Текст книги "Практический курс английского языка 1 курс"
Автор книги: Владимир Аракин
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Текущая страница: 19 (всего у книги 30 страниц)
dinner. It was already eight-thirty and Pamela was returning the books to the
shelves, while Violet was serving the remaining readers.
When Pamela was passing the windows near the back door she noticed that
the blind was up. She tried to pull it down, but
it kept rolling to the top of the window, making a very loud noise. At last
Pamela managed somehow to make it stay down, then went to the next aisle. To
her greatest surprise she saw two men there. "Oh," she said, "I'm sorry,
gentlemen, but readers are not allowed in this section of the library!" "I'm sorry,
Miss," said the smaller of the two .men with an ugly face, who seemed as
surprised as Pamela, "ye didn't know it." The other man, much larger than the
one who spoke stood with his back to Pamela, leaning against the shelves. The
smaller man said: "I'm afraid my friend is feeling rather weak. He wants some
fresh air. Could you help me take him out, Miss?" "Oh, I'm so sorry," said
Pamela and put her arm about the bigger man who was quite heavy. The smaller
man took his friend by the other arm and the three of them started moving
slowly to the back door. Suddenly Pamela stopped in horror. She saw blood on
the man's coat. Looking at him closely she saw he was dead. The truth flashed in
her mind. "You ... you killed him... here, in our library!" "Aren't you a smart
young lady!" hissed the short man angrily, "go on helping me and avoid
attracting attention, or you'll get what Blackie got." Pamela obeyed. They were
in front of the window when suddenly Pamela had an idea. That new judo hold
that Tim had taught her, maybe it would work! She must take her chance. That
murderer was very dangerous, one more dead body that could well be her own
wouldn't make him lose sleep. Oh, if only the hold worked!
Her hand touched the window blind. It went up with a loud noise. The man,
greatly surprised by it, dropped Blackies arm and Pamela let go of the other arm.
The heavy body fell to the floor. The murderer snatched out a knife and rushed at
Pamela, who was ready for him...
When the frightened people from the library came running into the back
room they saw two men lying on the floor and white-faced Pamela standing over
the unconscious murderer. .
(After George P McCallum's
*
"Tales of Mystery and Suspense")
f
b) Determine the main idea of the story, c) Make up a plan of the Могу, d) Choose a
suitable headline to the story from those suggested below:
1. "It Worked!"; 2. "A Brave Girl"; 3. "Sport Is Your Saving"; "The
Inspector's Girl"; 5. "Murder in the Library".
e) Say what you think of Pamela's character, f) Give a short summary of the story,
g) Think of a logical end to the story.
XXII.
Explain the meaning of the proverb and use it in a situation of your own:
Handsome is that handsome does.
XXIII.
Make up short dialogues concerning the appearance of:
a child, an elderly person, your favourite actor (actress) or fiction character.
XXIV.
Render the following in the form of a dialogue:
Режиссер (producer) беседует со своим помощником о кандидатуре на роль Наташи
Ростовой в фильме «Война и Мир». Они прослушали нескольких актрис. Одна из них
очень хорошо играет, но внешность ее не вполне подходит. Она невысокая и довольно
полная Вторая – стройная, высокая, но у нее голубые глаза и светлые волосы. Они
решают прослушать еще нескольких актрис, чтобы сделать окончательный выбор
XXV.
a) Read the text «A Lovers' Quarrel» (Part One). Translate it into Russian:
A Lovers' Quarrel
Scene: Daphne's house.
Part One
The telephone rings
D a p h n e (picking up the receiver): Hullo! Is that you, James?
R o b e r t : Hullo! Is that you, Daphne?
D: Yes, James. I was wondering whether you'd call this evening.
R: Listen, Daphne. This is Robert, not James. Who the devil is James,
anyway?
D: Oh ! It's you, Robert. I'm sorry. I was expecting a call from somebody
else.
R: I've been trying to get you on the phone since 2 o'clock.
D: Have you? I've been out. I only came in half an hour ago.
R: Where have you been?
D: I've been playing tennis at the club. r,
R: You told me you weren't going to play tennis today. , D: Yes, I know. But
Madge asked me to go and make up a four.
R: Well! That's a bit thick!
b) Explain the use of tenses:
1.1 was wondering whether you'd call this evening. 2.1 was expecting a
call.... 3. I've been trying to get you .... 4. I've been out. 5. Where have you been?
6. I've been playing tennis... . 7. You told me you weren't going....
c) Make up situations in which you can use the tenses mentioned above. Ask other
students to explain their use. d) Read the text «A Lovers' Quarrel» (Part Two).
Translate it into Russian:
Part Two
R: What's the matter, Daphne? You seem to have been avoiding me recently.
D: Avoiding you ? Of course I haven't been avoiding you. We went out
together on Wednesday, didn't we?
R: Yes, but that's three days ago, Daphne. I'm longing to see you. Will you
come with me tonight?
D: Oh, not tonight, Robert. I'm feeling a bit tired.
R: Couldn't we go out just for an hour? I've been looking forward to seeing
you all day.
D: I can see you haven't been playing tennis all day or you ...
R: I wish I had. I've been helping the old man in the garden. D: Then you
must be feeling tired too!
R: Listen, darling! Are you telling me the truth? Or are you going out with
this James, whoever he is? D: Of course not. He's ...
R: You're going out with him this evening, aren't you?
D: No. I've told you. I don't want to go out this evening.
R: Now I know why. You're going to sit by the phone all ^ening, waiting for
your beloved Jimmy to give you a call.
D: Don't be ridiculous, Robert. He isn't my beloved Jimmy. And anyway ...
his name is James. He doesn't like to be called Jimmy.
e) Explain the use of tenses:
1. You seem to have been avoiding me ... . 2. I'm longing to see you. 3. I'm
feeling a bit tired. 4. I've been looking forward .... 5. You haven't been playing
tennis ... . 6. You've been helping the old man . . . . 7. ... you must be feeling
tired too. 8. Are you telling me the truth?
f) Make up situations in which you can use the tenses mentioned above. Make other
students explain the use. g) Read the text "A Lovers' Quarrel" (Part Three). Translate it
into Russian:
Part Three
R: Oh! He doesn't, does he? Well, if I get my hands on him people will be
calling him Scarface Jimmy. I suppose you've been seeing this poor fish every
day. That's why you haven't been seeing me.
D: Of course it isn't. Do stop talking nonsense, Robert, and listen...
R: To your explanation? You needn't bother, I understand everything
perfectly. (He imitates her.) Oh, hullo, James darling. I was wondering
whether you'd call this evening? I'm not a fool, you know.
D: For the last time... will you listen?
R: Go on. I'm all ears. ,
D: James is my cousin. He's thirty-four, he's married , and he has 3 children.
He's coming to London next week from Scotland, and he'll be staying with us.
We're expecting a call from him this evening.
R: Your cousin? Honestly? Married? Why the devil didn't you sayso?
D: You didn't give me the chance. R: When
can I see you again?
D: I'll see you in half an hour ... unless you're feeling too ashamed of
yourself.
h) Explain the use of tenses:
1. If 1 get my hands on him people will be calling him ... . 2. You've been
seeing this poor fish... 3. He's coming to London ... and he'll be staying with
us ....
i) Make up' situations in which you can use the tenses mentioned above. Make other
students explain their use. j) Reproduce the text **A Lovers' Quarter in Indirect
Speech.
LABORATORY WORK
I. Answer the questions. Record your answers in the intervals.
II. Translate the sentences into English using the active vocabnlary.
III. Spell and transcribe the words.
II. Translate the phrases into English.
II. Write the dictation.
VI.
Listen to the wrong statements. Correct them.
VI.
a) Listen to the poem «Twilight» by George G. Byron, b) Mark the stresses
and tunes. Practise the poem, c) Learn it by heart.
I N T R O D U C T I O N
INTONATION
I n t o n a t i o n is a complex unity of variations in pitch, stress, tempo and
timbre.
T h e p i t c h c o m p o n e n t of intonation, or melody, is the changes in
the pitch of the voice in connected speech.
S e n t e n c e s t r e s s , o r a c c e n t , is the greater prominence of one
or more words among other words in the same sentence.
T e m p o is the relative speed with which sentences and intonation-groups
are pronounced in connected speech.
S p e e c h t i m b r e is a special colouring of voice which shows the
speaker's emotions, i. e. pleasure, displeasure, sorrow, etc.
Intonation serves to form sentences and intonation-groups, to define their
communicative type, to express the speaker's thoughts, to convey the attitudinal
meaning. One and the same grammatical structure and lexical composition of the
sentence may express different meaning when pronounced with different
intonation.
e. g. -> Isn't it ridiculous? (general question) -> Isn't it
ridiculous! (exclamation)
Long sentences, simple extended, compound and complex, are subdivided
into i n t o n a t i o n – g r o u p s . Intonation-group division depends on the
meaning of the sentence, the grammatical structure of the utterance and the style
of speech Each intonation-group is characterized by a definite intonation pattern.
The number of intonation groups in the same sentence may be different.
е. д. In ,June | Ju,ly | and /August | our V children 'don't 'go to ^school.
In VJune, 'July, and ,August | our V children 'don't 'go to ^school.
The end of each sentence is characterized by a relatively long pause. The
pauses between intonation-groups are shorter, they vary in length. There may be
no pauses between intonation-groups at all.
Each intonation-group is characterized by a certain intonation pattern, i. e.
each syllable of an intonation-group has a certain pitch and bears a larger or
smaller degree of prominence. Consequently pitch levels are inseparably
connected with stress. Intonation patterns consist of one or more syllables.
Intonation patterns containing a number of syllables consist of the following
parts: the pre-head, the head, the nucleus and the tail.
T h e p r e – h e a d includes unstressed and half-stressed syllables
preceding the first stressed syllable.
T h e h e a d includes the stressed and unstressed syllables beginning with
the first stressed syllable up to the last stressed syllable.
The last stressed syllable is called t h e n u c l e u s . The unstressed and
half-stressed syllables that follow the nucleus are called t h e t a i l .
e. gr. It was a Vvery 'sunny xday yesterday. It was a ...
– the pre-head. ... V very 'sunny – the head. ...
xday ... – the nucleus. ... yesterday – the tail.
The rises and falls that take place in the nucleus or start with it are called
n u c l e a r t o n e s .
T h e n u c l e u s is the most important part of the intonation pattern as it
defines the communicative type of the sentence, determines the semantic value
of the intonation-group, indicates the communicative centre of the intonation-
group or of the whole sentence.
T h e c o m m u n i c a t i v e c e n t r e is associated with the most
important word or words of the intonation-group or of the sentence.
The nuclear tone of the final intonation-group is determined by the
communicative type of the whole sentence.
The communicative types of sentences are differentiated in speech according
to the aim of the utterance from the point of view of communication, i. e. in
order to show if the sentence expresses a statement of fact, a question, a
command or an exclamation.
There are four communicative types of sentences:
1. Statements, е. д. I like music.
2. Questions, e. g. Can you prove it?
3. Imperative sentences or commands, e. g. Try it again.
4. Exclamations, e. g. Right you are!
The intonation pattern of the non-final intonation-group., mainly its nuclear
tone, is determined by the semantic value of the intonation-group and by its
connection with the following one.
The falling nuclear tone shows that the non-final intonation-group is
complete, important by itself and is not so closely connected with the following
intonation-group.
A longer pause after an intonation-group pronounced with the falling tone
makes the intonation-group even more significant.
e. g. I'll -> tell him vall | when he vcomes.
The rising nuclear tone shows that the non-final intonation-group is closely
connected in meaning with the following intonation-group, is not important by
itself and implies continuation.
e. g. -> Generally,speaking, 11 pre->fervtennis.
The intonation pattern is also modified by the speaker's attitude towards his
utterance:
e. g. vWhy? – detached, even unsympathetic. /Why? —
wondering.
In English notional words (nouns, adjectives, verbs, etc.) are generally
stressed. Form-words and most pronouns (personal and possessive mainly) are
generally unstressed. But any part of speech may be stressed if it is semantically
important.
е. д. V What is he 'going to ^do? – do is the communicative
centre.
–> What is vhe going to do? he is the communicative
–
centre.
METHOD OF INDICATING INTONATION ON THE STAVES
Unstressed syllables are represented by dots, stressed syllables are marked by
dashes or curves.
A dash represents a level tone. _ A downward curve represents
the final fall. *
' An upward curve represents the final rise.
Two parallel lines (staves) represent the upper and the lower
limits of human voice or the range of the voice. _________________
The temporal component of intonation can be indicated graphically only as
far as pauses are concerned.
Two vertical bars 11 denote a long pause, which usually occurs at the end of
a sentence.
A single vertical bar | denotes a short pause inside a sentence.
FUNDAMENTAL INTONATION PATTERNS AND THEIR 11Щ
Section One
Intonation Pattern I
(LOW PRE-HEAD + ) LOW FALL ( + TAIL)
M o d e l s : Pve just seen Tom. vWhere? "
Whose book is this? ^Mary's, I .think. ^
What's his job? He's a xdoctor.
Stress-and-tone marks in the text: Low Fall: |v | Half-
stressed syllables: |, |
Unstressed syllables have no graphic indication in the text.
The Low Fall in the nucleus starts from the mid-level or lower and usually
reaches the lowest level.
The unstressed syllabtes which form the tail are pronounced on the lowest
level pitch. The unstressed syllables forming the pre-head are pronounced either
on the low level pitch or rise gradually.
This intonation pattern is used:
l . I n s t a t e m e n t s , final,categoric,calm,reserved.
e. gr. Whose book is this? It's ^Mother's.
–
2. I n s p e c i a l q u e s t i o n s , calm, serious, fliat, reserved, very
often unsympathetic.
e. gr. One book is missing. – vWhich?
3.I n i m p e r a t i v e s , calm,unemotional,serious.
е. д. Г11 send it to him. – xDon't.
How can I get in touch with Nick? – vPhone him.
4. I n e x c l a m a t i o n s , calm, unsurprised, reserved.
e. g. Would you like an apple? – vThank you. He's just
arrived. – vFine!
EXERCISES
LOW FALL ONLY
M o d e l : vYes. "*
1. ap Listen carefully to the Concentrate your attention on the
Verbal Context
Can you come tomorrow? Whose book is this?
When can you do it? Where does he come from?
What subject do you prefer? What's your name?
following conversational situations, intonation of the replies.
Drill S t a t e m e n t s (final, categoric, calm, reserved)
Yes.
Mine.
Yours.
His.
Jack's.
John's.
Tom's.
Anne's.
Now.
Soon.
France.
Spain.
Wales.
French.
Maths.
Smith.
Jones.
Brown.
1 Material for exercises marked with one asterisk is borrowed from the book by J. D
O'Connor, G. F Arnold "Intonation of Colloquial English", L , 1956, 1973
Take only one of them.
Just tell him.
Make them at once.
I saw a friend of yours today.
Borrow someone's dictionary.
Would you mind calling your dog ?
Shall we have another game?
He's just arrived.
S p e c i a l q u e s t i o n s
(calm, flat, reserved, serious, very often unsympathetic)
Which?
What?
How?
Who?
Whose?
I m p e r a t i v e s
(calm, unemotional, serious) Heel. Sit.
Down. Here. Let's.
E x c l a m a t i o n s
(calm, unsurprised) Oh! Right! Good! Fine!
b) Listen to the replies and repeat them in the intervals. Make your voice fall as
low as possible, c) Listen to the verbal context and reply in the interval.
LOW FALL + TAIL
M o d e l : Yes,, Mary. ^
x
0 #
2. a) Listen carefully to the following conversational situations* Concentrate your
attention on the intonation of the replies:
Verbal Context Drill
S t a t e m e n t s
(final, categoric, calm, reserved)
Where do you come from? India.
Poland.
Sweden.
Denmark.
Italy.
Norway.
Holland.
England.
Scotland.
Ireland.
How old are you? Seven.
Twenty.
Thirty.
Forty.
Will you send it to me?
Yes, sir.
No, John. Gladly, madam. Certainly, professor.
S p e c i a l q u e s t i o n s
(calm, serious, flat, reserved, very often
unsympathetic)
Pass me that box, Joan.
He's away quite often.
She's got something in her eye.
He's broken a window.
Which box? How often? Which eye? Who has? Whose window? Whose
window, may I ask? Whose window has he broken?
I m p e r a t i v e s (calm, unemotional, serious)
How can I get in touch with Miles? Phone him.
Wire him. Write to him.
E x c l a m a t i o n s
(calm, unsurprised) T h a n k y o u .
Would you like an apple? N o n s e n s e ! R u b b i s h ! P i t y !
Oh, I'm cold.
I've lost my ball.
b) Listen to the replies and repeat them in the intervals. Make your voice fall as low
as possible. Do not forget to blend the words together, c) Listen to the verbal context
and reply in the interval.
LOW PRE-HEAD 4– LOW FALL ( + TAIL)
Model: He's a vteacher. 1f
3. a)* Listen carefully to the following conversational situations. Concentrate your
attention on the intonation of the replies:
Verbal Context
Whose pen is this?
Drill
S t a t e m e n t s
(final, categoric, calm, reserved)
Patricia's. Diana's. Elizabeth's. It's mine. It's Freddie's. It's Christine's. It's
Susan's.
Someone'11 have to do it. You'll find it in the drawer.
It's my book.
What shall I do with these figures?
Did you lock the back door? I'm afraid I've got a cold.
S p e c i a l q u e s t i o n s (cairn, serious, flat, reserved, very often
unsympathetic) Butwho? In which drawer?
I m p e r a t i v e s
(calm, unemotional, serious)
Well, take it then. Divide them. Remember them.
E x c l a m a t i o n s
(calm, unsurprised) Of course. No wonder.
b) Listen to the replies and repeat them in the intervals. Make your voice fall as low
as possible. Do not forget to blend the words together, c) Listen to the verbal context
and reply in the interval.
4. In order to fix Intonation Pattern I in your mind, ear and speech habits repeat all
the replies yourself until they sound perfectly natural to you. See that your Russian
pronunciation habits do not interfere.
5. Listen to a fellow-student reading the replies. Tell him what his errors in
intonation are.
6. Listen to your teacher reading the verbal context below. Reply by using one of the
drill sentences. Pronounce it with Intonation Pattern I. Say what attitude you mean to
render:
Verbal Context Drill
Is your brother in?
Yes.
Have you any cousins?
No.
Whose exercise book is this?
Mine.
How old is your brother?
Ten.
How old are you ?
Twenty.
May we go?
No, girls.
May I go?
Yes, Betty.
Who is on duty today?
May I switch off the cassette-recorder?
Who is absent today?
Whose book is this?
When is he coming?
Where is your sister?
May I ask you a question ?
Can I help you with the test?
What's your uncle's job?
Where's Ann?
Where do you come from ?
Why do you stay here so long?
Where is your teacher?
Will you give me your book?
Will you switch on the cassette-recorder?
May I go and see him ?
I've got a new flat.
I'm afraid I can't leave at once.
Pass me the book, Tom.
He is on duty very often.
Will you bring the cassette?
One book is missing.
Someone'11 have to do it.
I must go now.
I'll stop him.
What do you want me to do? What shall I do now? How can I get in touch
with him? It's my book.
I'm afraid to miss the train.
1 don't know this poem well enough.
What shall I do with those naughty boys?
All the students are present.
Here's the cassette.
You've got many mistakes in pronunciation.
We can go now.
Don't go so fast.
We've got no ear-phones. *
I've already cleaned the blackboard.
Here's the book.
Iam.
Yes, please.
No one is.
It's Mary's.
Tomorrow.
At the Institute.
Of course, you may.
Of course, you сйп.
He's a turner.
She's out now.
The Ukraine.
I have to.
At the dean's offifce.
Which?
How?
When?
Where?
Why?
Which one?
How often?
Which cassette?.
Which one?
Butwho?
Do.
Don't.
Stay.
Write.
Phone him.
Then take it.
Hurry up, then.//
Repeat it, then.
Ignore them.
Fine!
Thanks.
Oh!
Fine!
Good!
Pity!
Thank you, Mary. Thank you, Tom.
7. Your teacher will suggest a verbal content. You in turn respond by using: a)
statements, sounding final, categoric, calm* reserved; b) special questions, sounding
calm, serious, flat, reserved or unsympathetic; c) imperatives, sounding calm,
unemotional, serious; d) exclamations, sounding calm, unsurprised, reserved.
8. Read the following rhythmic groups. Observe quick pronunciation of unstressed
syllables:
a) Write to her. Read to me. Wait for them. Talk to her. Mary can. Answer it.
Certainly. Open it. Tell them that. Nobody is.
b) lean answer you. I can wait for you. It was wonderful. It's impossible. You
must tell them that. He can write to you. I can give it to him. They must keep it
for you. You could do it for me.
Section Two
(LOW PRE-HEAD + ) DESCENDING HEAD + LOW FALL ( + TAIL)
M o d e l 1:
When can you come?As V soon as the 'weather im proves.M o d e l 2:
v
Where did you spend your holiday?.
V
I V stayed in 'Moscow and 'worked at my book.(LOW PRE-
x
HEAD) + HIGH LEVEL HEAD + LOW FALL ( +
TAIL)M o d e l : What time is it?It's -» half past eleven.
Intonation Pattern II
Stress-and-tone marks in the text:
Stressed syllables of the descending head:
the first stressed syllable [ V ]
any following stressed syllables of the head [1 ]
The first stressed syllable of the descending head is pronounced on the high
level pitch. Sometimes it is pronounced with a slight rise. The following stressed
syllables have level pitch and form a descending sequence until the nucleus is
reached, unstressed syllables may either carry the pitch down as in Model 1 (the
Falling Head) or they may he pronounced on the level of the preceding stressed
syllable as in Model 2 (the Stepping Head). The Low Fall in the nucleus starts
somewhat lower than the mid level. If there are any unstressed syllables before
the first stressed syllable they are said on a rather low pitch.
This intonation pattern is used:
l . I n s t a t e m e n t s , final, categoric, considered.
e. g. How much did you pay It V costs over 'two 'hundred for it? ^pounds.
What is the weather like? I V think it is 'going to xrain.
2. I n s p e c i a l q u e s t i o n s , serious, responsible, intense, often
suggesting irritability or impatience.
e. g. Will you lend me your -> What do you xwant it for?
pen?
Go and see him tomorrow. VWhat 'place does he xlive in?
3. I n i m p e r a t i v e s , firm, serious, pressing.
е. д. I can't think what to do. V Leave it en'tirely to xme,
then.
I'm afraid I've made
V Copy it 'out axgain, then-
a mistake.
4. I n e x c l a m a t i o n s , rather emphatic.
e. g. The exams are over at last. -> Isn't it xwonderful!
It's my birthday today.
V Many 'happy returns!
She refused my help.
What a Vstrange 'thing to x*fo!
EXERCISES
(LOW PRE-HEAD) + FALLING HEAD + LOW FALL (+ TAIL)
M o d e l :
Have you got any news of Mary?
I V haven't 'seen her since vSunday.
1. a)* Listen carefully to the following conversational situations. Concentrate
your attention on the intonation of the replies:
Verbal Context
When can you come?
What can I do for you ?
Why didn't the guard let you in?
^en am I to expect you ?
Dril
S t a t e m e n t s (categoric, final, considered)
As soon as the weather improves.
I want a ticket for Birmingham, please.
He said he couldn't let me in without a pass.
Sometime towards the end of
the next week.
Soon after half past five.
S p e c i a l q u e s t i o n s
(serious, responsible, intense, often suggesting irritation or
impatience)
m afraid I've broken the vase. Why can't you leave things
m terribly tired, ve lost my
handbag. Wiat was that you said ?
rie's promised to ring you up.
alone?
Why don't you leave it til tomorrow morning? When are you going to learn to be more
careful? When are you going to visit your parents?
Why didn't you say so before?
What shall I tell John?
What shall I do after tea?
Shall I memorize it?
Hello, Jane!
So sorry he's left.
I really wanted so much to see her.
What nasty weather we are having!
I m p e r a t i v e s (firmr serious, pressing)
Ask him to come as soon as he is free.
Tell him exactly what you think about it.
Take the cups into the kitchen and wash them up. Study the whole dialogue
carefully first.
E x c l a m a t i o n s (rather emphatic)
It's so very nice to see you, Harry!
What a pity we didn't ring sooner!
Such a pity you didn't come a bit earlier.
Fancy such a day in July!
b) Listen to the replies and repeat them in the intervals. Pronounce unstressed syllables in
the pre-head as low as possible. Make the stressed syllables of the head carry the pitch lower.
Do not forget to blend the words together. Make your voice fall on the last stressed syllable,
c) Listen to the verbal context and reply in the interval.
The stepping head makes the utterance more weighty.
(LOW PRE-HEAD) + STEPPING HEAD + LOW FALL {+ TAIL)
M o d e l : Why did you leave so soon? Alice was be'ginning to 'getvery V
tired.*• • ■
2. a)' Listen carefully to the following conversational situations. Concentrate your
attention on the intonation of the reply:
Verbal Context Drill
S t a t e m e n t s
(final, categoric, considered, weighty]
Have you any news of Malcolm? We haven't heard from him
for ages.
Tom and I have just been to see him in hospital.
I shall miss him terribly.
I firmly believe you'll be bet-
ter off without him. It's much too late to have any regrets now.
How did you spend the morning? I stayed in bed until nearly
lunch time.
I went to see my brother in Kensington.
We spent the whole morning in Hyde Park and Green Park.
I shan't be able to go. I've lost my handbag.
Good morning, madam.
In a quarter of an hour's time.
S p e c i a l q u e s t i o n s
(serious, responsible, intense, weighty, often suggesting
irritation or impatience)
For heaven's sake why not? What are you going to do about it?
When does the next train for Kiev leave?
What's the price of a single first-class ticket?
I m p e r a t i v e s
(firm, serious, pressing, weighty)
How many pencils do you want? Buy me half a dozen, please. The answer to
the first sum is six. Have a go to the next one.
What shall I do with my boots?
What do you want me to do?
Here are the magazines.
Shall I read the words?
My daughter asks me for permission to visit you.
I'll make you a present of it.
Fine day, isn't it?
There's a letter for you, Mary!
*
I'm going on a voyage round Europe.
See if you can do the second one more quickly. Take them into the kitchen
and clean them. Put them away tidily in the cupboard under the stairs. Read the
paragraph beginning at the bottom of the next page but one.
Don't put them all on my table.
Be careful to pronounce distinctly the word "thirteen." Let your daughter
come here and stay with us on Sunday.
E x c l a m a t i o n s
(weighty, rather emphatic)
Thank you very much! Thank you very much indeed!
What lovely weather we are having today!
Thank you very much indeed, Mrs. Brown. What an extraordinary pieco of
luck!
b) Listen to the replies and repeat them in the intervals. Pronounce unstressed
syllables in the pre-head as low as possible. Make the stressed syllables of the head carry
the pitch lower. Observe the same level of stressed and the following unstressed syllables
of the head. Do not forget to blend the words together. Then make your voice fall on the
last stressed syllable, c) Listen to the verbal context and reply in the interval.
(LOW PRE-HEAD) + HIGH LEVEL HEAD + LOW FALL ( + TAIL)
M o d e l :
How much does it cost? * More than we can now af.ford.
When the syllables of the head are pronounced on the high level pitch the
head is called the High Level.
3. a)* Listen carefully to the following conversational situations. Concentrate your
attention on the intonation of the replies:
Verbal Context
I hate cabbage.
I can't bear Julia.
David's grown a beard. How much does it cost?
What's the time, please?
ave you any news of Malcolm?
Harry's not coming to tea. You can't have that book. I'm afraid I can't do it. I
shan't be able to go.
Drill
S t a t e m e n t s (final, categoric, considered)
So do I.
So does Peter.
So do we all.
Neither can If nor can my mother. So he has. Five shillings. Ten pounds.
Three guineas. Half a crown. Two pounds ten. Four o'clock. Half past one. Five
past eleven. Quarter to six. Quarter to eleven. Ten minutes to nine. He's passed
his exams. I was talking to him yesterday.
S p e c i a l q u e s t i o n s
[serious, intense, often suggesting irritation or impatience)
Who is coming to tea, then? Which one can I have? Can't do what? Why ever
not?
I m p e r a t i v e s
(firm, serious, pressing)
I didn't quite catch what you said. Pay attention, then.
What do you think you are doing? Mind your own business.
I'm going to resign.
Don't be ridiculous.
What do you want?
Write him a letter.
E x c l a m a t i o n s
(rather emphatic)
He says it was your fault.
How ridiculous! Too bad! Bad luck!
I've sprained my ankle.
You haven't! Thanks awfully!
I'l make you a present of it.
b) listen to the replies and repeat them in the intervals. Observe high level tone of
the head. Do not forget to blend the words together. Make your voice fall on the last
stressed syllable, c) Listen to the verbal context and reply in the interval.
