Текст книги "Практический курс английского языка 1 курс"

Автор книги: Владимир Аракин

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is a dressing table with a large looking-glass and a round stool in front of it.

There are not many things*in the rooms.

16. "* This exercise is meant to develop your ability to hear and reproduce

intonation in proper speech situations, a) Listen to the dialogue sentence by sentence.

Mark the stresses and tunes. Practise the dialogue, b) Record the dialogue and listen to

your recording to detect the possible errors. Memorize the dialogue and dramatize it:

Afternoon Tea

"Good afternoon, Mrs. White, how are you?"

"Very well indeed, thank you, and how are you?"

"Quite well, thank you. Won't you sit down. Excuse me, please. I think that's

my niece at the door."

"Hallo, Betty, dear! I'm so cflad to see you. You do look well. I don't think

you've met each other before. Let me introduce you. This is my niece, Miss

Smith. Mrs. White, Mr. White."

"How do you do."

"How do you do."

"And now let's have some tea. How do you like your tea, Mrs. White, strong

or weak?"

"Not too strong, please, and one lump of sugar. I like my tea rather sweet, but

my husband prefers his without sugar."

"Well, what's the news, Mr. White? How's business?"

"Pretty good, thank you. And how are things with you ? "

"Well, not too good, I'm afraid, and going from bad to worse, [n fact, it'^ the

worst year we've had for a long time."

"I'm sorry to hear that. I hope things will soon improve."

"Yes, let's hope for the best. And how's your nephew Richard getting on?"

"Oh, he's getting on quite well, thank you. He's staying in :he country just

now with his Uncle William and his cousins."

"How long is he going to stay there?"

"I don't know exactly, but he's having a very pleasant time and it's doing him

a lot of good, so the longer he stays, the bet-:er."

c) Give a conversational context in which the following phrases co-jld be used:

1. Hello, Betty, dear! I'm so glad to meet you. 2. How do you do. 3. How are

you? 4. Quite well, thank you. 5. Pretty good, :hank you. 6. Excuse me, please. 7.

I'm so glad to see you. 3. Oh, he's getting on quite well, thank you. 9. Not too

good, I'm afraid. 10. Well, what's the news, (Tom)? 11. How are things (with

you) ? 12. No more, thank you. 13. I'm sorry to hear that.

17/** Read the dialogues. Mark the stresses and tunes. It is not expected that each

member of the group will intone the dialogues in exactly the same way. Practise reading

your corrected variant:

"Hello, John, I'm so glad you've come. How are you?" "Quite well, thank

you. How are you?" "Very well indeed, thank you. Have you met Mr. and Mrs.

Black? They are staying with us for the week-end." "Oh, yes, we know each

other quite well." "That's good. And now this is Mary with the tea, I think.

Yes, it is. Thank you, Mary. John, you can pass the tea round Do you have

sugar in your tea, Mrs. Black?"

"Just a little, please, but no milk."

"Any sugar for you, Mr. Black?"

"Yes, please, I like a lot of sugar."

"Most of men do, I think. My husband likes his tea very sweet."

"And what will you have with it, a sandwich, or one of these cakes?"

"A sandwich, please."

"How is your mother, Mrs. Black? I hear she's not been very well."

"No, she hasn't, but she's much better now. She's staying with my brother for

a few days and then she's coming to stay with us."

"I'm glad to hear she's getting better."

18.

Make up a conversation with the phrases from the dialogue "Afternoon Tea".

18. This exercise is meant to develop your ability to read and narrate a story with proper

intonation, a) Listen to the joke. Write it down. Mark the stresses and tunes. Practise reading

the joke, b) Listen carefully to the narration of the joke. Observe the peculiarities in

intonation-group division, pitch, stress and tempo. Note the use of the temporisers. Retell the

joke according to the model you have listened to.

19. Read the joke silently to make sure you understand each sentence. Find the most

important sentence in the text. Underline the main word in each sentence. Sptit up each

sentence into intonation-groups, mark the stresses and tunes. Practise reading the joke. Make

your reading expressive. Retell the joke according to the model (see Ex. 19):

Two Americans were travelling in Spain. Once they came into a little

restaurant for lunch. They didn't know Spanish and the waiter didn't know

English. In order to make him understand they wanted some milk and

sandwiches they drew a cow. The waiter looked at it and ran out of the

restaurant. Soon he was back and put down in front of the two men two tickets

for a bullfight.

Section Seven>

Intonation Pattern VI

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

M o d e l : Do you often go to the theatre?

^Some/times. "^^/

Of ^course, I ,do. 9 J

__________________.______________________I

Stress-and-tone marks in the text: Fall-Rise: | v | /1 ,. /|

t

e.g. /Yes. vGeneral,ly. Well J don't ,think so.

This intonation pattern is used: s I n s t a t e m e n t s expressing concern,

reproach, contradiction, correction, hurt feelings, sometimes soothing.

The Fall-Rise is also used in non-final intonation-groups or in sentences of

different communicative types instead of the low-rising nuclear tone to draw

particular attention to one of the words for the purpose of contrast or to intensify

the significance of the communicative centre.

е. д. I wish we'd left earlier. – That wasn't xmy, fault. It's so hot in this room.

– VI don't,think so. You'll be thirty-five soon. – Thirty /four. Is it going to rain?

I

–

vhope ,not. Do you work every day? – On vweek ,days | I vwork, |

but on vSun,days 11 xdon't.

FALL-RISE SPREAD OVER TWO SYLLABLES

M o d e l : v Sometimes.

The fall of the voice starts from a fairly high or medium pitch and usually

ends rather low. The rise begins very low and does not go up too high.

EXERCISES

1. a)* Listen carefully to the following conversational situations. Concentrate your

attention on the intonation of the replies:

Verbal Context Drill

I thought they all took one. Didn't Smith and Jones go? Can Jack and Bill

come to tea? Have Bob and Jane arrived? Hike oysters.

I've passed my driving test. I don't think she's at all nice.

S t a t e m e n t s

(expressing concern, hurt feelings, reproach,

contradiction, corrections, contrast)

Ann did. Smith went. Bill can. Jane's here. You may. That's good. I do.

John does. Tim does.

I suppose you're working all the time. On week days.

Must I go by train?

You don't have to.

b) Listen to the replies and repeat them in the intervals. Make your voice fall as low

as possible on the nuclear syllable. Start the rise from the lowest pitch and do not go up

too high. Do not accent the tail, c) Listen to the verbal context and reply in the interval.

FALL-RISE SPREAD OVER A NUMBER OF SYLLABLES

M o d e l : vHe can / manage it. t___________________. •

In this case the fall is on the stressed syllable and the rise is separated from

the fall by one or more syllables. The syllables between the fall and the rise are

always on a very low level.

EXERCISES

2. a)* Listen carefully to the following conversational situations. Con rentrate your

attention on the intonation of the replies:

Verbal Context

Drill

S t a t e m e n t s

(expressing concern, hurt feelings, reproach,

Can you play chess? I think they'd Л contradiction, correction, contrast)

agree. Have you finished? But you

Once I could. Stephen would. Practically. Usually

aren't free on Sundays. So you all

I am not. I didn't think he was. You couldn't help it.

thought him guilty. I'm sorry about the He won't know what's happened.

mess. Let's ask that fellow over there.

Lying won't get you anywhere.

Somebody must know who did it.

I didn't do it.

One goal's nothing to get excited about. The

colour is all right.

The whole thing's quite a mystery.

Guess what. I scored a goal.

It's difficult all right. There might be a better one

somewhere.

What do you think of my new suit?

It's difficult, isn't it? Is this the best

you've got?

b) Listen to the replies and repeat them in the

intervals. Make your voice fall as low as possible on the

nuclear syllable. Start the rise from the lowest pitch and

do not go up too high. Do not accent the tail, c) Listen to

the verbal context and reply in the interval.

FALL-RISE ONLY

M o d e l * /No. V

The fall may start with a fairly high or medium tone and generally ends

rather low. It occurs on the first part of the vowel. The rise begins very low and

does not go up too high. It occurs on the second part of the vowel or on the

following sonorant. *

EXERCISES

3. 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

[expressing concern, hurt feelings, reproach, contradiction,

correction, contrast)

There were seven boys there. Six.

Eight.

Nine.

Ten.

This is Hilda's book. Mine,

Yours. Jack's.

[Attracting attention) John.

Tom. Mark. Ann. Pat.

Can you delay it a bit longer?

Well, yes.

b) Listen to the replies and repeat them in the intervals. Make your voice fall as low

as possible and then raise it slightly, c) Listen to the verbal context and reply in the

interval.

4. In order to fix Intonation Pattern VI in your mind, ear and speech habits repeat

all the replies yourself until they sound perfectly natural to you.

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. Reply nsing one of the drill

sentences below. Pronounce it with Intonation Pattern VI. Say what attitude you mean

to render:

Nobody worked at the labI did.yesterday.Nobody's coming.Bob is.No one has brought

theThat's bad.headphones.I think you've done it.Almost.Is this book good?Fairly.I shall

never speak to him again."Never" is a very dangerousword.Is it going to keep fine?I hope

so.Are you at home on Sunday?I think so.That's a fine book, isn't it?Parts of it are fairly

interest-ing.I'l give him a good piece of mind.That won't get you very far.What do you do on

Sunday?Usually, I spend it out oftown.He knows English and French.German and French

youmean.This piano's out of tune.The piano's al right.Shal we go and see him ?If you can

go, you ought.I don't think he's worse now.When I saw him, he wasmuch better.Can you

speak English?Once I could.I thought you don't ski at al .Well, sometimes I do.(On

addressing a person)Mary.Helen.Betty.Bill.Tom.Jane.You won't go there, wil you?No.You

have four lessons today.Five.It's nearly five, isn't it?Six.May I keep this book a bit longer?

Well, yes.I can't do it now.You can.Tt won't take you long.It will.

7. Pronounce the drill sentences with Intonation Patterns I, Ш. Observe

be difference in meaning.

8. Your teacher will suggest a verbal context. You In turn reply by state-

|fents expressing contradiction, correction, contrast, concern, reproach.

9. This exercise is meant to develop your ability to hear the falling-rising tone and

reproduce it in proper conversational situations, a) Listen to the following dialogues. Mark

the stresses and tunes. Practise and memorize them.

A: My holiday starts tomorrow. B: Not

tomorrow.

A: You'll be seeing Tom on Sunday. B: On

Saturday.

A: I'm having tea at five o'clock. B: At four

o'clock, you mean. A: I can do it in a few minutes. B:

A few hours, more likely. A: It's your birthday on

Monday. B: Not this Monday. A: You'll be thirty-five

then. B: Thirty-four.

A: I think I'll have a rest now.

В: I shan't.

A: I feel tired today.

В: I don't.

A: It's so hot in this room.

В: I don't think so.

A: My head aches when it's hot.

B: Mine doesn't.

A: I don't like the heat.

В: I do.

A: I'll go for a swim this afternoon. В: I shan't.

A: It'll be cool in the winter. B: It won't.

b) Listen to the dialogue "Is it going to rain?" sentence by sentence. Write it down. Mark

the stresses and tunes. Practise and memorize it. c) One of the students will suggest a verbal

context. The other will contradict or correct him. Keep the exercise moving rapidly until

everyone has participated.

10. One of the students will suggest' the verbal context given below. You answer by using

the reply from the model. Continue the exercise until every student has participated. Keep the

exercise moving rapidly and do not take a long time to give a reply.

M o d e l 1: May I come in?

vYes, ,please. vDo, ,please.

1. May he come into the room? 2. We are going to bed. Shall I switch off the

radio? 3. Shall I help you in the garden? 4. May ^ stay here a bit longer? 5. Shall

I repeat the word? 6. Shall I lay the table? 7. May I try to put the iron right? 8.

It's rather cold. Shall I close the windows? 9. It's stuffy in the room. Shall I open

the windows and air the room? 10. May I switch on the radio and listen to the

news?

M o d e l 2: Do you find it difficult to study maths? vRa,ther.

1. Do you find it difficult to translate the sentence? 2. Does she find it

difficult to study languages? 3. Do you find it easy to do this exercise? 4. Do you

find this book interesting? 5. Do you find it warm to set a tent here? 6. Do they

find it cold to plant the flowers?

M o d e l 3: Have some more porridge.

No more, , thank you.

v

1. Have another cup of tea. Have another ice-cream. Have another lump of

sugar. Have another piece of cake. Have some more coffee. 2. Will you take

another book to read? Will you have some more milk? Will you buy some more

flowers? Will you take another ticket for the play? Will you take some more

(apples?

fVlodel 4: Do you always get up at the same time? vOf,ten.

(often, sometimes, never, rarely, generally, usually)

1. Do you regularly go to the laboratory? 2. Does your little brother like to

read books? 3. Do you go to the theatre every week? 4. Does she always agree

with him? 5. Do you rarely go shopping? 6. Can you often go to the cinema on

week-days? 7. Do you always have dinner at home? 8. Do you ever go to the

Institute on Sunday? 9. Do you ever miss your friends when they ^ire far away?

10. Can you help your friends with phonetics?

11. Read the sentences according to the models. Concentrate your attention on the

intonation of the address.

M o d e l 1: xPe,ter, where are you?

1 . Benny, come home. It's getting dark. 2. Kitty, it's high time to get up. 3.

Betty, why aren't you listening to me? 4. Edward, stop talking. 5. Alec, come

here. 6. Minnie, why aren't you writing? 7. Nick, why aren't you listening to the

text? 8. Billy, you've left your umbrella. 9. Harry, wake up.

M о d e 1 2: I xsay, ,Mike, I've just had a wire from Mary.

1.1 say, Peter, I've just seen Sid. 2. 1 say, Nick, something has gone wrong

with the tape-recorder. 3.1 say, Alec, whet are you doing tonight? 4.1 say, Helen,

have you seen the film "War and Peace"? 5. I say, Kitty, I've got two tickets to

the theatre. 6. I say, Mum, can I have another ice-cream? 7. 1 say, Dad, can I go

bicycling?

12.

Address your fellow-student according to the models above. Make him (or her)

reply by using the intonation patterns you have studied.

12.

Read the following conversational situations. Use Intonation Pattern VI in

them:

Shall I go on?

May I take your ball-pen?

Shall I switch on the cassette-recorder?

Will you pass me the mustard, please?

(Edward repairs the plug and then

gives it back to Mary.) Will you please give me a little

more porridge, dear? Are you ready to go now? Where do I sign? What do

you say to a bottle of

beer? How are things? Let's go to the dining-room. Mr. White wants to see

you,

Harry.

Do, please. Do, please. Do, please.

Here you are.

Here you are.

Just a moment.

Just a moment. Here, please. No beer, thanks.

Quite all right, thank you. This way, please. Show him in, please.

I'm just finishing this article.

We must leave at once to be in

time for the beginning of the

discussion. Don't you find it difficult to

study mathematics? What about going there together? Shall I put some more

sugar on your porridge, John? Why aren't you eating anything,

Kitty?

(Addressing Mary) Excuse me, what country are

you from? Excuse me, but I must be off.

Will you wait a minute,

please? Right you are.

Rather.

All right, Eddy.

No more, thank you.

I don't like porridge. I'm just thirsty. Give me some tea and cakes, Mum.

Look here, Mary!

I'm from Poland.

I'm so sorry.

14."* This exercise is meant to develop your ability to hear the intonation and reproduce

it in proper speech situations, a) Listen to the dialogue **Morning and Evening'* sentence by

sentence. Write it down. Mark the stresses and tunes. Practise the dialogue, b) Record your

reading. Play the ecording back immediately for your teacher and fellow-students to detect he

possible errors. Practise the dialogue for test reading. Memorize the lialogue and dramatize it:

Morning and Evening

"What time do you get up as a rule?" "Generally

about half-past seven." "Why so early?"

"Because I usually catch an early train up to town."

"When do you get to the office?"

"Normally, about nine o'clock."

"Do you stay in town all day?"

"Sometimes I do, and sometimes I don't."

"What do you usually do in the evenings?"

"We generally stay at home. Once or twice a week we go to i theatre or to the

pictures. We went to the pictures last night ind saw a very interesting film.

Occasionally we go to a dance."

"Do you like dancing?"

"Yes, very much. Do you dance?"

"I used to when I was younger, but not very often now. I'm getting too old."

"Too old? Nonsense you don't look more than fifty." "As a matter of fact, I'm

nearly sixty." "Really! You certainly don't look it."

"I'm glad to hear it. Are you doing anything special tonight? If not, what

about coming with me to my club? You'd get to know quite a lot of interesting

people there."

"I should love to but today happens to be our wedding anniversary and we're

going out tonight to celebrate."

"Well, my heartiest congratulations."

"Thank you very much. I could manage to come along tomorrow night, if that

would suit you."

"Yes, excellent. Let's make it round about eight o'clock." "Very well.

Thanks."

c) Give conversational situations with the phrases of the following type:

1.1 am glad to hear it. 2.1 should love to. 3. Sometimes I do and sometimes I

don't. 4. My heartiest congratulations. 5. Why so early? 6. Really? 7. Generally. .

15. The teacher or one of your fellow-students will read a question from the exercise.

Reply using phrases suggested below. Make your fellow-students decide what attitude

you are trying to render. Keep the exercise moving rapidly:

1. What time do you get up as a rule? 2. What time do you go to bed? 3. What

time do you have breakfast? 4. What time do you read the newspaper? 5. What

time do you go to the University? 6. When do you get to the University? 7. What

time do you have dinner? 8. When do you get home? 9. What do you usually do

in .the evening? 10. What do you usually do on Sunday? 11. What do you usually

do in the country? 12. What do you usually do in the garden? 13. Do you like

dancing? 14. Do you like fishing? 15. Do you like boating? 16. Do you like

sports? 17. Do you like singing? 18. Do you like skating? 19. Do you stay at the

University all day? 20. Are you doing anything special tonight? 21. Are you

doing anything special on Sunday? 22. Are you doing anything special tomorrow

morning? 23. What about going to the theatre tonight? 24. What ^bout going to

the skating-rink? 25. What about going to the pictures? 26. What about going to

the park? 27. When can you come?

1. Generally. .. 2. Normally.... 3. Occasionally. . 4. As a matter of fact.... 5.1

used to.... 6.1 could manage to ... if that would suit you.

16. Make up a conversation with the phrases from the dialogue "Morn-

ing and Evening".

17. "* This exercise is meant to develop your ability to hear and repro-

duce intonation in reading. Listen to the text «My Bedroom» sentence by

sentence. Write it down. Mark the stresses and tunes. Practise the text for

test reading.

18. Read the text «About Myself» silently to make sure you understand

each sentence. Sprit up each sentence into intonation-groups if necessary.

Underline the communicative centre and the nucleus in each phrase. Mark

the stresses and tunes. Use Intonation Pattern V in the word-groups in bold

type to intensify the meaning of these communicative centres. It is not

expected that each student of the class will mark the text in exactly the

same way. Your teacher will help all the members of the class to correct

Itheir variants. Finally practise reading your corrected variant:

About Myself

I'm a student of English. I have been a student only two months and a half. I

can't speak English well yet. I'm just a beginner, you know. I live in a hostel. It is

rather a long way from the University. In fact, it is in the country and it takes me

about pn hour and a half to get to the University. But it gives me no Irouble at

all, as I like to get up early. I don't need an alarm-clock to wake me up. I am an

early-riser, as they say.

Though our hostel is out of town it is very comfortable and has all modern

conveniences.

As a rule I get up at 6.30, do morning exercises and have a shower. I don't

have a bath in the morning, I have a bath before [go to bed.

For breakfast I have a boiled egg and a cup of coffee. At about 7.301 am

quite ready to go. It is about a five minutes' walk from the hostel to the station. I

usually take the 7.40 train. I walk to the station as I have plenty of time to catch

my train.

I come to the University five minutes before the bell rings. So I can have a

chat with my friends. Only four students of our group are Muscovites, the others

either come from different parts of our country or from other countries. We

usually have a lot of things to talk about.

There is a very good language laboratory at our University. It has modern

equipment. We spend a lot of time in the laboratory listening to the tapes,

imitating the sounds and intonation. It helps us to learn the language without

much difficulty.

We don't go out to lunch. There is a good canteen at our University. It is on

the ground floor. We can go downstairs and have lunch in no time at all. As to

my dinner I have it in a cafe on my way back to the hostel.

I come to the hostel from the University about a quarter to five every

evening. I live in a single room and have nobody to speak English to. I go to the

girl next door and we do our lessons together. We are always ready to help each

other.

In the evening we sometimes go out. We go to the pictures if there is

something new on or to the club if there is a dancing party there.

But we often stay in, watch the TV program in the common room or listen to

the radio. Then I read a book for half an hour or so and go to sleep. That doesn't

take me long, as a rule.

19. This exercise is meant to develop your ability to read and narrate a story with proper

intonation, a) Listen to the joke. Write it down. Mark the stresses and tunes, practise reading

the joke, b) Listen carefully to the narration of the joke. Observe the peculiarities in

intonation-group division, pitch, stress and tempo. Note the use of temporizers. Retell the

joke according to the model you have'listened to.

20. Read the joke silently to make sure you understand each sentence. Find the main

phrase in the text. Split up each sentence into intonation-groups if necessary. Mark the

stresses and tunes. Underline the communicative centre and the nuclear word of each

intonation-group. It is not expected that each student will intone the text in the same way.

Your teacher will help you to correct your variant. Practise reading the joke several times.

Retell the joke following the model above (see Ex. 19):

Peggy, aged five, said she had a stomachache.

"It's because you haven't had lunch yet," said her mother. "You would feel

better if you had something in it."

That afternoon their neighbour called and remarked while speaking to the

mother that he had a bad headache. "That's because it's empty," said Peggy.

"You'd feel better if you had something in it."

Section Eight

I. Sequence of Tones. Complex Sentences

If an adverbial 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.

e. g. If you want to have a > rest, | go to the xcountry. If you -* want to

have a ,rest, | -> go to the xcountry.

In case the complex sentence begins with the principal clause and contains

more than one intonation-group both the clauses die usually pronounced with the

low-falling nuclear tone.

e. g. -> Go to the xcountry | if you -> want to have a xrest.

If the principal clause implies continuation and makes a separate intonation-

group it is pronounced with the low-rising or falling-rising nuclear tone.

е. д. Г11 -> tell him at ,once | you -* want to xsee him.

Adverbial Clauses of Condition and Time

Model: a) If you ~> want to have a > rest, | go to the xcountry.

b)

If you ~> want to have a , rest, | go to the xcountry.

c)

When he , comes | -> ask him to xwait.

EXERCISES

1. Listen carefully to the sentences below and, repeat them in the intervals.

Concentrate your attention on the intonation of the non-final adverbial clauses. Observe

the sequence of tones. Repeat the sentences in the intervals:

a) 1. If you can stay longer, so much the better. 2. If you wish to bathe, you

can hire a hut or a tent. 3. If you walk, it'll take you ten minutes or a quarter of an

hour. 4. If you are staying in London for a few days, you'll have no difficulty

whatever in finding somewhere to spend an enjoyable evening. 5. If you're not

fond of music and singing, opera won't interest you. 6. If

you want to have a really quiet and healthy holiday, you must go to the

country. 7. If you take off your coat, I'll take your measurements. 8. If I were

you, I should make up my mind beforehand. 9. If you had time and weren't too

tired, you could go to the East End and see the Tower of London. 10. If I want to

know the time, I look at my watch. 11. If you want to post an ordinary letter, you

can drop it into the nearest pillar-box. 12. If you come with me, I'll show you. 13.

If you are interested in churches and historical places, you should go to

Westminster Abbey.

b) 1. When winter comes, we're obliged to spend more time indoors. 2. As I

was going through the book department, I was surprised to meet an old friend of

mine. 3. When we stay at щ- brother-in-law's, we have to work very hard, but we

don't mind. 4. After I've tried the suit on, the tailor will probably find it necessary

to make a few alterations. 5. When it is as cold as that, it is really very

unpleasant. 6. When Tom died, Mrs. Meadows wrote George about it, but they

never got an answer. 7. In the afternoon as soon as Mr. Hilton, Roger and Alice

came home, their preparations began. 8. When I've dried myself with a towel, I

get dressed. 9. When the suit is ready, I shall pay for it and get a receipt.

2. Read the sentences above several times until they sound perfectly natural to you.

Follow the intonation line exactly.

3. a) Read the sentences according to the model above. Observe the sequence of

tones, b) Listen to your fellow-student reading the sentences. Tell him what his errors in

intonation are:

1. If you go to the country, you'll enjoy yourself thoroughly. 2. If you are

busy today, you may come tomorrow. 3. If you don't know the way ask the

militiaman. 4. If you have to do some shopping, go to the Central Department

Store. 5. If you take (follow) my advice, you will not regret it. 6. If you want to

see a good play, you should book tickets beforehand. 7. If it suits you, come by

all means. 8. If it is not very frosty tomorrow, we shall go skating. 9. If this play

is as good as that one, it is worth seeing. 10. If you finish your exercise soon, you

may go for a walk. 11. If you hire a taxi, it will take you only 10 minutes to get

there. 12. If you want to see many places of interest, you should go on

sightseeing tours whenever you can. 13. If you

want to buy a pair of shoes, you should try them on. 14. If the weather is fine,

we shall go to the country. 15. If it rains, take an imbrella. 16. If you walk, it'll

take you half an hour to get to ,he Institute. 17. When you come home, ring me

up. 18. When rou finish your books, you'll have to make reports on them.

19.

When you enter the theatre, you go to the cloakroom.

20.

When the actor appeared on the stage, there was a storm of

applause. 21. When Robert Shannon invited Jean to the theatre, he doubted

whether she would come or not. 22. When you call for me, I'll introduce my

sister to you. 23. When he saw the old man for the first time, he looked at him

with admiration and respect. 24. When he went to sea, he did not inform anyone

of it. 25. When he learnt the news, he got angry. 26. When she married Tom, she

was never sure that she had married the right man. 27. When he arrived in

Moscow, the weather was surprisingly wonderful. 28. When he passed his exam

with an excellent mark, he was eager to inform his parents of it. 29. When you

come to Red Square, turn to the left and you will see the building you want. 30.

When you come back home, you should go to the greengrocer's and to the

butcher's.

4. Complete the following sentences in turn. Observe the sequence of tones. Keep the

exercise moving on rapidly:

1. If you are going to stay in England for some time..............................2. If

you can stay longer...........3. If you walk, ... . 4. If you are staying

in London.....5. If you are not fond of music....................6. If you are at

the cinema, .... 7. If you want to have a really quiet holiday, ... .

8 If you take off your coat...........9. If you can do it now.................10. If I

were you........ 11. If you have time and aren't too tired...........................

12. If I want to know the time.....................13. If you are going to

England.....14. If you want to post a letter, ... . 15. If you want

to send a telegram, .... 16. If you want your letter to arrive more quickly, ... .

17. If you want to send a parcel, ... . 18. If you want a guide to show you