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.

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.

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?
— æ Liking the `work 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. In statements, 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. In questions:

a) In special questions, sounding interested, brisk, business-like.

е.g. I've just seen that new musical. — `What is it `called?

b) In general 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 `use?

3. In imperatives, sounding lively; suggesting a course of action to the listener.

е.g. The tea's too hot. — `Put some more `milk in it.

4. In exclamations, conveying mild surprise but without the affront of Pattern X.

е.g. Look, it's snowing. — `Oh, `yes!

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; 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 tothe 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 untilitsounds 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 evening.	I really can't. I've got a lot of work to do.
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 time.	What a shame!
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 any­where.	Don't you worry! Don't make so much fuss about it.

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 said.	Will you have some more ... ?
	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'xuvre.

— 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.