Find sentences with the High Fall and the Fall-Rise. How are they different from the others?

A How are Judith and Timothy Thorpe’s triplets?

B Those three? Well… both Heather and Cathy are very healthy, but I think they’re having rather a lot of trouble with Matthew.

A With Matthew? What’s the matter with Matthew?

B Teething troubles, I think, and then he won’t eat anything.

A Teething troubles? But how old are the triplets now?

B I think they’re about thirteen months.

A Thirteen months? Oh, I thought they were a lot younger than that.

B No, they must be thirteen months because it was their first birthday at the end of last month – on the thirtieth… or was it the thirty-first?

A Oh, dear, and I didn’t send them anything, not even a birthday card… I wonder what Judith and Timothy thought?

B Don’t distress yourself, dear, they didn’t say anything to me…

2. Listen to the dialogue; find sentences with the Sliding and Scandent scales and define their type.

Pay attention to the sentences with the Fall-Rise and the Rise-Fall. How do they sound? Transcribe the sentences in bold and draw tonograms to them. Learn the dialogue by heart.

Nursing a Sick Husband

Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry Nora Harry

̎Noˌra!|| ˌˌNoˡra!|| ͵Yes,| ‛what is it ˎnow, ˏHarry?|| 'Oh, t̖here you ˏare.|| ˋLook here, ˏNora.|| I’m &tired of &lying &here on my &back with 'nothing to ˎdo.|| &I &hate &doing ˋnothing.|| Don’t be ͵silly, ֹHarry.|| ‾You’ve ‚got a ̀temperature.|| And 'staying in ˎbed| is the ↗only ↗sensible ↗thing to ˎdo.|| Now 'just be ͵quiet| and 'stop pre'venting me from ↗doing ↗my ˋhousework.|| ̷No,| ˎseriously, ˏNora,| I "can’t ˎbear it,| 'lying 'flat on my ˎback!|| ̷Well, ˎthen| ↗try ͵lying on your ˋstomach| for a ˋchange.|| ˌStop being ˎfunny.|| I’m 'going to ·get ˎup.|| ˎThere,| ˋlook,| I’m 'standing ˎup.|| I’m 'quite all ˎright.|| 'What’s the 'use of ʹstaying in ˎbed?|| I 'think ‚you are ‚being ↑very ˎsilly.|| You’ll ˆonly ‚make your ‚temperature go ‚up a̗gain. It’s 'no ‚use ˎtalking, ˏNora,| ↗being ↗ill 'doesn’t ˋsuite me.|| ˋNo,| ˉand 'trying to ˋnurse you| ↗doesn’t ↗suite ˎme.|| Now, ↷don’t be ↷bitter a̗bout it.|| You ˈknow I’m ˈgrateful ˏto you| for ˈlooking ˏafter me.|| But you ↗mustn’t ↗try to ↗keep me in,bed 'like a "naughty ˎboy.|| ˎWell,| 'you beˋgan it| by beˋhaving 'like a 'naughty ˎboy.|| I’m 'all aˎgainst this| 'staying in ˎbed| for 'no ˎreason.|| ˎHarry,| 'being ˏill| ˎis a ˎreason…|| Now 'don’t ˎstand by that ˏwindow| and ˈcatch aˎnother ˏcold.|| ˈLet me ˎsee…| ˈhalf ˈpast eˎleven…|| ˈWhy do you ˑkeep ˈlooking at the ˎclock?|| I’m exˈpecting ˋmother.|| She is coming ˋover| for the ˋday.|| ˈGood ˎheavens!|| I ‚didn’t ‚know ̬that.|| `Yes,| I ˈthink she has ˈsomething she wants to ˋtalk to you a,bout.|| 'Oh, ˎheavens,| ˏhas she?|| ˎOh…|| You ˎknow, ‚Nora,| I ˎdo,feel a bit ˏill.|| Perˈhaps I ̬had ˙better get ˙back to ˙bed.|| ˈOh,| ˈwhat a ˎpity!|| I ↷thought per↷haps you ↷might stay ↷up to ˋsee her.|| ,That’s the,very ̬reason| I’m ˌgetting ˙back into ˎbed.|| ͵What did you ˙say?|| ̀Oh… ˏer…| ˋno͵thing.||

3. Read the following passage, translate it and lay stress-tone marks according to the rules. Use the High Fall, the Fall-Rise and the High Rise where possible. Practice reading it about 10 times as fast as you can.

Sleep (V. Evans, p. 30)

Scientists continually offer new interpretations and make new discoveries about the condition known as “sleep”. People are paid to sleep with various machines attached to them. These monitor changes in eye movement, heartbeat and body temperature, among other things. This information is fed into a computer and, after a few calculations, the scientist can establish the depth and quality of sleep. It is still unclear how successful these experiments are in establishing exactly what goes on between losing consciousness and awakening. However, one’s behavior the following day is dependent upon how satisfactory the previous night’s sleep was.

4. Listen to the dialogue, put stress-tone marks on the second part of it. What nuclear tones are used in this dialogue most of all? How do they sound? Practice reading and then learn the dialogue by heart.

A Visit to the Doctor

Doctor Patient Doctor Patient Doctor Patient

ˏWell,| what’s the ˈmatter with ˋyou, Mr. ˌWalker?|| You’d ˈbetter ˈask me what is ˎnot the ˌmatter with me, ˌdoctor.|| I ˈseem to be ˈsuffering with ↑all the ˈillnesses iˎmaginable:| inˏsomnia,| ˏheadaches,| ˏbackache,| ˈindiˏgestion,| ˈconsti͵pation| and ˈpains in the ˎstomach.|| To ˈmake ˈthings ↑still ˏworse| I’ve ˈcaught a ˏcold,| I’ve ˈgot a ↑sore ˏthroat| and I’m ˋconstantly ˌsneezing and ˎcoughing.|| To ˈcrown it ˏall,| I had an ˋaccident the other ˏday,| ˈhurt my ˈright ˏshoulder,| ˈleg and ˏknee| and ˈnearly ˈbroke my ˎneck.|| If I ˈtake a ˈlong ˏwalk,| I ˈget ˙short of ˎbreath.|| In ˏfact,| I ˈfeel ˈmore ˏdead| than aˎlive.|| I’m sorry to hear that. Anyhow, I hope things aren’t as bad as you imagine. Let me examine you. Your heart, chest and lungs seem to be all right. Now open your mouth and show me your tongue. Now breathe in deeply through the nose… There doesn’t seem to be anything radically wrong with you, but it’s quite clear that you’ve run down, and if you don’t take care of yourself you may have a nervous breakdown and have to go to hospital. I advise you first of all to stop worrying. Take a long rest, have regular meals, keep to a diet of salads and fruit and very little meat, keep off alcohol. If possible, give up smoking, at least for a time. Have this tonic made up and take two tablespoonfuls three times a day before meals. If you do this, I can promise you full recovery within two or three months. And if I don’t, doctor? Than you’d better make your will, if you haven’t yet done so. I see. Well, thank you, doctor. I shall have to think it over and decide which is the lesser evil: to follow your advice or prepare for a better world.

5. Read and translate the following text. Use your own intonation patterns with the Rise-Fall where possible. Lay stress-tone marks according to the rules and practice reading it. Transcribe the words in bold.

The Benefits of Exercise (V. Evans, p. 75)

Working full-time can be a very stressful experience for most people; long hours and the pressure to be successful in a competitive society both contribute to the build-up of anxiety. If you are feeling nervous, there’s no better way to relax than to exercise. However, many people return to work too exhausted to move. People are criticized for being lazy and inactive, and for watching too much television which is not beneficial to our health. Taking regular exercise can be both relaxing and pleasant and people who feel healthy often also feel more confident. You don’t need to be especially energetic to take up a sport; simply choose one that is suitable to your character.

6. Listen to the dialogue. Fill in the gaps with the missing pronouns and verbs. Find sentences where the High Fall is used. What additional meanings does it give these sentences? (Headway, p. 8) Practice the dialogue with a partner.

A Anyway, I suppose ___ heard about Mark and Sonia?

B No, what?

A Oh, ___ know? ___ emigrating to New Zealand.

B Really? How come?

A I think ___ having a lot of problems lately – you knew their house ___ burgled last year, while ___ asleep in bed?

B No, ___ actually… how awful!

A Yeah, and Sonia ___ suffering with her nerves ever since, ___ even off work for a while, I think.

B Oh no, I had no idea.

A And now apparently, Mark ___ made redundant from his job!

B The poor things!

A I know… so that’s why ___ decided to make a fresh start in New Zealand. I think Mark ___ paid quite a lot of redundancy money, so ___ going to start up their own business.

B Oh… well I hope it works out for them. ___ know when ___ leaving?

A ___ know but I think ___ going before the end of the month.

B Oh, right – ___ give them a call to wish them all the best.

A Yes, ___ sure ___ appreciate that.

Read the following dialogues with your own intonation laying stress-tone marks according to the rules. Use the High Fall, the High Rise, the Rise-Fall and the Fall-Rise in the dialogues. Explain, what meanings these nuclear tones convey.

1. - How’s your father keeping? - He’s been off work for a day or two. - What’s wrong with him? - He’s gone down with a cold. - Tell him I hope he soon feels better. - That’s very kind of you. I’ll pass it on.	2. - How’s your brother these days? - My brother? He hasn’t been too well just recently. - I’m sorry to hear that. What’s the matter? - I think he’s been overworking. - I hope he soon gets over it. - Thank you. He’ll be pleased to hear you asked after him.
3. - Where’s Tony this evening? - He’s not feeling very well. - Really? What’s the trouble? - I think he must have eaten something. - Give him my regards and tell him to take things easy. - Thank you very much. I’ll tell him what you said.	4. - I haven’t seen Bob lately. How is he? - As a matter of fact, he’s laid up. - Oh, dear. What’s up with him? - We don’t know. But we are having the doctor in tomorrow. - Let me know if there’s anything I could do. - Thanks very much. I’ll tell him you inquired about him.

8. Read the text below. Transcribe the words in bold. Imagine that you are a doctor, and your partner is a hypochondriac. Make up and present your own dialogue in a role-play using the words in bold. Make your speech emotional by using the High Fall, the High Rise, the Rise-Fall and the Fall-Rise.

Hypochondriacs (V. Evans, p. 105)

There are people who spend years suffering from an illness which doctors are not usually sympathetic towards. Hypochondria is a medical term which describes a highly abnormal level of worry about health. Sufferers regularly visit their doctors with complaints of serious symptoms which doctors cannot explain.

Hypochondriacs are always pessimistic about their health and often imagine that they are suffering from dangerous or incurable diseases. They waste the valuable time of doctors when really they are perfectly healthy. Sufferers can be also taught to control their anxiety through relaxation techniques.

9. Read and make a poetic translation of this poem into Ukrainian or Russian. Learn the poem by heart.

Leisure (Карневская, с. 272)

By W.H. Davies

What is this life, if full of care,

We have no time to stand and stare!

No time to stand beneath the boughs,

And stare as long as sheep and cows.

No time to see, when woods we pass,

Where squirrels hide their nuts in grass.

No time to see in broad daylight

Streams full of stars like skies at night.

No time to turn at Beauty’s glance,

And watch her feet, how they can dance.

No time to wait till her mouth can

Enrich that smile her eyes began.

A poor life this if, full of care,

We have no time to stand and stare.

Unit 1. Travelling

1. Listen to the dialogue between Matthew and Laura. Practice it with a partner. Pay special attention to the linking r sounds. Comment on the intonation of parentheses in the dialogue (Headw. P. 14)

Laura Matthew Laura Matthew Laura Matthew Laura Matthew Laura

Matthew! Are you going anywhere over Easter this year? Well, yes, as a matter of fact, we are. We’re off on a tour of Italy for a weak or two. Mmm. That sounds great! Where exactly will you be going? Oh, here and there. Rome’s more or less definite, but we’re open to suggestions. Are you travelling by coach? No, by car, actually. When you’re in Rome, you must throw a coin over your shoulder into the Trevi fountain. Really? What for? It means, sooner or later, you’re sure to return.

2. Listen to the following dialogue. What types of questions are used here? What is their typical intonation? Comment on the intonation of direct address. Learn the dialogue and practice it with a partner. Transcribe the sentences in italics and draw tonograms to them. Name the means of intonation used on this dialogue.

Sea or Air (p. 26)

Susan Julie Susan Julie Susan Julie Susan Julie Susan Julie

Are you ˈlooking ˈforward to your ˈtrip to ˎCanada, ˏJulie?|| ˈI can’t ˈˈwait to see ˎCanada, ˌSusan,| but I’m ˈscared ˈstiff of the ˋjourney.|| ̅My ˈhusband in↑sists on ˎflying,| but ˈI want to ˎsail.|| ˎ Planes| ↷ make ↷ me ˎnervous.|| There’s ˈnothing to be ˎfrightened ˏof.|| ˈHow many ˎplanes| ˈfly aˈcross the Aˈtlantic ↑every ˎday?|| ̅I’ve ˌno iˋdea.|| ˋHundreds,| I su ̬ppose.|| And how ˌoften do you ˌhear of a ˏcrash?|| ˈOnce or ˈtwice a ˏyear?|| ˋYes,| but the ˈaeroplanes ˎfly| ˈso ˈhigh and ˎfast| that ˎonce| is eˋnough.|| ˎLook,| there are ˈmore ˎroad ˌcasualties| per ˎday| than ˈair ˈdeaths per ˎyear.|| ˎAir ˌtransport| is ˈreally ˎsafe| comˈpared with ˎroad ˌtransport.|| I’d ˈstill preˎfer| to ˈgo by ˎsea.|| ˎShips| ˈmay not ˎtravel ˏfast,| but at ˈleast you can reˎlax.|| I’dˈˈ love aˈ trip on a ˎluxuryˏ liner| like the ˈQueen Eˈlizabeth ˏII.|| It’s ˎfine| if you’re a ˈgood ˎsailor,| but have you ˈever ˈtraveled ˎfar| in a ˈrough ˎsea?|| ˎNo,| I’ve ˏonly ˋbeen in a ˌboat ˎonce.|| I ˈsailed ˈdown the River ˎThames| on a ˎsightseeing ˌtour…|| But in ˈany ˏcase| I’d ˈrather be ˋseasick| than ˎdead.||

3. Listen to the dialogue. Find sentences with enumeration and adverbials. What is the typical intonation in them? What tempo and scales are used in the dialogue? What phonostyle is it in? Lay stress-tone marks on the second part of the text, learn the dialogue and practice it with a partner. Transcribe the sentences in italics and draw tonograms to them. Name the means of intonation used on this dialogue.

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