(+Tail)
Stimulus Response
I feel very tired these days. You mustn't work too hard at
night. I'll be seeing you on Tuesday. I shan't be coming here on
Tuesday.
Pattern Seven . High Pre-Nucleus + Low Rise (+ Tail)
Stimulus Response
She is a brilliant actress. She is.
We've nearly no time left. I know.
3. In the talk below the man sounds very detached. Listen carefully and concentrate on the intonation of the response. Make up conversational situations and act them with your fellow-student. Try to use the responses of the following talk.
— I think we should move this furniture around. I don't like this arrangement.
Ref Note on page 351.
— I suppose so.
— Let's put the television over there.
— All right.
— Well, help me lift it then. It's not heavy.
— Isn't it?
— Now how does it look?
— Not bad. •
— Slightly more to the left, I think.
— If you like.
4. In the following talk between two neighbours the man sounds
very confident and reassuring about the woman's cut finger.
Listen carefully to the man's responses. Make up conversa
tional situations where you can use the same remarks.
— Oh, thank goodness you're here, Mr. Simmonds. I've just cut my finger and I don't know what to do.
— Let me see.
— You see the bread-knife slipped and — oh dear it's starting to bleed again.
— Don't worry.
— What shall I do?
— Keep your finger still.
— Oh dear, blood makes me feel funny.
— Keep calm.
— I think I'm going to faint.
— Take a deep breath.
— Ah that's better. I'm so sorry to trouble you, Mr. Simmonds.
— Never mind.
5. In the talk below the man is explaining to the woman how to
work a tape-recorder. He is very reassuring and encouraging.
Listen carefully to the dialogue. Concentrate your attention
on the intonation of the response. Make up conversational
situations where you would sound reassuring and encourag
ing.
— Could you explain to me how this tape-recorder
works, please?
— First turn it on.
— I see — the black switch turns it on.
— Wait then for it to warm up.
— Yes, how do you record?
— Press the button.
— Yes, and how do you listen?
— Push the green knob.
— And to make it louder?
— Turn this one here.
— Oh I see. Now let me try.
Read the dialogue silently. Underline the communicative centre in each phrase and decide what attitude should be expressed in it. Mark the stresses and tunes, keeping the attitude constantly in mind. It is not expected that each member of the class will mark the dialogue in exactly the same way. Practise reading your corrected variant. Memorize the dialogue and act it with your fellow-student.
Tom: Hallo, Patrick. What are you doing here?
Patrick: Hallo, Father. This policeman says I'm parking on the wrong side of the street.
Policeman: Good morning, sir. Are you this young man's father?
Tom: Yes, I am.
P î 1 i ñ å m a n: Is this his car?
Tom: No, it isn't. It's mine.
Policeman: Oh. Does he often drive your car?
T î m: Yes, he does.
Policeman: He has no driving-licence with him. But he says he has a driving-licence at home.
Tom: Yes, I think he has.
GROUP V. HIGH (MEDIUM) RISE
i.Listen to the stimulus and respond to it in the intervals. Make your voice rise from a medium level to a high pitch when pronouncing the nuclear tone.
b. Pronounce each response several times until it sounds perfectly natural to you.
ñ Listen to your fellow-student reading the responses. Tell him what his errors in pronunciation are.
PatternOne. (Low Pre-Nucleus +) High (Medium) Rise(+ Tail)
Model: I saw Grace today. ' Really?
Stimulus Response
He is going on holiday. Alone?
I'm afraid she didn't see me. Didn't she?
Pattern Two. (Low/High Pre-Head +) High (Medium) Level Head + High (Medium) Rise (+ Tail)
Model: Why can't we You "* think he might a'gree?
ask Alec?
Stimulus Response
We're going shopping. Right away?
Are you a student? Am I a student? Yes.
Pattern Three. (Low Pre-Head +) Rising Head + High (Medium)
Rise (+ Tail)
Model: Do you know Do .I know'George?
George?
Stimulus Response
Why didn't you do as Why didn't I do as you suggest?
I suggest?
Shall I cross over the Cross over the railway bridge?
railway bridge?
2. Your teacher or your fellow-student will suggest the stimulus. You in your turn respond to it using High Rise patterns. The drill will continue until every student has participated. Keep the exercise moving on at normal conversational speed.
Pattern One. (Low Pre-Nucleus +) High Rise (+ Tail)
Stimulus Response
I'm leaving at five. When?
He works at the hospital. Where?
3SS
Pattern Two. (Low/High Pre-Nucleus +) High (Medium) Level Head + High (Medium) Rise(+Tail)
Stimulus Response
Are you in love? Am I in love? Yes, I am.
Ask him if there's any news. Anything else you want me to
do?
Pattern Three. (Low Pre-Head +) Rising Head + High (Medium)
Rise (+Tail)
Stimulus Response
Do you know Johnson ? Do I know Johnson ?
Did you see me leave the Did I see you leave the office?
office?
3. In the talk below the man wants the woman to explain her
remarks and to add some more to what she has said. He
sounds tentative and light (causal). Listen to the dialogue.
Make up short conversational situations with your fellow-stu
dent giving the same replies.
— I read a very interesting book last week.
— Oh.
— I thought it was very good indeed.
— Yes?
— I can't remember the author's name. I think he was French.
— Oh!
4. The following short conversation takes place in a station. Lis
ten to it carefully and then act it with your fellow-student.
— Excuse me, could you tell me where the train for the North leaves?
— Manchester?
— Yes.
— Well, the four-fifteen leaves from platform five.
— Which platform?
— Platform five.
— And where's platform five?
— Over by the clock.
— Thank you.
5. Listen carefully to the dialogue below. Mark stresses and
tunes. Your teacher will help you and all the members of the
class to intone the dialogue correctly. Practise reading your
corrected variant. Act the dialogue in pairs.
— Good morning.
— Good morning, madam. Can 1 help you?
— Yes, you can. I'd like to buy a watch, please.
— Certainly, madam. Is it for yourself?
— Oh, no. It's for my small daughter.
— I see. You don't want a very expensive one, I suppose.
— No, fairly cheap and fairly strong too.
— I understand. Will you have a look at this one, madam?
— I think that looks too small. I'd rather have a bigger one.
— What about this, madam?
— That looks fine. How much is it?
— Let me see. That's five pounds ten.
6. Read the dialogue silently. Underline the communicative cen
tre in each phrase and decide what attitude should be ex
pressed in it. Mark the stresses and tunes keeping the attitude
constantly in mind. It is not expected that each member of the
class will mark the dialogue in exactly the same way. Practise
reading your corrected variant. Memorize the dialogue and
act it with your fellow-student.
K. I'm going out to get a paper.
E: Oh, take the dog with you — d'you mind. He'd love a walk. I meant to take him, but I just haven't had time.
tf: Will he do what he is told? I'm a bit scared of the
traffic. :
E: Oh yes; he's very good in the street. You can put him on the lead before you get to the main road. He won't make any fuss.
K: All right. If you think he'll behave himself.
E: He'll be perfectly all right. I'll just get his collar. Which way are you going?
K: Towards the station, I suppose.
GROUP VI. FALL-RISE
la.Listen to the stimulus and respond to it in the interval. Make your voice fall from a fairly high or medium pitch and then rise a little when pronouncing the Fall-Rise.
lb. Pronounce each response several times until it sounds perfectly natural to you.
Ic. Listen to a fellow-student reading the responses. Tell him what his errors in intonation are.
Pattern One. (Low Pre-Nucleus +) Fall-Rise (+ Tail)
Model: You don't look well. I feel vwell.
Stimulus Response
Can I help you with this work? You can type the papers if you
like.
Well, where is my dress? Where is it? (in the wardrobe, of
course).