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SECTION TWO. Intonation Pattern IX. High fall
(LOW PRE-HEAD + ) HIGH FALL (+ TAIL)
Model: Why didn't you buy the picture?
— Much too ex,pensive.
Stress-and-tone marks in the text: High Fall. | ` |
The High Fall in the nucleus starts very high and usually reaches the lowest pitch. The syllables of the tail are pronounced on the low level.
The High Fall provides a greater degree of prominence for the word, making it more emphatic. The degree of prominence depends on the height of the fall.
This intonation pattern is used:
1. In statements, conveying personal concern or involvement, sounding lively, interested, airy; very common in conversation.
е.g. Do you know the man? — `No. (I `don't.) `Yes.| (I `do.) Where's my copy? — `Peter ,took it ,for you.
2. In questions:
a) In special questions, sounding lively, interested, е.g. I shall be late, I'm afraid. — `How ,late?
b) In general questions, conveying mildly surprised acceptance of the listener's premises. е.g. I like it here. Do you? (I thought you'd hate it.)
3. In imperatives, sounding warm.
е.g. What's the matter? — Look. (It's raining.)
4. In exclamations, very emotional. е.g. It's eight o'clock. — Heavens! (I'm late.)
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, sounding interested, lively, airy) |
| Now what have you done to Mary? | Nothing. |
| Who's been eating my grapes? | No one. No one has. No one's been eating your wretched grapes. |
| Which will you take, Henry? | This one. That one. |
| How many of his books have you read? | All of them. None of them. |
| When did you see him? | On Thursday. (I thought you knew.) |
| Would you like to join us? | I'd love to. |
| Come on. Let's get going. | We can't. It's raining. |
| It was all your fault. | But it wasn't. And I can prove it. |
| | Special questions (lively, interested) |
| I shall have to give it to him. | Why? |
| I'm going to Switzerland. | When? |
| You'll never guess who's here. | Who? |
| You can win easily. | How? How so? |
| He's coming to stay with us. | When, may I ask? |
| I mustn't take them. | Why mustn't you take them? |
| Sorry to be so late. | What's happened? |
| I ought to write to him. | Why bother? |
| (Hullo, Dennis.) | How are you? |
| I said no such thing. | What did you say, then? |
| Today's out of the question, too. | When can you come, may I ask? |
| | General questions (conveying mildly surprised acceptance of the listener's premises) |
| I like it here. | Do you? |
| She is thirty-five. | Is she? |
| They won't help us. | Won't they? |
| I can't bear cats. | Can't you? |
| I must be home by six. | Must you? |
| I ought to go to the lecture. | But will you go, do you think? |
| | Imperatives (expressing warmth) |
| Do you think this hat will fit me? | Try it. |
| He'll be terribly angry. | Let him. |
| A letter won't reach Ann in time. | Phone her, then. |
| He doesn't want to play. | Then make him. |
| I'm awfully sorry. | Forget it. |
| He can't afford to pay. | Well, give it to him, then. |
| | Exclamations (very emotional) |
| He's over seventy. | Well! |
| Alice is coming as well. | Really! Splendid! |
| Will you have a drink? | Thank you! |
| (That you Mr. Archar?) | Good morning! Good morning to you. |
| I'll give it to you. | How lovely! |
| I'm most grateful to you. | Don't mention it, my dear chap. |
| She says you're to blame. | What nonsense! |
| Isn't it a lovely view! | Enchanting! |
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 Intonation Pattern IX 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 and point out his (her) errors in pronunciation.
6. Listen to the Verbal Contest said by a fellow-student. Make your replies sound lovely, warm, airy. Use the proper intonation patterns. Continue the exercise until everyone has participated:
| Verbal Context | Drill |
| Isn't it too far away from here? | Awfully far. |
| Where is my book? | Mary took it for you. |
| Have you been there before? | Of course, I have. |
| May I leave you for a moment? | Why, yes. |
| You ought to let him know. | I have. |
| What is she doing here? | She's waiting for somebody. |
| I'd love to stay up for the play. | You can't. It's too late. |
| She's twenty. | Eighteen, I think, she said. |
| It'll take much time. | How much? |
| Give them one of these books. | Which one, do you think? |
| I must go there. | But when? |
| I'll find him. | But how can you find him? |
| You can't go there. | But why not? |
| She wouldn't listen to me. | Wouldn't she? |
| Everybody agrees with you. | Oh, do they? |
| Nobody can do it | Can I have a try? |
| Lock the door. | Wait a minute. |
| I'll phone her. | Don't. |
| May I help you? | Yes, do. |
| What has she done? | Look. |
| Thank you very much. | Thank you. |
| Would you like to stay up for the television? | Indeed I would. |
| I've been helping Tom, Mummy. | That's a good girl. |
| How are you getting on? | Wonderfully. |
| Hello, Mary! | Oh, there you are, Tom. |
| Do you play chess? | Surely, I do! |
7. Give your own replies to the Verbal Context above. Use Intonation Pattern IX in them.
8. Use Intonation Pattern I in the Drills. Observe the difference in attitudes.
9. This exercise is meant to revise the intonation patterns you already know. Work in pairs.
The teacher or one of the students will suggest a Verbal Context You in turn reply to it using:
a) statements, sounding lively, interested, airy; conveying personal concern or involvement;
b) special questions, sounding lively, interested;
c) general questions, conveying mildly surprised acceptance of the listener's premises;
d) imperatives, sounding warm;
e) exclamations, very emotional.
10. Practise the following dialogues. Use the High Fall in them. Observe the attitudes you convey:
— Oh, dear! Oh!
— I'm so sorry! I do hope I haven't hurt you!
— Oh, no. I was just a little startled, that's all. It's quite all right.
--------------------
— Do you like this flat?
— Oh, yes, 1 do, definitely.
— I'm afraid I couldn't possibly do that.
— Why not?
--------------------
— You'll have to clean the window.
— Not me!
— Why not?
— I did it last time.
— Whose turn is it then?
— Helen's, I think.
11. Listen to the Verbal Context suggested by the teacher. Reply by using one of the drill sentences below. Pronounce it with Intonation Pattern IХ. Say what attitude you mean to render;
| Verbal Context | Drill |
| I'll ring you up on Sunday, | Right! Good! Fine! Certainly! Naturally! Surely! Oh, ho! That won't do! |
| It all depends on the weather. | Right you are! Exactly so! Naturally! Undoubtedly! Sure enough! By no means! You are wrong! Far from it! Certainly not! |
| I shall take you to the Opera House. | Fine! Good! Certainty not this week! Agreed! Settled! Oh, no! |
| Will you be ready by six? | Certainly! Decidedly! I think so! Undoubtedly! Surely not! |
| I believe he's finished bis job. | Hardly ever! I think so! Sure enough! |
12. Make up a dialogue of your own, using some of the phrases from Ex. 10.
13. This exercise is meant to develop your ability to hear and reproduce intonation in conversation.
a) Listen to the dialogue "A Visit to the Doctor" carefully, sentence by sentence. Write it down. Mark the stresses and tunes. Your 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 dialogue. Play the recording back immediately for the teacher and your fellow-students to detect your errors. Practise the dialogue for test reading.
c) Make up conversational situations with the following phrases:
Well, what's the matter with ...?
You'd better ask me what is not the matter with me, ...
To make things still worse ...
In fact...
d) Make up a talk about illnesses and their treatment, using phrases from the dialogue above. Work in pairs.
e) Imagine you are consulting a doctor — tell him what troubles you. Imagine you are a doctor. You diagnose the case as quinsy. Tell your
patient what he should do to get well.
14. This exercise is meant to develop your ability to hear and reproduce intonation in reading.
a) Listen to the text carefully, sentence by sentence. Write down the text. 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 the teacher and your fellow-students to detect your errors.
Practise the text for test reading.
15. Mark stresses and tunes in the following text, listen to the model. Mark the stresses and tunes. Compare your intonation with that of the model. Practise the text according to the model:
Doctor, Dentist and Chemist
If you have toothache, you should go to your dentist. He'll examine your teeth, and if the aching tooth is not too far gone, he'll stop it. If it is too bad, he'll take it out.
If you don't feel well, you should consult a doctor. If you feel too ill to go to the doctor's, you'll have to send for him. He'll ask you to describe to him the symptoms of your illness. Then he'll feel your pulse, look at your tongue and examine you thoroughly. Finally he'll prescribe the treatment and write out a prescription.
Doctors' prescriptions are made up by a chemist. At chemists' shops in the USA you can also get patent medicines of all kinds, lotions, tonics, cough-mixtures, baby-foods, aspirin, pills, ointment, bandages, adhesive plaster and so on. You can buy razors and razor-blades, vacuum-flasks, hot water bottles, sponges, tooth-brushes and tooth-pastes, powder-puffs, lipsticks, shaving-soap and shaving-brushes and a hundred and one other things.
If you are interested in photography, you can also get cameras and films at most chemists'. They'll develop and print your films for you, too. Some chemists are also qualified opticians, and if your eyesight's faulty they'll test your eyes and prescribe glasses for you.
16. This exercise is meant to develop your ability to hear intonation and reproduce it in different speech situations.
a) Listen to the joke "One day Mrs. Jones went shopping...", 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 yon have listened to.
17. This exercise is meant to test your ability to analyse and reproduce material for reading and retelling.
a) Read the jokes 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. Practise reading the jokes.
b) Tell the jokes in your own words:
The Doctor's Advice
Once an old gentleman went to see a doctor. The doctor examined him and said: "Medicine won't help you. You must have a complete rest. Go to a quiet country place for a month, go to bed early, drink milk, walk a lot, and smoke just one cigar a day."
"Thank you very much," said the gentleman, "I shall do everything you say."
"Oh, doctor," said the gentleman a month later, "I feel quite well now. I had a good rest. I went to bed early, I drank a lot of milk, I walked a lot. Your advice certainly helped me. But you told me to smoke one cigar a day, and that one cigar a day almost killed me at first. It's no joke to start smoking at my age."
Doctor's Orders
Servant: Sir, wake up, wake up!
Master: What is the matter?
Servant: It's time to take your sleeping tablets.
Mrs. Brown: Don't you think, doctor, you've rather overcharged for attending Jimmy when he had the measles?
Doctor: You must remember, Mrs. Brown, that includes twenty-two visits.
Mrs. Brown: Yes, but you forget he infected the whole school!