactly the same way. Discuss your variants in class. The teacher will help you to choose the best variant. Practise your corrected variant for test reading.

b) Retell the jokes in your own words:

No Music Lessons

Once the teacher asked his pupil: "Bobby, how many fingers have you?" The pupil answered at once: "I have ten fingers."

The teacher asked him another question: "Well,if four were missing what would you have then?" "No music lessons," was the answer.

At the Lessen

"Well, Alex, how much is two plus one?" asked the teacher, "I don't know, sir," answered the boy. "Well, Alex! Fancy I give you two dogs and then one dog more. Mow many dogs have you now?" "Four dogs," the boy answered timidly. "Why, Alex?" "Because I have one dog already, sir."

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One morning a boy was going by a London bus to school. He had a cold and was sniffing all the time and so loudly that the people began to look at him and shake their heads. An old gentleman was sitting next to the boy. He suffered the boy's sniffing for some time but at last lost his patience and said: "Haven't you got a handkerchief, my boy?"

"Yes, I've got a clean handkerchief in my pocket," said the boy, "but I can't let you have it. Mother says it is not polite to ask anybody for a handkerchief. You must use your own."

SECTION SIX Compound Tunes
TWO OR MORE FALLS WITHIN ONE SENSE-GROUP

In sense-groups with the High Falling or Falling-Rising nuclear tone there may be one or more other words marked by a relatively high falling tone. The function of such Falls is to provide a greater degree of prominence for the words on which they occur. All other words of the head are not stressed. The attitude expressed by the sentence is not changed but the utterance sounds emphatic. In this case the head is called Sliding.

Compare:

1. Listen carefully to the following conversational situations. Concen­trate your attention on the intonation of the replies:







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