Introduction To The Sounds of English-Vowels, Diphthongs & Consonants.

1. 1.
PHONETICS
(Introduction to the Sounds of English- Vowels, Diphthongs &

Consonants.)
Introduction:
Phonetics is the scientific study of speech sounds. It is a

fundamental branch of Linguistics and itself has three different aspects:
Articulatory Phonetics – describes how vowels and consonants are produced or
“articulated” in various parts of the mouth and throat; Acoustic Phonetics – a
study of how speech sounds are transmitted: when sound travels through the air
from the speaker’s mouth to the hearer’s ear it does so in the form of vibrations
in the air; Auditory Phonetics – a study of how speech sounds are perceived:
looks at the way in which the hearer’s brain decodes the sound waves back into
the vowels and consonants originally intended by the speaker.
Received Pronunciation (RP) is a form of pronunciation of the English language

which has traditionally been the prestige British accent. RP is a form of
EnglishEnglish (English English is a term that has been applied to the English
language as spoken in England.), sometimes defined as the “educated spoken
English of southeastern England.” It is often taught to non-native speakers; used
as the standard for English in most books on general phonology and phonetics;
and represented in the pronunciation schemes of most British dictionaries.
The Sounds of English and Their Representation: In English, there is no

one-to-one relation between the system of writing and the system of
pronunciation. The alphabet which we use to write English has 26 letters but in
English there are approximately 44 speech sounds. To represent the basic sound
of spoken languages linguists use a set of phonetic symbols called the
International Phonetic Alphabet (IPA). The chart below contains all of the IPA
symbols used to represent the sounds of the English language. This is the
standard set of phonemic symbols for English (RP). Speech can be seen as
controlled breathing. An utterance begins with a breath. As we exhale, we
modify the flow of air in a variety of ways to produce the various sounds of
speech – the individual segments of sound or phonemes as well as the supra-
segmental or prosodic features of stress and intonation.
As the breath passes through the larynx, it passes the vocal folds. If we choose
to, we can allow these to be set in motion by the air. The resulting vibration is
the source of our voice. Some phonemes are voiced in this way, while others
are voiceless. All vowels are voiced. Consonants are either voiced or voiceless.
The following explanation focuses on the way in which consonants are
articulated. There are three characteristics to each consonant: the manner of
articulation, the place of articulation and whether or not the sound is voiced.
CONSONANTS
We can define a consonant by reference to three characteristics:
The point of articulation -where in the vocal tract it is made

The type of articulation – how we make it
Whether the sound is voiced or unvoiced
Plosives:
One way of making a consonant is to block the flow of air so that pressure
builds up, and then suddenly release it. Consonants formed in this way are
referred to as plosives or stops.
Voiced Voiceless Examples

Point of articulation
The two lips b P bat/pat
(bilabial)
Tongue tip and tooth-ridge d t dug/tug
(alveolar)
Back of tongue and soft palate or velum g k big/pick
(velar)
Fricatives
Some consonants are produced when air is forced through a narrow opening.
These are known as fricatives.

Lip and teeth v f vat/fat
(labio-dental)
Tongue-tip and teeth ð θ that/think
(dental)
Tongue and tooth-ridge z s peas/peace
(alveolar)
Tongue and hard palate ʒ ʃ measure/mesh
(palatal)
The glottis is partially h hat
constricted (glottal)
Affricates
A plosive and a fricative are pronounced together.

Palate and tooth-ridge dʒ tʃ judge/church
Nasals
The air exits through the nose rather than the mouth. All nasals are voiced.
Point of articulation Voiceless Examples

Voiced
The two lips m - mine
(bilabial)
Tongue tip and tooth ridge n - nine
(alveolar)
Tongue and soft palate ŋ - sing
(velar)
Approximants: The remaining four consonants of English are less clear-cut.

Some may be realised in a number of ways. There are several quite distinct /l/
and /r/ sounds.

Tooth-ridge - lot
l
(alveolar)
Hard palate r - rot
(palatal)
Two consonants are similar to vowels in that there is no real contact between
vocal organs. These two are known as glides.

The two lips w - win
(bilabial)
Tongue and hard palate j - you
(palatal)
VOWELS
Phoneticians also identify vowels by their point of articulation. Vowels are

classified into three groups: short, long and diphthong.
Short vowels
ɪ pit
e pet Long vowels Diphthongs
æ pat
ʌ cut
ɒ cot The colon-like symbol indicates
ʊ put length. The example words are all
ə about intended to be pronounced in RP.
aɪ file
A dipthong consists of two vowels
eɪ fail
ɔɪ foil pronounced consecutively in one
əʊ foal syllable. The mouth moves smoothly
aʊ foul from one position to the other.
ʊə poor
ɪə pier
eə pair
iː lean
ɜː learn English Irregular Verbs with Phonetic Transcription
ɑː lark
ɔː lawn
uː loot
beat /bi:t/ beat /bi:t/ beaten /’bi:tn/
become /bɪ ‘kʌm/ became /bɪ ‘keɪm/ become /bɪ ‘kʌm/
begin /bɪ ‘gɪn/ began /bɪ ‘gæn/ begun /bɪ ‘gʌn/
bend /bend/ bent /bent/ bent /bent/
bind /baɪnd/ bound /baʊnd/ bound /baʊnd/
bite /baɪt/ bit /bɪt/ bitten /’bɪtn/
bleed /bli:d/ bled /bled/ bled /bled/
blow /blou/ blew /blu:/ blown /bloun/
break /breɪk/ broke /brouk/ broken /’broukən/
bring /brɪŋ/ brought /brɔ:t/ brought /brɔ:t/
build /bɪld/ built /bɪlt/ built /bɪlt/
burn /bɜ:rn/ burnt /bɜ:rnt/ burnt /bɜ:rnt/
burn /bɜ:rn/ burned /bɜ:rnd/ burned /bɜ:rnd/
buy /baɪ/ bought /bɔ:t/ bought /bɔ:t/
catch /kætʃ/ caught /kɔ:t/ caught /kɔ:t/
choose /tʃu:z/ chose /tʃouz/ chosen /’tʃouzən/
come /kʌm/ came /keɪm/ come /kʌm/
cost /kɒst/ cost /kɒst/ cost /kɒst/
cut /kʌt/ cut /kʌt/ cut /kʌt/
dig /dɪg/ dug /dʌg/ dug /dʌg/
do /du:/ did /dɪd/ done /dʌn/
draw /drɔ:/ drew /dru:/ drawn /drɔ:n/
dream /dri:m/ dreamt /dremt/ dreamt /dremt/
dream /dri:m/ dreamed /dri:md/ dreamed /dri:md/
drink /drɪŋk/ drank /dræŋk/ drunk /drʌŋk/
drive /draɪv/ drove /drouv/ driven /’drɪvən/
eat /i:t/ ate /eɪt, et/ eaten /’i:tn/
fall /fɔ:l/ fell /fel/ fallen /’fɔ:lən/
feed /fi:d/ fed /fed/ fed /fed/
feel /fi:l/ felt /felt/ felt /felt/
fight /faɪt/ fought /fɔ:t/ fought /fɔ:t/
find /faɪnd/ found /faʊnd/ found /faʊnd/
fly /flaɪ/ flew /flu:/ flown /floun/
forget /fər ‘get/ forgot /fər ‘gɒt/ forgotten /fər ‘gɒtn/
forgive /fər ‘gɪv/ forgave /fər ‘geɪv/ forgiven /fər ‘gɪvən/
freeze /fri:z/ froze /frouz/ frozen /’frouzən/
get /get/ got /gɒt/ got /gɒt/
get /get/ got /gɒt/ gotten /’gɒtn/
give /gɪv/ gave /geɪv/ given /’gɪvən/
go /gou/ went /went/ gone /gɒn/
grow /grou/ grew /gru:/ grown /groun/
hang /hæŋ/ hung /hʌŋ/ hung /hʌŋ/
have /hæv/ had /hæd/ had /hæd/
hear /hɪər/ heard /hɜ:rd/ heard /hɜ:rd/
hide /haɪd/ hid /hɪd/ hidden /’hɪdn/
hit /hɪt/ hit /hɪt/ hit /hɪt/
hold /hould/ held /held/ held /held/
hurt /hɜ:rt/ hurt /hɜ:rt/ hurt /hɜ:rt/
keep /ki:p/ kept /kept/ kept /kept/
know /nou/ knew /nu:/ known /noun/
lay /leɪ/ laid /leɪd/ laid /leɪd/
lead /li:d/ led /led/ led /led/
learn /lɜ:rn/ learnt /lɜ:rnt/ learnt /lɜ:rnt/
learn /lɜ:rn/ learned /lɜ:rnd/ learned /lɜ:rnd/
leave /li:v/ left /left/ left /left/
lend /lend/ lent /lent/ lent /lent/
let /let/ let /let/ let /let/
lie /laɪ/ lay /leɪ/ lain /leɪn/
lose /lu:z/ lost /lɒst/ lost /lɒst/
make /meɪk/ made /meɪd/ made /meɪd/
mean /mi:n/ meant /ment/ meant /ment/
meet /mi:t/ met /met/ met /met/
pay /peɪ/ paid /peɪd/ paid /peɪd/
put /pʊt/ put /pʊt/ put /pʊt/
read /ri:d/ read /red/ read /red/
ride /raɪd/ rode /roud/ ridden /’rɪdn/
ring /rɪŋ/ rang /ræŋ/ rung /rʌŋ/
rise /raɪz/ rose /rouz/ risen /’rɪzən/
run /rʌn/ ran /ræn/ run /rʌn/
say /seɪ/ said /sed/ said /sed/
see /si:/ saw /sɔ:/ seen /si:n/
sell /sel/ sold /sould/ sold /sould/
send /send/ sent /sent/ sent /sent/
set /set/ set /set/ set /set/
shake /ʃeɪk/ shook /ʃʊk/ shaken /’ʃeɪkən/
shine /ʃaɪn/ shone /ʃoun, ʃɒn/ shone /ʃoun, ʃɒn/
shoot /ʃu:t/ shot /ʃɒt/ shot /ʃɒt/
show /ʃou/ showed /ʃoud/ shown /ʃoun/
shut /ʃʌt/ shut /ʃʌt/ shut /ʃʌt/
sing /sɪŋ/ sang /sæŋ/ sung /sʌŋ/
sink /sɪŋk/ sank /sæŋk/ sunk /sʌŋk/
sit /sɪt/ sat /sæt/ sat /sæt/
sleep /sli:p/ slept /slept/ slept /slept/
smell /smel/ smelt /smelt/ smelt /smelt/
smell /smel/ smelled /smeld/ smelled /smeld/
speak /spi:k/ spoke /spouk/ spoken /’spoukən/
spell /spel/ spelt /spelt/ spelt /spelt/
spell /spel/ spelled /speld/ spelled /speld/
spend /spend/ spent /spent/ spent /spent/
spill /spɪl/ spilt /spɪlt/ spilt /spɪlt/
spill /spɪl/ spilled /spɪld/ spilled /spɪld/
spit /spɪt/ spat /spæt/ spat /spæt/
spit /spɪt/ spit /spɪt/ spit /spɪt/
split /splɪt/ split /splɪt/ split /splɪt/
spoil /spoɪl/ spoilt /spoɪlt/ spoilt /spoɪlt/
spoil /spoɪl/ spoiled /spoɪld/ spoiled /spoɪld/
stand /stænd/ stood /stʊd/ stood /stʊd/
steal /sti:l/ stole /stoul/ stolen /’stoulən/
strike /straɪk/ struck /strʌk/ struck /strʌk/
swim /swɪm/ swam /swæm/ swum /swʌm/
take /teɪk/ took /tʊk/ taken /’teɪkən/
teach /ti:tʃ/ taught /tɔ:t/ taught /tɔ:t/
tear /teər/ tore /tɔr/ torn /tɔrn/
tell /tel/ told /tould/ told /tould/
think /θɪŋk/ thought /θɔ:t/ thought /θɔ:t/
throw /θrou/ threw /θru:/ thrown /θroun/
understand /ʌndər ‘stænd/ understood /ʌndər ‘stʊd/ understood /ʌndər ‘stʊd/
wake /weɪk/ woke /wouk/ woken /’woukən/
wear /weər/ wore /wɔr/ worn /wɔrn/
win /wɪn/ won /wʌn/ won /wʌn/
write /raɪt/ wrote /rout/ written /’rɪtn/
2 – STRESS & INTONATION
Stress is defined as using more muscular energy while articulating the words.
When a word or a syllable in word is produced louder, lengthier, with higher
pitch or with more quality, it will be perceived as stressed. The prominence
makes some syllables be perceived as stressed. Words including long vowels
and diphthongs or ending with more than 1 consonant are stronger, heavier and
stressed. English words have one or more syllables. A syllable is a complete
sound unit. In words containing more than one syllable, one or sometimes two
syllables prominent, that is , they receive the stress or accent. The more
prominent of the syllable receives the primary accent and the other receives the
secondary accent. While the primary accent mark comes above the syllable the
secondary accent mark comes below the syllable. The accentual pattern of
English words does not rigidly conform to any set of rules and one should learn
to speak with the right accent by being exposed to the right models of speech. A
few conventions for accent patterns are given below.
To have good pronunciation means 1) to pronounce correctly all the individual
speech sounds in English; 2) to pronounce correctly the speech sounds in their
combinations in isolated words as well as in sentences; 3) to speak fluently with
correct rhythm, including the correct placement of stresses and pauses and the
transition of sounds according to the context; and 4) to speak with appropriate
intonation according to the context.
Stress of English words and sentences: basic rules and functions
The students need to learn the concept about words stress and sentence stress.
In some languages, every syllable is given about the same length while in
others, syllables vary in length. In English, strong beats are called stress.
In words of more than one syllable, one of them will receive more stress than
the others. Stressed syllables are those that are marked in the dictionary as
stressed. Stressed syllables are usually longer, louder, and higher in pitch.
In English, stressed syllables are usually long syllables with clear vowel sounds.
The word “banana”, for example, has 3 syllables. Syllable 1 is not stressed and
so is short. Syllable 2 is stressed and so is long with a clear vowel sound.
Syllable 3 is not stressed and so is also short.
Stressed syllables are strong syllables and unstressed syllables are weak
syllables. Stressed syllables are usually long, have a pitch change and have full
vowel sounds while unstressed syllables are short and often have a reduced
vowel sound.
In an English utterance, stressed words give information to the listener and

unstressed words join the information words together. Correct pronunciation of
stressed and unstressed words is thus extremely important for effective
communication in English.
Information words in a sentence are usually nouns, verbs, adjectives, and

adverbs. They give information about who, what, when, where, why, and how.
They express the main idea or content of the phrase or sentence. They carry the
message and therefore usually stressed. Unstressed words are usually function
words like articles, pronouns, possessives, prepositions, auxiliary verbs, and
conjunctions. These words connect the information words to form grammatical
sentences.
If you stress all the words in an utterance, you may sound unpleasant or even
cause misunderstanding because you are giving too much information, and
English speakers usually stress all words only when they are impatient or angry.
Words that are often Stressed
1. Nouns
2. Main Verbs
3. Adjectives
4. Possessive Pronouns – mine, yours, etc.
5. Demonstative Pronouns – this, that, these, those*
6. Interrogatives – who, what, when, where
7. Not / negative contractions – can’t, isn’t, etc.
8. Adverbs – always, very, almost, etc.
9. Adverbial particles – take off; do away with
Words that are usually Unstressed
1. Articles – a, an, the, etc.
2. Auxiliary (Helping) Verbs – be, do, have, etc.
3. Personal Pronouns – I, we, you, he, she, it, they.
4. Possessive adjectives – my, your, his, her, its, etc.
5. Demonstative adjectives – this, that, these, those
6. Prepositions – to, for, with, etc.
7. Conjunctions – and, or, but, etc.
English intonation: structures, functions and use

We call the melody of language intonation. Intonation refers to the total pattern
of pitch changes, i.e., the rising and falling of the voice when a person is
speaking, within an utterance. Intonation is another important element of spoken
English. It is the English intonation which makes English sound really English.
Intonation makes speech meaningful. English intonation adds the meaning of

an utterance in two ways:
1. It shows the relationship of words within and between sentences;

2. It tells something about the feeling of the speaker.
In other words, different pitches may indicate different meanings for the same
utterance. Different pitches help us express our feelings: happiness, sadness,
surprise, annoyance, anger, and so on. In listening to the meaning of an
utterance, therefore, we listen to how speakers talk as well as to what they say.
The HOW and WHAT together give us the meaning of an English utterance.
We now see the importance to use the appropriate intonation patterns when we
speak. Otherwise, we may be sending messages using intonations that contradict
what we want words to say. Intonation patterns that disagree with the content of
the utterance may indicate doubt, sarcasm, or confusion.
English has two basic intonation patterns: rising and falling. When they go
together, they can make a falling-rising tone.
Intonation units are also called intonation-groups, tone groups or tone-units. An

intonation unit usually corresponds to a sense group (or word group). An
intonation unit may contain several syllables, some of them stressed and some
unstressed. The last stressed syllable is usually a marker of the highest
importance and has the focus stress. On this syllable, there takes place a change
of pitch, either an upward or downward movement, or a combination of the two.
A nucleus refers to the syllable in an intonation unit which carries maximal

prominence. For example, this is the normal way of saying the following
sentence:
I am WRIting a LETter to him NOW.
There are ten syllables in this sentence among which three are stressed
syllables. The last stressed syllable is NOW. So we say that NOW has the focus
stress, and is the tonic syllable and therefore is the nucleus of the intonation
unit. The nucleus is the essential part of the intonation unit. It is still present
even if the unit consists of a single syllable, as is the case with many sentence
words like yes, no, why, etc.
Tail, Head & Pre-head of an intonation unit:
Any syllable or syllables that may follow the nucleus in an intonation unit are
called the “tail”. In the sentence “I am WRIting a LETter to him”, the nucleus
of this intonation unit is on the tonic syllable “LET”. There are three unstressed
syllables after the nucleus. These syllables are called the “tail” of this intonation
unit.
The part of an intonation unit that extends from the first stressed syllable up to
the nucleus ia called the “head” of the intonation unit. In the sentence “I am
WRIting a LETter to him”, the “head” of this intonation unit is made up of three
syllables: “writing a”.
Any unstressed syllable or syllables that may precede the “head”, or the
“nucleus” if there is no head, are called the “pre-head”. In the sentence “I am
WRIting a LETter to him”, “I am” comprises the “pre-head” of this intonation
unit.
So if you analyze the following sentence, we will come up with the structure of
an intonation unit like this:
I am WRIting a LET ter to him.
P H N T
P = Pre-head
H = Head
N = Nucleus
T = Tail
Following are the important functions of English intonation:
A. The attitudinal function

Intonation is used to convey our feelings and attitudes. For instance, the same
sentence can be said in different ways, which might be labeled “happy”,
“grateful”, “angry”, “bored”, and so on. Usually, intonation units with high
heads sound more lively, interesting than those with low heads. A few
generalisations are often made here: the falling intonation is said to be more
often associated with completeness and definiteness; the rising intonation is
more often associated with incompleteness and uncertainty or questioning; The
falling-rising is said to have feelings of hesitation, contrast, reservation or
doubt.
B. The accentual function
The location of the tonic syllable is of considerable linguistic importance. The

most common position for this is on the last information word of the intonation
unit. For contrastive purpose, however, any word may bear the tonic syllable.
C. The grammatical function
Some sentence may be ambiguous when written, but this can be removed by the
use of intonation. An often cited example is the sentence “Those who sold
quickly made a profit”. This sentence can be said in at least two different ways:
a. A profit was made by those who sold quickly.
b. A profit was quickly made by those who sold.
Another example is the use of rising tone in statements. The sentence “They’re
going to have a picnic” is usually said as a statement like this:
The sentence serves as a question here.
The intonation used in question-tags can have a rising tone or a falling tone:
When it has a falling tone, as in (a), the speaker is comparatively certain that the
information is correct, and simply asking for conformation, while the rising tone
in (b) is said to indicate a lesser degree of certainty, so the speaker is asking for
information.
D. The discourse function of intonation

In speech, people often use intonation to focus the listener’s attention on aspects
of the message that are most important. So the placement of nucleus or tonic
stress depends on the “information content”: the more predictable a word’s
occurrence is in a given context, the lower its information content is. For
example, people would say:
The (telephone’s ringing.
The (kettle’s boiling.
In speech, people often use the falling tone to indicate new information and
rising tone (including falling-rising) to indicate “shared” of “given”
information.
People also use intonation to indicate to others that they have finished speaking
and that another person is expected to speak.
Placement of word accent:
In a number of disyllabic words, the stress depends upon whether the word is
used as a noun or adjective or a verb. The accent is on the first syllable if the
word is a noun or adjective and on the second syllable if it is a verb.
‘absent – ab’sent ‘accent – ac’cent ‘conduct – con’duct ‘content –

con’tent
‘contrast – con’trast ‘contract – con’tract ‘convert – con’vert ‘abstract

– ab’stract
‘compress – com’press ‘conflict – con’flict ‘contact – con’tact ‘defect –

de’fect
‘desert – de’sert ‘dictate – dic’tate ‘export – ex’port ‘frequent –

fre’quent
‘impress – im’press ‘progress – pro’gress ‘object – ob’ject ‘produce

– pro’duce
Disyllabice words – Accent on the first syllable

‘able ‘agent ‘army ‘artist ‘beauty ‘body ‘butter ‘any
‘beggar ‘color
Disyllabice words – Accent on the second syllable
a’bout a’dmit a’dvance a’go al’though

a’gree be’gin
be’tween con’firm de’ceive pos’ses re’ceive de’fend
Trisyllabice words – Accent on the first syllable
‘beautiful ‘customer ‘nobody ‘company ‘agency

‘article
Trisyllabice words – Accent on the second syllable
Ag’reement a’ppointment at’tention con’nection des’tructive

di’rector
Trisyllabice words – Accent on the third syllable
After’noon ciga’rette decom’pose repre’sent under’stand
Words having four syllables
A’blilty a’pologise de’velopment ‘popularity

pho’tography sim’plicity diplo’matic unim’portant
circu’lation in’tentional
Words having more than four syllables
Affili’ation au’thoritative identifi’cation exami’nation

oppor’tuny
Observe : ‘January ‘February March ‘April May June Ju’ly ‘August

Sep’tember Oc’tober No’vember De’cember
3. ROLE PLAY (Situational Dialogues)
INTRODUCTION TO ROLE PLAY

Role playing games, exercises and activities help build teams, develop
employee motivation, improve communications and are – for corporate
organizations, groups of all sorts, and even children’s development. Role
playing games, exercises and activities improve training, learning development,
and liven up conferences and workshops. Role playing games, exercises and
activities can also enhance business projects, giving specific business outputs
and organizational benefits.
Role Play:
Role Play is a fast way to improve speaking and listening for real
lifesituations.
Role Play uses scripts that you read with your partner, like actors in a
movie.
Role Play gives you information about your role. You can then talk with
your partner using this information.
Role Play to Practice English:
Role Play helps you speak English in full sentences.

Role Play makes you think about what you are saying, so you remember the
language.
Role Play gives you many things to think and talk about.
English Role Play is FREE!
Types of Role Play
1. Situation Role Plays
Situation Role Plays give you practice speaking English with correct sentences
and pronunciation.
Examples: At the Markets, Clothes Shopping, Airport Check-in, Job Interview

2, PRACTICE: Got
2. Story Role Plays : In Story Role Plays, you and your partner
are characters in a story.
3. Short Discussions : Short Discussions give you practice in asking and

answering questions about a topic.
Examples – Introduction, Talk about Food, Talk about America, NEWS! Global
Warming
4. Long Discussions: Long Discussions give you practice in asking and

answering questions about a topic, as well as discussing the opinions of other
people.
Examples: Environment, Movies.
The Role Play Situations:
1. The parents of a student are called to the college to talk about his/her poor
marks.
2. You are in Khammam City bus and someone is playing a songs very loudly.
You are in a big hurry and want the player turned off. Other passengers think
that it is freedom of speech to play songs.
3. You are strolling in a department store. Walking around, you see a person
who seems familiar, but you’re not sure. On a whim, you decide to stop the
person and find out of s/he knows you. It turns out, after some questioning, that
the two of you went to the same high school, but at the time the other person
weighed 25 kilos more. That’s why you couldn’t recognize him/her.
4. Interruptions. A couple are trying to watch a film on TV, but are interrupted
by a series of unwanted visitors: a talkative friend, the gas man, a neighbour
who’s lost his/her keys, a stranger who’s mysteriously convinced that this is his
house …
5. Hotel reception: a rich foreign guest and his/her secretary are arguing with
the receptionist about the bill. Various random guests approach the desk and
join in the argument, for instance: a bridegroom, a family with lots of small
kids, a film star, photographers etc.
6. On the bus: Each student gets on the “bus” as a different character until crash
– and they have to react appropriately.
7. The salesperson: Assign ridiculous objects or concepts for them to sell

8. The tour guide can be made a lot funnier if some students “play” the sites that
s/he is describing.
Right Body Language:
1. Eye contact
Eye contact is one of the most important aspects of dealing with others,
especially people we’ve just met. Maintaining good eye contact shows respect
and interest in what they have to say. We tend to keep eye contact around 60-
70% of the time. (However, there are wide cultural differences, so be careful in
other countries) By doing this you won’t make the other people feel self
conscious. Instead, it will give them a feeling of comfort and genuine warmth in
your company, any more eye contact than this and you can be too intense, any
less and you give off a signal that you are lacking interest in them or their
conversation.
2. Posture
Posture is the next thing to master, get your posture right and you’ll
automatically start feeling better, as it makes you feel good almost instantly.
Next time you notice you’re feeling a bit down, take a look at how your
standing or sitting. Chances are you’ll be slouched over with your shoulders
drooping down and inward. This collapses the chest and inhibits good
breathing, which in turn can help make you feel nervous or uncomfortable.
3. Head
Head position is a great one to play around with, with yourself and others.
When you want to feel confident and self assured keep your head level both
horizontally and vertically. You can also use this straight head position when
you want to be authoritative and what you’re saying to be taken seriously.
Conversely, when you want to be friendly and in the listening, receptive mode,
tilt your head just a little to one side or other. You can shift the tilt from left to
right at different points in the conversation.
4. Arms
Arms give away the clues as to how open and receptive we are to everyone we
meet and interact with, so keep your arms out to the side of your body or behind
your back. This shows you are not scared to take on whatever comes your way
and you meet things “full frontal”. In general terms the more outgoing you are
as a person, the more you tend to use your arms with big movements. The
quieter you are the less you move your arms away from your body. So, try to
strike a natural balance and keep your arm movements midway. When you want
to come across in the best possible light, crossing the arms is a no, no in front of
others. Obviously if someone says something that gets your goat, then by all
means show your disapproval by crossing them !
5. Legs
Legs are the furthest point away from the brain; consequently they’re the
hardest bits of our bodies to consciously control. They tend move around a lot
more than normal when we are nervous, stressed or being deceptive. So best to
keep them as still as possible in most situations, especially at interviews or work
meetings. Be careful too in the way you cross your legs. Do you cross at the
knees, ankles or bring your leg up to rest on the knee of the other? This is more
a question of comfort than anything else. Just be aware that the last position
mentioned is known as the “Figure Four” and is generally perceived as the most
defensive leg cross, especially if it happens as someone tells a you something
that might be of a slightly dubious nature, or moments after. (As always, look
for a sequence)
6. Angle of the Body
Angle of the body in relation to others gives an indication of our attitudes and
feelings towards them. We angle toward people we find attractive, friendly and
interesting and angle ourselves away from those we don’t, it’s that simple!
Angles includes leaning in or away from people, as we often just tilt from the
pelvis and lean sideways to someone to share a bit of conversation. For
example, we are not in complete control of our angle at the cinema because of
the seating nor at a concert when we stand shoulder to shoulder and are packed
in like sardines. In these situations we tend to lean over towards the other
person.
7. Hand Gestures
Hand gestures are so numerous it’s hard to give a brief guide but here goes.
Palms slightly up and outward is seen as open and friendly. Palm down gestures
are generally seen as dominant, emphasizing and possibly aggressive, especially
when there is no movement or bending between the wrist and the forearm. This
palm up, palm down is very important when it comes to handshaking and where
appropriate we suggest you always offer a handshake upright and vertical,
which should convey equality.
8. Distance from others
Distance from others is crucial if you want to give off the right signals. Stand
too close and you’ll be marked as “Pushy” or “In your face”. Stand or sit too far
away and you’ll be “Keeping your distance” or “Stand offish”. Neither are what
we want, so observe if in a group situation how close are all the other people to
each other. Also notice if you move closer to someone and they back away,
you’re probably just a tiny bit too much in their personal space, their comfort
zone. “You’ve overstepped the mark” and should pull back a little.
9. Ears
Ears, yes your ears play a vital role in communication with others, even though
general terms most people can’t move them much, if at all. However, you’ve
got two ears and only one mouth, so try to use them in that order. If you listen
twice as much as you talk you come across as a good communicator who knows
how to strike up a balanced a conversation without being me, me, me or the
wallflower.
10. Mouth
Mouth movements can give away all sorts of clues. We purse our lips and
sometimes twist them to the side when we’re thinking. Another occasion we
might use this movement is to hold back an angry comment we don’t wish to
reveal. Nevertheless, it will probably be spotted by other people and although
they may not know the comment, they will get a feeling you were not to
pleased. There are also different types of smiles and each gives off a
corresponding feeling to its recipient.
Dialogues for Practice:
Dialogue 1
- Hello. My name’s Prince Sundar. What’s yours?
– Sona
– Nice name. I like it very much.
– Thank you. You name’s good, too.
– It was nice meeting you.
– Thanks. It was nice meeting you.
Dialogue 2
- What’s the date today, I wonder?

– Sunday, the 8th of March.
– What is it famous for?
– Don’t you know? It’s International Women’s Day.
Dialogue 3
- Are lessons over?

– Yes, they are.
– Where’re you going? Home?
– No, to the pictures. My friend’s waiting for me there.
– Good luck, then. Good bye.
– Well, I’m off. See you later.
Dialogue 4
- Have you got any hobbies? I have. I like English.

– So do I.
– Do you read much?
– Yes, because I want to know English well.
– Oh, let’s talk English for a bit.
– No objections to it.
Dialogue 5
- Oh, dear, hurry up!

– I’m trying to.
– Well, come on. It’s your first day at school.
– Do you want to be late?
– I’m ready now.
– Off we go!
Dialogue 6
- I don’t think English is easy.

– Why do you think so?
– Because I have to work hard learning a lot by heart.
Dialogue 7
- I’m going to be an English language teacher.

– Why?
– For a number of reasons.
– What reasons, I wonder?
– The main one is I like English.
Dialogue 8
- What do you think the best sort of job is?

– Engineering, I think.
– I like medicine.
– To my mind the best one is the one you like the most.
Dialogue 9
- I say, where’re you going?

– To school, as you see.
– Why so early, I wonder? It’s only 12 o’clock now.
– That’s right, but I’m on duty, you know.
– I see.
- Where’re you going?

– To a friend of mine to play chess. Bye-bye.
– Bye-bye.
Dialogue 10
- Please give me that book.

– What for?
– To have a look at it.
– Here you are.
– Thank you.
– Not at all.
Dialogue 11
- Have you had a good day at school?

– Wonderful! I’ve got three really good marks!
– Jolly good. Congratulations!
– Thank you.
Dialogue 12
- You’re far too lazy. Look at your English. Is this the best you can do?
– You know I’m no good at English.
– And what about Physics?
– I’m ashamed of myself.
– You could easily come top of the class.
– I’ll work harder, I promise.
Dialogue 13
- Well, hurry up.

– I’m trying to. But look, isn’t there half an hour before school starts?
– Is that the right time?
– I’m sure it is.
Dialogue 14
- School’s almost over.

– Yes, I know.
– How many more days?
– Six.
– When do the holidays start?
– Next week.
Dialogue 15
- How did you enjoy your summer holidays?

– Oh, yes, very much. I spent them at a youth camp.
– On the south coast as usual with your elder sister?
– Yes, but this time I was alone.
– How lucky you were!
– That’s right.
Dialogue 16
- Look here, this has got to stop. You’ve come bottom in nearly every subject.
– Except Geography.
– Yes, indeed. You came second to bottom in that.
– It wasn’t really my fault. I was ill for some time, wasn’t I?
– That’s no excuse.
– I’ll improve.
– I doubt it.
Dialogue 17
- My bag, please.
– Which one is it?
– It’s one of those, there.
– This one?
– No, not that one.
– What colour?
– It’s brown… Yes. That’s it. Thank you.
– Not at all.
Dialogue 18
- So you’ve passed your exams.

– It wasn’t all that difficult.
– It’s because you worked hard, I think.
– Well, I was all right in History, but I didn’t do so well in Literature.
– And how about your English?
– Not so good, only so-so.
Dialogue 19
- Hello, glad to see you!

– Hello, so am I.
– Today’s your birthday, isn’t it?
– That’s right. It’s kind of you to remember.
– Well, many happy returns of the day. Here’s a present for you.
– Oh, thank you. What beautiful flowers! I don’t know how to thank you.
Dialogue 20
- Is painting your hobby?

– Why do you think so?
– Because there’re a lot of pictures in this room.
– It’s my elder brother’s hobby.
– I see, but what about you?
– I prefer books.
Dialogue 21
- What shall we have for breakfast?

– What about some bread and butter, two eggs and a cup of tea?
– Well, I don’t mind, but I’d like to add some biscuits.
– OK.
Dialogue 22
- Fish? Again?
– Why, I thought you liked it.
– I do, of course, but not every day.
– Well, in that case I’ll give you some meat.
– Thank you. That’ll be better.
Dialogue 23
- Good morning. Glad to see you.

– Good morning. So am I.
– Won’t you come and sit down?
– I’m sorry, but I can’t.
– Why not, I wonder why?
– I’m short of time, you know.
– Well, then. What’s up?
– I’d like to see your sister. Is she in?
– Oh, no. She’s still at school.
Dialogue 24
- Hello, who’s that?
– Pete.
– Hello, Pete. How are you?
– Hello, quite well. Thanks. What are you doing?
– Playing chess with my father.
– I’d like to speak to Eliza. What’s she doing?
– Watching the TV programme.
– Shall we go to the cinema? I’ve got three tickets.
– What’s on?
– A new film. They say rather interesting.
– O. K. We’ll meet at the entrance.
– Shall we?
Dialogue 25
- Have you done your homework?

– Not yet.
– Why not?
– I didn’t have time last night.
– That’s no excuse.
Dialogue 26
- Mummy! – Yes, dear. What’s the matter? You seem upset?

– Yes.
– Well, what’s happened?
– You see … I … well …
– Come on now, out with it!
– All right, then, if you must know. I’ve got a bad mark.
– What? Again?
Dialogue 27
- I say, what’s wrong?

– Nothing. Everything’s fine.
– Why are you crying, then? Will you tell me what’s happened?
– Well, you see, I’ve lost my book.
– Have you looked for it everywhere in the room?
– Yes. I still can’t find it.
Dialogue 28
- What are you looking at?

– That book.
– Which one? Point to it.
– That one, there.
– Oh, yes. Beautiful one, isn’t it?
– Yes, it is. I wish I had it.
– So do I.
Dialogue 29
- What about killing that fly?

– No.
– Why not?
– Why should I?
– Isn’t it annoying you?
– No, it isn’t.
– Well, it’s annoying me.
– In that case you kill it yourself.
Dialogue 30
- Why are you switching on the radio set?

– Shall we listen to the 7 o’clock news?
– Isn’t it too early for that now?
– Of course not. It’s already one to 7.
Dialogue 31
- Shall I help you wash?

– Thanks, but I’d rather do it myself.
– As you like. It’s a pity I can’t help you or shall I try?
– Oh, no. Don’t bother.
– It’s no bother at all.
Dialogue 32
- Will you help me, my boy?

– What do you want me to do, Mummy?
– Will you polish the floor today?
– Is it my turn?
– Yes, it is. Your brother did it last time.
– Oh, all right, then.
Dialogue 33
- Your things are lying about all over the room.

– Well, what about it?
– Just tidy them up.
– I’ll think about it.
– How about doing it now?
– Well… if you insist…
Dialogue 34
- What are you doing here?

– I’m reading. Why are you asking me?
– Sorry, but I need your help.
– What can I do for you?
– Please bring me a pail of water.
– With pleasure.
Dialogue 35
- Will you copy this text for me?

– Sorry, but I’d rather not.
– Why not?
– I don’t feel like copying.
– Is that as difficult as all that?
– No, but still, you have to do it yourself.
Dialogue 36
- Excuse me. Could you help me, please?

– I’ll try. What do you want?
– Something’s wrong with my alarm-clock.
– Let me see … Sorry, but I can’t help. You’d better get it repaired.
Dialogue 37
- What’s the matter with you?
– I’m not feeling very well today.
– Do you have a headache?
– Yes, and a sore throat, too.
– Well, in that case you’d better stay at home.
– Oh, yes, I’ll have to.
Dialogue 38
- I’d like to go and play for a while.

– But you’ve got to do your lessons first.
– Oh, I’ve already done my homework.
– Have you really? Then you may go.
Dialogue 39
- You know it’s our mother’s birthday soon.

– Isn’t it about time to think of a good present for her?
– Well, I’ve a little surprise for her.
– How nice! What?
– This drawing.
– Wonderful! She’ll be delighted.
Dialogue 40
- Believe it or not! I’ve got three tickets for today’s football match!
– You don’t say! That’s wonderful!
– Will you come with us?
– Well, you see … I …
– Why are you hesitating?
– Well, I’d like to, but I’d better ask my mother first.
Dialogue 41
- This is my new dress. What do you think of it?

– It’s a very pretty one. I’ll bet it cost a lot.
– It certainly did.
– Where did you get it?
– In London.
– Really?
Dialogue 42
- Can I see you for a minute, please?

– What’s up?
– Don’t you know the news?
– What do you mean by this?
– There’ll be no classes tomorrow!
Dialogue 43
- What are you doing? Eating? Jam?

– What difference does it make to you?
– Well, you shouldn’t eat in between meals.
– Why not? I wonder why?
– It’s dinner – time soon.
– All right, then.
Dialogue 44
- I wonder, where my book is?

– Why don’t you ask your sister?
– Has she ever touched my things?
– How should I know?
Dialogue 45
- How are you feeling today?

– A bit better, thank you.
– But did you call a doctor.
– No.
– Why not, I wonder?
– Well, I didn’t think it was necessary. But I’m going to bed now.
– That’s the best place for you at the moment.
Dialogue 46
- What’s the matter with you?

– I’m not feeling very well, doctor.
– What exactly is the trouble?
– I’ve got an awful headache.
– Are you working hard and getting too little rest?
– Yes, I think so.
– Now, you stay in bed until you’re well.
Dialogue 47
- Sorry, I’m a bit late, am I?

– That’s all right, darling. Take off your coat, wash your hands and sit down at
table.
– Dinner’s ready, isn’t it?
– Yes, it is.
Dialogue 48
- Well, I think that’s all the reading for today.

– Is it getting late? What time is it now?
– Time for bed, I think.
– O.K. Coming, Mummy.
– Now, hurry up!
Dialogue 49
- I don’t want you fighting. Stop it once and for all.

– Sorry, but I had to. He started it.
– I don’t care what the reasons are. I forbid you to fight.
Dialogue 50
- Where’re you going? I’d like to

know.
– To the playground.
– What for?
– To play football for a while. Will you come with me?
– I’m sorry, but I can’t. I’m busy now.
– What a shame! Good-bye, then.
– So long.
Dialogue 51
- Excuse me. Do you have a ball?

– Certainly. Here, help yourself .
– Thanks .
– Not at all .
Dialogue 52
- Well, do you have anything arranged for tomorrow?

– Nothing definite.
– How would you like to go on an excursion?
– Where to?
– To Prince Tower.
– Oh, yes, I’d be glad to!
Dialogue 53
- Shall we go for a walk?

– Good idea! Where to?
– Let’s go to the park.
– Don’t you think we’d better go to the fields?
– Let me see… It’s 10 o’clock now. We’ve got plenty of time.
Dialogue 54
- Are you going out?

– Yes, to the playground. Do you want to come?
– Yes, I do. But I can’t.
– Can’t you? Why not?
– Because I have to do my homework now.
– Oh, you can do it tomorrow.
– Oh, no! There’ll be no time for that tomorrow. I’ve got to do it today.
– Well, in that case I’ll stay at home and help you.
– Thanks. That’s very nice of you.
Dialogue 55
- I’ve got to go to the Railway station.

– What for?
– To meet a friend of mine. How do I get there from here?
– Catch a bus. It’s the quickest way, I think.
Dialogue 56
-I beg your pardon. Is this the right way to Hyde Park?
– I’m sorry, I can’t tell you.
– Oh, what a nuisance! Why not?
– You see, I’m stranger in these parts myself.
– What shall I do, then?
– Well, ask somebody else or, even better, ask a policeman.
– Thank you. Much obliged.
Dialogue 57
- Anything I can show you?

– Oh, yes, please. I want some shoes.
– What size, colour?
– 35, brown, please.
– Here you are.
– Thanks. May I try them on?
– Do, please.
– They’re all right. How much are they?
– 10 roubles.
Dialogue 58
- Can I help you?

– Yes, I want a large box of chocolates for a present, please. It’s Mummy’s
birthday tomorrow.
– What about this one?
– Oh, yes. It’ll do. How much is it?
– 75 pence, please. Anything else?
– Nothing else. Thank you.
Dialogue 59
- Will you be going shopping today?

– Why do you ask?
– I’d like to ask you a favour.
– What can I do for you?
– Would you get me some sugar and bread?
– Certainly, if you give me some money. I’m very short.
Dialogue 60
- It’s raining hard at the moment.
– And we’re both carrying parcels.
– I’m afraid of getting wet.
– Why not get a bus?
– That’s a good idea.
Dialogue 61
- What would you do if you had a lot of money?

– I’d buy a scooter.
– But if you can’t buy a scooter?
– Then, I’d buy a bicycle.
Dialogue 62
- Hello! Is that nice? I hope you enjoy your breakfast, don’t you?
– Oh, yes, very. Thanks.
– May I sit at your table, please?
– You’re very welcome.
– Thank you.
Dialogue 63
- Oh, dear, call your little brother, please.

– He’s up in the tree.
– Well, let him come down.
– He says he won’t until you agree to play football with him.
– Oh, no. I can’t do that. I’m too old to do that.
Dialogue 64
- What’s his telephone number?

– It slipped my memory. I know it, but I can’t think of it.
– Neither can I.
– Well, it’ll come back to me in a minute.
Dialogue 65
- What’s that girl’s name?

– Do you mean the one in the blue coat?
– Oh, yes, that’s the one.
– Let me see… It’ll come back to me in a moment.
– Don’t tell me you’ve forgotten it.
– It’s just slipped my mind.
– Think hard, will you?
– It’s just on the tip of my tongue.
– You must remember.
– I’ve got it at last! Caroline!
Dialogue 66
- Do you come to school by bus?

– Yes, because I live a long way from school. And you?
– Oh, I always walk to school. I live nearby.
Dialogue 67
- What luck running into you! How are you getting on?
– Thanks. Everything’s all right. I’m quite well.
– You see, I was ill last week.
– What was the matter with you?
– I had a cold, high temperature and a headache.
– Poor you! You had an awful time I should think.
– You’re right.
Dialogue 68
- The weather’s fine today, isn’t it?

– Yes it is. The sun’s shining brightly in the blue sky.
– Is it warm in the street, I wonder?
– I shouldn’t think so. It’s November now.
– Shall I put a coat on?
– As you like. Are you afraid of catching cold?
– Certainly.
– All right, then.
Dialogue 69
- Do you like going to the pictures?

– Not specially. I prefer the theatre.
– Do you often go to the theatre?
– Yes, I do.
– How often?
– Once or twice a month. It depends.
– Not so bad, I think.
Dialogue 70
- I’m going to have a party on Sunday. Can you come?

– Yes, thank you for the invitation. What time shall I come?
– At 6 o’clock, please.
– O. K. That suits me.
Dialogue 71
- How long shall we have to wait for him?

– I am afraid I’ve no idea.
– Well, I hope he won’t be too long?
– I hope so, too.
– How about ringing him up?
– That’s a good idea! Let’s.
Dialogue 72
- How do we get to the theatre? By bus or car?

– Either. But the tram takes much longer.
– Look, there’s a number 3 bus over there. Hurry up!
– Oh, no. I simply can’t. Let’s catch the next one.
Dialogue 73
- What bus are you catching?

– Number 2 to the stadium.
– Sorry to trouble you, but should I catch the same bus for the Post-Office?
– Yes, you can catch any bus to get there.
Dialogue 74
- Can I get to the museum by bus?

– Let me see…Why, yes.
– What bus shall I take?
– First you get a number 5 bus.
– And then?
– Then, you … you walk the rest of the way.
– How long will it take me to get there, do you think?
– About twenty minutes.
Dialogue 75
- Excuse me.
– What is it?
– Can you tell me how to get to the circus?
– Certainly. You need a number 4 trolley-bus or a number 11 bus.
– Which is the best way to get there?
– By trolley-bus, I think.
– Thanks a lot.
Dialogue 76
- Excuse me. Please let me by.

– Are you getting off at the next stop?
– I’ve got to get off at Fleet Street.
– But that’s the next stop but one, I think.
– Sorry, I didn’t know that.
Dialogue 77
- Where to?
– The Railway station.
– You’re going the wrong way. You’re going away from it.
– Oh, dear. What’ll I do, then?
– Get off at the next stop, cross the road and take the same tram going the other
way.
– Thanks. Do I have to change?
– No, not for the Railway station.
Dialogue 78
- I’ve bought the tickets!

– Have you really? Splendid! How did you manage it?
– With the help of a friend of mine.
– Well done! It’s a good thing you were able to.
Dialogue 79
- How much is an ice-cream?

– Well, what sort of ice-cream do you want?
– This one, a choc-ice.
– 15 pence, please.
– I’ll have one, please.
– Here you are.
– Thanks.
Dialogue 80
- Could you give me some money?

– How much do you want, I wonder?
– Sixpence, if you can spare it.
– All right. When do you want it.
– Straight away, please.
– Here you are.
– Thanks.
Dialogue 81
- Order what you like. I’ll pay.

– A couple of cheese sandwiches, please.
– And what about a cup of coffee?
– As you please.
– Anything else?
– Thanks. I don’t think I’ll have anything else.
Dialogue 82
- Can I get a cup of coffee? I’m so cold and tired.

– Just a moment… Sorry, there’s no coffee.
– Can’t I have a glass of milk, then?
– There’s no milk either, but you can have a cup of tea.
– With pleasure, if it’s hot.
Dialogue 83
- What does that sign say?

– Can’t you read English?
– Why would I ask if I could?
– Shall I read it to you?
– That’s what I want you to do.
4 – ORAL PRESENTATIONS (Prepared and Extempore)
Successful presentations are designed to meet the needs and expectations of the
audience. The information and delivery should be relevant and presented in a
way so that the audience will listen and keep listening.
Many presenters get caught up in the details of the topic and what they want to
say, and lose sight of the audience and what they need to gain. The emphasis
should be on the listener, not the presenter. Analyzing your audience will help
you decide what to include in the presentation and how to best present the
information. You will have determined what information will appeal to them
and this will increase your persuasiveness.
There is no question about the importance of content. A presentation without

good content will always fall flat. However there are many skills that must be
applied to bring good content to life.
Even with solid research, subject expertise, good planning and excellent
facilities, some presentations fail. If a presenter does not have a confident,
enthusiastic delivery style, the audience quickly loses interest and becomes
bored.
Research has shown that an audience’s opinion of a presentation is based 7%

from the presentation content, 38% from voice and 55% from facial expressions
and gestures.
Presenters need to use their own personality while focusing on their delivery
skills to project the professional and confident style needed to create a
successful presentation.
Utilizing an interactive and lively presentation style uses nervous energy in a
positive way instead of as an inhibitor.
Delivery skills are comprised of effective eye contact, volume, pacing, tone,
body language, word choice, and appearance.
PRESENTATION CONTENT
¬Focus their attention
¬Start with a clear, relevant purpose statement that shows the benefit to them
¬Use language that is clear and easily understood
¬Start with the familiar
¬Use examples and analogies
¬Stay focused on your main objective(s)
¬Use concrete examples
¬Make it memorable
PHYSICAL ENVIRONMENT
¬Keep room temperature on the cooler side
¬Give them a break if they have been sitting more than 1 hour
¬If a break isn’t possible, ask them to stand up and stretch
¬Eliminate unnecessary noise distractions
¬Lighting should be bright
¬Visuals should be easily viewed by all audience members
THE SPEAKER
¬Create an attention-getting introduction

¬Make a positive first impression
¬Use your voice, gestures, and facial expressions for emphasis to increase
retention
The sound of your voice can be a major detractor from the content of your
presentation, or it can be one of your most effective tools. The pitch, tone and
volume of your voice is crucial for effective delivery. In our culture, we expect
good, direct eye contact. In many presentations, speakers look at the walls,
floor, their notes, anywhere but at the audience members! We need to look at
individuals. Eye contact opens the channel of communication between people.
When you prepare for a presentation, you organize your thoughts and prepare
your words. When the moment arrives to present, your adrenaline starts
pumping and produces extra energy. Mastering key techniques allows you to
channel your nervous energy in a way that brings life to your presentation.
Using your body language properly will help your presentation become
interesting and engaging. Keep your weight balanced equally over both feet.
Stand facing the audience. Gestures add visual emphasis to your words and help
your listeners remember the content. When possible, check your physical
appearance in a full-length mirror prior to your presentation. Your appearance
affects the audience’s perception of you. Everyone experiences nervousness
before presentations. The trick is to make your excess energy work for you by
fueling it into your presentation. Good visuals help support and organize a
presentation.
The best way to come across as sincere and interested is to be yourself.
How do you let your own personality shine through without compromising the
structure and content of the presentation?
Share personal experiences

Use humor (appropriately), tell stories not jokes
Relax
Speak in a natural, conversational style – Avoid reading from a script
Use your visual aids as your notes rather than reading from them or a script
Become involved and committed to your topic.
Tips for Overcoming Nervousness:

Prepare. Research has shown that 50% of nervousness is caused by lack of
preparation. Knowing your topic and that your presentation is well organized
gives you confidence. (Section 5 provides a guide for organizing your
presentation.)
Practice. Stand up and practice your presentation. Ask a few friends or family
members to serve as your audience. Practice answers to questions you anticipate
from the audience. Videotape yourself if possible or stand in front of a full-
length mirror while practicing.
Visualize. Think positively. Mentally rehearse the entire presentation in vivid

detail. See yourself as a dynamic, knowledgeable speaker, it will also help you
focus on what you need to do to be successful.
Eat and drink right. Eat a light meal beforehand. Drink fluids the previous
day. Stay away from sugar, dairy, caffeine, and alcohol.
Breathe: Breathing from your abdomen releases stress-producing toxins. The

first thing to do is sit up, erect but relaxed, and inhale deeply a number of times.
Stretch: To relax, you need to release tension by allowing your muscles to flex.
Visual Aids: People depend on what they see visually as their primary source
of information. Adding visual aids to your presentation has a dramatic impact
on how much your audience takes away. In one study, a presentation that only
delivered information verbally achieved a 7% comprehension rate; the addition
of visuals raised comprehension to 87%. This shows that information seen and
heard has a much better chance of being remembered than information
just heard. Good visuals help support and organize a presentation. They focus
the audience’s attention and clarify and augment ideas. Visuals enable you to
get more content across in a shorter period of time, simplify complex
information, and eliminate misunderstanding.
Impromptu or Extempore Presentation:
There comes a time in any person’s life when he’ll have to give an impromptu
presentation or speech. It may be for anything –a teacher trying to get you to
speak up in class, or even in a casual debate. It happens more often than most
people would think. Feel free to acknowledge that you have not prepared for a
speech. Do this in a professional way! This should not be an attempt to garner
pity, but rather a way to put yourself and your audience at ease. Then, excuse
yourself for a moment and take time to jot down a quick outline. Zone out the
audience. Jot down interesting or significant points about your topic, which will
be related in some way to the event you’re attending.
If it is a homework assignment you are addressing, for instance, write down

your impression of the assignment or anecdotes about your time spent on it.
Begin with your introductory sentence, elaborate, then start working your way
to your ending sentence. Fill in the middle space with as many points as you
can, elaborating on each one as you go. Just concentrate on the zinger you’ve
reserved for the end. As you deliver your speech, concentrate on diction and
tone. If you are thinking about this, you are not thinking about the eyes
watching you. This really works! Your mind can’t think about too many things
at once, so think about enunciating your words and controlling your tone, and
you’ll maintain more control.
5.‘Just A Minute’ Sessions (JAM).
Just a Minute Sessions are conducted to check the communication skills of the
students
i.e, construction of sentences, sequencing of thoughts , putting forth ideas ,

knowledge
etc., in a stipulated time frame.
A Topic is put forth to the student , the student is expected to make an oral
presentation in a short period of time and speak within the stipulated time.
6 – Describing Objects / People/SITUATIONS
Introduction:
A paragraph to describe objects consists of 5 parts as follows:
1. Function/ Use
2. Components/ Parts
3. Characteristics (material/shape/ figure /dimensions /property /colour)

4. Position
5. Connection between parts
Language Focus: Function/Use
v.to be + used to + V1
v.to be + used for + Ving
A drum is used for making music.
A drum is used to make music.
Components/Parts
1.1 A hammer consists of a handle and a head.
is made up of
is composed of
1.2 A hammer includes a handle and a head.
1.3 A hammer has two parts: a handle and a head.
sections: one is a handle, the other is a head.
components: one is a handle, the other is a head.
Characteristics Material
A chair is made of wood.
Bread is made from wheat.
This kind of car is made by a big company in Japan.
Shape
is shaped like + n.
A coin is shaped like a circle.
is + Adj. + in shape.
A coin is circular in shape.
is + Adj.
A coin is circular. Noun Adjective

Square square
rectangle rectangular
triangle triangular
ellipse elliptical
semicircle semicircular
circle circular
cube cubic
pyramid pyramidal
cone conical
hemisphere hemispherical
cylinder cylindrical
Height
He is tall. He is short. He is normal height.
+ He is very tall. He is quite short. He is relatively normal height.
Build
She is skinny. (negative) She is fat. (negative)
She is underweight. (negative) She is overweight. (negative)
She is thin. (negative) She is plump. (neutral)
She is slim. (positive) She is stocky. (neutral)
She is slender. (positive) She is bonny. (positive)
if a man is fat (especially round the waist) we often say he has a beer belly.
Hair
blonde/fair hair brown hair red hair black hair grey hair
blonde brunette redhead – -
Eyes
grey eyes green eyes blue eyes brown eyes dark eyes
Type of hair
She has long hair.
She has short hair. He has no hair. = He is bald. She has medium length
hair. She has short hair.
+ She has long, black hair. She has short, black hair. – She has
medium length , blonde hair. She has medium length, red hair. She has short,
blonde hair.
++ She has long, straight, black hair. She has short, straight, black
hair. – She has medium length, straight, blonde hair. She has
medium length, wavy, red hair. She has short, curly, blonde hair.
or Her hair is long, straight and black. Her hair is short, straight and
black. – Her hair is medium length, straight and blonde. Her hair is
medium length, wavy and red. Her hair is short, curly and blonde.
+ She wears glasses.
Type of complexion
He is asian. He has light-brown skin.
She is black. She has dark skin. He is white. He has fair skin. She is white. She
has lightly tanned skin. She is white. She has very pale skin.
Other features
moustache beard chin forehead nostrils

eyebrows cheeks lips teeth
bald, black, blonde, blue, brown, curly, fat, grey, long , medium,
overweight, pale, plump, red, short, skinny, slim, stocky, straight, tall, tanned,
thin, wavy and white are all adjectives – they describe things
very, quite and slightly are all modifiers – they change (modify) the adjectives
Build
People are built in all shapes and sizes. There are those who are fat and
overweight. Some people are extremely overweight and are obese. Other people
are naturally slim, but others look have absolutely no fat on them and are thin,
or skinny.
Personally, I am stocky – small, but well-built. My father is tall and lean – with
very little fat. My sister is short, but wiry – she is quite thin, but muscular. Both
my brothers are athletic and well-proportioned. My mother looks like a 1940’s
film star. She is curvaceous, with an hour-glass figure.My grandfather is fit for
his age and takes plenty of exercise. He doesn’t want all his muscles to get
flabby.
Colouring
My sister – she has fair hair and fair skin. She doesn’t tan easily and has to be
careful in the sun. My mother is blonde, also with a fair complexion. I am a red-
head – with red hair. Like many other people with a pale complexion, I get
freckles from the sun – small brown dots on my face and arms. In contrast, my
father has dark-brown hair and he is quite dark-skinned. You are born with a
colour – white or Caucasian, black or Asian. People whose parents are of
different ethnic origin are mixed-race. Southern Europeans are sometimes
described as Mediterranean.
Face
Faces, like build, vary a lot. Some people have oval faces – their foreheads are
much wider than their chins. Other people have heart-shaped, square or round
faces.
Features also vary. My grandfather has bushy eyebrows (he has lots of hair!), a
hooked nose and high cheekbones. His eyes are large and set quite far apart. My
mother has a broad nose, which she hates, as she prefers narrow noses. But she
is lucky to have even or regular teeth. My sister corrected her crooked teeth by
wearing a brace which straightened them. She has rosy cheeks, small ears and a
snub nose, which goes up at the end.
I have long, curly hair, though my sister is the opposite, with short, straight hair.
Her hair is fine and doesn’t weigh very much, but mine is thick and heavy. My
mother’s hair is wavy – in between straight and curly. My father is losing his
hair – in fact he is going bald, which makes him very sad. My brother looks like
he is going to lose his hair too.
Describing Emotions
There are hundreds of words that are used to describe or identify emotional
states:
happy elated sad gloomy depressed

down angry peeved embarrassed excite
anxious bored content unsatisfied satisfied
shocked nervous scared frightened over-whelmed
flustered quiet shy demure moody
cheerful bold passive offensive aggressive
7 – INFORMATION TRANSFER
Information transfer or presenting verbal accounts of facts and processes in

pictorial form body of material in different ways. It is an important skill that
you will need at the college and university levels as well as in your professional
and personal lives, both to explain a map, graph or table in speech or writing
and to re present a verbal text in graphic form. Information transfer is used
specifically in the contexts of narration, physical and process description, listing
and classifying, comparison and contrast, showing cause and effect relationship,
and generalizing from numerical data. Transferring information from verbal to
graphic form, and vice versa is thus a very useful skill that will help you in
study and at work.
Technology in every field of information means the macro information is being

transferred as much as micro is being, which we have on our finger tips. The
information can be shown through texts, tables, maps tree diagrams bar graphs,
pie charts , flow charts and so on.
Information in verbal form can be made clearer and easier to understand by

presenting it in graphic or pictorial form.
Pictorial representation has many advantages:
Allows quick and easy viewing of a large amount of data
Quicker to locate required information in a graphic than in a written text
Data relating to a long period of time or to large number of people can be

effectively summarized
Convenient to use in making comparisons involving amounts of data:
The different types of graphic representation you could use to supplement your
writing are: tables, bar charts, maps, graphs, pie charts, tree diagrams, flow
charts and pictograms.
When you need to use a graphic form of communication, choose a form that
will present your data clearly, accurately and in an interesting manner.
When information is personated graphically, you should be able to interpret or

analyse it. Transferring information from textual to graphic form and,
conversely, from pictorial to verbal form are both important and useful skills.
The above example makes the advantages of pictorial representation clear:
vQuick viewing of a large amount of data possible
vFinding information in a table or a map quicker than it is in a written text
vCan efficiently summarize data pertaining to a long period of time or to a large

number of people
vConvenient in making comparisons involving large amounts of data
There are different kinds of graphic representation: maps and plans, tables,
graphs, diagrams, bar charts, flow charts, pie charts, tree charts and pictograms.
These have different uses. Thus bar charts make comparisons, pie chart show
how something is divided, and line graphs show variations in data. When you
use graphs to present your data, choose the kind that will serve your purpose
best and depict your analysis clearly and accurately. For example, difference in
quality or number cannot be shown on a flow chart, and a trend cannot be
represented by a table.
TABLES
A simple form of graphic representation is the table, in which data are arranged
in horizontal rows and vertical columns that carry labels to identify what they
represent.
BAR CHARTS
A second kind of graphic representation is the bar chart, or bar graph. It is a

very common kind of graph used to depict levels of a qualitative, independent
variable using individual bars. It consists of an axis and a series of labeled
horizontal or vertical bars with different values. The numbers along one side of
the bar graph is the scale.
LINE GRAPHS
A line graph is a way of depicting graphically how two quantities are related,
and how they vary in relation to one another.
PIE CHARTS
Another kind of chart is the circle chart or pie chart. It consists of a circle
divided into sections, each showing the size of some related piece of
information.
FLOW CHARTS
Another form of representation that is widely used today is the flow chart, also
known as a flow diagram. It is used to represent a process that takes place in
successive stages, as in a production process from raw material to finished
product.
TREE DIAGRAMS
Tree diagrams are two types: organization chart, which is used to show the
structure and lines of responsibility within a company or an institution, and the
genealogical tree or family tree, which is used to represent the structure of a
major group such as mineral rocks or the structure of sentences in books on
grammar or relationships within a large family.
PICTOGRAMS
A pictogram is another very interesting way of presenting data. It uses, as its

name suggests, pictures in place of bars or figures. For example, the flowers
growing in different places in a state or a country can be presented by tiny
pictures.
MAPS AND PLANS
Maps are representations, usually on a plane surface, of a part of the earth-

continents, countries, cities, villages, small areas and even buildings. They show
outlines and boundaries, names or codes of areas within them and features such
as roads, coastlines, rivers, buildings and rooms.
8 – DEBATE
Debate or debating is a formal method of interactive and representational

argument. In a formal debating contest, there are rules for people to discuss and
decide on differences, within a framework defining how they will interact.
Informal debate is a common occurrence, but the quality and depth of a debate
improves with knowledge and skill of its participants as debaters. Deliberative
bodies such as parliaments, legislative assemblies, and meetings of all sorts
engage in debates. The outcome of a debate may be decided by audience vote or
by judges.
A debate is a structured argument. It is one way of communication where our

analytical and logical thinking comes into play. It is an art of knitting arguments
and putting them forth in a constructive way. Debate makes us think about the
two opposite sides of a subject and helps us decide as to which way to follow.
As the topic of debate is already decided, sometimes you may find your self
supporting a move which you normally oppose or vice-versa. Debate can be in
argumentative through letters, debates & essays. We can put forth points for and
points against a particular through direct debates as well as essay writing.
Debates are conducted in colleges and University. Debates are in state
legislative & parliament. Debate is a contest between two speakers or two
groups of speakers to exhibit their capacity and dexterity in arguing, there
should always be one or more speakers for proposition and oppositions.
Usually, in a debate, a topic is thrown between two teams or two individuals.
One team decides to go for the topics and the other, goes against it. The topics
are suitable selected as to having both pros and cons as the debate begins; the
teams declare their stand and get into arguments and counter-arguments. At the
end, an evaluation is made on the basis of the arguments put forth by both the
teams and decision is taken on who is the winner.
Debate is the ultimate mind exercise.
Four types of debate:
1.Parliamentary Debate. This is the debating that goes on in colleges and

universities.
2.Value debate : In this debate two contestants will debate topics centered
around moral issues or propositions of value or preference. Here are some
examples of topics appropriate for value debate: capital punishment; abortion;
etc.
3.Cross Examination Debate (also called policy debate or team debate). In this
type of debate two teams , one representing the affirmative position and one
representing the negative position, will debate topics of public or government
policy.
4.Academic Debate. These are debates of a purely academic nature. An

example of this type of debate would be creation/evolution debates.
There are two things you will have to study if you want to participate in debate:
The principles of debate—logic, evidence, case construction, proof, refuting

arguments, rebuttal, the brief, etc. Observe as many debates as you can. This
will be difficult for some, but you might look into attending some college
debates. The more you observe and study the more familiar you will become
with the procedures and terminology of debate.
Participants should follow these four steps:

Read for background information about the subject.
Prepare a comprehensive bibliography.
Collect as much material as you can find.
Read and study the material discovered.
Read and study the material discovered:
After you have secured all of the material available, you will then read and
study carefully the books and articles you have found. Try to learn as much as
you can about the subject and to get the points of view of as many different
authorities as possible. Be on the lookout for new ideas and new suggestions for
arguments, arguments on both sides of the topic. Look for specific items of
evidence, which might be used as proof.
Topics for Debate
Here are a few topics to discuss with a friend or group. Practise agreeing and
disagreeing even if you have to argue against something you actually believe in.
One way to have fun with this is to make up a bunch of cards that say agree or
disagree. Try to continue each discussion for at least five minutes. Use the
expressions that you learned, including agreeing, disagreeing, asking for
opinions, interrupting, etc.
Alcohol should be illegal.
Studying grammar is more important than practicing conversation skills.
Television is the leading cause of violence in today’s society.
Dogs make better companions.
Smoking should be permitted in public places.
Females are better students than males.
A parent shouldn’t pierce a baby’s ears.
Women should be empowered.

Everyone should plan their own funeral.
Reading English is more difficult than writing English.
Summer is the best season of the year.
Engineering students should wear uniforms.
21 should be the legal marriage age around the world.
The government should pay for post secondary education.
9- Telephoning Skills
Learning how to communicate well on the telephone is one of the top priorities
for many students who need to use English at work. Learning the common
phrases that are used on the telephone helps students know what to expect.
However, what students often need most is practice, practice, and more practice.
While helpful, practicing a role-play in the classroom is not always the best way
to improve telephoning skills. Telephoning requires special skills as there are a
number of difficulties that arise when telephoning that are specific to
telephoning. The first and foremost difficulty is not being able to see the person
you are communicating with. This lack of visual communication often makes
students, who can communicate quite successfully in other situations, nervous
and thereby hinders their communicative abilities. Add to this the typical hectic
pace of business communication, and you have a particularly difficult situation.
Breathe: Before you pick up the phone, take a deep breath. Most of us are what
they call “shallow breathers”. We take small breathes in and out and therefore,
sound tired when we answer the phone. The goal is to sound like you like your
job and you are glad they called. Practice taking a very big breath and
answering the phone at the top of that breathe. You will continue speaking on
the exhale of that breath and the caller will hear energy in your voice! You can
also practice it when you are making a call and start your breath as the phone is
ringing on the other end. You’ll be surprised how you feel when you use this
technique.
Identify yourself: Give your full name and function and or the name of your
company. Since they have taken the time to call you, you may answer the phone
this way;
Be Sincere: If we are honest with ourselves, we are all “problem solvers” in
some way. People call us on the phone to have a problem answered. Whether it
is to get driving directions, or hours of operation or questions about our
merchandise, they have a question and want it answered quickly, intelligently
and politely.
Listen attentively: Put everything down when you answer the phone! Easier
said than done, isn’t? How many times have you been in your office answering
email, talking on the phone, listening to your ipod and sipping ? Callers don’t
like to be ignored and by multitasking, we are not focused on the caller’s wants
and needs.
Visualize the person, even if you don’t know them so that you remind yourself
you are engaged in a two-way conversation. If you still have trouble listening,
start taking notes on what they are saying. Use a headset if possible, to keep
your hands free. By taking notes you can verify with them as well as yourself,
the important points of the conversation and the action items that needed
attention.
Outcome. If the phone call has been successful, the first 30 seconds established
a positive perception about you through voice, and tone and focus. The last 30
seconds will be when the caller finalizes their opinion about you. You can make
that a positive experience by thanking them for calling, reviewing the problem
you were able to solve and then most importantly, thanking them for their
continued business.
These skills include:
Smiling
Smiles and gestures can easily be heard over the phone, so keeping that smile
on your face helps to create a positive engagement with caller every time you
talk to them.
Empathy
If you can’t put yourself in a caller’s shoes especially when you know they are
wrong, how can you understand why they have the feelings they do about the
issues they have called in about? If you cannot come to an understanding of
why a caller is calling, it’s practically impossible to help them in any positive
way.
Problem Solving Skills
Generally, the company you work for will offer the tools to solve any problem a
caller may have, but it is your job to learn how to use them effectively.
Telephone English – The Phrases
Introducing yourself Asking who is on the telephone

This is Moses. Excuse me, who is this?
Prince speaking Can I ask who is calling, please?
Asking for Someone Connecting Someone
Can I have extension 321? (extensions are I’ll put you through (put through –
internal numbers at a company) phrasal verb meaning ‘connect’)
Could I speak to…? (Can I – more Can you hold the line? Can you
informal / May I – more formal) hold on a moment?
Is Jack in? (informal idiom meaning: Is
Jack in the office?
How to reply when someone is not Taking a Message
available Could (Can, May) I take a
I’m afraid … is not available at the message?
moment Could (Can, May) I tell him who
The line is busy… (when the extension is calling?
requested is being used) Would you like to leave a
Mr Jackson isn’t in… Mr Jackson is out at message?
the moment…
Exercises for Practicing Speaking on the Telephone
The most important thing about practicing telephone conversations is that you
shouldn’t be able to see the person you are speaking to on the phone. You may
ask, ‘How can I do that if I am practicing with a friend or another classmate?’
Here are a few suggestions for practicing phone calls without looking at your
partner:
If you are in the same room – Put your chairs back to back and practice
speaking on the phone, you will only hear the other person’s voice which
will approximate a telephone situation.
Use the telephone – This is pretty obvious, but really not used that often.
Give your friend a call and practice various conversations (role plays).
Use internal office phones at work – This is one of my favorites and great
for business classes. If your class is on site (at the office) go to different
offices and call one another practicing conversations. Another variation is
for the students to go into another office and have the teacher telephone
them pretending to be a native speaker in a hurry. It’s then up to the
students to make sure they have communicated what they need, or
understood what the caller wants. This exercise is always a lot of fun –
depending on how good your teacher is at acting!
Tape yourself – If you are practicing alone, tape standard answers and then
practice using the tape recorder stopping and starting to simulate a
conversation.
Real life situations – Businesses are always interested in telling you about
their products. Find a product you are interested in and research it over the
telephone. You can …
- call a store to find out the prices and specifications.
- ring the company representative to find out details on how the product works.
- telephone a consumer agency to find out if the product has any defects.
- call customer service to find out about replacement parts, etc.
10 . Giving Directions
Introduction: Not everyone knows where they are going and may need help
with directions from time to time. Directions may be needed to get to a near by
town, or directions to the newest mall in town or directions to the nearest rest
room in a large building. Where ever you are going the expression below can be
used when asking for directions.
Suggestions for giving directions
Giving street directions is really very easy when you remember to follow these
points. When giving directions you are actually giving two sets of instructions.
In the first set- “Go To” – you are telling the listener what street to go to or
how far to go.
In the second set- “Then”, you are telling the listener what to do when they get
there. (turn right/left, go straight, on the left, etc.)
Giving even very complicated directions is just a repetition of these two

basic steps.
Another good idea is to use easily identifiable landmarks; instead of the

amount of time to get someplace (time is relative, after all). Easily
identifiable landmarks are street lights, stop signs, parks, tall building
standing alone, etc.
Prepositions of location most commonly used when giving directions:
go straight go to turn right turn left
cross on your right on your left beside
next to behind across from in front of
caddy corner on the corner of (to be very specific NE, SE, NW, SW corners)
Note the expressions used in the dialogue and the progression of the
conversation:
Wally: Excuse me, could you tell me how to get to the city hospital?
Sally: Sure, the hospital is on Tenth Street, about 20 minutes away by foot. Go
south on this street two blocks until you come to the stop light.
Wally: Go south two blocks to the stop light.
Sally: Correct, then, turn left and go three more blocks, until you come to the
end of the road. A park will be in front of you.
Wally: Turn left and go for three blocks to the park.
Sally: Right, then turn right again and go seven blocks, to Lipton Avenue.
Wally: Turn right and go seven blocks to Lipton Avenue.
Sally: Next, turn left on Lipton Avenue and go two blocks. The hospital is on
your left, across from the baseball stadium.
Wally: OK, let me see if I’ve got this straight. Go south on this street for two
blocks to the stop light. Turn left at the light and go three blocks to the park.
Turn right at the park and go seven blocks to Lipton Avenue. At Lipton Avenue
turn right and…
Sally: No, turn left on Lipton Avenue.
Wally: OK, turn left on Lipton Avenue, the hospital is two blocks down, on my
left.
Sally: You got it.
Wally: Thanks.
When Giving Directions in English, Giving directions usually consists of to sets

of instructions.
In the first set: Say “Go to” and tell the listener what street, building, office
number, etc – or – how far they need to go.
In the second set: Say “Then” and tell the listener what to do when they get
there. (turn left, turn right, it’s on the left, etc.)
* Don’t forget to say “Thank you” after someone has given you assistance
Giving Directions for Locations:
The jewelry store (on First Avenue at the corner of Hill Avenue/next to the
women’s wear/behind the Italian restaurant)
The bar (on Main Street, at the corner of Pine/across from the furniture
store/across from the men’s store)
The police station (on Main/Memorial/First Avenue/next to the Fire

Department/across from the book store)
The toy store (on Forest Street/Main Street/across from the Chinese restaurant)
The movie theater (on Oak Street across from the Book store)
The sporting goods store (on First Avenue/next to women’s wear)

Asking for Directions
Excuse me . . .
** This is always the most polite way to begin your request for directions**
Would/Could you tell me how to get to . . . Anderson Construction?
How do I find . . . suite 305?
What is the best way to get to . . . business office?
Would/Could you direct me to . . . Ms. Sumidata’s office?
Which way do I go to get to . . . the Nobunaga Building?
Giving Directions
Go straight Make a U turn Turn left Turn right
Continue on (keep going) Follow this hall . . . road . . . path
Take the elevator It’s about 150 meters
It’s next to . . . across from . . . opposite . . . beside . . . between (two things)
Cross the . . . street . . . road . . . park . . . lobby . . . intersection . . .
Go past the . . .
It’s on . . . the left . . . the right . . . the third floor . . . the corner
Prepositions to use with Directions
Go straight Go to Right left
Cross On your right On your left beside
Next to Behind Across from In front of
On the corner of
Short Questions with Directions:
1. Excuse me. Is there a grocery store around here?
Yeah. There’s one right across the street
2. Can you tell me how to get to Phoenix?
Sorry. I don’t live around here.
3. Where’s Tanner’s Leather Shop?
It’s on the corner of Holly and Vine. Next to the library.
4. How do you get to the bank?
Go straight down this street for two blocks. Turn left when you get to Maple
Street. Stay on Maple for half a block. It’s on the left hand side.
Important Phrases
How do I get to …?
What’s the best way to …?
Where is …?
Go straight on (until you come to …).
Turn back./Go back.
Turn left/right (into …-street).
Go along …
Cross …
Take the first/second road on the left/right
It’s on the left/right.
straight on
opposite
near
next to
between
at the end (of)
on/at the corner
behind
in front of
(just) around the corner
traffic lights
crossroads, junction
signpost
Directions I: Excuse me. Is there a bank near here?
Yes. There’s a bank on the corner.
Thank you.
You’re welcome.
Directions II Excuse me. Is there a supermarket near here?
Yes. There’s one near here.
How do I get there?
At the traffic lights, take the first left and go straight on. It’s on the left.
Is it far?
Not really.
Thank you.
Don’t mention it.
Excuse me. Is there a supermarket near here?
Yes. There’s one near here.
How do I get there?
At the traffic lights, take the first left and go straight on. It’s on the left.
Is it far?
Not really.
Thank you.
Don’t mention it.
Is there a _______ near here?
on the corner, on the left, on the right
straight on, straight ahead
traffic lights
Is it far?
Expression Response
Could you tell me how to get Go to the next light and turn right. Go two
to blocks, it’s
( …the library)? on the left.
How do I find ( … city hall)? Just go straight, it’s on this street, on the
right, about a
mile and a half.
Which way do I go to get to Drive to Jackson Street and turn right. The
post office
( … the post office)?
is in the middle of the block, across from
the park.
Pardon me, I’m lost, how do I Go to the second light and turn left. Then go
get to the the third
( … museum)? stop sign. The museum is on that corner.
Could you direct me to ( … Take Pinal Avenue north about 8 miles

XXX)? You’ll run into
it.
Which is the best route to Take Washington Street north to the Papago
freeway
( …the stadium)?
and Head west. You can’t miss it.

Introduction To The Sounds of English-Vowels, Diphthongs & Consonants.

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Introduction To The Sounds of English-Vowels, Diphthongs & Consonants.

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1. 1.

(Introduction to the Sounds of English- Vowels, Diphthongs &

Phonetics is the scientific study of speech sounds. It is a

Received Pronunciation (RP) is a form of pronunciation of the English language

The Sounds of English and Their Representation: In English, there is no

We can define a consonant by reference to three characteristics:

The point of articulation -where in the vocal tract it is made

Voiced Voiceless Examples

The two lips b P bat/pat

Tongue tip and tooth-ridge d t dug/tug

Back of tongue and soft palate or velum g k big/pick

Voiced Voiceless Examples

Lip and teeth v f vat/fat

Tongue-tip and teeth ð θ that/think

Tongue and tooth-ridge z s peas/peace

Tongue and hard palate ʒ ʃ measure/mesh

The glottis is partially h hat

A plosive and a fricative are pronounced together.

Voiced Voiceless Examples

Palate and tooth-ridge dʒ tʃ judge/church

Point of articulation Voiceless Examples

Tongue tip and tooth ridge n - nine

Tongue and soft palate ŋ - sing

Approximants: The remaining four consonants of English are less clear-cut.

Voiced Voiceless Examples

Hard palate r - rot

Voiced Voiceless Examples

The two lips w - win

Tongue and hard palate j - you

Phoneticians also identify vowels by their point of articulation. Vowels are

2 – STRESS & INTONATION

Stress of English words and sentences: basic rules and functions

In an English utterance, stressed words give information to the listener and

Information words in a sentence are usually nouns, verbs, adjectives, and

Words that are often Stressed

4. Possessive Pronouns – mine, yours, etc.

5. Demonstative Pronouns – this, that, these, those*

6. Interrogatives – who, what, when, where

7. Not / negative contractions – can’t, isn’t, etc.

8. Adverbs – always, very, almost, etc.

9. Adverbial particles – take off; do away with

Words that are usually Unstressed

1. Articles – a, an, the, etc.

2. Auxiliary (Helping) Verbs – be, do, have, etc.

3. Personal Pronouns – I, we, you, he, she, it, they.

4. Possessive adjectives – my, your, his, her, its, etc.

5. Demonstative adjectives – this, that, these, those

6. Prepositions – to, for, with, etc.

7. Conjunctions – and, or, but, etc.

English intonation: structures, functions and use

Intonation makes speech meaningful. English intonation adds the meaning of

1. It shows the relationship of words within and between sentences;

Intonation units are also called intonation-groups, tone groups or tone-units. An

A nucleus refers to the syllable in an intonation unit which carries maximal

I am WRIting a LETter to him NOW.

Tail, Head & Pre-head of an intonation unit:

I am WRIting a LET ter to him.

Following are the important functions of English intonation:

A. The attitudinal function

B. The accentual function

The location of the tonic syllable is of considerable linguistic importance. The

C. The grammatical function

a. A profit was made by those who sold quickly.