English Phonetics. Book 1

Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
I. Theory
1. The Vowels of English. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1.1. The classification of English vowel phonemes. . . . . . . . . . . . 8
1.2. The diagrams on vowel sounds . . . . . . . . . . . . . . . . . . . . . . . 11
1.3. The classification of English vowel phonemes. Tasks. . . . . . 15
1.4. Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2. The Consonants of English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.1. The classification of English consonant phonemes. . . . . . . . 30
2.2. The diagrams on consonant sounds . . . . . . . . . . . . . . . . . . . 33
2.3. The classification of English consonant phonemes. Tasks. . . 37
2.4. Exercises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
3. Words in Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
3.1. Stressed and unstressed words. . . . . . . . . . . . . . . . . . . . . . . . 51
3.2. Weak forms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
3.3. Rhythm units. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
3.4. Assimilation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
3.5. The reduction of consonant clusters (Elision). . . . . . . . . . . . 61
3.6. Exercises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
4. Intonation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
4.1. Graphical representation of intonation. . . . . . . . . . . . . . . . . 65
4.2. How to use the tunes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
4.3. Exercises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
5. Phonostylistics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
5.1. Its subject matter and basic notions. . . . . . . . . . . . . . . . . . . . 75
5.2. Intonational peculiarities of conversational style. . . . . . . . . 75
5.3. Social English. Saying the right thing. . . . . . . . . . . . . . . . . . . 76
5.4. Hesitation phenomena. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
5.5 Fillers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
5.6. Exercises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
5.7. Informational style. How to hold an audience. . . . . . . . . . . 79
5.8. Intonational peculiarities of informational texts. . . . . . . . . . 79
5.9. Scientific style. Lectures and speeches. . . . . . . . . . . . . . . . . . 80
5.10. Intonational peculiarities of scientific style. . . . . . . . . . . . . . 81
II. Practice
1. Memory Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
1.1. Conversation “Oh, look!..”. . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
1.2. Conversation “Guildford56622...”. . . . . . . . . . . . . . . . . . . . . . .86
1.3. Conversation “Does this train...”. . . . . . . . . . . . . . . . . . . . . . . .90
1.4. Conversation “I want to talk to you...”. . . . . . . . . . . . . . . . . .94
1.5. Conversation “Tom? Do you think...”. . . . . . . . . . . . . . . . . . . .98
1.6. Conversation “Why doesn’t the curtain rise?..”. . . . . . . . . . .102
1.7. Conversation “Can Mr.Kent see me now?..”. . . . . . . . . . . . . .108
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1.8. Conversation “Well, I can’t really find...”. . . . . . . . . . . . . . . .112
1.9. Conversation “She’s a strange girl...”. . . . . . . . . . . . . . . . . . .118
1.10. Conversation “Tom? Will you post...”. . . . . . . . . . . . . . . . . . .123
1.11. Conversation “That was a good film...”. . . . . . . . . . . . . . . . .127
1.12. Conversation “I’m going to visit my father...”. . . . . . . . . . . .133
1.13. Conversation “Do you remember that restaurant...”. . . . . . .138
1.14. Conversation “They really ought to paint...”. . . . . . . . . . . . .144
1.15. May Week at Cambridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
1.16. The Beauty of Britain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
1.17. The British Character. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
1.18. Hitch-hiking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
1.19. A Lecture. What It Is to Know a Word. . . . . . . . . . . . . . . . . .154
1.20. A Lecture on Architectural Development of London. . . . . . .155
2. Typical Intonation Patterns in Conversational Formulas. . . . . . . .
2.1. Unit 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.2. Unit 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.3. Unit 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.4. Unit 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.5. Unit 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.6. Unit 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.7. Unit 7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.8. Unit 8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.9. Unit 9. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.10. Unit 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.11. Unit 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.12. Unit 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.13. Unit 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.14. Unit 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ВВЕДЕНИЕ
Данное пособие по практической фонетике английского языка
предназначается, главным образом, для студентов II курса англо-немецкого
отделения факультета иностранных языков, имеющих уже определенные
навыки произношения и восприятия англоязычной речи на слух и знакомых с
основными явлениями фонетического аспекта языка, а именно: строением и
работой речевого аппарата, особенностями произнесения согласных и гласных
звуков в изоляции и речевом потоке, графическим изображением фонем и
интонации, основными интонационными моделями изучаемого языка.
Основная цель данного курса — дать студентам глубокие и твердые
знания в области современной практической фонетики, развить и закрепить
фонематические и интонационные навыки, что неизбежно должно привести к
адекватному овладению языком как средством общения.
4
Авторы данного пособия ставили перед собой задачу обобщить опыт
работы по практической фонетике на II курсе англо-немецкого отделения
факультета иностранных языков НГПУ и собрать воедино теоретический и
практический материалы для удобства изучения, освоения и закрепления как во
время аудиторных занятий, так и для самостоятельной работы студентов.
Материалы данного пособия успешно используются авторами на занятиях по
практической фонетике в течение 10 лет. В пособие были внесены некоторые
коррективы в соответствии с требованиями программы и особенностями курса.
Пособие может быть использовано студентами других языковых
государственных и негосударственных учреждений для коррекции и
совершенствования навыков произнесения и интонирования англоязычной
речи, а также учителями английского языка в качестве справочного пособия.
Обучение фонетике поставлено авторами на фоностилистическую основу.
Упражнения и тексты для запоминания подобраны по обучению следующим
интонационным стилям:
а) разговорному;
б) иформационному;
в) научному.
Тематика подобранных текстов совпадает с материалами, проходимыми
по практике речи и страноведению, расширяет кругозор студентов, дает
дополнительные сведения по истории и культуре стран изучаемого языка.
Настоящее пособие состоит из двух основных частей: I — теоретической
части с последующими упражнениями на практику и закрепление изученного
теоретического материала, и II — практической части, состоящей из следующих
разделов:
1) тексты для запоминания,
2) типичные интонационные модели в разговорных формулах.
Первая часть пособия представляет собой теоретический материал по
следующим вопросам:
Классификация английских согласных и гласных фонем, ударные и
безударные слова, слабые формы, английский ритм, ассимиляция и выпадение
согласного, графическая репрезентация интонации и использование
интонационных моделей для выражения отношения говорящего к
высказыванию, а также фоностилистический аспект, а именно: интонационные
особенности разговорного, информационного и научного стилей, как наиболее
практически применимых студентами и преподавателями английского языка.
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Теоретический материал практически каждой главы сопровождается
соответствующими аудиоматериалами, что дает возможность изучать
теоретический аспект на практике, исключая тем самым оторванность
теоретических знаний от речевой ситуации. После каждой главы следует раздел
упражнений, состоящий из тренировочных упражнений, контрольных вопросов
по изученной теме, контрольных упражнений (тестов) в большинстве случаев, а
также творческих заданий с коммуникативной направленностью. Кроме того, в
ходе всего курса студентам предлагается найти и отработать изучаемые
фонетические явления в текстах для запоминания и аудирования, используемых
во второй части пособия.
Вторая часть пособия раздел 1 представлена различными текстами для
запоминания, подобранными на фоностилистической основе. Студентам
предлагаются 14 диалогов разговорного стиля, 4 информационных текста и 2
лекции.
Тексты для запоминания, соответствующие разговорному стилю,
сопровождаются достаточным количеством имитационных, тренировочных и
подстановочных упражнений, что облегчает работу студентов по правильному
озвучиванию и запоминанию текста.
Все тексты сопровождаются магнитофонной записью.
4 текста информационного стиля соответствуют темам устной практики II
курса и в озвучивании представлены двумя разновидностями информационного
стиля — чтением и пересказом, предоставляя студентам тем самым
возможность ознакомиться, изучить и в дальнейшем использовать в своей речи
интонационные особенности информационного стиля.
Замыкает этот раздел нашего пособия лекция Learning Vocabulary, а также
часть лекции Architectural Development of Londo, представляющие научный
стиль.
Все тексты интонируются, разбираются с точки зрения интонационных
особенностей стиля, отчитываются в классе с целью последующего заучивания
наизусть дома и воспроизведения в классе.
Во 2-м разделе второй части пособия мы представляем типичные
интонационные модели языка в разговорных формулах. Материал разбит на
главы, в соответствии с темами. Разговорные формулы сначала отрабатываются
отдельно, затем изучаются в коротких ситуациях бытового общения, после чего
у студентов есть возможность проверить себя, выполняя упражнения последней
ступени — подстановочные упражнения, упражнения множественного выбора,
упражнения творческого характера.
6
Авторы данного пособия надеются, что подготовленные ими материалы
будут интересны и полезны в работе над фонетическим строем английского
языка и помогут работающим с ним не только овладеть правильным
английским произношением, но и привьют любовь к этому аспекту языка.
Авторы будут благодарны за отзывы, критические замечания и
предложения, которые помогут им в дальнейшей работе.
Желаем Вам успеха!
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PART I. THEORY
1. THE VOWELS OF ENGLISH
1.1. The Classification of English Vowel Phonemes

Vowels are normally made with the air stream that meets no closure or
narrowing in the mouth, pharyngal and nasal cavities. That is why in the production
of vowel sounds there is no noise component — characteristic of consonantal sounds.
On the articulatory level the description of vowels notes changes:
1. In the stability of articulation.
2. In the tongue position.
3. In the lip position.
4. In the character of the vowel end.
5. In the vowel length and the degree of tenseness.
1. Stability of articulation.
All English vowels are divided into three groups: pure vowels or
monophthongs, diphthongs and diphthongoids.
Monophthongs are vowels the articulation of which is almost unchanging (the
organs of speech do not change their position throughout the duration of the vowel).
The English monophthongs are: [I, e, x, a:,O, L, , A,W, q].
In the pronunciation of diphthongs the organs of speech glide from one vowel
position to another within one syllable. The starting point, the nucleus, is strong and
distinct. The glide which shows the direction of the quality change is very weak. The
English diphthongs are: [eI, aI, OI, au,qu, Iq, Fq, q].
In the pronunciation of diphthongoids the articulation is slightly changing but
the difference between the starting point and the end is not so distinct as it is in the
case of diphthongs. There are two diphthongoids in English: [i:, u:].
2. Tongue positions.
The tongue may move forward and backward, up and down, thus changing the
quality of vowel sounds.
a) When the tongue moves forward and backward various parts of it may be
raised in the direction of the palate.
When the tongue is in the front part of the mouth and the front part of it is
raised to the hard palate a front vowel is pronounced. This is the position for the
English vowels [i:, e, x].
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When the tongue is in the front part of the mouth but slightly retracted and the
part of the tongue nearer to centre than to front is raised, a front-retracted vowel is
pronounced. Such is the position for the English vowel [I].
When the central part of the tongue is raised towards the juncture of the soft
and hard palate the vowel is called mixed. This is the position for the English vowels [A,
E:, q].
When the tongue is in the back part of the mouth and the back part of it is
raised towards the soft palate a back vowel is pronounced. This is the position for the
English vowels [O, O:, u:].
When the tongue is in the back part of the mouth but a slightly advanced and
the central part of it is raised towards the front part of the soft palate a back-advanced
vowel is pronounced. This is the position for the English vowels [V, a:].
b) Moving up and down in the mouth various parts of the tongue may be raised
to different height towards the roof of the mouth.
When the front or the back of the tongue is raised high towards the palate the
vowel is called close. This is the way the English vowels [i:, I, , u:] are pronounced.
When the front or the back of the tongue is as low as possible in the mouth
open vowels are pronounced. These are [x, a:, O, A].
When the highest part of the tongue occupies the position intermediate between
the close and the open one mid vowels are pronounced. These are [e, E:, L, q ].
To make the classification more precise it is necessary to distinguish broad and
narrow variants of close, mid and open vowels. For instance, both English vowels [i:]
and [I] belong to the group of close vowels, but when the vowel [ I] is articulated the
front of the tongue is not so high in the mouth as it is in the case of the vowel [i:].
3. Lip position.
The shape of the mouth cavity is also largerly dependant on the position of the
lips. When the lips are neutral or spread the vowels are termed unrounded. Such is the
position of the lips for the English vowels [i:, I, e, x, a:, A, E:,q].
When the lips are drawn together so that the opening between them is more or
less round the vowel is called rounded. These are [O, O:, , u:].
4. Character of vowel end.
The quality of all English monophthongs in the stressed position is strongly
affected by the following consonant of the same syllable. If a stressed vowel is
followed by a strong voiceless consonant it is cut off by it. In this case the end of the
vowel is strong and the vowel is called checked, e.g. better, cart, city.
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If a vowel is followed by a weak voiced consonant or by no consonant at all the
end of it is weak. In this case the vowel is called free, e.g. before, money, begger, seed.
5. Vowel length and degree of tenseness.
All English vowels are historically divided into long and short. Long vowels
are always tense, short vowels are always lax.
Long, tense vowels are: [i:, a:, O:, u:, E:].
Short, lax vowels are: [I, e, O, , A, q].
The vowel [x] is not included in the category of short vowels because of
specific length associated with it.
But for the purpose of practical speech training it is not enough to distinguish
two degrees of length. In the similarly accented position all English vowels are fully
long when they are final, e.g. see, bar, sore, fur. They are almost as long as that when
a weak voiced consonant follows them in the closed syllable, e.g. seed, arm, form,
bird, big, bed, song. They are considerably shorter before strong voiceless consonants
in closed syllables, e.g. seat, lark, look, first, bit, set.
Diphthongs vary in length in the same way as long vowels, cf. play – played –
plate, toy – toys – voice, fear – fears – fierce. Variations of length affect mainly the
nucleus, not the glide. Such variations might be represented in the following way:
play [ple:I] – plays [ple˙Iz] – plate [pleIt].
All English vowels are longer when they are strongly stressed, cf. in'form –
'uninform.
All English vowels are longer in the nuclear syllable, cf. It is six o'clock now. –
They are only six.
It should be noted that in similar phonetic contexts traditionally long vowels are
always longer than traditionally short vowels, cf. see – sin, calm – come, cord – cod.
The classification of English vowels looks like this (see table 1):
Table 1
Types of vowels according to front- back-
vertical horisontal front mixed back
retracted advanced
movements movements
High narrow i: u:
vowels broad I 
Mid narrow e E:
vowels broad q O:
Open narrow A
vowels broad x a: O
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1.2. The Diagram on Vowel Sounds
[i:]
Study the diagram below and read through the notice carefully.
NOTICE:
Open your mouth very little to make the sound [i:].

[i:] is a long sound.
[ I]
NOTICE:
First practise the sound [i:].

Then open your mouth a little more.
[i:] is a long sound.
[I] is a short sound.
[e]
NOTICE:
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First practise the sound [I].
[e] is a short sound.
[x]
NOTICE:
First practise the sound [e].

12
[A]
NOTICE:
First practise the sound [x].

Then put your tongue back a little.
[O] is a very short sound.
[a:]
NOTICE:
Put your tongue down and back.

[Q:] is a long sound.
[O]
NOTICE:

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Then put your tongue slightly back and bring your lips slightly forward.
[O] is a short sound.
[O:]
NOTICE:
First practise the sound [O].

Then put the back of your tongue up a little.
[O:] is a long sound.
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[]
NOTICE:
First practise the sound [O].

Then put the back of your tongue forward and up a little.
[] is a short sound.
[u:]
NOTICE:
First practise the sound [] again.

[] is a short sound.
Then put your tongue up and back.
[u:] is a long sound.
[E:]
NOTICE:
First practise the sound [O:].
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Then put your tongue forward and up a little.
[E:] is a long sound.
[q]
NOTICE:
First make the sound [E:].

This is a long sound.
Then make it very short. This is [q]
[q] is a very short sound.
16
[eI]
NOTICE:
This has two sounds: [e] and [I].

First make the sound [e].
Now make it longer: [eee].
Then add [I]. This is very short.
[eeeI].
[aI]
NOTICE:
This has two sounds: [a:] and [I].

First practise the sound [a:].
This is a long sound.
Then add [I].
This is a short sound.
[aI].
[OI]
NOTICE:
This has two sounds: [O:] and [I].

17
First say [O:].
Now make it longer: [OOO].
Then add [I]. This is very short.
[OOOI].
[au]
NOTICE:
This has two sounds.

Now add []. This is very short.
[au].
18
[qu]
NOTICE:
This has two sounds: [q] and [].

First say [q].
Now make it longer: [qqq].
Then add []. This is very short.
[qqqu].
[Iq]
NOTICE:
This has two sounds: [I] and [q].

First make the sound [I].
Now add [q].
[Iq]
[Fq]
NOTICE:
19
This has two sounds.
First practise the sound [e].
Now make it longer.
Now add [q].
[Fq]
1.3. The Classification of English Vowel Phonemes

Tasks
I. Questions on theory:
1. What are the main principles of classification of English Vowel Phonemes?
2. What is a monophthong / a diphthong? Name English monophthongs and
diphthongs.
3. Give a definition of all the classes of the English vowels according to the position
of the bulk of the tongue. Bring examples.
4. Comment on the broad / narrow variations in the main tongue positions.
5. State the difference between checked / unchecked, long / short, lax / tense vowels.
II. Name all front vowels,
central vowels,
back-advanced vowels,
open vowels,
mid-open vowels.
III. Find the odd-one-out.
1.[i: I  A u:]
2.[E: A e a:]
3.[O O: e E: q]
4. [I  x q O A O: a:]
5.[O  u: a:]
6.[u:  O: O]
IV. Draw a chart on the Classification of English Vowel Phonemes.
V. Noughts and Crosses.
1 2 3
e  i: 1) a sentence;
4 5 6 2) a rhyme;
O: x O 3) a proverb;
7 8 9 4) an idiom.
I E: A
1.4. Exercises
[i:]
I
20
1. Each 'man ·took his ·kit to the 'end of the quay.
2. I wish 'Eve could 'get them 'all to a gree.
3. It’s easier to 'speak than to read.
4. How many 'people have you in'vited to the meeting?
5. We don’t ex'pect to 'leave till this evening.
6. I should like to ·see some tweed, please.
7. I feel it my 'duty to 'speak to his teachers.
8. After reading for ·only 'three minutes | he fell into a 'deep sleep.
II
1. Heaby: It’s a fine ·piece of ·work, Jean.
Shields: Do you really mean that?
2. Green: Peter’s ·staying with us ·next week.
Beatty: Do ·bring him 'round to see us.
3. Heasley: When shall we meet you?
Stevens: After tea?
4. Evelyn: I’m afraid he’s 'not free this evening.
Freethy: When is he ·likely to be ·free?
5. Wheale: Your niece ·wants her shoes cleaned.
Stephen: Do I ·have to ·clean them ·for her?
6. Mead: Jean ·says she will see to it.
Beale: Does she mean it?
7. Deems: Good evening, Eve.
Leake: Hul lo, ·Keith. | Nice to see you.
8. Beasley: But I've been to ·Leeds.
Deane: Recently?
[ I]
I
1. If you want this one | it’ll cost you triple.
2. He will get to the ·cinema with 'six ·minutes to spare.
3. It is im possible for him to 'get there in 'six minutes.
4. Jim ·seems 'ignorant of 'even the 'simplest ·facts of 'English history.
5. The building is ·situated near a 'big cliff.
6. Tim 'didn’t ·get there in winter, | did he?
7. When you’ve finished it | give me a ring.
8. It’s difficult to contra dict him.
II
1. Griffiths: The digging’s finished.
Whitwill: Is it? | All of it?
2. Hill: That big one’s his.
Gibson: Which one?
3. Lindsay: Jim ·thinks it’s mag nificent.
Wilton: Does he think ·so?
4. Mitchell: Who’s 'Lindon Simpson?
Grist: Who, did you ·say, | or how?
21
5. Mitton: Why is Jim giving up?
Gibb: Why is he ·giving ·up? | Business reasons.
6. Wilks: Whose responsi bility is it?
Miller: Whose responsi·bility? Why, Bill’s.
7. Dixon: But dare he risk it?
Digby: Dare he ·risk it? | He’s got to ·risk it.
8. Flynn: How ·many children has Jill?
Disney: How many? | Six, I think.
III
A Lawyer who was de'fending a man | said to the court:
“Your Honour, | I sub mit | that my client, Mr Pincher, | did not break into
the 'house at all. He found the 'kitchen ·window open | and merely in'serted his
right arm | and re moved a 'few insig'nificant things. Now, | Mr Pincher's ·arm is
'not him self, | and I fail to see | how you can punish the 'whole indi vidual | for an
of fence | com mitted by ·only 'one of his limbs!”
The judge con'sidered this 'argument for a minute, | and then re plied:
“This argument is 'very ·well put. Following it logically | I sentence the
de'fendant's arm | to 'six 'years’ im prisonment. Pincher can ac company it or not,
as he chooses.”
Pincher smiled, | and with his lawyer’s as sistance | un screwed his arti'ficial
arm, | and leaving it in the dock, | briskly 'walked out.
[e]
I
1. Lester: I can’t ·come before Wednesday.
Bedford: Be fore when?
2. Betts: We met him on the '10th of Sep tember.
Clement: You met him when?
3. Best: Wasn’t the pro'fessor’s 'lecture terrible!
Dennis: Wasn’t whose ·lecture ·terrible?
4. Belfitt: I shall never 'help him a gain.
Eddery: Never | is a very ·dangerous ·word to ·use.
5. Teggart: What a 'terrible essay!
Kent: Edgar ·doesn’t think it’s ·terrible.
6. Edney: 'Is your 'new 'dress red | or yellow?
Belle: Red. I ·thought you knew.
7. Welch: I’ve ·sent the ·text on to Leslie.
Fletcher: He won’t get it on Wednesday.
8. Preston: He sent his 'essay last Sep tember.
Leslie: You mean last No vember, | don’t you?
II
Mrs. Bennet: What d’you ·think I’d 'better ·do about 'these 'letters that have ·come
for Lester?
22
Mr. Bennet: Can’t you re-ad dress them?
Mrs. Bennet: Yes, | but where to?
Mr. Bennet: Why not to Bedford?
Mrs. Bennet: He won’t be back there for ten days. He was going to Reading
yesterday.
Mr. Bennet: Won’t Mr. 'Dennis have an ad·dress for ·sending stuff on?
Mrs. Bennet: He may, | but he’s apt to for get them, Lester says.
Mr. Bennet: Well, | does it matter? They’re only circulars, | aren’t they?
Mrs. Bennet: No; | this one ·looks as if it ·might be from ·Messrs 'Rendal &
Berry. I know he was ex pecting to ·hear from ·them.
Mr. Bennet: Why 'didn’t the 'ass let them 'know where to send the letter?
Mrs. Bennet: He probably thought | it was safer to ·let it come here, | when he
knew he was going to be in Reading or elsewhere.
[x]
I
1. Hammond: Can I 'offer you that ·badge?
Garret: I’ve already got one, as it happens.
2. Jackson: Is that ·Dan ·Radford?
Hampton: Yes, that’s the man.
3. Maxwell: Wasn’t it tragic about Bat Andrews?
Saxton: Yes, I was shocked to learn about the crash.
4. Barry: So you think ·Dan’ll manage to track them.
Hamilton: Dan’s ·always been very good at that sort of ·thing.
5. Allison: It’s an 'absolute scandal.
Gamble: Absolute ·scandal? ·Are you sure?
6. Adams: What’s 'happened to Jack?
Radford: Don’t worry. He failed his e xam.
7. Atkinson: What’s the matter?
Panton: Be careful. You nearly smashed my ·hand with that.
8. Mr Harris Jr.: Hu llo, Dad!
Mr Harris Sr.: Good morning, ·Sam.
II
Mab: There you ·are, Jack. I thought you ·might be here earlier.
What ·happened to your train? Was it late?
Jack: No, I ·don’t think so; | ·just about on time. Which one did you think I was
·catching, ·then?
Mab: Wasn’t it the ·one that 'gets ·in at 'five ten?
Jack: No, that’s ·Saturday’s only. Hadn’t ·Ann told you?
Mab: Oh, of course she ·had; how silly of me to have for·gotten it. Anyway it
'doesn’t matter. What luck your ·managing to ·get a·way just ·now. How’s
Ann?
Jack: Not too bad; a bit over·come by the heat.
23
Mab: Hasn’t it been awful. I hate storms, | but I was 'quite thankful to ·hear the
·thunder ·last night, | and after a shower | it hasn’t been quite so ·bad to
day. I sup pose it’s been ·even worse with you.
Jack: Like an oven. I’ve been com pletely ·flattened out.
24
[a:]
I
1. Carson: Pass me that card, Bart.
Charley: Which ·card?
2. Barclay: What did Arthur ·do in Ghana?
Parkes: He worked on a farm.
3. Martin: I asked 'Archie yesterday.
Gardener: And‚ what was his answer?
4. Barton: Was Arnie’s 'car damaged?
Carter: Scarcely marked.
5. Parker: Shall I pass them to Martin?
Hart: Pass them to me, ‚rather.
6. Bartlett: Parker’s on the phone.
Hardy: Ask him a·bout my car.
7. Garth: Margie’s 'asked us to tea.
Parnell: How perfectly charming of her!
8. Margetts: Aren’t you 'Archibald Smart?
Smart: Well, if it isn’t old Margetts!
II
Barney: I say Arthur. Seen ·anything of 'Garth Rance ·recently?
Martin: Garth Lance?
Barney: No, Rance with an R.
Martin: Who’s 'Garth Rance, may I ask?
Barney: Don’t you re member? The man who 'gave you those driving lessons
last March.
Martin: Oh, him. No, I’m af raid I haven’t. Why d’you ask? You don’t
need more lessons, ·do you? I ·thought you passed your ·test.
Barney: 'So I did, later in March. No, I don’t ·need lessons. Margie ·does.
Martin: But didn’t you 'say your father was ·teaching her?
Barney: He was, | but he literally 'couldn’t 'stand the pace. Margie has no
con·ception of speed, | and if you’d seen her 'tearing round Regents ·Park, |
you’d have said she was com·peting in an 'inter'national car ·race, | rather
than having ele mentary in'struction in ·handling our 'poor old car.
Martin: So Margie’s 'pretty confident, | is she?
Barney: Confident! | That’s putting it mildly. Anyway, | Father stood up to this
·hurricane ·treatment of the car rather well, actually. But when yesterday |
dear old Margie | started taking the car to ·pieces, | Father 'threw in the
sponge.
Martin: So that’s why you were ·asking about Garth ‚Rance. Let’s hope he’s 'fully
in sured.
25
[O]
I
1. Hobbs: It’ll cost a 'lot of dollars.
Thomas: Obviously.
2. Cox: Where’s John’s copy?
Rodd: Don ·took it ·for him.
3. Bond: Dodd’s gene'rosity is as tounding.
Mock: Is it gene·rosity do you think?
4. Ross: ·Moll’s being very obstinate.
Croft: Then you be ·obstinate, | too.
5. Goble: What about ·Hobb’s offer?
Bonnett: Was it an ·offer in ·fact?
6. Collins: You’re a pompous ass, ·Tom.
Dodwell: Well, really, ·Rodge!
7. Boswell: I’ve for·gotten to buy a blotting-·pad.
Folliott: Well, ·need you bother about ·having ·any?
8. Golton: Tom’s having cocoa. What for you, ·Ron?
Nox: I’d pre fer a cup of coffee.
II
Oliver: Come and have some coffee.
Offord: What’s the time?
Oliver: Ten to four.
Offord: We shall have to be quick, ·then. I’ve got Mrs. 'Ockham ·coming to see
me. Where are we going?
Oliver: Roger’s, I sup pose.
Offord: No, let’s go ·somewhere else. The coffee there’s getting 'worse and
worse.
Oliver: You are too fussy, Offord. What about a ·place in Popham Street?
Offord: All right. Come on. Have I ·got my ·ciga rettes? Yes, | I’ve got them.
Oliver: Oh, ·that re minds me; | I don’t ·think I ·brought mine. I’ll just go back
for them – I shan’t be a minute.
Offord: No, don’t bother. I’ve got enough for the present.
Oliver: Very well. Off we go, then.
[O:]
I
1. Your daughters are 'all tall.
2. This per formance 'always ‚draws a 'large audience.
3. Have you ·read the ex'traordinary ·story they are 'all talking a·bout?
4. That tall ·girl’s my daughter.
5. I a dore her 'more and more.
6. Could you 'show me the 'shortest ·way to the port?
7. I caught a cold | when I walked a·long the shore.
26
8. They can't ·afford to ·buy any more.
II
1. Morston: Mort was rather a bore to·night.
Gorton: Isn’t he always?
2. Thorner: We still ·need his sup port, | don’t we?
George: More than 'ever be fore.
3. Saunders: You haven’t ·brought e nough of them.
Mortimer: I shall be ·bringing some ·more ·later in the morning.
4. Porter: What an ex traordinary shawl!
Small: What’s ex traordinary about it?
5. Swan: Ac cording to George | they have re ported it.
Waters: It’s not im·portant, | is it?
6. Horner: Why, it’s ·Mr Corbett! | How are you?
Corbett: Good morning, Mr ·Horner. Fine, thank you.
7. Norton: It was your fault.
Dawson: My ·fault?
8. Lawton: I call on 'Gordon 'every morning.
Sawyer: Every ·morning?
[]
I
1. Would you 'like a'nother ·lump of sugar?
2. Would you 'wait till I’ve 'had 'time to look for it?
3. Put this ·book 'back in the bookcase.
4. You wouldn’t ·like a 'wooden whistlethat wouldn’t whistle, would you?
5. You’d better 'put ·on your 'woollen pull-over.
6. Who 'took my cook-book?
7. Would you ·like some 'sugar ·cookies with your pudding?
8. Fuller’s the 'last ·person to 'want to bully you.
II
Sue’s ·fondest 'childhood memories are as'sociated with a 'small hut set
deep in the woods. A little 'brook ·ran nearby, and there were many 'cosy
nooks where she could hide among the bushes.
Her father was a wood-cutter and her mother was a cook. She cooked
'food for the woodmen who worked in the wood.
When he was free, her father 'took her for 'long walks in the woods 
to watch woodpeckers, woodcocks, cuckoosand other wood birds. Once
she even 'saw a wolf.
When the weather was good  she could bathe in the brook.
Her mother 'taught her to cook, and soon she could 'cook almost
anything  without ·ever a look at a cookery-book.
27
[u:]
I
1. Boone: This is Mr Doolittle.
Hughes: How do you do!
2. Cooper: What would you ·do?
Toole: It’s up to you. You must ·make ·up your own ·mind.
3. Tudor: When can you ·come?
Troup: As soon as the ·weather im proves.
4. Boothe: It’s absolutely true.
Mac Dougall: But who’s going to be·lieve it?
5. Doone: I ar rived on ·Tuesday after noon.
Truefitt: At e xactly what ·time in the after·noon?
6. Boots: I don’t ·care if I do ·lose my ·schooner.
Cooling: How can you ·say such a ·foolish thing?
7. Boosey: Doolittle re fused to ·go to ·school.
Coombe: Wasn’t it ·absolutely foolish of him?
8. Bootle: Which would you ·choose, if ·you were ·me?
Doolittle: The new ·one, of ·course.
II
Al though it was June, and the moon was new the sur roundings of the La
goon were hardly ro'mantic for 'Mr and ·Mrs Cooper. The weather was un
'usually cool, the place itself was 'quiet as a tomb, and almost as gloomy.
Certainly  the Coopers were in 'no ·mood to ·go 'swimming in the pool,
but their friends in duced them to ·do so.
Later as the 'evening ·grew 'cooler and cooler, the Coopers and a 'few
touristshad good ·reason to re'gret their foolishness, for Mrs Cooper and
'several ·people of their ·group 'caught cold and had to 'send for the 'local phy
sician, Dr Woosley.
[A]
I
1. Ask 'Buck if he’d 'like a nother ·lump of ·sugar.
2. Rutt won’t ar·rive before ·lunch on Sunday.
3. Mother 'told her 'not to come.
4. Don’t 'touch this 'money till 'next month.
5. She was as snug as a 'bug in a rug.
6. Something must be 'done to 'save the funds.
7. With utmost care  my ·uncle un rapped the bundle.
8. There wasn’t 'much sunshine in ·London last Monday.
II
Dunn: What do we 'do now?
Hutt: Look for some lunch, I should think. I’m hungry.
Dunn: Everywhere’ll be full round here. We’d better ·go to my club.
28
Hutt: Your club’s a bit far, don’t you think? Hadn’t we 'better seeif we can
·get in somewhere first?
Dunn: I don’t think it’s ·really worth it. We will if you like,but if a taxi comes
a long  I ·think we’d ·better grab it and ·go to the club.
Hutt: Here is one. No, he’s taken. There’s a nother ·though. Taxi.
[E:]
I
1. Bert’s the 'last 'person to 'want to hurt you.
2. Is Earny ·going to 'leave by the 'eight thirty?
3. Which work d’you 'want her to 'finish first?
4. I’ll re turn the ·journals when I ·come on Thursday.
5. They’ll be serving ·lunch earlier on Thursday.
6. The curtain fell and the re hearsal was ad journed.
7. Earnest was dis'turbingly dis'cursive through·out the journey.
8. The first and the 'third verses were 'most ·difficult to learn.
II
“The Im portance of 'Being Earnest”,while not the 'first of 'Oscar 'Wilde’s
works, was 'one of his earliest at'tempts at comedy.
The chief 'character of the play  is a person 'named 'Earnest Worthing,
and the play’s title de'rives from the 'word “earnest”, Earnest being 'both the
name of the hero  and the indi cation of his character, though in some res·
pects Earnest 'Worthing was far from being earnest  in im personating an en
'tirely fic'titious person. Earnest’s 'life 'furthermore was 'rather a worthless ·one,
but as the play pro ceeds, he turns ·out to be a 'fairly likable person, with
no ·worse 'purpose in life  than to win the 'hand of the 'girl he loves.
[q]
I
“We must be careful,” said Mr Pickwick, after ·listening at·tentively to Sam’s
tale, “ not for out own sakes, but for that of the 'young lady. We must be
very cautious.”
“ We,” said Mr ·Winkle,  with ·marked emphasis.
Mr Pickwick’s 'momentary 'look of indig'nation at the tone of ·this re mark
 sub sided into his character'istic ex'pression of be nevolence, as he re ·plied:
“ We, sir. I shall ac company you.”
“ You,” said Mr ·Winkle.
“ I,” re·plied Mr ·Pickwick, ·mildly. “In af fording you this interview  the
young lady has 'taken a 'natural per hapsbut still a ·very im'prudent step. If I
am ·present at the meeting,  a mutual friend who is 'old enough to be the 'father
of both parties, the voice of 'calumny can 'never be 'raised against her here
after.”
29
Mr Pickwick’s ·eyes 'lightened with 'honest exul tation as he ·spoke ·thus. Mr
Winkle was touched by this ·little ·trait of his ·delicate res·pect for the ·
young ·protegee of his friend, and took his 'hand with a 'feeling of re·gard a kin
to vener ation.
“You shall go,” said Mr ·Winkle.
“I will,” said Mr ·Pickwick. “ Sam, have my 'greatcoat and 'shawl ready,
and order a con'veyance to ·be at the door to·morrow evening,  rather ·earlier
than is 'absolutely necessary, in ·order that we may be in good time.”
Mr Weller ·touched his hat, as an earnest of his o bedience, and with
drew to make 'all 'needful prepa'rations for the expe dition.
(Charles Dickens)
[eI]
I
1. I’ll take the papers when I come a little later.
2. Gray’s pronunci'ation is quite different from Bacon’s.
3. Will you wait till I’ve had time to ar range it?
4. Is Jane going to leave by the eight twenty- eight?
5. Grace wants you to take the class to day.
6. Payne said he’d wait for us at the station.
7. They’ll play the game later in the day.
8. The train was derailed by a violent gale.
II
1. Clay: Could you stay and play a nother game?
Baker: I’m afraid I’m al ready late.
2. Taylor: I am sorry I gave the game away.
Bray: It doesn’t matter, Jake. We all make mistakes sometime.
3. Mc Kay: What does the cable say?
Trail: Jane and Ray have been de layed  but will get here to day.
4. Page: He didn’t make it that way.
Gray: Which way did he make it, then?
5. Davis: It rained on seven days out of eight.
Payne: On how many days?
6. Capes: There’ll be no race if James has to work late.
Day: If who has to work late?
7. Grace: What a miserable day!
Wales: Cheer up, Clay. It’ll soon stop raining.
8. Slade: He sails on the twenty- eighth.
Bacon: What date does he sail?
[aI]
I
1. The island is nine miles long and five miles wide.
2. The climate’s pretty mild in Ireland.
30
3. I don’t think you’ll mind my trying it several times.
4. Out of sight out of mind.
5. I was sur prised that neither reply was right.
6. You must light a fire to warm the dining-room.
7. I should like you to write your reply on Friday.
8. Will you have time to type a few lines for me?
II
1. Wilde: Mike’ll 'meet us at nine.
Hide: At what time?
2. Bright: It’s entirely up to you, Giles.
Giles: Would you mind if I re·fused?
3. Whyte: My knife’s hopeless.
Price: Well, would mine cut any better?
4. Fyle: Be nice to Blythe.
Lisle: Be nice to Blythe? Why should I?
5. Dighton: I should fry them.
Miles: You would fry them?
6. Dives: Would you like to try?
Pyke: Would I like to try?
7. Dyson: Tell me the time, please.
Rider: Tell you the time? Nine minutes past nine.
8. Spikings: These matches won’t strike.
Riding: Mine strike.
[au]
I
Mr Howard: I may be a bit late to night. There’s a meeting of the Council, at
five, and there’s no saying how long it’ll go on. Would it make things
easier  if I had something to eat in Town?
Mrs Howard: Just as you like. If you think it’d be less tiring to have dinner before
you come down, you’d better do that.
Mr Howard: As far as I’m con cerned, I’d rather not. But I don’t ·want to keep
you waiting a bout  and spoil your evening.
Mrs Howard: You needn’t worry about that. If you’re going to be late, I shall go
round to Mrs Gower this after noon, and I needn’t hurry back. We can
have something out of a tin if necessary. If you change your mindyou
can ring me up at Mrs Gower’s.
[qu]
I
1. No, I don’t think so –  or rather I don’t know.
2. I hope you’re both going home.
3. There’s no place like home.
4. When he comes home  he throws open all the windows.
31
5. I don’t know  how to make the dough for scones.
6. I hope you know  who wrote those poems.
7. No one knows  where the old fogey obtained the loan.
8. I don’t smoke so much as Joe does.
II
1. Clover: You can phone me to morrow.
Holmes: When can I phone you?
2. Robeson: I’ve got to go to Oakland.
Mo lony: You’ve got to go?
3. Clow: Joan broke her arm. So she couldn’t sew.
Mould: Why couldn’t she sew?
4. Crowe: It’s going to turn cold.
Colts: Think so?
5. Owen: Show me those postcards.
Coles: Show them to you?
6. Rowe: Shall we go boating?
Bones: To morrow?
7. Snow: It’s broken on both sides.
Noble: On both sides?
8. Oakley: I stopped smoking a long time ago.
Soames: A long time ago? How long ago?
[OI]
I
1. Small boys like noise-making toys.
2. Most coins are made of alloys.
3. I think Joyce is a bit hoity- toity.
4. Do you know the boiling and freezing points of water?
5. Any noise annoys an oyster  but a noisy noise annoys an oyster most.
6. Joy cooked them in boiling oil.
7. You en joyed eating the oysters, didn’t you?
8. Roy was annoyed with the boy  because he’d spoiled his toy.
32
II
1. Doyle: I’m glad she’s enjoyed her stay.
Bois: Has she enjoyed it?
2. Boyd: Is that your little boy?
D’Oyley: My little boy?
3. Boycott: What ever made you join them?
Joyce: It couldn’t be a voided.
4. Boyton: There’s no point in asking Roy.
Joy: He’s got a good voice.
5. Roy: I’m quite en joying this turmoil.
Lloyd: Then for heaven’s sake don’t look disap pointed.
6. Mac quoid: I’ve asked Joyce to stand in.
Oyster: Joyce! She’ll be a disap pointment.
7. Poynter: He spoiled my best decoy.
Royce: How terriby an noying for you.
8. Poynings: He refused point- blank.
Toye: How very an noying! A kill-joy, that’s what he is.
[Iq]
I
1. He made it clear  that his criticism would be se vere.
2. I fear he’s far from being sin cere.
3. It’s real cash mere, my dear.
4. The day was clear  and the boys went to the pier.
5. If it’s not fear, then what else is it, Mr Tier?
6. Don’t sneer at his inex perience, dear.
7. Towards night  the severe weather turned into a real storm.
8. Steer clear of Mr Geare.
II
1. Tear: What are you staging this year?
Cleary: Shakespeare’s “King Lear”.
2. Dearley: Peary’s grown a beard.
Tier: A beard.
3. Geare: I can’t see to type here.
Spearman: Move the other light nearer.
4. Geary: I hate beer.
Leary: So do I, dear.
5. Geering: I thought you were in Ismai lia.
Kearley: Where did you get that idea from?
6. Mrs Keary: Oh dear, oh dear!
Mr Keary: What is it, my dear?
7. Pearson: Why didn’t he come here?
Peary: I haven’t the slightest i dea.
33
8. Pearce: I think I can clear seven feet.
Rean: Can you really?
[Fq]
I
1. I can’t tell you about Clare. I wasn’t there.
2. Oh there you are, Mary!
3. Why don’t you wear this pair of shoes?
4. His angry glare didn’t scare them.
5. Give Clare a fair share of pear jam.
6. Clare’s dairy is in want of re pairs.
7. The unwary bear was caught in his lair.
8. This mare won a prize at the fair.
II
1. Carey: I’ve said I’ll wear it.
Sheard: Yes, but where?
2. Cairns: What shall I do with these chairs?
Blair: Have them re paired.
3. Mrs Laird: I haven’t got a decent hat to wear.
Mr Laird: Wear the one you wore at the fair.
4. Mrs Fairbanks: I can’t bear Clare.
Mr Fairbanks: Nor can your parents.
5. Fairfax: I can’t find the square anywhere.
Daring: Have you looked in the warehouse?
6. Dares: The stairs is being re paired!
Fairfield: I’ll be very careful.
7. Fairleigh: Just leave the whole affair to Clare and me.
Wareham: For heaven’s sake be careful.
8. Fairford: You should dye your hair, Clare.
Clare: Dare I risk it?
[uq]
I
1. I’m absolutely sure it’s pure wool.
2. She couldn’t endure seeing animals treated cruelly.
3. He needs a rest-cure, I’m sure.
4. She did it to make assurance doubly sure.
5. During February they made a tour of Europe.
6. This ladder’s quite se cure, I’m sure.
7. Can you cure her of curi osity?
8. What did the tourists do during the day?-
II
1. Doorly: I think Moor wrote this overture.
Stuart: Are you sure, though?
2. Moore: Was it easy to se cure it?
Poore: Pure child’s play.
3. Moorgate: Well, I’m sure we’ll get there in time.
Dewar: I’m worried about the fuel.
34
4. Du rand: I think it’s past curing.
Moore: Surely not.
5. Fury: He says he doesn’t want security of tenure.
Stewart: Don’t be too sure.
6. Tours: I’m sure he’ll outwit his pur suer.
Drury: What makes you so sure?
7. Brewer: He says that the soil is not so poor on that moor.
Duer: How very un usual!
8. Du rell: He has been feeling rather poorly of late.
Sewell: All that he needs is a rest-cure, I’m sure.
2. THE CONSONANTS OF ENGLISH
2.1. Principles of Classification

Consonants are made with air stream that meets an obstruction with mouth or
nasal cavities. That is why in the production of consonants there is a certain degree
of noise.
On the articulatory level the consonants change:
1) in the degree of noise;
2) in the type of obstruction;
3) in the place of articulation and the active speech organ;
4) in the work of the vocal cords;
5) in the degree of force of articulation.
1. The Degree of Noise.
According to the degree of noise consonants are divided into two big classes:
Class A: Noise consonants.
Class B: Sonorants.
Class A. In the production of noise consonants there is a noise component
characteristic.
Noise consonants vary:
1) in the work of the vocal cords;
2) in the degree of force of articulation.
According to the work of the vocal cords they may be voiceless and voiced.
Voiced consonants are: [b, d, g, v, D, z, Z, dZ].
Voiceless consonants are: [p, t, k, f, , s, S, tS, h].
The degree of noise vary because of the force of articulation. Strong (fortis)
noise consonants are produced with more muscular energy and stronger breath effort.
Weak (lenis) noise consonants are produced with a relatively weak breath effort.
Class B. Sonorants are made with tone prevailing over noise because of a
rather wide air passage. They are [m, n, N, w, l, r, j].
2. The Type of Obstruction.
The manner of articulation of consonants is determined by the type of
obstruction. The obstructions may be complete and incomplete. When the obstruction
35
is complete the organs of speech are in contact and the air stream meets a closure in
the mouth or nasal cavities.
In case of an incomplete obstruction the active organ of speech moves towards
the point of articulation and the air stream goes through the narrowing between them.
According to the manner of articulation consonants may be of three groups:
1) occlusive;
2) constrictive;
3) occlusive-constrictive (affricates).
Occlusive consonants are sounds in the production of which the air stream
meets a complete obstruction in the mouth. Occlusive noise consonants are called
stops because the breath is completely stopped at some point of articulation and then
it is released with a slight explosion, that is why they are also called plosives.
Occlusive noise consonants are: [p, b, t, d, k, g]
Occlusive sonorants are also made with a complete obstruction but the soft
palate is lowered and the air stream escapes through the nose, so they are nasal.
Occlusive nasal sonorants are: [m, n, N].
Constrictive consonants are those in the production of which the air stream
meets an incomplete obstruction, so the air passage is constricted. Constrictive noise
consonants are called fricatives because the air escapes through the narrowing with
friction. Fricatives are: [f, v, , D, s, z, S, Z, h].
Constrictive sonorants are also made with an incomplete obstruction but with a
rather wide air passage, so tone prevails over noise. Constrictive sonorants are: [w, r,
l, j]. They are all oral, because in their production the soft palate is raised.
Occlusive-constrictive consonants are noise consonant sounds produced with a
complete obstruction which is slowly released and the air escapes from the mouth
with some friction. There are only two occlusive-constrictives: [tS, dZ]
3. The Place of Articulation and the Active Speech Organ.
The place of articulation is determined by the active organ of speech against
the point of articulation.
According to the position of the active organ of speech against the point of
articulation consonants may be:
1) labial;
2) lingual;
3) glottal.
Labial consonants are made by the lips. They may be bilabial (both lips are
active): [p, b, m, w], and labio-dental (articulated with the lower lip against the edge
of the upper teeth): [f, v].
Lingual consonants are classified into forelingual, mediolingual and
backlingual.
Forelingual consonants are articulated with the tip or the blade of the tongue.
According to the place of obstruction forelingual consonants may be:
1) interdental;
2) alveolar;
3) post-alveolar;
36
4) palato-alveolar.
Interdental consonants are made with the tip of the tongue projected between
the teeth: [, D]
Alveolars are articulated with the tip against the upper teeth ridge: [t, d, s, z, n,
l].
Post-alveolars are made when the tip or the blade of the tongue is against the
back part the teeth ridge or just behind it: [r].
Palato-alveolars are made with the tip of the blade of the tongue against the teeth
ridge and the front part of the tongue raised towards the hard palate: [tS, dZ, S, Z].
Medio-lingual consonants are produced with the front part of the tongue. They
are always palatal. Palatals are made with the front part of the tongue raised high to
the hard palate: [ j ].
Back-lingual consonants are also called velar because they are produced with
the back part of the tongue raised towards the soft palate (Lat. velum): [k, g, N].
The glottal consonant [h] is articulated in the glottis.
Classification of consonants according to:

1. THE TYPE OF OBSTRUCTION:
Noise Consonants Sonorants
occlusive constrictive occlusive- occlusive constrictive

(plosives or stops) (fricatives) constrictive (nasal) (oral)
(affricates)
pb fv tS dZ m w
td D n l
kg sz N r
SZh j
2. THE PLACE OF ARTICULATION AND THE ACTIVE SPEECH ORGAN :
Position of Active Organ of Speech
labial lingual glotta

l
h
bilabial labio- forelingual medio- back-
pb dental PLACE OF OBSTRUCTION lingual lingual
mw fv j kgN
interdental apical- palato- post-
D alveolar alveolar alveolar
td
sz SZ r
nl tS dZ
37
2.2. The Diagrams on Consonant Sounds
[p] and [b]

NOTICE:
1. The lips are closed firmly and the soft palate is raised so that the breath cannot get
out of either the nose or the mouth but is trapped for a short time.
2. When the lips are opened suddenly the breath rushes out with a slight explosion or
popping noise.
3. Before the lips are opened, the rest of the mouth takes up the position for the
following sound, a vowel position if a vowel follows, as in pool, or a consonant
position if a consonant follows, as in play.
[t] and [d]

NOTICE:
1. The tip of the tongue (not the blade) is firmly against the middle of the alveolar
ridge, not too near the teeth and not near the hard palate.
2. The soft palate is raised, so the breath cannot escape through either the nose or the
mouth, but is trapped for a short time.
3. The sides of the tongue are firmly against the sides of the palate, so that the breath
cannot pass over the sides of the tongue.
4. When the tongue-tip is lowered suddenly from the teeth ridge the breath rushes out
with a slight explosion or popping noise.
[k] and [g]
38
NOTICE:
1. The back of the tongue is in firm contact with the soft palate, and the soft palate is
raised, so that the breath is trapped for a short time.
2. When the tongue is lowered suddenly from the soft palate, the breath rushes out of
the mouth with a slight explosion or popping noise.
39
[f] and [v]
NOTICE:
1. The soft palate is raised so that no air goes through the nose and it is all forced
through the mouth.
2. The bottom lip is very close to the upper front teeth: this forms the narrowing and
when air is pushed through this narrowing it causes slight friction.
3. The tongue is not directly concerned in making these sounds, but it does not lie
idle; it takes up the position necessary for the following sound, so in [fi:] it will be
in the [i:] position whilst [f] is being pronounced, and in [fri:] it will be in the [r]
position, and so on.
[s] and [z]
NOTICE:
1. The soft palate is raised so that all the breath is forced to go through the mouth.
2. The tip and blade of the tongue are very close to the alveolar ridge. There is a very
considerable narrowing at this point, not near the teeth and not near the hard palate.
3. The teeth are very close together.
4. The friction for these sounds, especially for [s], is much greater than for [f, v, ]
and [D].
[] and [D]
40
NOTICE:
2. The tip of the tongue is close to the upper front teeth: this is the narrowing where
the friction is made.
3. The noise made by the friction for [] and [D] is not very great, much less than for
[s] and [z]
41
[S] and [Z]
NOTICE:
2. There is a narrowing between the tip of the tongue and the back of the alveolar
ridge.
3. The front of the tongue is higher than for [s] and [z].
4. The lips are very slightly rounded.
[tS] and [dZ]

NOTICE:
1. The tongue-tip touches the back part of the alveolar ridge, and the soft palate is
raised so that the breath is trapped for a short time.
2. The rest of the tongue is in the [S, Z] position.
3. The tongue-tip moves away from the alveolar ridge a little way (see the dotted
lines), and the whole tongue is then in the [S, Z] position, so that a short period of
this friction is heard. The friction of [tS] and [dZ] is not so long as for [S] and [Z]
alone.
[h]
42
NOTICE:
1. Push a lot of air out very quickly.

2. Do not touch the roof of your mouth with your tongue.
[m] and [n]

NOTICE:
1. The soft palate is lowered for both [m] and [n].
2. For [m] the mouth is blocked by closing the two lips, for [n] by pressing the tip of
the tongue against the alveolar ridge, and the sides of the tongue against the sides
of the palate.
3. Both sounds are voiced in English, as they are in other languages, and the voiced
air passes out through the nose.
[N]
43
NOTICE:
1. The soft palate is lowered and all the air passes out through the nose.
2. The mouth is blocked by the back of the tongue pressed against the soft palate.
3. The sound is voiced.
[l]
NOTICE:
1. The soft palate is raised.

2. The tongue-tip (and the sides of the tongue-blade which cannot be seen in the
diagram) are in firm contact with the alveolar ridge, obstructing the centre of the
mouth.
3. The sides of the remainder of the tongue are not in contact with the sides of the
palate, so air can pass between the sides of the tongue and the palate, round the
central obstruction formed by the tip and blade of the tongue and so out of the
mouth.
4. The sound is voiced and there is no friction (except when it is immediately after
[p] or [k].
[r]
44
NOTICE:
1. The tongue has a curved shape with the tip pointing towards the hard palate at the
back of the alveolar ridge, the front low and the back rather high.
2. The tongue-tip is not close enough to the palate to cause friction.
3. The lips are rather rounded, especially when [r] is at the beginning of words.
4. The soft palate is raised; and voiced air flows quietly between the tongue-tip and
palate with no friction.
[w]
NOTICE:
1. First practise [u:]. Make your lips round and hard for [w].
2. [w] is a short sound.
[j ]
NOTICE:
1. First practise [i:].

2. Very quickly move your tongue to make the next sound.
45
3. Do not touch the roof of your mouth with your tongue.
2.3. The Classification of English Consonant Phonemes

Tasks
I. Questions on theory:
1. What kind of sound is a consonant?
2. What are the main principles of classification of English Consonant Phonemes?
3. What are the groups of consonants according to the type of obstruction? (State the
difference between complete and incomplete obstruction). Provide examples.
4. Name the groups of consonants according to the place of articulation. Bring
examples.
II. Name all plosives,
fricatives,
affricates,
nasal sonorants,
oral sonorants,
lingual consonants.
III. Find the odd-one-out:
1. [m, g, w, r, l]
2. [h, tS, s, , d]
3. [f, , k, s]
4. [h, b, d, k]
5. [p, v, b, w]
6. [s, r, n, l, d]
7. [m, N, w, n]
IV. Draw a chart on the classification of English Consonant Phonemes.
V. Noughts and Crosses.
1 2 3
w r d 1) a sentence;
4 5 6 2) a rhyme;
p s b 3) a proverb.
7 8 9
h  t
2.4. Exercises
[p]
Post Haste
“I say, I am ·pleased to ·see you,” de·clared the little ·man ·standing
de·jectedly by the ·pillar-box.
“ Oh, hul lo,” I said, ·stopping. “ Simpson, isn’t it.”
46
The Simpsons were newcomers to the neighbourhood, and my 'wife and ·I
'had 'only met them ·once or twice.
“ Yes, that’s right,” returned ·Simpson. He seemed 'quite gratified by my
·ready recog·nition. “I wonder if you could ·lend me 'three pennies.” I plunged an
in'vestigatory ·hand into my pocket. “You ·see, my wife gave me a letter to post,
and I’ve 'just ·noticed it ·isn’t stamped.”
“They never are,” I ·said sympa·thetically.
“It must go to night – it 'really must. And I don’t sup·pose I should ·find a
·post-office open at this time of ·night, do you.”
The hour being ·close upon e leven, I a'greed that it 'seemed im probable.
“So I thought, you see, I’d get a ·stamp out of the ma chine,” ex·plained
·Simpson, ·not without ·pride in his ·inge·nuity, “only I find I 'haven’t got any
coppers on me.”
“I’m awfully sorry, but I’m a· fraid I ·haven’t, either,” I ·told him,
con·cluding my explo·rations.
“ Oh, ·dear dear,” he ·said. Just like that. He was ·that sort of little man.
“ P’r’aps somebody else...” I ·put ·forward.
“There isn’t anyone else.”
He looked up the ·street, and 'I looked down. Then he looked down the street,
and I looked up. We ·both ·drew a blank.
“ Yes, well,” I said, and ·made to move off. But he looked 'so for lorn,
·standing there ·clutching a ·blue, ·unstamped envelope, that I really ·hadn’t the
'heart to de sert him.
[b]
A Letter to Stella
Pray let us ·have 'no more bussiness, but busyness; the deuce ·take me if I
'know how to ·spell it; your ·wrong spelling, ·Madam Stella, has ·put me
out; it does 'not ·look right; let me see: bussiness, busyness,
business, bisyness, bisness, bysness; ·faith I know 'not which is ·right,
I think the second; I be lieve I ·never ·writ the ·word in my life be·fore;
yes, sure I ·must though; business, busyness, bisyness  – I have per
plexed myself  and ·can’t do it. Prithee ·ask Walls. Business, I fancy
that’s ·right. Yes, it is; I looked in my 'own pamphlet, and found it 'twice in
·ten lines, to con vince you that I ·never ·writ it be·fore. Oh, now I ·see as
'plain as can be; so yours is only an ·s too much.
(Jonathan Swift)
[t]
1. Tom: What made him take it?
Tim: He took it be·cause he wanted it.
2. Ted: Here are the tickets.
Tess: These are singles. Thought you 'said we were 'taking re turns.
47
3. Thompson: I may be a bit late.
Trent: That ·wouldn’t 'matter in the least.
4. Porter: Ten 'twenty- two.
Turner: What’s the 'time of the next ·Clacton ·train?
5. Tindale: How a·bout 'visiting the Tate ·Gallery?
Todd: Have we time this ·after·noon?
6. Toole: Count from 'thir'teen to twenty.
Tout: ·Thir teen, ·four teen, ·fif teen, ·six teen, ·seven teen, ·eigh teen,
·nine teen,  twenty.
7. Tanner: It shouldn’t take long.
Tilton: It’ll take at 'least a fortnight.
8. Telford: It’s not fair. I lost.
Terrick: You mustn’t ex'pect to ·win all the ·time.
[d]
A druggist ·named 'Dudley Davis  one day re'ceived a de'mand by ·post
from a 'distant customer  in 'need of a 'certain drug. “Dis patch im mediately,” the
·customer ·wrote, “the de·sired drug, and if it de'velops to be good, I shall be
de lighted to ·send my 'check with·out de lay.”
The druggist re'plied the ·same day: “Dis patch im'mediately the de'sired
check, and if it de·velops to be good, I shall be de lighted to send you the
de·sired drug with·out de lay.»
[k]
Sherlock ·Holmes  was clearly ·having con'siderable difficulty  in
catching the criminal. The crime had been com'mitted by someone  showing
'great 'cunning and caution.
A former 'convict and his ac'complice had been ac cused, but of course
they dis claimed the crime, and the evidence which had been se cured  was
not con clusive. Consequently, the police were com'pelled to re lease them.
By this time  the case ·seemed to be com'pletely in soluble. There were
even a 'few com plaints in the 'local press  a·bout the in competence of the 'great
de tective. Yet  the latter ·seemed for the time being  practically in capable of
un·covering any 'actual clues.
[g]
A traveller was 'going ·through 'New England  where the natives are 'often
'uncom municative. Meeting a 'certain villager,  one Gabriel Gates by ·name, 
he en gaged him in the 'following conver sation:
“Who owns this house?” he ·asked.
“ Moggs,” re·plied ·Gates.
“ What in the 'world is it built of?”
“ Logs,” ·answered ·Gates.
48
“ Any animals ·hereabouts?”
“ Frogs,” ·said ·Gates.
“ What ·sort of soil have you ·got?”
“ Bogs,” ·said ·Gates.
“ How a·bout the climate?”
“ Fogs,” ·said ·Gates.
“ What do you live on ·chiefly?”
“ Hogs,” ·said ·Gates.
“ Have you ·got any friends?”
“ Dogs,” ·said ·Gates.
[tS]
Charlie 'Chase was a good teacher  but a grouchy 'old chap. His class
'met after lunch, and Charlie was ha'bitually late. Each day  the pupils
would 'watch the clock, hoping he 'wouldn’t ·reach 'class in time, for they
were re quired to 'wait ·only 'twenty ·minutes for 'any teacher. One day 
though Charlie’s 'hat ·lay on his chair, they all ·marched out  e xactly at
'twenty ·minutes after one. The next day Charlie 'Chase was 'very
punctual, but much dis turbed by their ·action. “ When my 'hat is on my
chair,” he ·said in a ·challenging ·voice, “ that’s the 'same as if I were ·here.”
The next day, Charlie ·Chase 'chanced to be 'late a gain. As Charlie
ap'proached the classroom, how·ever  he saw no ·pupils present, but each
of them had 'carefully 'left his hat lying on his chair.
[dZ]
Jack ·Jameison  who lived in a 'small village  ·named Jerome Junction,
was judged by 'some of the villagers to be foolish, but he was just as clever
 as any ·boy of his age.
One day  Jack 'went to the 'village store  to buy some jelly, some
oranges,  some jam, and finally 'five ·cents 'worth of cheese.
The village 'storekeeper, Mr Jenkins, ob jected to ·selling ·Jack so ·small a
·piece of cheese. Mr Jenkins just 'couldn’t 'judge the size of a ·five-cent ·piece of
·cheese.
“Then give me a ten-cent ·wedge of ·cheese,”  said ·Jack ·Jameison. Mr
Jenkins 'cut a 'ten-cent ·wedge of cheese. Jack laid 'five ·cents on the 'edge of the
counter. “Now just 'cut that piece in half,” he said to Mr ·Jenkins.
[f]
Philip ·Fox was 'writing a ·letter to his 'girl friend, 'Frances Flete, who
lived in Fosbroke, a nearby village. Philip 'wrote ·telling ·Frances of his 'great
and 'infinite af fection for her. Philip said he would 'follow his 'dear 'girl friend
everywhere. To be with her for 'only a 'few minutes  he would suffer great
49
hardships  and face the 'most ·frightening dangers. Finally, signing his
name, Philip re called  that he had failed to ·mention 'one fact. So in a
postscript 'Philip ·added the following: “ Friday, the 'fif teenth, at about five in
the 'after noon –  if it doesn’t rain.”
[v]
I
1. Everybody ·knew that ·Victor was ·waiting for Vera.
2. I used to be very ·fond of veal.
3. We don’t ex'pect to 'leave till this evening.
4. Eve ·knows 'Vickie very well.
5. Was the theatre very full the ·evening you ·went?
6. I trust Steve ·hadn’t been waiting very long?
7. If Vincent’s going my way  I can 'give him a lift.
8. Though modesty is a virtue, yet bashfulness is a vice.
II
1. Vaughan: What do you ad'vise me to do?
Vernon: Meet 'Eve on Wednesday  and give her that ·vase.
2. Mr Vincent: Val was 'very rude to ·Viola.
Mrs Vincent: Tell 'Viola 'not to' take any notice of him.
3. Varney: Vic seems to be a voiding me.
Vaux: How ·very strange!
4. Venn: When are we to ex pect Mr ·Voyle?
Verner: Friday 'evening at the 'very earliest.
5. Verity: Lovely ·evening, wasn’t it?
Vett: Oh yes. Wasn’t it 'nice to see Viv a·gain.
6. Mr Vange: How much 'ought 'Vicky to have?
Mrs Vange: Give her a teaspoonful of it.
7. Vaud: That’s 'Vivian Vincent.
Varley: Never heard of her.
8. Ventor: ·Vicky says you’ll ·give him a fiver.
Vaney: What ever will the 'little 'villain sug'gest next?
[]
Mr Thorn: There’s the seven thirty on 'Thursday morning, and the eight thirty
an 'hour later.
Mrs Thorn: What ·time does the 'seven thirty get in?
Mr Thorn: A·bout ten thirty. It’s a good train.
Mrs Thorn: Seven ·thirty means an 'awfully ·early start.
Mr Thorn: I know; but Mrs ·Smith’ll be in panic if we ·don’t get to her ·place
till after ·ten thirty. I vote for the 'seven thirty.
Mrs Thorn: What ·time’s your ap pointment with Mr ·Thisby? Will it be
possible?
50
Mr Thorn: Thirteen thirty. It gets there at 'ten thirty. That ·gives us a 'good 'three
hours.
Mrs Thorn: Very good, ·Theo, so we go by 'seven thirty. I don’t ·think we
should risk the ·eight ·thirty. But will your ·people mind our ·going so
·early?
Mr Thorn: They won’t. We can put everything ·ready for ·breakfast over night.
We needn’t ·bother about much. We can get some ·more on the train – at
nine thirty – at least I hope so.
[D]
A voice: Hammersmith 'one ·three ·two three.
Mr Wothing: Is that ·Valour ·Ward of St Swithin’s?
The voice: Yes.
Mr Wothing: I want to ·ask about 'two ·young men, Mr Witham and Mr
Botham, who are in the sick-room at the moment, I be·lieve. Can you put
me on to ·someone?
The voice: Just hold on ·one ·minute, will you .
Mr Worthing: Right. Thank you.
Nurse Wetherby: Are you there?
Mr Worthing: Yes.
Nurse Wetherby: You were wanting to ·speak 'either to Mr Witham or to Mr
Botham, or to both of them?
Mr Worthing: Well, I i magine 'neither of them is fit to ·come to the ·phone
him self; I just wanted to ·ask how they were.
Nurse Wetherby: They’re getting on ·quite nicely. Who’s that speaking, ·please?
Mr Worthing: Worthing, of 'Rutherglen College.
Nurse Wetherby: Would you mind spelling it; there’s rather a lot of noise going
·on here.
Mr Worthing: Double U O R T H I N G. Worthing. Witham and
'Botham are my students.
Nurse Wetherby: Oh, yes. Well, they’re doing ·quite well; definitely on the
mend.
Mr Worthing: Thanks very much. I’m glad to ·know they’re ·getting ·on all
right. Is that ·Nurse Wetherby by any ·chance?
Nurse Wetherby: Yes.
Mr Worthing: They tell me you’ve been ·very good to them.
Nurse Wetherby: Oh, we do what we can for them. They’re nice boys.
Mr Worthing: Thank you very much. Good bye.
Nurse Wetherby: Good bye, sir.
[s]
If in 'any ·given language  we can change 'one word into a nother  by
re placing 'one of its com'ponent sounds  by a single ·new sound, we say that
'those 'two sounds are se mantic in ·that ·language. Thus the words “ seed”,“
seek”, and “ seep”, show that the ·three ·sounds  [ d], [ k], [ p]  are se
51
mantic in English. Some sounds ex ·ist in a ·language with out being se·mantic; in
that case  they are used ·quite un consciously by the speakers of the language.
When a speaker in whose ·language a 'certain ·sound ·either does 'not ex ist
or is 'not se mantic  tries to 'learn a language  in which that sound is ·not se
mantic, he usually ·finds con'siderable difficulty in placing it cor·rectly. He may o
mit it where it 'should be used  and use it where it should not; thus Germans (
and others), who have difficulty with the ·sound [ ], may say “thympathy”
instead of “sympathy”, and Frenchmen ( and others), who find the [ h]
troublesome, may say Ome Hoffice instead of Home ·Office.
[z]
I
1. Briggs does ·like roses.
2. He hasn’t ex'posed the others yet.
3. His songs are ·quite 'different from yours.
4. Hasn’t 'Sanders given 'Savels those coins?
5. Which of 'Shakespeare’s ·plays does he 'like best?
6. The prizes will be ·given to the 'first 'swimmers to ar rive.
7. Hasn’t your 'cousin re'ceived any letters?
8. Symonds’ll take the others  when he ·comes on Wednesday.
II
1. Saunders: Whose boxes are ·these?
Rodgers: John’s.
2. Jennings: His name was Smiles.
Shields: What was ·that?
3. Wolsey: Borrow someone’s tools.
Lindsay: Whose?
4. Hughs: They ac cused 'Smithells of 'telling lies.
Adams: Smithells didn’t tell ·lies, did he?
5. Collins: Jean’s come second in her e xams.
Edwards: Hasn’t she ·done ·well!
6. Osborne: Whose are 'these new skis?
Waters: Ours.
7. Wales: It was all 'rather a musing.
Miles: A musing! It was downright in sulting.
8. Evans: Where’s he 'going for his holidays?
Ives: New Zealand.
[S]
I
1. She gave you the ·largest ·shirt she could find.
2. Could you 'show me the 'shortest way to the station?
3. It shouldn’t be ·difficult to get it re shaped.
4. Sheila said she’d 'phone me from the station.
52
5. You can be 'sure of 'finding it in the shed.
6. He wants you to 'show him his ·share.
7. Which 'job does she 'want me to 'finish first?
8. I should like to see some 'cotton shirts, ·please.
II
1. Shields: She says she’s coming.
Sherwood: Why is she ·coming?
2. Shearer: What shall I do with this ·rubbish?
Marsh: Is it really ·rubbish?
3. Shepherd: Who’s going to ·shear the sheep?
Sharp: You have a ·shot at it.
4. Shannon: Whose shoes are ·these?
Sheldon: Pa tricia’s.
5. Shipton: Shall she ·come to'day or to morrow?
Sherlock: ·Just as she wishes.
6. Shipley: Well, she’s not ·sure about the details.
Shove: Why doesn’t she wish to talk?
7. Shirley: What do you 'think of these ·dirty shoes?
Short: Oughtn’t she to be a shamed of her self?
8. Shewry: Shall I send it to 'you or to Sheila?
Shore: Send it to Sheila.
[Z]
I
1. The ex plosion com'pletely 'wrecked the garage.
2. Those oc casional ex·cursions were ex'tremely pleasurable.
3. As pasia is a 'casual ac quaintance  whom I meet oc casionally.
4. The col lision oc'cured be·cause of the 'poor 'vision of the driver.
5. Her de cision ·shattered 'all his il lusions.
6. That de cision was 'carried out with pre cision.
7. They took 'radical ·measures to pre'vent the cor rosion.
8. His e vasions 'caused her dis pleasure.
II
1. Jan: Will he re verse his de·cision?
Gerald: Only if he 'yields to your per suasion.
2. Geor gette: What ·caused 'Gerald’s dis pleasure?
Gene vieve: E vasion of your res·ponsi bilities, I sus·pect.
3. Jan nette: She acted with com posure.
Jaqueline: Yes, not a 'trace of dis pleasure in her ·tone.
4. Jean: Ex posure of the 'body to sunlight is 'recommended by doctors.
Joan: It is, but not be·yond measure.
53
5. Gerald: Where do you 'usually keep it?
Jus tine: Down stairs, in the garage.
6. Geor gette: Please do it at your leisure.
Jessamine: With pleasure.
7. Ger vais: What was the 'cause of the ex plosion?
Jules: Nobody seems to have 'come to any con clusion.
8. Juliet: What’s your de cision?
Jus tine: To keep him under 'strict super vision.
[h]
The ina bility to 'use the sound ['h] cor rectly  is sometimes called by phone
ticians  “a lack of the [ h] ·consciousness”.
This ·difficulty is not, how ever, pe'culiar to foreign ·speakers of ·English,
for the [ h] is absent from the 'type of English ·spoken by 'less ·highly educated
people  over the greater part of Britain, though many of them are conscious of
this un orthodoxy  and try to cor rect it.
That the cor rection of a 'speech ·habit such as ·this is 'not easy, is
illustrated in the ·story of a 'cockney family, Mr Hatch, Mrs ·Hatch  and their
daughter Helen, who were going by 'train to Harwich. When the train started,
Mr Hatch ·settled ·down to 'read his paper, while Mrs ·Hatch and 'Helen chatted.
After they had been ·travelling 'half an hour, Mrs Hatch ·started to un·pack the
'basket of food  she had brought with her for the journey. Un wrapping a ·packet
of sandwiches, Mrs Hatch ·turned to Helen and ·asked: 
“Will you ’ave ’am or beef, ’elen?”
“It isn’t ’ am, Mum, it’s ’am,” pro·tested Helen.
This ex change at'tracted the at·tention of Mr Hatch, who turned with a
·wink to his neighbour, and re·marked:
“You ·know, they both think they’re saying ’am”.
[m]
I
1. Mr Mitchell ·asked to be re membered to you.
2. You must light a fire to 'warm the dining-room.
3. Are there any more ·men 'waiting for ad mission?
4. I’m sorry I made a mis'take in the time.
5. Would you have time to 'come and ·see us to morrow?
6. If a man de·ceives me once, shame on him; if he de ceives me twice,
shame on me.
7. She offered me jam and marmalade and honey in a most hospitable ·manner.
8. Mike ·missed most of them.
II
54
A medical man was pro'testing to a 'garage me chanic  about the a mount he
was being charged for re'pairs to his 'Moris Minor.
“ All 'this for a 'few minutes’ work,” he ex·claimed. “ Why, ·you people
make 'more money than we ·do!”
“ Well, you see,” re·plied the me·chanic, “ You’ve been working on the
same model since the be ginning of the time, but we have to learn all about a
new model  more than 'once a year.”
[n]
I
1. Nobody ·knew that ·Ned was ·waiting for Nell.
2. That ·isn’t the only way to ·find it.
3. Nick 'told me 'not to knock.
4. The next 'night 'Nora de'cided not to ·go.
5. I told ·everyone I ·wanted to be a lone.
6. His pronunci'ation’s 'quite 'different from mine.
7. The train from 'Nottingham’s 'just coming in.
8. Don’t for·get to 'let me ·know how you get on.
II
1. Nelson: ·Whose turn is it, then?
Nevill: It’s Nora’s, actually.
2. Newell: Oughtn’t we to tell Ann?
Norton: She knows, ap parently.
3. Norris: Any news of Jane?
Norwood: She’s ·coming home soon.
4. Nowell: What ever next, I’d ·like to ·know.
Newton: You needn’t pre·tend to be so ignorant. You’ve known all a long.
5. Norman: Not a penny will I ·give.
Neill: How can you be ·so hard- hearted, ·Norman?
6. Nox: What a con founded nuisance it ·is!
Nunn: Grumbling ·won’t ·make it any ·better.
7. Norroy: Funny ·business about Nox!
Netley: He re signed,  didn’t he?
8. Neville: I can’t find my 'penknife anywhere.
Newman: You ·haven’t lost it,  have you?
[N]
I
1. Worthing: Harding’ll 'ring you in the morning.
Flemming: When in the ·morning?
2. Gilding: Just been 'listening to 'Bing Crossby.
Banning: Doesn’t he ·sing well.
3. Canning: How much is he charging?
Bunting: Twenty francs, I ·think.
55
4. Daring: It’s quite wrong.
Ealing: ·How do you know it’s ·wrong?
5. Demming: What are you doing ·these ·days?
Irving: Earning my living, and ·going to evening ·classes.
6. Jenkins: What did you think of the ·song?
Kingsley: Quite the 'best thing 'Irving’s ever com posed.
7. Mr King: I can’t think where ·Hank’s ·got to.
Mrs King: ·Might he be ·over at Greening’s ·place?
8. Lang: How was Tring ·looking?
Redding: Better than I’ve 'seen him for a long ·time.
II
A young boy, by name 'Deming King, was riding a long on his mule
and dozing and dreaming, when he noticed overhead 'branches of an apple tree
'hanging with fruit. He stopped  and be gan 'picking some of the 'hanging fruits.
As Deming was 'reaching for a 'higher branch, the mule 'moved ·on without
warning, leaving young King  clinging to the tree. The owner of the place,
crossing a field and ·seeing 'Deming hanging there, cried to him:
“ What are you doing up there, ·young ·man?”
“ Nothing, Sir!” said ·Deming ·King, “I just fell ·off my mule!”
[l]
I
1. Liz ·took the ·largest ·share for her self.
2. You must light a 'fire to 'warm the lounge.
3. You can easily ·catch the ·last train.
4. She never 'really 'looks very well.
5. I don’t ·think they’ll be ·very long.
6. We don’t ex'pect to 'leave till April.
7. Will you wait till I’ve 'had 'time to look for it?
8. They’ll be serving lunch rather earlier to morrow.
II
1. Lamb: How 'long’ll it take?
Rendal: Not ·very long.
2. Healy: It’ll cost a lot of dollars.
Stirling: Naturally it ·will.
3. Lockett: Wasn’t it cold in the ·hall?
Farrel: Fearfully ·cold.
4. Jelley: I shall be late, I’m a·fraid.
Cole: How ·late?
5. Laird: He’s ·planted e leven kinds of apple ·tree.
Connel: What ·kinds has he ·planted?
6. Hamilton: I shall be in London by lunch.
56
Wilks: Will you?
7. Leslie: Careful. You’ll fall.
Lyall: Help! I am ·falling!
8. Helen: The letter’s too ·big for the envelope.
Allan: Fold it ·then, you ·helpless ·girl.
[j ]
I
1. His duty was to be 'very accurate in re·porting the news.
2. She certainly knew  that her nephew was 'fond of music.
3. Juliet’s ·failure was ·no news to me.
4. His duty was to 'supervise the 'issue of documents.
5. My travelling com'panion was a 'brilliant youth.
6. Hugh was a ·cheerful young man  and a good com panion.
7. Your o pinion is 'highly valued.
8. She certainly knew  that her pupils 'knew nothing.
II
1. Stuart: No, that one’s yours.
Hughes: I ·thought it was William’s.
2. Newcome: Hugo’s 'due at e'leven o’ clock.
Hubert: When is he ·due?
3. Stewart: I com muted in New York.
Durand: You what?
4. Sue: Muriel 'said it was a stupid ·question.
Ursula: What’s stupid a·bout it?
5. Muriel: What’s your o·pinion of ·Hubert’s ·tale?
Newell: My o pinion? It’s rather stupid.
6. Newington: ·What a nuisance it ·all ·is!
Mure: Did you say nuisance? What ·nuisance?
7. Hugall: What d’you 'think of my suit?
Murison: New?
8. Durell: Your ·method’s useless.
Hulme: Useless, did you say?
[r]
I
1. Henry 'said he’d 'wait for us at the entrance.
2. She never 'really 'looks very well.
3. I do like the red roses.
4. You told ·everyone you ·wanted to re write it.
5. My pro·nunci 'ation’s 'quite different from Roger’s.
6. Rick 'doesn’t re'member us 'very well.
7. I’m rather a·fraid I must have been boring you.
57
8. Russ must have had a 'pretty ·rotten time.
II
1. Rogers: I’m a fraid 'Russ will be up set.
Barry: Very likely.
2. Burry: I’m terribly worried a·bout it.
Radford: ·Why should it worry you?
3. Roy: This is my 'new radio set.
Robert: Is it really?
4. Barrow: Larry will be ·terrible as Romeo.
Ralston: Isn’t it ri diculous?
5. Wright: Will 'Ron 'say he’s sorry?
Brook: Not him! On the contrary.
6. Reid: You should write to the di rector.
Ross: Who should I ·write to?
7. Henry: What ever made you recom'mend prawns?
Rendall: They’re usually all right here.
8. Rath: I’m most terribly sorry!
Raine: You’ve no reason to be.
[w]
Watson: ·Mr Wills.
Wills: Yes.
Watson: My name’s Watson, from Woolwich. Walter Welch ·told me to ·come
and ·see you. I be lieve he’s 'sent you a wire.
Wills: Yes, I heard from him – when was it. About a week a go, I sup pose.
Welch said you’d be·coming a long, but he ·didn’t say when. When did
you ar rive?
Watson: On Wednesday. I rang up yesterday, but there wasn’t ·anyone who
·knew 'when you’d be in.
Wills: Well now, I’d love to have a chat with you, but it’s a bit awkward this
morning...
Watson: Oh please ·don’t bother. I hate to worry you, but if you could spare me
a· little ·time some other day...
Wills: Well, what could we do, I wonder. What about 'next Wednesday?
Watson: That’ll be fine.
Wills: We’ll make it ·Wednesday after noon. What shall we say – half-past
two.
Watson: Very good. Thanks very much.
58

English Phonetics. Book 1

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English Phonetics. Book 1

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Contents

1. THE VOWELS OF ENGLISH

1.1. The Classification of English Vowel Phonemes

Open your mouth very little to make the sound [i:].

First practise the sound [i:].

First practise the sound [e].

First practise the sound [x].

Put your tongue down and back.

First practise the sound [x].

First practise the sound [O].

First practise the sound [O].

First practise the sound [] again.

First practise the sound [O:].

First make the sound [E:].

This has two sounds: [e] and [I].

This has two sounds: [a:] and [I].

This has two sounds: [O:] and [I].

This has two sounds.

This has two sounds: [q] and [].

This has two sounds: [I] and [q].

1.3. The Classification of English Vowel Phonemes

2. THE CONSONANTS OF ENGLISH

2.1. Principles of Classification

Classification of consonants according to:

occlusive constrictive occlusive- occlusive constrictive

labial lingual glotta

[p] and [b]

[t] and [d]

[tS] and [dZ]

1. Push a lot of air out very quickly.

[m] and [n]

1. The soft palate is raised.

1. First practise [i:].

2.3. The Classification of English Consonant Phonemes

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