Pattern Two. (Low Pre-Head +) High (Medium) Head + Mid

Level (+Tail)

Model: What shall we do?

Ring her > up f and "* ask her to _xcome.

Stimulus But I thought you'd like one.

Shall we walk there?

Response

As a matter of fact I've already

got two. In case it rains we'd better take

an umbrella.

2. Your teacher or your fellow-student will suggest the stimulus.
You in your turn respond to it, using Mid-Level patterns. The
drill will continue until every student has participated. Keep
the exercise moving on at normal conversational speed.

Pattern One. (Low Pre-Nucleus +) Mid-Level {+ Tail)

Stimulus Response

Shall we go to the pictures On Saturday we're going to the

on Saturday? theatre.

Will you join us for a game At present I'm far too busy.

of golf?

Pattern Two. (Low Pre-Head +) High (Medium) Head + Mid-Level (+Tail)

Stimulus Response

I hope we'll see you tonight. As far as I can see I shan't be

able to leave home.
She doesn't know of her Tell her to come and stay with

mother's illness. her.

3. This exercise is meant to develop your ability to use all the
acquired intonation patterns in spontaneous informal conver
sation. Bear in mind that you are not absolutely free to use
any intonation pattern you like in a dialogue. The nature of
the response is greatly dependent on the intonation of stimu
lus.

(a) Make up dialogues, following a two-element pattern (stim-

ulus-response). Your teacher or a fellow-student will suggest a stimulus. Use the dialogue below as a model.

A: How about asking Jack and Marion? ^;

B: Jack's away in London.

(b) Make up dialogues, following a three-element pattern
(stimulus — response — further response). Your teacher or
a fellow-student will suggest a stimulus. Use the-dialogue
below as a model.

A: How about asking Jack and Marion?

B: Jack's away in London.

A: Let's ask Marion alone, then.

ulus — response — stimulus — response). Your teacher or a fellow-student will suggest a stimulus.

A: How about asking Jack and Marion?

B: Jack's away in London.

A: Let's ask Marion alone, then.

B: That's not a bad idea.

(d) Your teacher or a fellow-student will suggest a stimulus.
Give a response to it and keep the conversation going for
as long as you can.

4. This exercise is intended to develop your ability to associate a

given response with a certain situational or verbal stimulus.

(a) Your teacher or a fellow-student will suggest a response and then make as many different messages as he can by diversifying its intonation. You are to infer the appropriate situation of each utterance from its sound.

(b) Your teacher or a fellow-student will suggest a response. You are to provide the appropriate stimulus for it.

5. This exercise is meant to develop your ability to make up
spontaneous dialogues according to a given situation. Here
are some examples of conversational situations.

(a) Two friends are talking about their visit to the theatre or to

the cinema.

(b) A doctor and a patient are talking about the letter's health.

the point with your mother.

6. This exercise is meant to develop your ability to hear and
reproduce the kind of intonation used in reading and narrat
ing a story.

(a) Listen to the following joke carefully, sentence by sentence.

Helen's eyes were not very good. So she usually wore glasses. But when she was seventeen and she began to go out with a young man she never wore her glasses when she was with him. When he came to the door to take her out she took her glasses off but when she came home again and he left she put them on.

One day her mother said to her: "But Helen, why do you never wear your glasses when you are with Jim? He takes you to beautiful places in his car but you don't see anything."

"Well, Mother," said Helen. "I look prettier to Jim when I'm not wearing my glasses and he looks better to me, too."

(b) Mark internal boundaries (pausation). Underline the communicative centre and the nuclear word of each intonation group. Mark the stresses and tunes.

(c) Practise reading the joke. Record your reading and play the recording back immediately for your teacher and fellow-students to detect your errors.

(d) Listen carefully to the narration of the joke. Observe the peculiarities in intonation group division, pitch, stress and tempo. Note the use of temporisers and hesitation phenomena.

(e) Retell the joke according to the model you have listened

to. Record your retelling and play the recording back immediately for your teacher and fellow-students to detect your errors.

(f) Identify and make as full list as possible of the differences

between real dialogue and monologue spoken as dialogue.

7. This exercise is intended to develop your ability to read and narrate a story.

(a) Read the following joke silently to make sure that you un-

derstand each sentence.

An absent-minded professor was lecturing an anatomy. "To show you more clearly what I mean, I have a parcel there containing a dissected frog. I want you to examine it carefully."

The professor began to unwrap it and saw that it contained two sandwiches and a hard-boiled egg. On recognizing it the professor said: "I was sure I had eaten my lunch, but where is the frog?"

(b) Find the main sentence in the text. Split up sentences into
intonation groups. Single out the communicative centre
and the nuclear word of each intonation group. Underline
the main word in every sentence. Mark the stresses and
tunes. Observe the difference in the duration of pauses.

(d) Tell the story as a narrative to your fellow-students in class

and then as if chatting with an intimate friend. Your listener is expected to show his involvement in the situation by his facial expression, gestures, as well as various cues and tags, such as "Oh!", "Really? (!)", "Is it? (!)', "What then?", "Fantastic!", "How very interesting!", etc.

SEQUENCE OF TONES
SIMPLE SENTENCES —------ ----------------- ---- ~~.....~~ ...............................