Текст книги "Практический курс английского языка 2 курс"
Автор книги: Владимир Аракин
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smoking at my age."
Doctor's Orders
S e r v a n t : Sir, wake up, wake up!
M a s t e r : What is the matter?
S e r v a n t : It's time to take your sleeping tablets.
M r s . B r o w n : Don't you think, doctor, you've rather overcharged for attending
Jimmy when he had the measles?
D o c t o r : You must remember, Mrs. Brown, that includes twenty-two visits.
M r s . B r o w n : Yes, but you forget he infected the whole school!
SECTION THREE. Intonation Pattern X
(LOW PRE-HEAD+) RISING HEAD + HIGH FALL (+ TAIL)
Model: I wonder when Alice's train is due.
– Look it 'up in thètime-,table.
The syllables of the Rising Head preceding the High Fall gradually carry the pitch up.
Stress-and-tone mark in the text:
The first stressed syllable: ││
This intonation pattern is used:
1 . I n s t a t e m e n t s , conveying personal concern, involvement, disgruntled
protest.
е.g. Haven't you brought the carp? – You didn't ask me ,to.
2 . I n q u e s t i o n s :
a ) I n s p e c i a l questions sounding unpleasantly surprised or displeased,
protesting.
е.g. Send them at once. – Where to?
b ) I n g e n e r a l questions, protesting, sometimes impatient.
е.g. Thursday's a hopeless day for me. – Can't we 'make it àFriday, ,then?
3 . I n i m p e r a t i v e s , lively, with a note of critical surprise.
е.g. What shall I do? – Try it àgain.
4 . I n e x c l a m a t i o n s , conveying affronted surprise, protesting.
е.g. John's coming. – What an ex traordinary `thing.
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, disgruntled protest)
I must see Mr. Roberts.
I'm afraid you can't. He's just gone out.
What did you think of the house?
I was rather taken with it. It seems quite nice.
He says he knows nothing about it.
I just can't understand it. I distinctly
remember telling him.
Haven't you finished that book yet?
I've only just begun it.
I'm afraid I failed my exam.
I'm not at all surprised. You must try working
a bit harder.
You ought to have informed me at once.
I didn't realize, it was so important.
Special questions
(sounding displeased, unpleasantly
surprised, protesting)
What's that you say?
Why don't you listen?
I can't find the file anywhere.
What have you done with it?
You can't easily mend it.
What do you mean, easily?
I gave it to her personally.
But when did you see her?
Which one shall I have?
Which would you prefer?
I shall write to him again.
Whatever do you hope to gain by that?
I was too late. They'd sold out.
Whyever didn't you buy it when you had the
chance?
General questions ( protesting, impatient)
I'm terribly hard up!
Aren't we all?
It's always possible.
But do you think it's likely?
I'm quite booked up next week.
Will the week after suit you better?
In my view he's a culprit.
Could you be mistaken?
I can't meet you this Tuesday,
Shall we leave it till next week?
1 can't say I do like this coat.
Would you have preferred the plum coloured
one?
Imperatives ( lively, with a note of critical
surprise)
What on earth shall I do?
Try it again. You've no alternative.
What should I tell him?
Tell him exactly what you think.
How many sandwiches shall I make?
Make as many as you think we'll eat.
I don't want to go alone.
Come along with us, then.
I've lost my invitation.
Well write and ask them to send you another
one.
Exclamations (conveying affronted
surprise, protesting)
I told him what I thought of him.
Good for you!
She says she's twenty-nine.
Absolute nonsense!
But I can't take you out tonight. I'm
What a pity you didn't say so sooner.
working late.
Look. It works.
So it does. How very odd!
You're a bit grumpy today.
Not in the least!
2. Listen to the replies and repeat them in the intervals. Pronounce the first stressed
syllable as low as possible; the following stressed syllables of the head gradually rise to the high
level. Start the fall on the nucleus high enough.
3, Listen to the Verbal Context and reply in the intervals.
4. In order to fix Intonation Pattern X in your mind, ear and speech habits, pronounce
each reply several times until it sounds perfectly natural to you.
5. listen to your fellow-student reading the replies, tell him (her) what his (her) errors in
intonation are.
6. Listen to the Verbal Context suggested by the teacher. Reply by using one of the
sentences below. Pronounce it with Intonation Pattern X. Say what attitude you mean to
render:
Verbal Context
Drill
Why don't you stay longer?
I've no time. I'm so busy now.
When do we go there?
I've just told you. At seven.
Do you really want to see her?
I haven't seen her for ages.
What made you go there?
I went there because I wanted to.
Why didn't you come there in time?
You know how far it is.
What do you think of this picture?
It's nothing less than a masterpiece.
I've no time now. I'm leaving.
Where to?
You must look through it again.
What's wrong about it?
He'll be here by six.
What makes you so sure?
You must phone her at once.
Why not you?
I missed some words.
Why don't you listen?
You'd better take a taxi.
What for?
Monday is a very busy day for me.
Can't we meet on Friday then?
You are not a good swimmer, are you?
Have I ever pretended tc be?
Mary's not here yet.
Go alone, then.
It's too late to walk.
Take a bus, then.
I doubt if I can do it better.
Try again.
He's given up this idea.
Sensible chap!
He's won.
Would you believe it!
7. Give your own replies to the Verbal Context of Ex. 1 and 6. Use Intonation
Pattern X.
8. The teacher or one of the students suggests a Verbal Context The students
reply to it in turn using:
a) statements conveying personal concern, involvement or protest;
b) special questions sounding unpleasantly surprised, displeased or protesting;
c) general questions sounding impatient, protesting;
d) imperatives sounding lively, with a note of critical surprise;
e) exclamations conveying affronted surprise, protesting. Continue the exercise until
everyone has participated. Work in pairs.
9. Read the following extracts. Observe the position of the logical stress:
"Tell her that you intend to marry her, but after you return from this outing, not before." (Гл.
Dreiser. «An American Tragedy»)
"You don't live here?" – "No," I said, "I don't. You wouldn't if I did." [J. K. Jerome. "Three
Men in a Boat")
"She was so pretty and cute. Yet she was a working girl, as he remembered now, too – a
factory girl, as Gilbert would say, and he was her superior. But she was so pretty and cute." (Th.
Dreiser. «An American Tragedy»)
"In the taxi, returning at last to Chesborough Terrace he proclaimed happily: "First rate chaps
these, Chris! Has been a wonderful evening, hasn't it?" She answered in a thin steady voice: "It's
been a hateful evening!" ( Cronin. «The Citadel»)
10. Look for similar situations in the books you are reading at the moment
11. This exercise is meant to practise the intonation patterns you already
know.
a) Listen to the dialogue «Guessing Game», sentence by sentence. Write it down. Define
the intonation pattern of each sentence and the attitude expressed by it
b) Record your reading. Play the recording back for your teacher aad fellow-students to
detect the possible errors:
A.: And the next object is vegetable.
В.: Does one eat it?
A: Yes.
В.: Do you eat it?
A: Yes.
В.: Do you eat it at breakfast?
A: No.
В.: Do you eat it at dinner time?
A: No.
В.: Well then at tea time.
A: Yes.
В.: Is it a raw vegetable?
A: Yes.
В.: Is it nice?
A: Very nice.
В.: Did we have some for tea today?
A: Yes.
Practise the dialogue for test reading. Memorize and dramatize it.
12. This exercise is meant to develop your ability to bear and reproduce
intonation in different speech situations.
a) listen to the dialogue «Sightseeing» 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 of the text Play the recording back immediately for the teacher
and your fellow-students to detect your errors. Practise the dialogue for test reading.
Memorize and play it
c) Make up conversational situations with the following phrases:
Is it possible ...?
That's not a bad idea.
What do you think ...?
I suppose it is.
Rather.
What about...?
Well, you might... .
Let me see ... .
Is it much of a walk?
Do you think I shall have time for...?
d) Make up a talk about your recent trip. Use the phrases from the dialogue above.
Work in pairs.
e) Imagine you are telling the class about your recent trip to London.
13. This exercise is meant to revise Intonation Pattern IX. Read the following
dialogue. Use the High Fall to express personal concern, involvement:
– What are you going to do this week?
– Well, we don't really know.
– Why not visit Kew Gardens?
– Well, we've been there.
– You've seen much, haven't you?
– Yes, we've seen all the usual things. The Tower of London, and the Zoo, and the Houses
of Parliament.
– Have you visited Westminster Abbey?
– Yes, we went there a fortnight ago. But I haven't seen St. Paul's Cathedral since I was here
in 1991.
– I have! I've been there two or three times.
– But I really ought to think about the business side of my visit.
– Yes. You must visit a motor-car factory. After all, that is your main interest.
– That's true. I haven't been to one yet. I expect things have changed since 1991.
– I'm sure they have. Yes, there have been some very big developments since you were here
last.
14. This exercise is meant to develop your ability to hear intonation and
reproduce it in different speech situations.
a) Listen to the Joke «A pretty well-dressed young lady...» sentence by sentence. Write
it down. Mark the 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
you have listened to. Tell the joke in your own words.
15. This exercise is meant to test your ability to analyze material for reading.
a) Read the joke silently to make sure you understand each sentence. Find the sentence
expressing the essence of the joke. Split up each phrase 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. Your teacher will help you to
choose the best variant. Practise your corrected variant for test reading.
b) Tell the joke in your own words.
Wrong Pronunciation
A Frenchman who had learned English at school, but had half forgotten it, was staying in
London on business. It was in the month of November, and the weather was most unpleasant,
disagreeable, damp and foggy.
The Parisian, not being accustomed to the English climate, had caught a severe cold, and was
coughing day and night. At last he decided on getting a remedy for his cough but as he did not
remember this English word, he looked it up in his French-English dictionary. There he found that
the English for it was cough. Unfortunately his dictionary did not tell him how to pronounce it.
Remembering, however, the pronunciation of the word plough, he naturally concluded that cough
must be pronounced [kav].
So he entered a chemist's shop and said: "Will you, please, give me something for my cow!"
The chemist, thinking he had misunderstood him asked politely: "I beg your pardon, sir?"
The Frenchman repeated his request for some remedy for his cow.
"For your cow, sir?" replied the chemist. "Are you a farmer then?"
"A farmer?" answered the Frenchman rather indignantly. "What in the world makes you think
so? Oh, no, I came from Paris, from beautiful Paris," he added proudly.
The chemist now almost began to think that he was dealing with a madman. In great
bewilderment he asked again: "But your cow, sir? Where is your cow?"
"Here!" cried the Frenchman, coughing very loud and pointing to his chest. "Here it is! I have
a very big cow in my chest!"
Luckily, the chemist understood him and gave him the remedy he wanted.
SECTION FOUR. Intonation Pattern XI
(LOW PRE-HEAD + ) FALLING HEAD+ HIGH FALL (+ TAIL)
Model: How are you finding your new job?
– Liking thèwork im`mensely.
The High Fall starts from a higher pitch than the preceding syllable of the Falling Head.
If the head contains only one stressed word the High Fall starts from the level of the stressed
syllable.
е.g. How nice!
This intonation pattern is used:
1 . I n s t a t e m e n t s , conveying personal concern, sounding light, airy, warm
but without the disgruntled effect of Pattern X.
е.g. Why don't they work in the evenings? – `Some of them `do, I believe.
2 . I n q u e s t i o n s :
a ) I n s p e c i a l questions, sounding interested, brisk, business-like.
е.g. I've just seen that new musical. – `What is it `called?
b ) I n g e n e r a l questions, conveying mildly surprised acceptance of the listener's
premises; sometimes sounding sceptical, but without the impatience of Pattern X. (The question is
put forward as a subject for discussion.)
е.g. Shall we try again? – Well 'would it be any ùse?
3 . I n i m p e r a t i v e s , sounding lively; suggesting a course of action to the
listener.
е.g. The tea's too hot. – `Put some morèmilk in it.
4 . I n e x c l a m a t i o n s , conveying mild surprise but without the affront of
Pattern X.
е.g. Look, it's snowing. – Òh, ` yes!
EXERCISES
1. Listen carefully to the following conversational situations. Concentrate your
attention on the intonation of the replies:
Verbal Context
Dril
Statements (conveying personal
concern; sounding light, airy, warm)
When's the concert?
Next Sunday. Next Wednesday.
It's going to be a fine place.
So it seems. So I've heard.
What was the show like?
First rate. Simply splendid.
It's not very valuable, is it?
It cost over three hundred pounds.
We'll never get there.
It's not as far as you imagine.
Which would you like, tea or coffee?
I'd prefer tea.
I may be a bit late.
That wouldn't matter in the least.
Special questions ( sounding interested,
brisk, business-like)
I've just seen that new musical.
What's it called?
"Underneath the Arches,"
What did you think of it?
Quite good, really.
Who composed the music?
John Adams, I think his name is.
Which theatre is it playing at?
"The Prince of Wales."
Which exactly is "The Prince of Wales"?
The one near Piccadilly Circus.
How did you get there?
By a fourteen bus.
Why didn't you go by tube?
I can't bear the Underground.
General questions
(conveying mildly surprised acceptance
of the listener's premises; sometimes sceptical)
D'you think I should ring him?
Mightn't it be better to wait?
I hate the thought of spring cleaning.
Ought we to delay it any longer, though?
I don't really want to meet them.
Will you be able to get out of it?
I'm sorry, but I hate cocoa.
Would you like a cup of tea, then?
Thank you for all you've done.
Is there anything else I can do to help?
He's promised to stop smoking.
Does he really mean what he says?
Imperatives
(sounding lively; suggesting a course of
action to the listener)
I hate quarrelling with Clara.
Then make it up with her.
I shan't be able to phone you.
Drop me a line, then.
Sorry I forgot to change my shoes.
Just look at the mud you've brought in here.
I can't think what to say.
Don't say anything at all. Leave it entirely to
me.
What shall I do with this?
Put it in the waste paper basket.
Exclamations (conveying mild surprise)
He won't give us permission.
So that's that.
I gave him a piece of my mind.
Well done! Good for you!
Tom has passed his exam.
Well fancy that!
I've just become a father.
Congratulations, my dear chap!
I forgot every word about it.
What a fine mess you've made of things!
We'll go there on Friday.
The sooner the better!
I'm sorry to have to vote against you.
A fine friend you turned out to be!
2. Listen to the replies and repeat them is the intervals. Make your voice follow the
intonation line exactly.
3. Listen to the Verbal Context above and reply in the intervals concentrating your
attention on the intonation line .
4. In order to fix Intonation Pattern XI in your mind, ear and speech habits pronounce
each reply several times until it sounds perfectly natural to you.
5. listen to your fellow-student reading the replies. Tell him (her! what his (her) errors
in pronunciatioa and intonation are,
6. a) Listen to a fellow-student reading the Verbal Context below. Pronounce each of the following replies in
two ways: first with Intonation Pattern X, then with Intonation Patters XI. Observe the intonation line. State the
difference in attitude. Ask a fellow-student to comment oa the attitudes you are trying to render:
Verbal Context
Drill
Has she caught up with the group?
Better than that. She is the best in the group
now.
I'm glad you've made some progress.
So is my teacher.
Why doesn't she join our trips?
Sometimes she does.
What's his mark in physics?
I don't remember.
I'm an amateur.
I should never believe it. You're good at tennis
indeed.
Where is my pen? It's gone again.
You never remember where you put your things.
Thank you very much for your help.
Not at all. Just happy to help you any time.
Let's go to the pictures in the
I really can't. I've got a lot of work to do.
evening.
We're leaving tonight:
It's a pity. You promised to stay with us a bit
longer.
I'm going to consult a doctor.
It's high time you thought about your health.
It's not my size.
Well, what size do you take, then?
I saw Mike the day before yesterday.
How is he getting on?
She went to the circus on Sunday.
Why didn't she take the children with her?
Mary is waiting for you.
Why has she come?
I got back yesterday.
And where did you go, I wonder?
I don't know Peter's address.
Why didn't you ask him about it before?
She promised to bring the book.
Does she always keep her promises?
They say they'll help us.
Do they really mean that?
Shall we ask her to speak to him?
Will it be of any use?
Shall we go for a walk to the forest?
Isn't it still pouring?
I didn't understand the rule.
Wouldn't it be better for you to ask the teacher
to explain it again?
They won't come to the party.
Do they still feel offended?
I can't wait for him any longer.
Couldn't we ring him up, then?
I'm very much obliged to him.
Tell him about it, then.
He asked her about her age.
How silly of him!
She made me come for the second
What a shame!
time.
She's laid up with quinsy again.
Poor thing!
Thank you for your very good news.
Don't mention it.
He promised to speak to her.
The sooner the better.
b) listen to a fellow-student reading the first sentence of the Verbal Context above.
Reply in your own way, using Intonation Pattern XI. The drill will continue until every student
has participated. Keep the exercise moving rapidly. Be careful about the intonation line and
try to convey the proper attitude.
7. Read the following dialogue with a fellow-student» using Intonation Pattern
XI. Special questions should sound interested, lively, brisk. The replies sound lively,
friendly and warm:
A: What was that you said?
B: Where did you go for your summer holiday?
A: First to London and then to Cornwall.
B: How long did you live in London?
A: Just a week.
B: Which part of your holiday did you prefer?
A: Oh, our fortnight in Cornwall.
B: Where did you stay while you were down there?
A: In a little village near Penzance.
B: What sort of weather did you have in London?
A: The best we could possibly have hoped for.
B: What did you do there?
A Sightseeing mostly.
8. A student will read the Verbal Context below. Other students will read the
replies in turn, using the High Fall and the logical stress on the same word to make
the utterance emphatic. Define the attitude you are trying to express:
Verbal Context
Drill
He's ruined my shoes.
Make him buy you a new pair.
None of us wants to go.
Someone will have to go, won't they?
Aren't you lucky?
That's what everybody says.
How does your wife find it?
She likes it as much as I do.
What's Vernon's opinion?
He can't make up his mind which he prefers.
What an amazing trick! .
Can't imagine how it's done.
I can't make head or tail of it.
Let Johnson have a look at it.
Don't bother to fetch me.
It's not in the least trouble. I do the same for all my
guests.
9. Listen to your teacher read the context sentences below. Pronounce each of
the following replies in two ways: first with Intonation Pattern II, then with Intonation
Pattern XI. Observe the intonation line. Convey the suggested attitudes:
Verbal Context
Drill
When's the concert?
Next Sunday.
a) categoric, dispassionate
b) warm, airy, lively
I feel so sleepy.
So do I.
a) categoric, dispassionate
b) lively
What was it like in Nigeria?
Oh, the heat was terrible.
a) categoric, dispassionate
b) lively
I shan't be seeing you,
Whyever not?
I'm afraid.
a) serious
b) interested, brisk
I can't undo the door.
Try the other key.
a) pressing, weighty
b) suggesting a course of action
I hope I'm not disturbing
Come in. Sit down.
you.
a) pressing, weighty
b) suggesting a course of action
Hullo, Fred!
Well if it isn't my old friend Tom!
a) weighty
b) mildly surprised
He's sending you a copy.
How very nice of him!
a) weighty
b) mildly surprised
10. Listen to a fellow-student say the context sentences below. Pronounce each of the
following replies, trying to convey the suggested attitudes. Be careful with the intonation line. Define
the Intonation Pattern of your reply:
Verbal Context
Drill
Can you come tomorrow?
Yes.
a) phlegmatic, reserved
b) lively, interested
Who on earth would take
I would.
such a risk?
a) calm, reserved
b) lively, concerned
You mustn't speak to him.
Why not?
a) phlegmatic, reserved
b) unpleasantly surpised
What's that you say?
Why don't you listen?
a) unsympathetic
b) unpleasantly surprised
I'm afraid I've lost your pen.
What are you going to do about it?
a) hostile
b) interested
1 can't meet you this Tuesday.
Shall we leave it till next week?
a) phlegmatic, reserved.
b) willing to discuss the question, impatient
Thursday's a hopeless day for me.
Can't we make it a Friday, then?
a) phlegmatic, reserved
b) willing to discuss the question
Bill's refused my request.
Well, ask someone else.
a) calm, cold
b) warm, with a note of critical surprise
I haven't got a spoon.
Go and get one, then.
a) calm, unemotional
b) suggesting a course of action
He's actually engaged.
Would you believe it!
a) calm, unsurprised, reserved
b) mildly surprised
Tom's coming on Monday.
Now fancy that.
a) calm, reserved
b) affronted surprise
11. listen to the Verbal Context and reply expressing critical surprise or suggesting a
course of action to the listener. Use the proper intonation pattern:
Verbal Context
Drill
I'll show you how to do it.
Don't! Do! Don't you worry! Try!
We're moving on Tuesday.
Don't be silly! It's up to you! Don't make so much fuss about
it.
I can't undo the door!
Tell me what 1 can do, then! Don't you worry!
It's my turn to pay!
Do! Have a go! Don't be ridiculous! Don't be silly! Don't you
worry! It's up to to you!
I can't find my purse
Don't you worry! Don't make so much fuss about it.
anywhere.
12. This exercise is meant to develop your ability to hear and reproduce
intonation in conversation.
a) Listen to the dialogue «Dinner-table Talk» 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
b) Record your reading. Play the recording back immediately for your teacher and
fellow-students to detect your errors. Practise the dialogue for test reading. Memorize and play
it with a fellow-student.
c) Pick out of the dialogue sentences pronounced with Intonation Patterns IX, X, XI.
Define the attitudes conveyed in them. Make up conversational situations with these phrases.
d) Make up conversational situations, using the following phrases:
Good evening,... .
I was asking ... .
I'm so glad ....
Oh, I think it's a ... .
Oh, only. ..
And how do you like ... ?
.... to be exact.
Is this your first... ?
Let's go into ... .
I feel quite at home ....
Will you sit... ?
Well, it's rather ....
How long ... ?
On the whole, ....
What do you think of ... ?
It's not so bad, once ....
I beg your pardon, I didn't quite catch what you
Will you have some more ... ?
said.
What about... ?
13. Translate into English. Use the corresponding phrases from item(d) above.
Do not let your Russian pronunciation habits interfere:
1. Я так рада, что вы смогли мне позвонить. 2. Он так рад, что я смогла его пригласить.
3. Я так рада, что вы смогли сделать это вовремя. 4. Чай готов. Ужин готов. Статья готова. 5.
Сколько времени вы находитесь в Москве? 6. Вы давно живете здесь? 7. Это твое первое
представление? 8. Это ваша первая картина? 9. Это ее первое сочинение? 10. Я чувствую себя
на юге как дома. 11. Я чувствую себя у Петровых как дома. 12. Я чувствую себя в Петербурге
как дома. 13. Простите, пожалуйста, сколько вам лет? 14. Я не расслышала, что вы сказали.
15. Я вас спрашивала, где вы родились. 16. Я вас спрашивала, как пройти к гостинице
«Минск». 17. О, Кавказ – превосходное место. 18. О, я думаю, Петербург – превосходный,
город. 19. О, я думаю, это превосходный рассказ. 20. Как вам нравится наша еда? 21. Как вам
нравится наша кухня? 22. Как вам нравится это утро? 23. О, это довольно скучно, не так ли?
24. О, она довольно капризна, не так ли? 25. Вообще-то она не такая уж плохая, если к ней
привыкнуть. 26. Не хотите ли еще рыбы? 27. Не хотите ли еще овощей? 28. Суп превосходен.
Обед был так вкусен. Торт великолепен. 29. Я так рада, что вам нравится. 30. Я так рада, что у
тебя это есть. 31. А что ты будешь есть на сладкое?
14. Head the following dialogue:
Ordering a Meal
– Is this table free, waiter?
– I'm sorry, sir, those two tables have just been reserved by telephone, but that one over
there's free.
– What a pity! We wanted to be near the dance floor. Still, it doesn't matter, we'll take it...
The menu, please.
– Here you are, sir. Will you dine a la carte or take the table d'hote?
– Well, let's see. What do you think, darling?
– Oh, I don't want much to eat. I'm not very hungry. I think I'll have – er – some oxtail
soup and fried plaice with chips.
– Hm. I'm rather hungry. I'll start with some hors d' x uvre.
– And to follow?
– A grilled steak with baked potatoes and peas,
– Will you have anything to drink, sir?
– Well, I'm rather thirsty. Bring me half a pint of bitter. What about you, darling?
– Well, I don't care for beer, but I will have a glass of cherry.
– Very good... What sweet would you like?
– I'll have fruit salad.
– So will I. And we'll have two coffees, please.
– Black or white?
– White, please. Oh, and two liqueur brandies.
– What a lovely waltz they are playing. Shall we dance?
– Yes, I'd love to...
– Waiter! The bill, please.
– Very good, sir.
– Here you are.
– Thank you very much, sir.
15. Make up a dialogue of your own, using some of the phrases of the dialogue
above.
16. This exercise is meant to develop your ability to read and retell a story with
correct intonation.
a) Listen to the story «Insufficient Local Knowledge» carefully, sentence by sentence.
Mark the stresses and tunes. The teacher will help you to correct your variant. Practise
reading your corrected variant.
b) listen carefully to the narration of the story. Observe the peculiarities in intonation-
group division, pitch, stress and tempo. Note the use of temporizers. Reproduce the model
narration you have listened to.
17. This exercise is meant to test your ability to analyze and reproduce
material for reading and retelling.
a) Read the joke silently to make sure you understand each sentence. Underline the
sentence expressing the essence of the joke. Split up each phrase into intonation groups if
necessary. Locate the communicative centre of each sentence. Mark the stresses ana tunes,
concentrate 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 joke in your own words:
The father of a family, who was angry with his children because they were displeased with
their food, exclaimed angrily one day at dinner: "You children are intolerable; you turn up your
noses of everything. When I was a boy, I was often glad to get dry bread enough to eat." "Poor
papa," said Rose, "I'm so glad you are having such a nice time now living with mama and us."
SECTION FIVE Compound Tunes FALL + RISE
All the tunes containing more than one nuclear tone are called compound.
The Fall + Rise is a combination of the High Fall and the Low Rise.
The fall and the rise always occur on separate syllables. The fall starts from a very high level
and ends very low. Any syllables occurring between the High Fall and the Low Rise are said on a
very low pitch. Notional words are stressed. The falling part marks the idea which the speaker wants
to emphasize and the rising part marks an addition to this main idea.
The combination of the High Fall with the Low Rise is used in sentences expressing highly
emotional reaction to the situation. It is often heard:
1 . I n s t a t e m e n t s , sounding apologetic, appreciative, grateful, regretful,
sympathetic, persuasively reassuring, pleading, plaintive.
е.g.
Whose turn is it then? – It's `mine ,actually.
How did this get broken? – I'm most `terribly ,sorry.
2 . I n q u e s t i o n s :
a) I n s p e c i a l questions, sounding plaintive, pleading, weary, despairing;
sometimes warm, sympathetic.
е.g. Sorry I'm late. – Oh why „can't you „come on /time for once?
