Владимир Аракин - Практический курс английского языка 3 курс [calibre 2.43.0]

S i r R o b e r t C h i 1 1 e r n : What this woman said is quite true. But, Gertrude, listen to me. You don't realize how I was

tempted. Let me tell you the whole thing, (pleading)

L a d y C h i l t e r n : Don't come near me. Don't touch me. (aversion, abhorrence) I feel as if you had soiled me forever. ( hopeless-

ness) (O.Wilde)

12. This exercise is meant to develop your ability to hear out the widening and narrowing of the pitch range in recorded reading and to

reproduce it in proper speech situations.

a) Listen to the dialogue "Waiting for the Bus" sentence by sentence. Write it down. Mark the stresses and tunes. Underline the sentences in

which the widening or the narrowing of the pitch range is heard. Concentrate your attention on the emotional attitude of the speaker in each of

these sentences. Practise the dialogue and memorize it. Perform it at the lesson with a fellow-student.

b) Use the sentences from the dialogue, pronounced with the widened or narrowed pitch range in conversational situations. Practise with a

fellow-student, concentrating your attention on the emotional attitudes you mean to render.

13. Make up a dialogue between two Russian students discussing the system of examinations in English schools. Their opinions differ, and as

they are both involved in the subject their argument gets more and more heated. Imagine yourselves in this situation. Use the proper intonation

patterns to show your involvement. Widen or narrow the range of your voice to express your emotional attitude.

14. This exercise is meant to develop your ability to read and narrate a story with proper intonation.

a) Listen to the text "You see, it was in this way ...". Write it down. Mark the stresses and tunes. Practise reading the text.

b) Listen carefully to the narration of the text. Observe the peculiarities in intonation group division, pitch, stress and tempo. Note the use of

temporizers. Retell the text according to the model you have listened to.

15. This exercise is meant to develop your ability to use correct intonation when you act as a teacher.

a)Listen carefully to the extract from the lecture suggested below.11 Mark the stresses and tunes. Your teacher will help you and all the members of the class to correct your variants. Practise reading every sentence of your corrected variant very carefully.

b)Concentrate your attention on the peculiarities of the lecturing style introduced in the text.

c)Act as a teacher. Make up a microlesson applying the structures, vocabulary and intonation of the lecture below.

J . D . O ' C o n n o r : We showed you last time two ways of combining the glide down and the glide up in English sentences. Firstly,

we showed you how it was possible to have a glide up followed by a glide down. And here, as an example, is a sentence from our last

talk, said with the words in a different order:

M i s s Too l e y: If you listen closely you'll hear us use this pattern very often.

O'C.: Then secondly, we said that you could have a glide down followed by a glide up. And taking the same sentence again with

the words in their original order we get the example:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Both these combinations are very common indeed. The glide up followed by a glide down is generally used — not always,

but generally— when the subordinate clause of a sentence is before the main clause: and the glide down followed by a glide up is

generally used when the main clause is before the subordinate clause. I'll just say that again (repeat words in italics). Well now, this

was the case in our two examples. With the subordinate clause first we had:

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: And with the main clause first:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Now today, I think we'll start by considering what would happen to the sentences we have just used if we introduce special

emphasis on one of the words. First just let's hear once more the sentence said with the subordinate clause first: the glide up followed

by a glide down.

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: Now suppose that we want to draw special attention to the word 'closely' — to stress the fact that we want you to listen really

closely — how do we do that? Wel just listen, and you'll hear that a different tune is used.

T.: If you listen closely you'll hear us use this pattern very often. If you listen closely you'll hear us use this pattern very often.

O'C.: Now that pattern wasn't a glide up followed by a glide down, was i t ? No, it was a high dive followed by a glide down. And the

rule is this: if the subordinate clause has a specially emphasized word in it, you must use a high dive. (Repeat.)

11

SECTION FIVE

Intonation Pattern XV

(LOWPRE-HEAD +) LOW ASCENDING HEAD + HIGH (MID)

RISE (+ TAIL)

Before the High Rise the Low Head often starts very low but then rises gradual y, syl able by syl able, ending just below

the starting pitch of the nucleus.

The high rising nucleus begins in high level; the medium rise begins in mid level. This intonation pattern is used;

1 . I n s t a t e m e n t s , heard in official speeches, lectures, over the radio (in latest news programmes); or in colloquial speech to

draw the listener's attention by using this somewhat occasional intonation pattern, e. g.\ /English ^leather goods | are „also of ^great

de'mand in other countries.

2 . I n q u e s t i o n s;

a ) i n g e n e r a l questions when they sound very inquisitive, important, willing to discuss; sometimes with a shade of disbelief or

impatience, e. g,:

/Have you lived here 'long?

b ) i n s p e c i a l questions, sounding insistent, inquisitive with a shade of doubt or sometimes even mockery, e. g.\

"And /what have you been Hdoing hither 'to?" I asked him.

3 . I n i m p e r a t i v e s , used as official announcements, e. g.:

/Have your passports 'ready, please.

EXERCISES

1."' Listen carefully to the following situations. Concentrate your attention on the phrases pronounced with the rising head + High Rise.

"Do you stay in town all day?" "Sometimes I do and sometimes I don't."

As a matter of fact I'm going in the same direction myself, so if you come with me I'll show you.

"And now what sweet will you have, Mrs. Thompson?"

"There's apple tart and cream or chocolate trifle."

"We're sure to have a good crossing."

"Oh well, I'll risk it, but if the worst comes to the worst, don't blame me."

"Do you travel much?"

"Not more than I can help by sea. I've crossed the channel once before but frankly I did not enjoy it."

"Why don't you fly across?"

"I think I shall one of these days. It couldn't possibly be worse than a really bad sea crossing."

Tennis is played all the year round, on hard courts or grass courts in summer and on hard or covered courts in winter.

"About how long will it be before I die?"