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b ) I n g e n e r a l questions, conveying a plaintive, pleading, sometimes impatient

tone.

е.g. He played very badly today. – Will he ever be any ,better d'you think?

3 . I n i m p e r a t i v e s , sounding plaintive, pleading, reproachful.

е.g. It's all so depressing. – `Cheer ,up. (It can't „last for ,ever.)

I've nothing to do with it. – Now `do be ,reason-able, Charles.

4 . I n e x c l a m a t i o n s , warm, sympathetic, encouraging, sometimes

plaintive, puzzled, surprised.

Greetings and leave-takings sound pleasant and friendly being pronounced this way.

е.g. Good night, Peggy. – Good night, Mrs. ,Smith. See you on Friday. – Right you ,are!

EXERCISES

1. Listen carefully to the following conversational situations. Concentrate your attention

on the intonation of the replies:

Verbal Context

Dril

Statements

(sounding apologetic, appreciative, grateful,

regretful, sympathetic, persuasively reassuring,

pleading, plaintive)

Don't you like it?

I don't, frankly.

Any news of Tim?

He's coming home soon.

Haven't you finished it yet?

I've only just begun it, as a matter of fact.

It looks like rain, I'm afraid.

Perhaps it would be better to stay at home in that

case.

I've had it six years now.

You'll be buying a new one soon, I imagine.

Whyever bring a mac?

It was raining when I left this morning.

I thought of going for a stroll.

I'll come too, if I may.

It was quite an accident

But I told you not to touch it.

So it was you who borrowed my

I do hope you didn't mind.

spade.

He's accepted your offer.

I didn't dream he'd take me seriously.

It's a wonderful photo.

I knew you'd like it.

Help? Certainly.

I was sure I could count on you.

But why didn't you tell me?

So sorry.

I thought you ought to know.

Thank you for telling me, I do appreciate it.

I really must go now.

I do hope you have a comfortable journey.

It's all so discouraging.

I know exactly how you feel.

Sorry I haven't returned it yet.

That's quite all right. I'm in no particular hurry for

it.

I've already been waiting a year.

Then surely a few more days won't make much

difference.

It's an absolute scandal.

There's no need to get so worked up about it.

I do wish he'd mind his own

But he was only trying to be helpful.

business.

What's happened to Jack?

It's always the same. He's hardly ever on time.

I'm afraid he failed his exam.

I'm not at all surprised. He did absolutely no work

for it.

Special questions

(sounding plaintive, pleading, weary,

despairing, arm,sympathetic)

It was my treat.

How much was it?

How big did you say it was?

Oh, why don't you listen, Charley?

Three thousand he paid for it.

When will the poor fool learn wit?

Did you call, Frank?

Yes, what's the time please?

I have to go out now.

When will you be back, d'you think?

General questions

(sounding plaintive, pleading, sometimes

impatient)

Perhaps I could help.

Do you think you соuld?

Come and have a game, Phil.

Will you stop bothering me? Can't you see I'm

busy?

May I have another bun?

D'you really think you can eat it?

Imperatives

(sounding plaintive, pleading, reproachful)

I'm afraid I've lost it.

Never mind.

Quickly.

Wait a minute.

What's all the knocking 'about?

Oh, don't just sit there. Open the door.

What's upsetting you?

Do shut the door. There's such a draught.

I really must go.

Please stay a little longer.

I'd willingly fetch some more.

Please don't bother on my account.

Whatever shall I do?

Carry on as usual, if you can.

When shall I start?

Start right away, if that's convenient for you.

Exclamations

(warm, sympathetic, encouraging, plaintive,

puzzled, surprised)

I've invited him for tea.

Jolly good! Good show!

That's the second time he's failed.

Poor old Peter!

I thought I asked you to make up the

All right!

fire.

And we'll have a new carpet.

Just a second! (Where's the money coming

from?)

Here I am at last.

Hullo, Stephen! (It is good to see you.)

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

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

4. 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.

5. 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.

8. 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

Terrible, isn't it! Too bad for words! Good Heavens!

ages!

How very peculiar! What a pity!

Janet seems to be avoiding

Isn't she a fool! What a tragedy! I simply can't think! I do

me.

think it's a pity!

You've made the same

Aren't I a fool! Good Heavens! Fancy that! I simply can't

mistake again.

think! What a shame!

The jacket's worn out

What a disappointment! Poor me! What a pity!

already.

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.

14. Make up a dialogue about your future profession.

15. 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.

16. 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."

–

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:

Verbal Context

Drill

What was the party like?

The food was terrible, I'm sorry to say.

Tom's having tea. What for you, Arthur?

I'd prefer a cup of coffee.

It's such a tiring journey by train.

Well why not fly?

Which one can I have?

Which would you prefer?

Oh I know he couldn't help it

Then why are you so angry with him?

I'm going to London tomorrow.

How long d'you intend being away?

The door won't open.

Why not try turning the key?

Ail right. Lets go to the pictures.

Do you really want to?

That's not very convincing.

Well, can you think of a better argument?

She's only working half time now.

Yes, but need she go to work at all?

Have you heard about Alex?

Isn't it incredible?

Of course he'll agree.

Don't be too sure.

These stewed apples aren't very sweet.

Have some more sugar with them.

What time's convenient for you?

Come whenever you're free.

I can't manage all that.

Well, eat as much as you can, then.

He didn't say a word.

How very unusual!

How about a show tonight?

If only you asked me earlier!

It's my birthday today.

Very many happy returns!

2. Listen carefully to the replies and repeat them in the intervals. Make your voice fall

on every stressed syllable.

3. listen to the Verbal Context and reply in the interval.

4. In order to fix the intonation in your mind, ear and speech habits repeat the replies

yourself until they sound perfectly natural to you.

5. Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in

intonation are.

6. Listen to your teacher reading the Verbal Context below. Reply by using Sliding Head

+ High Fall in the drill sentences. Say what attitude you mean to render:

Verbal Context

Drill

And now what sweet will you have, Mary?

I'd prefer a piece of apple

tart.

How many sons has she got?

I haven't the slightest idea.

He is not coming. He's an appointment.

You ought to have informed me before.

You know Peter very well, I expect.

No, I've never met him in my life.

How much is the fare?

I've no idea.

And what do you think of London, Mrs.

I've never been here before. I like it so much.

Thompson?

Now what would you choose?

I don't want anything.

What will you do this afternoon?

I am planning to see the Picture Gallery.

I have a free afternoon today.

Well why not go sightseeing?

I suggest we should go to the cinema.

Which film would you prefer to see? Have

you any particular film in mind?

That was Peter on the phone.

Why didn't you ask him about the books he

had borrowed?

I can't find my pen anywhere.

Are you sure you didn't leave it at the

Institute?

What are you looking for, Ann?

Have you seen my umbrella anywhere?

I had a bad fall from the stairs and broke

Have you any pain now?

my arm.

Come at six on Sunday.

Do you really want me to?

Jack doesn't want it.

Give it to me, then.

I can't open this – can't someone else try?

Give it to me, I'll do it.

I can't come at six.

Come whenever it's convenient for you.

What shall I do with my luggage?

Leave it in the cloakroom at the station.

I managed to get a ticket.

What a piece of luck!

Many happy returns of the day.

How nice of you to remember!

Let me do it for you.

Thank you very much!

See you tomorrow.

My love to all at home.

7. The teacher will suggest the Verbal Context of Ex. 1 and 6. The students will

reply to it, using Sliding Head + High Fall. The drill continues until every student has

participated. Keep the exercise moving on rapidly.

II. (LOW PRE-HEAD +) HIGH FALLS + FALL-RISE

8. Listen carefully to the following conversational situations. Concentrate your

attention on the intonation of the replies. Note all the prominent words of the bead:

Verbal Context

Drill

D'you smoke?

I do sometimes.

What a nasty cold day!

It's bitterly cold. But it's not nasty.

Would he lend me his player?

He might if you talked nicely to him.

You broke the window, didn't you?

Yes, but not on purpose.

I don't suppose it troubled you much.

It wasn't a great deal of trouble. But it wasn't

altogether easy.

Can't I take this one?

You can if you insist. But the other one's better.

You will play, won't you?

I'd rather not.

Can I borrow your penknife?

It's not very sharp.

Well what about this colour?

It isn't exactly the shade I want

I want those shoes mended quickly.

I can't get them done today.

Let me know tomorrow.

I doubt whether I can give you an answer by then.

You are not trying.

I most certainly am.

We got here about midnight.

It wets earlier than that.

Alan's forgotten his umbrella.

He always leaves something behind.

Let me have them by tonight.

I beg your pardon, but it's out of the question.

Where has he been all this time?

He's sorry to be so late, but he was delayed at the

office.

Your conduct was inexcusable.

Before you jump to conclusions, you might at least

hear me out.

What did you think of the lecture?

It wasn't exactly sensational, was it?

She's an absolute failure.

Now be fair.

We'll leave before dawn.

Have a heart. Have a bit of sense.

I think it's going to rain.

Oh don't say that.

I'll have this one. No, this. I'm sorry.

Well, make up your mind. Well, say it as if you

meant it.

Can I come home by myself,

Well, be careful when you cross the main road.

Mummy?

9. Listen carefully to the replies and repeat them in the intervals. Make your voice fall

on the stressed syllables. Start the rise from the lowest pitch and do not go up too high,

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

11. In order to fix the intonation in your mind, ear and speech habits repeat the replies

until they sound perfectly natural to you.

12. Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in

intonation are.

13. Your teacher will suggest the Verbal Context of Ex. 8. You in turn reply to it, using

High Falls. The drill will continue until every student has participated. Keep the exercise

moving on rapidly.

14. Read the sentences taking into consideration the suggestions in brackets. Observe

the changes in sentence stress:

Hockey is one of the most popular games in winter. (Not football.) [Not in summer.)

Football is the most popular game in England. (Not tennis.) (Not in India.)

Cars are driven on the left side of the road in London. ( Not on the right side.) (Not in

Moscow.)

In the middle of Trafalgar Square stands Nelson's monument. (Not in the middle of Piccadilly

Circus.) (Not a statue of Cromwell.)

Breakfast is generally a big meal in England. (Not supper.) (Not on the Continent.)

Colleges of Education in Great Britain don't confer diplomas on their graduates. (But award

certificates.) (Not technical colleges.)

Our terminal examinations are held at the end of each term. (Not final exams.) (Not every

other term.)

15. Read the following sentences expressing the attitudes suggested in

brackets. Use them In conversational situations of your own;

(detached, phlegmatic, reserved)

Shall I ask him about it again?

Can you translate a few sentences?

Well, will you come and see her tomorrow?

Could we meet on Wednesday, then?

May we all know what's amusing you?

Do you think so?

Will you tell her about it frankly?

(lively, interested, somewhat unpleasantly surprised)

Well when can you spare the time?

What's that got to do with you?

What makes you so sure?

Why not ask him about it?

How did you make that?

(wondering, mildly puzzled)

How old is she? Who's he gone to see? How much do you make it? How often must he take

it? How long do you want to keep it? Which is my car? Where did I find them?

(contradicting)

You don't like it. You want it back. He's definitely going. He won't be able to help. You've got

enough money.

(disapproving)

When will that be? What do you want it for? How old did you say? What is the crowd

looking at? When did I see him? How much did I give for it? How many did you say? Before when?

16. The teacher will suggest a Verbal Context You in turn reply to it in the form

of statements and questions, expressing personal concern or interest:

What do you think of the houses in Michurinski Avenue?

What are your general impressions of Moscow?

What else was it that you especially liked in Moscow?

Now what do you want?

Why didn't you meet me at the station?

What was her sister like?

How did Judy get on with the girls?

I'd love going to the cinema.

You haven't left your book here.

Mary said she intended to come back.

How many books do you want?

Do let's buy this dress, Mum!

The last bus has gone.

Have you heard about Mary?

17. Read the story «A Friend in Need» by S. Maugham (see p. 104). The

sentences from the text given below are not true to fact. One of the students will

read a sentence, another win correct him, using Intonation Patterns VI or VII.

Mr. Burton's namesake was an unpleasant-looking man.

He was old; his face was worn and wrinkled and he was always poorly dressed.

He worked hard to earn his living.

Once he came to Mr. Burton's office to help him with his work.

He told Mr. Burton he was getting on in life.

He offered Mr. Burton a good job.

Mr. Burton's namesake didn't accept the cruel terms he was offered.

He was a poor swimmer and he couldn't manage the currents round the beacon.

Mr. Burton was sure that his namesake would succeed in covering the distance.

Mr. Burton's namesake regarded Mr. Burton's offer as an easy and worthy job.

The young man came to the creek of Tarumi on time.

So Mr. Burton proved himself a real friend.

It's rather a funny story on the whole.

18. Make statements to be corrected according to the model above. The drill

will continue until every student has participated. Keep the exercise moving on

rapidly.

19. This exercise is meant to develop your ability to bear the intonation and

reproduce it in proper speech situations.

a) listen to the dialogue «Sports and Games Popular in England», sentence by sentence.

Write it down. Mark the stresses and tunes. Practise the dialogue.

b) Record your reading of the dialogue. Play the recording back immediately for the

teacher and your fellow-students to detect your possible errors in pronunciation. Practise the

dialogue for test reading and memorize it.

c) Pick out of the dialogue sentences containing compound tunes and the logical stress.

d) Make up conversational situations about sport, using the following phrases:

What would you say were

Oh, yes, any amount.

the most popular...?

You should join if you're

Well, I suppose....

keen on....

What about...?

I think I shall if I get the

I should say that....

chance....

Then there are, of course....

By the way....

I've been told that....

Well, I do, but...

Is there any. . to be had near...?

20. Make up a dialogue of your own, using phrases from the dialogue above.

21. This exercise is meant to develop your ability to hear the intonation and

reproduce it in proper speech situations.

a) listen to the Joke "Weather Forecasts”, sentence by sentence. Write it down. Mark the

stresses and tunes. Practise the text

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. Reproduce the model narration you

have listened to.

22. Read the jokes silently to make sure you understand each sentence. Find

the sentence expressing the essence of each joke. 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 win intone the text in the same way. The teacher win help

you to correct your variant. Practise reading the jokes several times:

The cup was handed over into the youth's hands and there went cries of "Speech! Speech!"

Meanwhile the lad was able to collect his thoughts and, of course, to catch his breath. Then

he stepped up on a bench. There came an abrupt and eager hush! "Gentlemen," he said, "I have won

the cup by the use of my legs. I trust I may never lose the use of my legs by the use of this cup."

–

– You've been watching me for three hours. Why don't you try fishing yourself?

– I ain't got the patience.

–

"Bob," said Bill, as he caught up with Bob on the way back to camp, "are all the rest of the

boys out of the woods yet?"

"Yes," said Bob.

"All six of them?"

"Yes, all six of them."

"And they're all safe?"

"Yes," said Bob, "they're all safe."

"Then," said Bill, his chest swelling, "I've shot a deer."

–

The man on the bridge addressed the fisherman. "Any luck?" he asked.

"Any luck!" was the answer. "Why, I got forty pike out of here yesterday."

"Do you know who I am?" "No," said the fisherman.

"I'm the chief magistrate here and all this estate is mine."

"And do you know who I am?" asked the fisherman quickly.

"No."

"I'm the biggest liar in Virginia."

SECTION SEVEN Intonation pattern XII

I. (LOW PRE-HEAD + ) HIGH RISE (+TAIL) II. (LOW PRE-HEAD + ) (HIGH HEAD+) HIGH

RISE ( + TAIL)83

Stress-and-tone marks in the text: High Rise | ' |

If there is no tail the voice in the nucleus rises from a medium to a high pitch.

If there are unstressed syllables following the nucleus the latter is pronounced on a fairly

high level pitch and the syllables of the tail rise gradually. The syllables of the pre-head rise from a

low pitch up to the start of the High Rise.

This intonation pattern is used in questions, echoing, calling for repetition or additional information,

sometimes shading into disapproval or puzzlement, sometimes meant to keep the conversation going.

е.g. We shall have to return.

– Im'mediately?

It's ten feet long.

– 'How long?

What's that bowl for?

– 'What's it for?

Is it raining?

– Is it 'raining?

Careful.

– 'Careful?

Pity.

– 'Pity?

EXERCISES

1. Listen carefully to the following conversational situations. Concentrate your attention on

the intonation of the replies:

Verbal Context

Drill

Questions echoing, calling for repetition or

additional information, sometimes shading into

disapproval or puzzlement

I want you this minute.

Yes?

83 The High Rise and the High Head + the High Rise belong to the same pattern since they have no difference in attitudes.

I should phone him about it.

Now?

It's snowing. , ,

Much?

What do you think of my dress?

New?

Could I have another cup of tea?

Sugar?

I've just read that new travel book.

Interesting?

I listened to every word he said.

Every word?

Everybody thinks it's magnificent.

Everybody?

He's going on holiday.

Alone?

I've given up smoking.

For good?

What do you think of the car?

Your own?

I've just met her husband.

You like him?

Have you seen my pen anywhere?

You've lost it?

What do you think of my coat?

It's a new one?

I've just had a new suit made.

Good fit?

Alan's not here, I'm afraid.

He's gone home?

We're going shopping.

Right away?

Let's go to the pictures.

You've got enough money?

I think this is Joan's umbrella.

Whose?

That big one's mine.

Which one?

I shall need a dozen, at least.

How many?

These flowers are for you.

Who are they for?

He must be made to obey.

He must be what?

He'll meet us at three fifteen.

At what time?

What is it?

What is it?

What reason did he give for his

What reason?

behaviour?

Does it matter?

Matter?

Do you mean it?

Mean it?

Is that your little boy?

My little boy?

Wasn't it stupid!

Was it stupid, I wonder?

What lovely cherries!

Want some?

I like Barbara.

Do you?

How do you like my song?

Do you always sing as flat as that?

Would you like one?

Would I like one?

We had a meeting last night.

Should I have been there?

Is it raining?

Is it raining?

Have you answered his letter?

Have t answered it?

Have you finished it?

Have I finished it, did you say?

Did you enjoy the concert?

Did I enjoy it?

What a delightful meal!

Will you have some more coffee?

Stop it.

Stop it?

Telephone me, then.

Telephone you?

Keep them for me.

Keep them for you?

Be nice to them.

Be nice to them?

Get rid of it.

Get rid of it?

Please don't worry.

Don't worry, did you say?

Take it home.

Take it home?

Tell me the time, please.

Tell you the time?

Marvellous!

Marvellous?

Wonderful news!

Wonderful news?

Fantastic!

Fantastic?

Well done!

Well done?

2. listen to the replies and repeat them in the intervals. Make your voice rise from a

medium level to a high pitch.

3. listen to the Verbal Context and reply to it in the intervals.

4. In order to fix High Rise in your mind, ear and speech habits, pronounce each reply

several times until it sounds perfectly natural to you.

5. Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in