Лабораторний практикум - 18

CONTENTS
ЗАГАЛЬНІ МЕТОДИЧНІ ВКА3ІВКИ …................................ 5
LABORATORY WORK NO 1 .................................................... 7

LABORATORY WORK NO 2 .................................................. 14
LABORATORY WORKS NO 6-7 ............................................ 54
LABORATORY WORKS NO 8-9 ............................................ 64
LABORATORY WORK NO 10 ............................................... 84
LABORATORY WORK NO 11-12 .......................................... 93
LABORATORY WORK NO 13-14 ........................................ 103
LABORATORY WORK NO 15-16 ......................................... 115
APPENDIX ............................................................................... 126

TONE GROUP I ....................................................................... 126
TONE GROUP II ...................................................................... 130
TONE GROUP III .................................................................... 134
TONE GROUP IV .................................................................... 138
TONE GROUP V ..................................................................... 141
TONE GROUP VI .................................................................... 144
TONE GROUP VII .................................................................. 148
TONE GROUP VIII ................................................................. 152
TONE GROUP IX .................................................................... 156
TONE GROUP X ..................................................................... 161
ПЕРЕЛІК ВИКОРИСТАНИХ ДЖЕРЕЛ .............................. 167
4
ЗАГАЛЬНІ МЕТОДИЧНІ ВКА3ІВКИ.
ПОРЯДОК ВИКОНАННЯ ЛАБОРАТОРНИХ РОБІТ.
ПРАВИЛА ТЕХНІКИ БЕЗПЕКИ
Студента допускають до лабораторних робіт тільки niсля
проходження інструктажу з техніки безпеки в лабораторії
(комп’ютерному класі).
Виконувати конкретну лабораторну роботу студент може
лише за умови задовільної оцінки його піготовки до теми, що
виноситься на опрацювання, i наявності правильно
підготовленого до заняття звіту з теоретичної частини.
При домашній підготовці до лабораторного заняття
студент повинен знати теоретичний матеріал з теми, включаючи
питання з рекомендованої літератури з тим, щоб під час
лабораторної роботи закріпити теоретичні знання шляхом
практичного засвоєння набутих навичок та умінь.
Ступінь підготовки студент може перевірити за
контрольними питаннями, поданими у вказівках до кожної
лабораторної роботи.
Отримавши завдання на виконання роботи, студент
повинен ознайомитися з розробкою до виконання практичної
частини, за допомогою лабораторного устаткування
(комп’ютера, навушників, аудіофайлів) декодувати
запропоновані тексти або тон-групи.
Після виконання роботи слід завершити оформлення звіту в
лабораторії, зробити загальні висновки до звіту та
представити його викладачу на підпис.
Студентові, який не представив до кінця лабораторного
заняття готовий звіт, роботу не зараховують.
Під час виконання лабораторної роботи студенти
зобов'язані стежити за підтримкою порядку i чистоти,
збереженням обладнання лабораторії.
5
Перелік питань та завдань для лабораторної роботи:
1. Ознайомлення з теоретичною частиною.

2. Транскрибування слів в орфографії та запис орфографії
слів, поданих у транскрипції.
3. Вивчення таблиць.
4. Робота з аудіозаписами “Alexander Stories”.
5. Прослуховування та декодування записів “Alexander
Stories” з подальшим заучуванням їх напам'ять.
6. Робота над римуваннями, скоромовками та діалогами з
методичних вказівок “Вступний фонетико-корективний курс з
англійської мови”.
7. Складання та інсценування власних діалогів.
8. Запис студентом на диктофон текстів монологічного та
діалогічного характеру, коротких віршів, римувань,
прислів'їв, приказок та скоромовок.
9. Робота з Tone Groups 1-10.
6
LABORATORY WORK NO 1
Subject: Pronunciation as a way of materializing of oral

forms of language. Phonic structure of language and its
components
Function: to realize the importance of proper pronunciation,

to look through the definitions of the notion Pronunciation, to
study the language phonic structure and its components
Classroom Procedures:
1. Read the theoretical part.

2. Write down all unfamiliar words with their transcription.
Translate them.
3. Find the definitions of the notion Pronunciation, memorize
them.
4. Make a glossary of the main notions and give their
definitions.
5. Memorize these definitions.
6. Test your knowledge.
7. Complete Individual Practical Task.
8. Write the report.
Theory
Pronunciation as a way of materializing of oral forms of language
Pronunciation refers to the ability to use the correct stress,

rhythm, and intonation of a word in a spoken language. A word
can be spoken in different ways by various individuals or groups,
depending on many factors, such as: the area in which they grew
7
up, the area in which they now live, if they have a speech or voice
disorder,their ethnic group, their social class, or their education.
Language is shaped into a spoken message by means of its
phonic structure/sound matter which is traditionally treated as a
combination of four components:
1) the segmental/phonemic component;
2) the syllabic structure;
3) the accentual structure/word stress/lexical stress;
4) intonation.
Word stress and intonation can be treated together under the
heading supra-segmental or prosodic component because these
effects are superimposed on the segmental chain of sounds and
carry the information which the sounds do not contain.
In discussing the pronunciation of English we can focus on
one or both of two aspects:
a) on the one hand, we may want to describe WHAT
SPEAKERS DO WHEN THEY ARE SPEAKING ENGLISH.
This is the aspect of SPEECH (мовлення), an activity carried on
by communicators who use English in communicating;
b) on the other hand, we may address the question, WHAT
ARE THE CHARACTERISTICS OF ENGLISH WORDS AND
SENTENCES (DISCOURSE) that are realized in speech? This is
the aspect of LANGUAGE (мова).
Speech is not the same as language. Speech is an activity
which is carried on numerous events; language is knowledge, a
code which is known and shared by speakers who use their
knowledge for transmitting and interpreting verbal messages in
these events. When someone is speaking, anyone who is close
enough can hear – the air waves set up in the air by the speaker
reach the airdrums of the hearer. But only a person who knows the
language can understand what is said.
Pronunciation is a process of materializing of features
relating to the system of sounds/phonemes, the syllabic stucture,
prosody (word stress and intonation) while speech/oral verbal
message is constructed.
8
Memorization
Pronunciation is 1) the act, instance, or manner of

pronouncing sounds
2) the supposedly correct manner of pronouncing sounds in a
given language
3) a phonetic transcription of a word
Test
Suggest one-word/phrase answers to the following

statements/questions:
№ Question Answer
1 The ability to use the correct stress, rhythm,
and intonation of a word in a spoken
language refers to …
2 Language is shaped into a spoken message by
means of its phonic structure/sound matter
which is traditionally treated as a
combination of … components
3 The notion Prosody means …
4 Pronunciation is the act, instance, or manner
of pronouncing …
5 An activity which is carried on numerous
events is … language is knowledge,
6 A code which is known and shared by
speakers who use their knowledge for
transmitting and interpreting verbal messages
is …
7 Word stress and intonation can be treated …
8 Pronunciation features in a foreign language
influenced by the mother tongue are called …
9
9 What features are superimposed on the
segmental chain of sounds?
10 A word can be spoken in different …
Answer the following questions:
a) What is a pronunciation?
b) Tell the difference between language and speech.
c) What is the purpose of the proper pronunciation?
d) What does pronunciation depend upon?
e) What information does the word stress contain?
Individual practical task:
1. Listen to the texts from “Alexander Stories” Lesson 1 “A

private conversation”
2. Be sure you know the words, phrases and word

combinations:
to have a good seat to sit behind sb to get angry

to be interesting to talk loudly to turn round
to look at sb to pay (no) attention in the end
to turn round to say rudely to say angrily
3. Translate into Ukrainian:
English Ukrainian
Last week
I did not enjoy the play
I can’t hear a word!
This is a private
conversation!
It's none of your business!
10
4. Translate into English:
Ukrainian English
Минулого тижня я пішов
до театру
У мене було гарне місце
Позаду мене сиділи
молодий чоловік і жінка
Я не міг це витримати
Вони не звертали уваги
5. Сhoral repetition: repeat the phrases from task 2 in unison,

following the teacher as a model.
6. Individual repetition.
7. Individual practice: practice the text. In a strict application of

the audio-lingual method, the teacher is prepared to correct any
and all mistakes made by the student.
8. Listen to the texts from “Alexander Stories” Lesson 2

“Breakfast or lunch? ”

combinations:
to get up early/late to be dark to have breakfast

to stay in bed outside to repeat
until lunchtime to arrive by train Dear me!
to look out to come to see sb It’s one o’clock!
11
English Ukrainian
What a day!
I looked out of the window.
It's raining again.
Just then, the telephone
rang.
I'm coming to see you.
Ukrainian English
У неділю
Я ніколи не прокидаюся
рано
Я щойно приїхала
потягом
Що ти робиш?
О, боже!

14. Individual practice: practice the text. In a strict application

of the audio-lingual method, the teacher is prepared to correct any
12
Resources To Be Used
1. Сахневич І. А., Янишин О. К. Вступний фонетико-

корективний курс з англійської мови (методичні вказівки та
завдання для студентів спеціальності "Переклад”). – Івано-
Франківськ: Факел, 2006. – 113 с.
2. “Alexander Stories” Lesson 1 “A private conversation”
[Electronic Resource]. – Mode of access :
http://we.edu2web.com/2010/11/06/lesson-1-a-private-
conversation2/ – Title from the screen.
3. “Alexander Stories” Lesson 2 “Breakfast or lunch? ”
[Electronic Resource]. – Mode of access:
http://we.edu2web.com/2010/11/06/lesson-2-breakfast-or-lunch-2/.
– Title from the screen.
Report specification
1) Subject (тема роботи);
2) Function (мета роботи);
3) Procedures (хід виконання роботи);
4) Conclusion (висновки по роботі).
Requirements
У верхньому колонтитулі вказати: групу, прізвище,
ініціали, номер лабораторної роботи, Наприклад: ПФ-12-1
Петренко В. С. № 1 В.3
Page Setup (параметри сторінки)

 paper size A4 (формат паперу А4);
 borders: top – 2 cm, bottom – 2 cm, left – 3 cm, right – 1.5 cm;
(береги: верхнє – 2 см, нижнє – 2 см, ліве – 3 см, праве – 1,5
см);
 font Times New Roman, 14 pt; interval 1 (шрифт Times New
Roman, 14 pt; інтервал 1).
13
Subject: The system of sounds
Function: to look through the classification of the English

Phonemes, to study the main subtypes (vowels and consonants)
and distinguish their differences

Translate them.
3. Find the notions Sonorants, Oral, Stops (plosives),
Obstruents, Nasal, Continuants, memorize them.
definitions.
Theory
The System of English Phonemes. Consonants
The articulation of a sound consists of a set of articulatory

features. Grouping speech sounds according to their major
articulatory features is called an articulatory classification.
Sounds are subdivided into two major subtypes: VOWELS
(V) and CONSONANTS (C).
14
There are 1) articulatory, 2) acoustic and 3) functional differences
between V and C. These differences make it logical to consider
each class of sounds independently.
The sounds can be classified in different ways. H. Giegerich
[1992], M. Pennington [1996], use a set of basic binary (two-way)
distinctions in terms of:
1) phonation;
2) oro-nasal process;
3) manner of articulation.
Table 1
Phonation Oro-nasal Manner of articulation

process
Sonorants: Oral: Stops: sounds made with a
sounds whose sounds in complete obstruction or
phonetic content the stoppage of the airflow coming
is production up from the lungs. They are
predominantly of which also termed plosives.
made up by the the air
sound waves escapes
produced by through the
their voicing mouth.
Obstruents Nasal: Continuants: sounds in which
(noise conso- sounds in the obstruction of the airlow is
nants): sounds the only partial, so that the sound
produced as a production can be prolonged for a period of
result of of which time. Vowels are one type of
obstruent the continuants and there are three
articulation softpalate is consonant types of continuants:
involving an lowered, fricatives: whose phonetic
obstruction of and the air content includes a hissing
15
the air stream escapes noise, produced by turbulence
that produces a through the in the air stream as it is forced
phonetic effect mouth. through the narrow gap etween
independent of the articulators; affricates:
voicing. They complex sounds which consist
can typically of two components which
occur in voiced correspond to two phases of
and voiceless articulation –an oral- stop phase
variants. followed with a short friction
phase. approximants: sounds in
the production of which one
articulator moves close to
another, though not so close as
to cause aturbulent as to
produce friction. r,w,j are
termed central approximants
because air passes through the
oral tract along the center of the
opening, 1 is called a lateral
approximant because air passes
out along the side/s of the
articulation. h is a glottal
approximant. In some
phonological systems
approximants are treated as
semi-consonants (1, r) or semi-
vowels (w,j)
16
Thus, in accordance with the above- given grouping of
sounds, the sounds of English can be classified as follows:
The Sounds of English
Nasal Oral
Stop Continuant
fricativ affricate approximant vowel
mnŋ bdg fθsf tʃ dʒ i: i u: ʊ

wlrjh
ptk vðzʒ e з: ə ʌ
ɔ: æ o a:
Test

№ Question Answer
1 The articulation of a sound consists of a set
of articulatory …
2 Grouping speech sounds according to their
major articulatory features is called an
articulatory …
17
3 Sounds are subdivided into … major
subtypes
4 We consider each class of sounds …
5 Sounds are subdivided into two major
subtypes: VOWELS (V) and …
6 Sounds are subdivided into two major
subtypes: … and CONSONANTS (C)
7 Sounds in the production of which the air
escapes through the mouth are called…
8 Stops are also termed …
9 In some phonological systems approximants
are treated as semi-consonants (1, r) or …
(w,j)
10 In some phonological systems approximants
are treated as … (1, r) or semi-vowels (w,j)
a) In how many subtypes are the English sounds subdivided?

b) Tell the difference between vowels and consonants.
c) Name semi-consonant phonemes.
d) What does the classification of the English sounds depend
upon?
e) Draw the table of the English sounds classification.
18
The grouping of RP consonants according to the articulatory
principles may be illustrated in the table given below:
Table 2
Active organ, place Lingual Pharyn-
of obstruction gal
Labial Medio- Back

Forelingual lingual lingual
Type bilabial labio- inter- alveo- post- palato- palatal velar glottal
of obstruction dental dental lar alveo- alveolar
A manner of lar
the noise
production
plosives p,b t,d k,g

Occlusives
nasal m n ŋ
sonants
fricatives f,v θ, ð s,z ʃ, ʒ h
Constuctives
sonants w l r j
Affricates t∫, dʒ
19
1. Listen to the texts from “Alexander Stories” Lesson 3 “Please

send me a card”

combinations:
to spoil sth to send a card to write a card

to visit to pass quickly to buy sth
to lend sb sth to teach sb sth to spend a day
to make a decision to think about to get up early
English Ukrainian
Last summer
A friendly waiter
A few words of Italian
To read a few lines
I did not understand a word
Ukrainian English
Листівки завжди псують мої
канікули
Потім він позичив мені
книжку
Щодня я думав про листівки
Я прокинувся рано
Але я не написав жодної
листівки
20

8. Listen to the texts from “Alexander Stories” Lesson 4 “An

exciting trip”

combinations:
to receive a letter to go to a spring

to work for a firm to visit smth to be abroad
for six months a great number of a trip
to fly to to visit soon very exciting
English Ukrainian
He has been there for six
months
He is working for a big firm
A small town in the centre of
Australia
He has just bought an
Australian car
From there, he will fly to
Perth
21
Ukrainian English
Я щойно отримав лист від
мого брата Тіма
Мій брат інженер
Він уже відвідав багато міст
Австралії
Згодом він відвідає Дарвін
Мій брат ніколи не був
закордоном



Франківськ : Факел, 2006. – 113 с.
2. “Alexander Stories” Lesson 3 “Please send me a card”
http://we.edu2web.com/2010/11/06/lesson-3-please-send-me-a-
card2/. – Title from the screen.
22
3. “Alexander Stories” Lesson 4 “An exciting trip” [Electronic
Resource]. – Mode of access:
http://we.edu2web.com/2010/11/06/lesson-4-an-exciting-trip2/. –
Title from the screen.
1) Subject
2) Function
3) Procedures
4) Conclusion
Requirements

Петренко В.С. № 1 В.3
Page Setup
 paper size A4;

 font Times New Roman, 14 pt; interval 1.
23
Subject: Word/lexical stress
Function: to realize the importance of proper lexical stress,

to look through the definitions of the notion Reduction, to study
the function words and distinguish their differences from notion
words

Translate them.
3. Find the notions Syllable, Strong beat, Weak beat, Reduction,
memorize them.
definitions.
Theory
1. REDUCTION OF FUNCTION WORDS IN ENGLISH
The basic principle of utterance-stress in English, as in other

languages, is that form-word, or function words, are not
stressed, unless there is a need for special contrast or
24
prominence on them. The list of function word in English
includes articles, prepositions, conjunctions, personal,
possessive and indefinite pronouns, auxiliary and modal verbs.
An important feature of English pronunciation is the
weakening and reduction of function words in an unstressed
position in an utterance. However, not all function words are
always reduced when unstressed. Some of them may be weak in
some cases and strong in other. There is yet another group of
function words which are never reduce.
Thus, according to their pronunciation in an unstressed
position function word can be divided into three groups.
1. Words always weak in an unstressed position
Word strong-word weak form

the ði: ði (before a vowel)
ðə (before a
a ei consonant)
an æn ə
as æz ən
and ænd əz
but bʌt ən, n
than ðæn bət
that (conj.) ðæt ðən
he hi: ðət
she ʃi: hi: , hi
you ju: ʃi: , ʃi
ju: , ju
25
me mi: mi(:)
her hз: hз: hə
them ðem ðəm
there ðea(r) ðə(r)
us ʌs əs
Note: The strong form of these words is used when the

word is said in isolation or with special emphasis.
Practice your pronunciation
DRILLS
I. Go through the examples that follow:
1. At the end of the week. [ði… ðə]

2. It’s the worst year we’ve had for a long time. [ðə…]
3. Yes, and it’s doing him a lot of good. [ə…]
4. Because I usually catch an early train up to town. [ən…]
5. Sometimes I do and sometimes I don’t. [ən…]
6. But I can’t find them. [bət…] [ðəm…]
7. We need more than that. [ðən…]
8. Not that it matters. [ðət…]
9. They took us home in their car. [əs…]
10. I sent them a note. [ðəm…]
26
II. Use the utterance from Ex. I as respounses to the
following statements and questions.
1. When are you leaving for London? 2. And how are

things with you? 3. Is he having a pleasant time there? 4. Why do
you get up so early? 5. Do you stay in town all day? 6. Get me my
sunglasses, will you? 7. You look tired. I think you need a rest. 8.
Shall we go by bus or by the Underground? 9. It was late when
you left the Browns yesterday. How did you get home? 10. I’m
afraid they don’t know the time of the meeting.
III. Learn these idioms. Make sure you observe the weak
forms in them.
1. He is as proud as a peacock.
2. He is as strong as an ox.
3. The children were as good as gold.
4. She’s as fit as a fiddle.
5. It’s as heavy as lead.
2. Words which may be both weak and strong

in an unstressed position
This group includes auxiliary and modal verbs and

prepositions which are reduced when unstressed at the beginning
27
or in the middle of an utterance, but retain their strong form when
they occur at the end of an utterance.
word strong form weak form

at æt ət
am æm əm, m
are ɑ:(r) ɑ (r), ə (r)
be bi: bi , bi
can kæn kən
could kʋd kəd
do du: du (before a vowel)
də (before a consonant)
d (before j)
does dʌz dəz
have hæv həv, əv, v
has hæz həz, əz, z, s
had hæd həd. əd, d
for fɔ:(r) fə(r)
from frɒm frəm
of ɒv əv
shall ʃæl ʃəl, ʃl, l
should ʃud ʃəd, ʃd, d
some (partitive) sʌm səm
to tu: tu (before a vowel)
tə (before a consonant)
was wɒz wəz
were wз: (r) wə (r)
would wʋd wəd, d
must mʌst məst, məs
DRILLS
28
I. Go through the following examples.
1. When are they coming? [...ə...]

2. Are they sure? [ɑ ]
3. They were very pleased. [...wə...]
4. Dad would love it. [...wəd...]
5. We shall go to the sea, I expect. [...ʃəl...]
6. Have you seen it? [həv...]
7. Has he come yet? [həz...]
8. Bess had helped us. [...(h)əd...]
9. It has already started. [...həz...]
10. I'd quite forgotten. [...d...]
11. Why do you ask? [...də...]
12. Do you like dancing? [...d...]
13. Does this one suit? […dəz...]
14. We must leave at once. [...məs...]
15. Can I have one? [kən...]
16. Give it to John. [...tə...]
II. Use the utterances from Ex. I as responses to the

following statements and questions.
29
1. We must meet the Browns at the station. 2. They say
they must wait for the others. 3. Did they like your present? 4. I
want to ask Daddy to take me fishing with him. 5. What are you
going to do for your holiday this year? 6. He's bought a new
house. 7. We can ask Robert. 8. Had anyone helped you before? 9.
Isn't it time for the train to start? 10. Why didn't you bring it
yesterday? 11. Will you join them? 12. Occasionally we go to a
dance. 13. This coat doesn't suit me. 14. Can we stay here a little
longer? 15. These are the latest newspapers. 16. What shall 1 do
with this toy?
III. Practise the strong form of unstressed function words

at the end of an utterance. Think of your own examples with
the function words of group 2.
I do. [...du:...]
If they can't do it, we must. […mʌst]
Where does he come from? [...frɒm]
What's it made of? [...ɒv]
I wonder what he is laughing at. [...æt]
Won't you have some? [...sʌm]
I was called for at ten [...fɔ:(r)...]
3. Words always strong in an unstressed position
30
This group includes, besides function, some notional words
which are usually unstressed in speech.
is, are [iz, a:] when they function
go, does [du:, dʌz] as a main verbs
have, has, had [hæv, hæz, hæd]
when, then [wen, ðen]
(adverbs) [on, ɒf, in]
on, off, in [wil]
will (modal verb) [ðæt]
that (demonstrative) [sʌm]
some (indefinite) [ʃæl]
shall (modal verb)
DRILLS
I. Go through the examples below.
He always does his best. [dʌz]
We seldom have time. [hæv]
I have rather small feet. [hæv]
I’ve had a lot of practice [hæd]
I must answer that letter. [ðæt]
I went there when I was sixteen. [wen]
He’s gone on some trip, but I don’t know the exact place. [ɑn]
Well, then let’s put it off till tomorrow. [ðen]
No room on top, inside only. [ɑn]
31
II. Use the utterances from Ex. I as responses to the
following questions.
1. Do you think he can be relied on? 2. Why do you come

to the club so rarely? 3. Try this pair on. How do they feel? 4.
Your English has improved a lot. 5. What are you going to do
now? 6. When did you first go to the South? 7. Can you tell me
where he is? 8. I’m afraid we won’t be able to do it now. 9. Are
there any vacant seats in the bus?
Memorization
 Memorize the list of function words
Test

№ Question Answer
1 Form-words can also be called …
2 Can notion words be unstressed in speech?
3 Can function words be stressed in speech?
4 Can auxiliaries be both weak and strong in
different positions of an utterance?
5 According to their pronunciation in an
unstressed position function words can be
divided into … groups
6 … is observed in an unstressed position of
function words
32
a) Name the words that can have weak and strong forms.
b) Tell the difference between function and notion words.
c) What is the purpose of the proper pronunciation?
d) What does reduction depend upon?
e) What syllables are typically articulated precisely and what
are weakened, shortened, or dropped in connected speech?
1. Listen to the texts from “Alexander Stories” Lesson 5 “No

wrong numbers”

combinations:
to have a garage in three minutes for spare parts

to get a telephone to sent a message twelve pigeons
to buy in this way five miles
to carry the to begin ‘telephone’ service
message
English Ukrainian
Mr. James Scott has a garage
in Silbury
The pigeon carried the first
message
The bird covered the distance
in three minutes
He has begun his own private
‘telephone’ service
33
Pinhurst is only five miles
from Silbury
Ukrainian English
Він купив дванадцять
голубів
Вчора голуб ніс перше
повідомлення
Містер Скот відправив
велику кількість запитів та
інших термінових
повідомлень
Таким чином, він винайшов
свою власну телефонну
службу
Птах подолав відстань за
три хвилини


8. Listen to the texts from “Alexander Stories” Lesson 6 “Percy

Buttons”
34
combinations:
the house in Bridge a meal a pocket

street
beggar to knock to go away
to sing song to eat a piece of cheese
a glass of beer to drink a neighbour
English Ukrainian
I have just moved to a house
Yesterday a beggar knocked at
my door
The beggar stood on his head
and sang songs
He ate the food and drunk the
beer
Later a neighbour told me
about him
Ukrainian English
Потім він поклав шматок
сиру в кишеню і пішов геть
Він дзвонить в кожен
будинок на вулиці раз на
місяць
Я дав йому їжу
Він попросив іжу і склянку
пива
Всі знають його
35

15. Write the report

корективний курс з англійської мови (методичні вказівки
та завдання для студентів спеціальності "Переклад”). –
Івано-Франківськ : Факел, 2006. – 113 с.
2. “Alexander Stories” Lesson 5 “No wrong numbers” [Electronic
http://we.edu2web.com/2010/11/06/lesson-5-no-wrong-
numbers2/. – Title from the screen.
3. “Alexander Stories” Lesson 6 “Percy Buttons” [Electronic
http://we.edu2web.com/2010/11/06/lesson-6-percy-buttons2/.
1) Subject
5) Function
6) Procedures
7) Conclusion
36
Requirements

Page Setup
 paper size A4;

37
Subject: Intonation. Units of language vs. speech. Phonetics

as a science and its branches. Phonetics and phonology
Function: to realize the importance of intination; to

undestend the difference between phoneme and morpheme,
language and speech

Translate them.
3. Find the notions intonation, language, speech, Phonetics and
Phonology, memorize them.
definitions.
Theory
4.1. Intonation
In linguistics, intonation is variation of spoken pitch that is

not used to distinguish words; instead it is used for a range of
functions such as indicating the attitudes and emotions of the
speaker, signalling the difference between statement and question,
and between different types of question, focussing attention on
important elements of the spoken message and also helping to
regulate conversational interaction. It contrasts with tone, in which
38
pitch variation in some languages does distinguish words, either
lexically or grammatically.
4.2 Units of language vs. speech
Language and speech can be the two main objects of analysis

in our attempt to understand the nature and functioning of oral
verbal communication. These global concepts structurally can be
divided into smaller units. Here we will outline in brief the
taxonomy of language versus speech units. Ch. W. Kreidler [1989]
gives the description of the LANGUAGE UNITS as follows:
In their use of language speakers express themselves mainly
in sentences which can be organized into texts. Sentences consist
of phrases, and phrases consist of words. Every word consists of at
least one morpheme, a minimal unit that contributes in some way
to the meaning of the word. A morpheme is expressed in some
sequence of the phonemes of a language. A phoneme is an abstract
unit (“a sound in the mind”) which is realized in speech as
different segments in different positions. In the six words geese,
goose, glee, glue, greet, grew, all six allophones of the
phoneme /g/ have shared features of being back-lingual, stops, and
voiced. In addition to these shared features, there are other
features that are partly shared, present in some of the six, but not
all: lip-rounding or stretching, lateral tongue curl, retracted tongue
tip. The features which are present in all the allophones are
distinctive features; those which are present in one or several but
not all the allophones are redundant features.
A taxonomy of units of language vs. speech from largest to

smallest can be presented in the table that follows:
Table 1
LANGUAGE SPEECH
Text Discourse
Sentence Utterance
39
Phrase/sense-group/syntagma Tone unit /intonation group
Word, morpheme Rhythmic group/phonetic
word/foot
– Syllable
Phoneme Segment/allophone
Distinctive feature Articulatory feature
4.3 Phonetics and phonology
Phonetics and phonology are two branches of linguistics that

deal primarily with the structure of human language sounds.
Phonetics focuses on the physical manifestations of speech sounds
and on theories of speech production and perception. Phonology is
concerned with the systems of rules (or constraints) that determine
how the sounds of a language combine and influence one another.
Phonology may also be thought of as a collection of phonemes
and a collection of rules for putting these units together to express
the meanings of morphemes, words, phrases, sentences and texts
which are the units used in describing language.
Memorization
 Memorize the units of language vs. speech
Test

№ Question Answer
1 Phonetics and phonology are two branches of
…
40
2 … may also be thought of as a collection of
phonemes and a collection of rules
3 Intonation is variation of spoken …
4 … makes the difference between statement
and question
5 Intonation makes the difference between
different types of …
6 … focuses on the physical manifestations of
speech sounds
7 … is an abstract unit which is realized in
speech as different segments in different
positions
8 A morpheme is expressed in some sequence
of the … of a language.
9 What is the largest unit of language?
10 What is the largest unit of speech?
a) What is a morpheme?
b) Tell the difference between language and speech.
c) Name the units of language vs. speech.
d) Define the phoneme.
e) Tell the difference between Phonetics and Phonology.
1. Listen to the texts from “Alexander Stories” Lesson 7 “Too

late”

combinations:
to be late on the airfield to expect
41
a few to carry a parcel of
diamonds
to steal to keep guard to wait
to arrive to one`s surprise the Customs House
English Ukrainian
A few hours earlier
The plane was late
Someone had told the police
that thieves would try to steal
the diamonds
Two men took the parcel off
the plane
Two detectives were keeping
guard at the door
Ukrainian English
Чекати в аеропорту весь
ранок
Двоє інших відкривали
посилку
Коли літак прибув
Інші чекали на аеродромі
Дорогоцінний пакунок

following the teacher as a model
6. Individual repetition
42
and all mistakes made by the student
8. Listen to the texts from “Alexander Stories” Lesson 8 “The best

and the worst”

combinations:
to win to work hard the worst

to enter for to grow each year
nearly everybody a neat path garden competition
every time a wooden bridge a little prize
English Ukrainian
The most beautiful garden in
our town
Joe wins every time
Bill Frith’s garden is larger
than Joe’s
I do not like hard work
A little prize for the worst
garden in the town
Ukrainian English
Я також люблю сади
Білл працює старанніше, ніж
Джо
Дерев’яний місточок через
43
ставок
Вирощувати більше квітів
Вимостити акуратні доріжки



2. “Alexander Stories” Lesson 7 “Too late” [Electronic
http://we.edu2web.com/2010/11/06/lesson-7-too-late2/. – Title
from the screen.
3. “Alexander Stories” Lesson 8 “The best and the worst”
http://we.edu2web.com/2010/11/06/lesson-8-the-best-and-the-
worst2/. – Title from the screen.
1) Subject
2) Function
3) Procedures
44
4) Conclusion
Requirements

Петренко В.С. №1 В.3
Page Setup
 paper size A4;
45
Subject: Accents of English. Pronunciation Varieties
Function: to define the notion accent, to look through

different English accents, to understand the Pronunciation
Norm Codification

Translate them.
3. Find the notions accent, language, pronunciation norm,
memorize them.
definitions.
Theory
5.1 Defining an Accent

Accent is an individual's distinctive or characteristic
inflection (modulation of the voice), tone, or choice of words –
usually used in plural, it ia also a way of speaking typical of a
particular group of people and especially of the natives or
residents of a region.
5.2 Major Accents of English

Accents of English is about the way English is pronounced
by different people in diffeent places. English accents vary not
46
only geographically, but also with social class, formality, sex and
age.
5.3 Pronunciation Norm and its Codification

Pronunciation refers to the ability to use the correct stress,
rhythm, and intonation of a word in a spoken language. A word
can be spoken in different ways by various individuals or groups,
depending on many factors, such as: the area in which they grew
up, the area in which they now live, if they have a speech or voice
disorder, their ethnic group, their social class, or their education.
In linguistics, codification is the process of standardizing and
developing a norm for a language.Codifying a language can vary
from case to case and depends on the stage of standardization that
already exists.
5.4 Variation in Pronunciation

There are different accents in England: Scotland, Newcastle.
London. They all sound very different and have the local slang
as well. It must be difficult for
someone that is learning English and hearing all the differences of
the accents. Readers often turn to the dictionary wanting to learn
the exact pronunciation of a word, only to discover that the word
may have several pronunciations, as is the case for deity,
economic, envelope, and greasy, among many others. The
inclusion of variant pronunciations disappoints those who want
their dictionary to list one "correct" pronunciation. In truth,
though, there can be no objective standard for correct
pronunciation other than the usage of thoughtful and, in particular,
educated speakers of English. Among such speakers one hears
much variation in pronunciation.
47
ACCENTS of ENGLISH
ENGLISH-based AMERICAN-based
pronunciation standarts pronunciation standards
British Irish Australian New Zealand American Canadian

English English English English English English
Nothern Southern English / Scottish Welsh Northern Ireland

English Received Pronunciation English English English
NEW ENGLISHES
Indian South African Hong Kong Singaporean Etc.

English English English English
Memorization
RP (Received Pronunciation) – the accent of standard Southern

British English.
It is important not to confuse the notion of Received
Pronunciation, as a standard accent, with the standard variety of
the English language used in England that is given names such as
"Standard English", "the Queen's English", "Oxford English" or
"BBC English". The study of RP is concerned exclusively with
pronunciation, while study of the standard language is also
concerned with matters such as grammar, vocabulary and style.
48
Test

№ Question Answer
1 RP is an abbreviation which stands for …
2 Does "the Queen's English" mean the same as
RP?
3 There are different accents in … : Scotland,
Newcastle. London.
4 Modulation of the voice is also called …
5 Can there be objective standard for correct
pronunciation?
6 A word can be spoken in different … by
various individuals or groups
7 … is an individual's distinctive or
characteristic inflection, tone, or choice of
words.
8 … refers to the ability to use the correct
stress, rhythm, and intonation of a word in a
spoken language.
9 Does the notion accent have one meaning?
10 Do different accents in England sound the
same?
a) What is an accent?
b) Tell the difference between RP and "BBC English"?
c) Name different accents in England.
d) Provide some examples of pronunciations variant?
e) Is it possible to speak about one "correct" pronunciation?
49
1. Listen to the texts from “Alexander Stories” Lesson 9 “A

cold welcome”

combinations:
to gather not to move to look at

to strike to wait to refuse
to pass to happen to welcome
to stop to shout to laugh and sing
English Ukrainian
On Wednesday evening
It was the last day of the year
Fifteen minutes passed
The big minute hand did not
move
Suddenly someone shouted

Ukrainian English
Ми пішли до ратуші
Ми чекали, але нічого не
трапилося
Вже дві хвилини по
дванадцятій!
Годинник зупинився
Великий годинник
відмовився зустрічати
Новий Рік
50

8. Listen to the texts from “Alexander Stories” Lesson 10 “Not

for jazz”

combinations:
to keep to break to be called

to belong to not to allow to be damaged
to bring to repair to play
to be shocked to be made to strike
English Ukrainian
It is called a clavichord
It was made in Germany
Recently it was damaged
She tried to play jazz on it!
She struck the keys too hard
Ukrainian English
Він довгий час належав моїй
сім’ї
51
Мій дідусь привіз
інструмент багато років
тому
Дві струни порвалися
Мій батько був шокований
Тепер нам заборонено навіть
торкатися його



2. “Alexander Stories” Lesson 9 “A cold welcome” [Electronic
http://we.edu2web.com/2010/11/06/lesson-9-a-cold-welcome2/. –
3. “Alexander Stories” Lesson 10 “Not for jazz” [Electronic
Resource]. – Mode of access :
http://we.edu2web.com/2010/11/06/lesson-10-not-for-jazz2/. –
52
1) Subject
2) Function
3) Procedures
4) Conclusion
Requirements

Page Setup
 paper size A4;

53
LABORATORY WORKS NO 6-7
Subject: Articulatory and functional aspects of speech

sounds
Function: to look through particularities of English accents

to be able to differenciate them

Translate them.
3. Find the notions monolingualism, bilingualism, lingua
franca, pidgin language and Creole and memorize them.
definitions.
Theory
6.1 Aspects of speech sounds
Speech sounds formed for the purpose of verbal

communication by the human vocal apparatus (the lungs; larynx
and vocal cords; pharynx; oral cavity with the tongue; lips; uvula;
and the nasal cavity). There are three aspects of speech sounds: the
articulatory, the acoustical, and the linguistic, or social.
Sometimes a fourth aspect, that of perception, is also
distinguished. There are many classifications of speech sounds,
54
based primarily on articulatory features. Though, one and the
same sound can be pronounced depending upon the accent.
6.2 Speech sounds as articulatory units and problem of their

classification
Articulatory phonetics deals with the categorization and

classification of the production features of speech sounds. A
thorough knowledge of how vowels and consonants are generated
remains essential for successful assessment and remediation of
articulatory and phonological disorders. Although contemporary
phonological theories have provided new ways of viewing
assessment and treatment of these disorders, knowledge of the
speech sounds’ production features secures a firm basis for
utilizing such procedures. Without this knowledge, phonological
process analysis, for example, is impossible.
6.3 The articulatory classification of the English vowels
Speech sounds are commonly divided into two groups:

vowels and consonants. Vowels are produced with a relatively
open vocal tract; no significant constriction of the oral (and
pharyngeal) cavities exists. Therefore, vowels are considered to be
open sounds.
6.4. The articulatory classification of the English consonants
Сonsonants are produced with a significant constriction in the

oral and/or pharyngeal cavities during their production. For
consonants, the airstream from the vocal folds to the lips and
nostrils encounters some type of articulatory obstacle along the
way. Therefore, consonants are considered to be constricted
sounds.For most consonants this constriction occurs along the
sagittal midline of the vocal tract.
55
6.5 The functional aspect of speech sounds. The phoneme
theory
Speaking about the linguistic function of speech sounds, i. e.

“segments of speech”, we are going to discuss the definitions of
the phoneme, methods used in establishing the phonemic structure
of a language, the system of English phonemes, modifications of
sounds in connected speech. The phoneme is a minimal abstract
linguistic unit realized in speech in the form of speech sounds
opposable to other phonemes of the same language to distinguish
the meaning of morphemes and words.
6.6 Three aspects and three functions of the phoneme
According to this definition the phoneme is a unity of three

aspects: material, abstract and functional. Phoneme has 3
functions:
1. constitutive (phonemes exist in their material form, speech
sounds constitute morphemes, words, sentences; all of each are
meaningful);
2. distinctive (it distinguishes one word from another even
the whole sentences);
3. recognitive (it manifests in the process of identificacion:
native speakers can identify combination of phonemes as
meaningful units).
6.7 Territorial varieties of English pronunciation

British English Accents
Table 1
English English Scottish English
Southern Northern Welsh Educated Regional Northern
1. Southern 1. Northern English Scottish Varieties Ireland
2. East 2.Yorkshire English English
Anglia 3. North
South- West
56
West
Every national variant of English falls into territorial and

regional varieties (dialects).
In American English, three main types of literary/cultivated
pronunciation are distinguished:
 General American English (GenAm/Network English) which

is also known as Western American and comprises that
majority of American accents from Ohio through the Middle
West and on to the Pacific coast;
 Eastern American including (i) Boston and eastern New

England, and (ii) New York City;
 Southern American includes accents of lowland south:

Virginia, North and South Carolinas, Tennessee, Florida,
Georgia, Alabama, Mississippi, Arkansas, Louisiana, Texas,
etc.
In New Zealand, RP is used as pronunciation model for

educated speakers.
In Australia, there is no or little geographical variation in

pronunciation
Memorization
 Distinguish monolingualism vs diglossia (bilingualism)

 A language which is a mother tongue of several nations is
called a polyethnic language or a nationally heterogeneous
language
 A lingua franca is a language used as means of
communication by speakers who do not have a native language
57
in common The largest world lingua francas in use today
include English and Mandarin Chinese
 A pidgin language is the language used for the purpose of
communication between speakers of mutually unintelligible
languages
 A Creole is a pidgin language which has become the mother
tongue of a community when within multiligual community,
increasing number of people begin to use a pidgin as their
principal means of communication
Compare English and Pidgin English
English Pidgin English
A hungry man doesn't sit Hongri man no de set dan

down in won pies
one place [Romaine 1994:174] Plenti man no get woman
Lots of men have no wives
Grass Gras
Moustache Mouthgras
Beard Gras bilongfes
Hair Gras bilong hed
Eyebrow Gras antop long ai
Weed Gras nogut
Changes of Vowel Quality
Conservative RP: [taʋə], [faıə] older speakers: [pɔə], [pʋə]

General RP: [taə], [faə] middle-aged speakers: [pɔ:],
[pʋə]
Advanced RP: [ta:], [fa:] younger speakers: [pɔ:]
Test
58
№ Question Answer
1 Phoneme has … functions.
2 Diglossia is also called …
3 GenAm stands for …
4 A language which is a mother tongue of
several nations is called a … language
5 Give the antonym for the term bilingualism
6 … is a language which is a mother tongue of
several nations
7 What is the standard of pronunciation for
educated speakers in Australia?
8 How many literary pronunciation accents are
there in the USA?
9 How many major literary/cultivated accents
are there on the British Isles?
10 Which American accent prevails in New
York?
a) In what countries bilingualism in contrast to monolingualism

can be observed?
b) Speak on the phoneme functions.
c) What is the purpose of pidgin language usage?
d) Suggest examples of different pronunciations in EE and
AmE.
e) What is a lingua franca?
59
1. Listen to the texts from “Alexander Stories” Lesson 11 “How
to grow old”

combinations:
to oppress justification a reason

ignoble sorrow a battle
gradually to achieve to cheat
wider abject to offer
English Ukrainian
The river grows wider
The walls of the ego recede
Increasingly merged
An individual human
existence
Rushing passionately
Ukrainian English
Люди, які пережили радість
та горе
Я повинен хотіти смерті
Вода тече повільніше
Мати причину, щоб боятися
Молоді чоловіки

60


“Bank and customers”

combinations:
current repayment the bank money

demand cash a cheque
the banker- debtor creditor
customer
relationship
overdrawn customer obligations
English Ukrainian
Many of these obligations can
give in to problems
When anyone opens a current
account at a bank
the banker-customer
relationship is that of debtor
and creditor
in addition to that basically
simple concept
The bank must obey its
customer’s instructions, and
not those of anyone else
61
Ukrainian English
Він дає банку зразки свого
підпису
У банку є тверде правило
З цієї причини немає ніякого
ризику для клієнта
Клієнт не втратить нічого,
втратить банк
Банк повинен
дотримуватися вказівок
свого клієнта



2. “Alexander Stories” [Electronic Resource]. – Mode of access:
Lesson 11 “How to grow”
http://we.edu2web.com/2010/11/21/lesson-11-how-to-grow-old4/
62
3. “Alexander Stories” Lesson 12 “Bank and customers”
http://we.edu2web.com/2010/11/21/lesson-12-banks-and-their-
customers4/. – Title from the screen.
1) Subject
2) Function
3) Procedures
4) Conclusion
Requirements

Page Setup
 paper size A4;

LABORATORY WORKS NO 8-9
Subject: Vowel and consonant adjustment in connected

speech (Part 1-2). Phonotactics
63
Function: to study the main features of the connected speech
to be able to differenciate styles and comprehend formal and
informal ways of pronunciation

Translate them.
3. Find the notions linking, deletion, elision, and reduction,
memorize them.
definitions.
Theory
8.1 Vowel and consonant adjustment in connected speech:

Adjustments related to C-C linking.Adjustments related to V-V, C-
V, V-C linking.
You may have noticed that English speakers don't separate all
their words like in some languages, but instead they connect them
together. This is called linking, or liaison, and it is important for
listening comprehension. It is especially crucial when pronouncing
the final sounds on words, for example making the plural or the
past tense -ed. Following are the common cases of linking in
English: linking consonant to vowel; linking vowel to vowel,
linking consonant to consonant.
64
8. 2 Adjustments related to sound deletion/insertion.
Adjustments on the syllable level. Weakening
The main function of most of the adjustments is to promote

the regularity of English rhythm – that is, to squeeze syllables
between stressed elements and facilitate their articulation so that
regular timing can be maintained. In the section that follows, we
discuss the processes of linking, assimilation, dissimilation,
deletion, elision, and epenthesis as they occur in connected
speech.
Typical character of sound simplifications in relation to
the degree of formality the great qualitative stability of vowels
in slow formal speech and more frequent is sound variability in
informal spoken English. Both front and back vowels in less
explicit articulation tend to be changing towards neutralized
sounds, especially in grammatical words.
Spelling Formal Informal
it's not its 'nut its 'nyt

because bi'kɔz bik əz
according to ə'kɔ:di ŋ tə ə'kədi ŋ tə
The historically long vowel [i:] tends to lose its

diphthongization; as the next stage it undergoes quantitative
reduction and finally changes its quality as well.
I don't believe it ai 'dзunt bi'li:v it ʌ dзun(t) bə'liv it
It seems to be it 'si:mz tə bi it 'simz tə bi

The similar process of reduction is likewise observed in [u:]
simplified to [u].
65
a few more words ə 'fju: 'mɔ: 'wз:dz ə fju mɔ 'wз:dz
a new aspect ə 'nju: 'æspekt ə 'n(j)u 'æspekt
Diphthongs are very often monophthongized in informal

speech. The diphthong [εə] tends to be simplified to [ε(:)], e.g.
Where wεə wε
here and there 'hiər ənd 'ðεəƏ 'hi (ə)r ən 'ðε
In an unstressed position it is further modified to [e], e.g.
there is an opinion [ðer Iz ən ə'pInjən].
The diphthong [iə] often gets a sort of central vowel

realization [з].
really strange 'riəli 'streindʒ 'rзli 'streindʒ

serious action 'siəriəs 'æk∫n 'sзri(ə)s 'æk∫n
experienced worker iks'piəriənst 'wз:kə iks'pзrənst 'wз:kə
The [u] ending diphthongs [au] and [зu] are simplified into
[a] and [з] accordingly. The various stages of their realizations are
found both in stressed and unstressed positions. The quality of the
initial element is retained and the second element, the glide, is
obscured or lost.

66
now they 'nau ðei 'na ðe(i)
south of Italy 'sauθ əv 'itəli 'saθ əv 'itəli
going ahead 'gзuiŋ ə'hed 'gзŋ ə'hed
yes or no 'jes ɔ·'nзu 'jes ə'nз
Unstressed positions are sometimes marked by the next stage

of qualitative reduction. The diphthong [au] is realized as some
kind of [ʌ].
and now we've ənd 'nau wi·v ən nʌwi·v
come to 'kʌm tə 'kʌm tə
mark how different 'ma:k hau 'difərənt 'mak hʌ 'difrənt
The diphthong [зu] is sometimes completely neutralized in

the unstressed position.
so we've discussed sзu wi·v dis'kʌst sə wiv dis'kʌst
hope to settle it hзup tə 'setl it hə tə 'setl it
Vowel elision is very frequent in informal conversational

style. It often goes with other processes involving assimilation and
elision of consonants. Elided neutral sound [ə] is very common in
the unstressed syllables of polysyllabic words, like:
67
collective kə'lektiv 'klektiv

different 'difərənt 'difrənt
prisoner 'prizənə 'priznə
political pə'litikl 'plitikl
phonetically fə'netikəli 'fnetikəli
In the last three examples the loss of [ə] in the initial

unstressed syllable of a word causes the initial consonant form a
cluster with the consonant of the stressed syllable.
Vowel reduction mostly occurs in extended utterances in
sequences of words. The loss of the neutral sound [ə] in the
preposition to or the particle to preceded by a consonant is a very
common pattern.
next to Liverpool 'nekst tə 'livəpu:l 'nekst 'tlivəpu:l

back to London 'bæk tə 'l٨ndən 'bæk 'tl٨nd(ə)n
to see them tə 'si: ðəm 'tsi: ðəm
future situation 'fju:t∫ə ,sitju'ei∫n 'fju:t∫ə 'sitjuei∫n
this afternoon ðis 'a:ftə'nu:n ðis 'a:ftnu:n
after all 'a:ftər 'ɔ:l 'a:ft'rɔ:l
In the majority of spoken utterances beginning with it’s the

initial [I] is elided when the phrase runs on without a marked
pause after the previous saying.

68
it's paid well its 'peid wel ts 'peid wel
it's necessary its 'nesəsəri ts 'nesəsəri
it's counted as its 'kauntid əz ts' kauntid əz
Likewise in polysyllabic words beginning with the unstressed

ex- it is often simplified to [ks].
extremely iks'tri:mli 'kstri:mli

extraordinary iks'trɔ:dnri 'kstrɔ:dnri
excluded iks'klu:did 'ksklu:did
As it has already been mentioned vowel reduction often

results in regular consonant clusters like [tr], [fr], [pl], [kl] typical
for the English sound system. Cf. tram, try, tree and interesting,
aft(e)r all; please, play and p(o)litical; clay, cloud, circle and
collective; friend, from and diff(e)rence.
Alongside with regular clusters in informal careless speech
we find phonetic facts which seem impossible for the English
pronunciations namely consonant sequences [tsn], [tsk], [tsp] and
others.
it's not exact its 'nɒt ig'zækt ts 'nɒt ig'zækt
it's close to its 'klзus tə ts 'klзus tə
69
it's perhaps you its pəhæps 'ju: ts pəhæps 'ju:
The consonants are also markedly different in informal

conversational style according to their place of articulation. Word
final consonants [t], [d], [n], sometimes [m], [s], [z] immediately
followed by a velar or labial consonant undergo a sort of
adaptation.
great burden 'greit bз:dn 'greip bз:dn

that man 'ðæt 'mæn 'ðæp 'mæn
American а'mеriкən ə'mеriкən
government 'gʌvnmənt 'gʌv(ə)mənt
hundred places 'hʌndrid 'pleisiz 'hʌndrəb 'pleisiz
taken gladly 'teikn 'glædli 'teikŋ 'glædli
Instead of the closure for the [t] a marked glottal stop [?] is
also observed before the modified plosive consonant.
Great Britain 'greit 'britn 'grei? 'pbribn

didn't go 'didnt 'gзu 'didŋ?'кзu
couldn't come 'kudnt'к٨m 'kudŋ?'к٨m
The illustrated modifications could be summarized in the

following way:
70
that place ['ðæp 'pleis]
[t] → [p] before [p], [m] that might ['ðæp 'mait]
[t] → [k] before [k] don't question ['dзuŋk
'kwest∫(ə)n]
good morning ['gub 'mɔ:niŋ]
[d] → [b] before [p], [b], [m] would be ['wub bi:]
[d] → [g] before [k], [g] Good God ['gug 'gód]
good cook ['gug 'kuk]
on me [ɒm 'mi:]
[n] → [m] before [p], [b], [m] in business [im 'biznis]
[n] → [k] before [k], [g] in quite [ik 'kwait]
can get [кək 'get]
We should strongly emphasize the idea that the students are

not recommended to imitate these extreme forms of the existing
ways of adaptation in very rapid careless speech.
A definite and very frequent process of assimilation is
observed when [s], [z] sounds are followed by the palatal [j] in the
unstressed part of the phrase. The alveolars tend to become
palato-alveolar in informal conversational style.
this year 'ðis 'jiə 'ði∫ 'jiə
The palatal [j] is strong enough to affect the manner of

articulation of the preceding [t], [d] sounds. In accordance with
the tempo and style of speech, individual fluency, number of
recipients and other situational factors the assimilated segment
preceding [j] may consist of several sections with gradually
changing features. The process most often leads to an affricate:
would you [wudju: wud'ju wuʤu]
could you [kudju: kudtju kuʤu]

71
mind you [maindju: maindtju mainʤu]
can't you [ka:ntju: ka:nt∫ju ka:nt∫u]

about you [əbautju: əbaut∫ju əbаut∫u]
The elision of consonants is no less frequent process in

informal speech than a vowel elision. The most common
consonants involved in elision are [t] and [d]. Elision usually
occurs in a syllable final sequence when the sound stands between
two consonants. It is said to be more common for [t] and [d] to be
elided between the other two consonants than it is for them to be
pronounced.
second group 'sekənd 'gru:p 'sekəŋ 'gru:p

first five 'fз:st 'faiv 'fз.s 'faiv
next point 'nekst 'pɔint 'neks 'pɔint
best judge 'best ' dʒʌdʒ 'bes ' dʒʌdʒ
the fact that ðə 'fækt ðət ðə 'fæk ðət

second term 'sekənd 'tз:m 'sekən 'tз:m
[d] elides even more readily than [t]. We find the loss of [d]
in a syllable final sequence preceding another consonant but
immediately following a vowel.
that it would be ðət it wud 'bi: ðət it wu 'bi

he said some words hi· 'sed sʌm 'wз:dz (h)i 'se səm 'wз:dz
72
Other consonants tend to be elided in some definite
environments. For instance, the consonant [v] is often elided when
it is final in an unstressed form word have or of and immediately
precedes another consonant.
lists of the 'lists əv ðə 'lists ə ðə

students 'stju:dənts 'st(j)u:d(ə)nts
we've been studying wi·v bin 'stʌdiiŋ wi bin 'stʌdiiŋ
of course əv'kɔ:s, əf 'kɔ:s ə'kɒs
The definite article [ðə] is often realized as the neutral sound

alone. It occurs in cases when the definiteness of the noun is
clearly established and [ə] can only be interpreted as the
realization of the definite article [ðə].
and the way he ənd ðə 'wei hi ən(d) ə 'wei (h)i

and the reason for it ənd ðə 'ri:zn fər it ən(d) ə 'ri:zn frt
and the scotchman ənd ðə 'skɒt∫mən ən(d) ə 'skɒt∫mən
The elision of [1] is restricted to the position after the vowel

[ɔ:]. This process was established in the earlier periods of the
English language which is relected in the pronunciation of the
words talk, walk; sometimes in the word certainly.

73
all right ɔ:l 'rait ɔ: 'rait
already ɔ:l 'redi ɔ:'redi
always 'ɔ:lwiz 'ɔ:wiz
also 'ɔ:lsзu 'ɔ:sзu
The elision of [1] in words beginning with all is typical even

for slow full speech style.
8. 3 Phonotactics
Phonotactics is a branch of phonology that deals with

restrictions in a language on the permissible combinations of
phonemes. Phonotactics defines permissible syllable structure,
consonant clusters, and vowel sequences by means of
phonotactical constraints.
Phonotactic constraints are highly language specific. For
example, in Japanese, consonant clusters like /st/ do not occur.
Similarly, the sounds /kn/ and /gn/ are not permitted at the
beginning of a word in Modern English but are in German and
Dutch, and were permitted in Old and Middle English. In contrast,
in some Slavic languages /l/ and /r/ are used as vowels and many
words do not contain the English equivalent of vowels.
Memorization
 Memorize the main notions from the theoretic part

Test

№ Question Answer
74
1 In the majority of spoken utterances
beginning with it’s the initial [I] is …
2 English speakers don't … all their words
3 Vowel reduction mostly occurs in extended
… in sequences of words. …
4 Phonotactics is a branch of …
5 Does the term linking mean the same as
liaison?
6 … defines permissible syllable structure,
consonant clusters, and vowel sequences by
means of phonotactical constraints.
7 Phonotactics deals with restrictions in a
language on the permissible combinations of
…
8 The elision of [1] in words beginning with all
is typical even for slow full speech …
9 The main function of most of the adjustments
is to … syllables between stressed elements
10 The … article [ðə] is often realized as the
neutral sound
a) Where is vowel elision very frequent?

b) What are the most common tendencies in the stylistic
modifications of consonants?
c) What is the subject matter of Phonotactics?
d) What is the Vowel reduction? Provide examples of vowel
reduction (not less than five).
e) What is the Vowel elision? Provide examples of vowel
elision (not less than five)
Individual practical task 1 (LW 8):
75
1. Listen to the texts from “Alexander Stories” Lesson 13 “The
Greenwood Boys”

combinations:
a group of pop at the station as usual

singers
at present to meet somebody to have a difficult
time
to come by train to stay for to keep order
all parts of the to give on these occasions
country performances
English Ukrainian
Tomorrow evening
The Greenwood Boys will be
staying for five days
The police will have a difficult
time
They will be trying to keep
order
It is always the same on these
occasions
Ukrainian English
Ґрінвуд Бойз – це група поп-
співаків
Як правило, у поліції будуть
непрості часи
76
Завтра ввечері вони будуть
співати у Workers’ club
Вони приїжджають завтра
потягом
Протягом цього часу вони
дадуть 5 концертів


8. Listen to the texts from “Alexander Stories” Lesson 14 “Do

you speak English? ”

combinations:
to drive on apart from to say very slowly

on the way amusing to reply
to ask somebody to reach the town to be English
for a lift oneself
to get into suddenly to learn soon
English Ukrainian
I had an amusing experience
I drove on to the next town
As I soon learnt, he was
English himself
77
I stopped and he asked me for
a lift
On the way, a young man
waved to me
Ukrainian English
На півдні Франції
Я взагалі не знаю
французької
Ніхто з нас не говорив
протягом поїздки
Ви розмовляєте
англійською?
Крім декількох слів




78
2. “Alexander Stories” Lesson 13 “The Greenwood Boys”
http://we.edu2web.com/2010/11/06/lesson-13-the-greenwood-
boys2/. – Title from the screen.
3. “Alexander Stories” Lesson 14 “Do you speak English?”
http://we.edu2web.com/2010/11/06/lesson-14-do-you-speak-
english-2/. – Title from the screen.
Individual practical task 2 (LW 9):

“Always young”

combinations:
to appear to be grown up to be a girl of

seventeen
to take part in to be terrible to be as a young
girl
to wear to answer to appear on the
stage
to ask to be an actress to be at least thirty-
five years old
English Ukrainian
To take part in a new play
soon
79
She will be a girl of seventeen
She must appear in a bright
red dress and long black
stockings
She had to wear short socks
and a bright, orange-coloured
dress
It must be terrible to be grown
up!’
Ukrainian English
Їй має бути щонайменше 35
років
Незважаючи на це
Незабаром вона повинна
взяти участь у новій п'єсі
Це, напевне, жахливо бути
дорослим
Вона завжди з’являється на
сцені у вигляді молодої
дівчини

80
8. Listen to the texts from “Alexander Stories” Lesson 18 “He
often does this!”

combinations:
to have lunch to have a good meal to return

to look for to pay the bill to give it back to
to have left it go out to take it into
to came in in a few minutes often do this
English Ukrainian
He often does this
My dog had taken it into the
garden
But I can’t pay the bill
Did you have a good meal
The landlord smiled and
immediately went out
Ukrainian English
Я не можу оплатити рахунок
Я не маю сумки
Він усміхнувся і відразу
вийшов
Мій собака відніс її до саду
Він завжди так робить

81


2. “Alexander Stories” Lesson 17 “Always young” [Electronic
Resource]. – Mode of access :
http://we.edu2web.com/2010/11/06/lesson-17-always-young2/
3. “Alexander Stories” Lesson 18 “He always does this”
http://we.edu2web.com/2010/11/06/lesson-18-he-often-does-
this-2/
1) Subject
2) Function
3) Procedures
4) Conclusion
Requirements
82
Page Setup
 paper size A4;

83
Subject: Vowel and consonant adjustment in connected
speech (Part 3)
Function: to study the main features of the connected speech

to be able to differenciate styles and comprehend formal and
informal ways of pronunciation

Translate them.
3. Find the notions epenthesis, linking R and intrusive R,
assimilation, dissimilation, and memorize them.
definitions.
Theory
In phonology, epenthesis means the addition of one or more

sounds to a word, especially to the interior of a word.
Epenthesis may be divided into two types: excrescence, for the
addition of a consonant, and anaptyxis for the addition of a
vowel.
Separating vowels
84
A consonant may be added to separate vowels in hiatus. We
may view [n] as an epenthetic sound that breaks up a sequence
of two vowels: a apple – an apple.Or the case with linking and
intrusive R: drawing → drawring.
Bridging consonant clusters
A consonant may be placed between consonants in a

consonant cluster where the place of articulation is different
(e.g., where one consonant is labial and the other is alveolar):
apropos → ampropos, mince → mints; prince → prints;
patience → patients; chance → chants; tense → tents; Samson
→ Sampson; Thomson → Thompson.
Breaking consonant clusters
A vowel may be placed between consonants to separate them:

Hamtramck → Hamtramick; jewelry → 'jewelery'; contentious
→ 'contentuous. Other examples of epenthesis: the ubiquitous
'relitor' for realtor and that favorite of sports announcers,
'athalete' for athlete.
Linking R and intrusive R are sandhi or linking phenomena

involving the appearance of the rhotic consonant (which
normally corresponds to the letter r) between two consecutive
morphemes where it would not normally be pronounced. These
phenomena occur in many non-rhotic dialects of English, such
as those in most of England, Wales and the southern
hemisphere.
In many non-rhotic accents, words historically ending in /r/
(as evidenced by an r in the spelling) may be pronounced with
[r] when they are closely followed by another morpheme
beginning with a vowel sound. So tuner amp may be
pronounced [tjunər æmp]. This is the case even though tuner
would not otherwise be pronounced with an [r]. Here, "closely"
85
means the following word must be in the same prosodic unit
(that is, not separated by a pausa). This phenomenon is known
as linking R. Not all non-rhotic varieties feature linking R. A
notable non-rhotic accent that does not have linking R is
Southern American English.
Intrusive R
The phenomenon of intrusive R is an overgeneralizing

reinterpretation of linking R into an r-insertion rule that affects
any word that ends in the non-high vowels /ə/, /ɪə/, /ɑː/, or /ɔː/;
when such a word is closely followed by another word
beginning in a vowel sound, an [r] is inserted between them,
even when no final /r/ was historically present. For example, the
phrase tuna oil would be pronounced [tjunər ɔɪl]. The
epenthetic [r] can be inserted to prevent hiatus, two consecutive
vowel sounds. Other recognizable examples are the Beatles
singing: "I saw-r-a film today, oh boy" in the song "A Day in
the Life", from their 1967 Sgt. Pepper's Lonely Hearts Club
Band album, at the Sanctus in the Catholic Mass: "Hosanna-r-in
the highest" and in the phrases, "Law-r-and order" band
"Victoria-r-and Albert Museum".
Just like linking R, intrusive R may also occur between a root
morpheme and certain suffixes, such as draw(r)ing,
withdraw(r)al or Kafka(r)esque.
In linguistics, assimilation is a common phonological

process by which one sound becomes more like a nearby sound.
This can occur either within a word or between words. In rapid
speech, for example, "handbag" is often pronounced [hambag].
As in this example, sound segments typically assimilate to a
following sound (this is called regressive or anticipatory
assimilation), but they may also assimilate to a preceding one
(progressive assimilation). While assimilation most commonly
86
occurs between immediately adjacent sounds, it may occur
between sounds separated by others ("assimilation at a
distance"). For example, in English, the place of articulation of
nasals assimilates to that of a following stop (bank is
pronounced [bæŋk]).
Dissimilation is a phenomenon whereby similar consonant or

vowel sounds in a word become less similar. For example,
when one /r/ sound occurs before another in the middle of a
word in rhotic dialects of English, the first tends to drop out, as
in "beserk" for berserk, "supprise" for surprise, "paticular" for
particular, and "govenor" for governor – this does not affect the
pronunciation of government, which has only one /r/, but
English government tends to be pronounced "goverment",
dropping out the first n, colonel is standardly pronounced
"cornel", "deteriate" for deteriorate, "tempature" for
temperature, and "apeture" for aperture, a process called
haplology. When the /r/ is found as /bru/, it may change to /j/:
"Febyuary" for February, "defibyulator" for defibrillator,
though this may be due to analogy with words such as January.
Memorization
 Memorize the main notions from the theoretic part
Test

№ Question Answer
1 Are Linking R and intrusive R the same?
2 Assimilation can be progressive and …
3 … is a phenomenon whereby similar
consonant or vowel sounds in a word become
87
less similar.
4 … means the addition of one or more sounds
to a word
5 What phenomenon is observed when tuna oil
is pronounced [tjunər ɔɪl]?
6 Epenthesis may be divided into … types
7 Excrescence means the addition of a …
8 Anaptyxis means the addition of a …
9 What phenomenon is observed when
Thomson → is pronounced Thompson?
10 Linking R and intrusive R are linking
phenomena involving the appearance of the
… consonant
a) What is epenthesis?
b) Tell the difference between excrescence and anaptyxis.
c) Provide examples of assimilation (not less than five).
d) Provide examples of dissimilation (not less than five).
e) Tell the difference between linking R and intrusive R.
1. Listen to the texts from “Alexander Stories” Lesson 19 “Sold

out”

combinations:
to hurry to to be sold out to come back to

to begin at any to exclaim to turn round
moment
to have two tickets to return sth next performance
to have begun to say sadly as well
88
already
English Ukrainian
It may have begun already
What a pity
I`m sorry, we`ve sold out
Do you still want them?
I might as well have them
Ukrainian English
Я поспішив до квиткової
каси
Можливо вистава вже
розпочалася
Можна повернути ці два
квитки?
Я одразу повернувся до
квиткової каси
Але вони на наступну
виставу в середу
10. Сhoral repetition: repeat the phrases from task 2 in

unison, following the teacher as a model
12. Individual practice: practice the text. In a strict

application of the audio-lingual method, the teacher is prepared to
correct any and all mistakes made by the student
89
“One man in a boat”

combinations:
one`s favourite to fish for hours to be unlucky

sport
to worry sb without catching instead of
anything
to give up sth a waste of time to be interested in
sth
to realize sth to be less lucky not even old boots
English Ukrainian
I often fish for hours
They catch old boots and
rubbish
I never catch anything
You must give up fishing
It`s a waste of time
Ukrainian English
Це мене не хвилює
Деякі рибалки невезучі
Я навіть менш везучий
Вони не розуміють одну
важливу річ
Я насправді не зацікавлений
у рибалці
90


2. “Alexander Stories” Lesson 19 “Sold out” [Electronic
http://we.edu2web.com/2010/11/06/lesson-19-sold-out2/. – Title
from the screen.
3. “Alexander Stories” Lesson 20 “One man in a boat”
http://we.edu2web.com/2010/11/06/lesson-20-one-man-in-a-
boat2/. – Title from the screen.
1) Subject
2) Function
3) Procedures
4) Conclusion
Requirements
91
Page Setup
 paper size A4;

LABORATORY WORK NO 11-12
Subject: The Syllable. Word Stress

92
Function: to learn the types of word stress, types of syllables
and syllable functions; to differenciate the accentual structures

Translate them.
3. Find the notions syllable, word stress, and memorize them.
definitions.
Theory
11.1 The syllable as an integral part of the word. Types of

syllables in English
Words can be cut up into units called syllables. Humans seem
to need syllables as a way of segmenting the stream of speech and
giving it a rhythm of strong and weak beats, as we hear in music.
Syllables exist only to make speech easier for the brain to process.
A word contains at least one syllable. The syllable is a basic unit
of speech studied on both the phonetic and phonological levels of
analysis. No matter how easy it can be for people and even for
children to count the number of syllables in a sequence in their
native language, still there are no universally agreed upon
phonetic definitions of what a syllable is. A syllable is a word or
part of a word that has one vowel sound.
The Six Syllable Types:
1. Closed syllable
2. Vowel-consonant-e syllable
93
3. Open syllable
4. Consonant-le syllable
5. R-controlled syllable
6. Vowel digraph syllable.
11.2 The syllable formation theories. Basic rules of
syllabification in English. Nature of word stress
There are different points of view on syllable formation

which aге briefly the following: The most ancient theory states
that there are as many syllablies in a word as there are vowels.
This theory is primitive and insufficient since it does not take into
consideration consonants which also can form syllables in some
languages, neither does it explain the boundary of syllables. The
expiratory theory states that there are as many syllables in a
word as there arc expiration pulses. The borderline between the
syllables is, according to this theory, the moment of the weakest
expiration. This theory is inconsistent because it is quite possible
to pronounce several syllables in one articulatory effort or
expiration,e.g. seeing / /. The sonority theory states that there
are as many syllables in a word as there are peaks of prominence
or sonority.
The definition of the syllable from the functional point of
view existing in modern linguistics tends to single out the
following features of the syllable:
1) syllable formation (складоутворення);
2) syllable division/separation (складоподіл).
In English the syllable is formed: 1. by any vowel alone or in
combination with one or more consonants – not more than 3
preceding and not more than 4 following it, e.g. are [a:], we [wi:],
it [it], sixths [siksθs].
94
2. by a word final sonorants [n], [1], [m] immediately
preceded by a consonant: e.g. rhythm ['rið(e)m], garden
['ga:d(e)n].
The English sonorants [w], [j] are never syllabic as they are
always syllable-initial.
Thus vowels and sonorants are syllable-forming elements and
every word, phrase or sentence has as many syllables as it has
syllabic elements.
According to the placement of vowels and consonants the
following types of syllables are distinguished:
Table 1
Placement of VOWELS Placement of

CONSONANTS
open: the V is at the end, such a covered at the beginning:the
S is articulated with the opening C is at the beginning of the
of the mouth by the end: e.g. syllable: e.g. tie
they, wri-ter
closed: which end in C, at the covered at the end: the C is at
end of such a S the mouth is the end of a S: e.g. on
closed: e.g. hun-dred, hat
The presentation of a syllable structure in terms of C and V

(canonical forms) gives rather numerous combinations which can
be grouped into 4 structural types of syllables:
Table 2
95
1. Fully open V ore, or
2. Fully closed (V between C)
CVC fat CCVC place CVCC
fact CCCVCC street CVCCC
facts CVCCCC sixths [siksθs]
3. Covered at the beginning CV too CCV spy CCV traw
(one C or a sequence of C
precede a vowel)
4. Covered at the end (one C VC on VCC act VCCC acts
or more complete the syllable)
Syllables can be also designated

1. by the position in the word: from the beginning – INITIAL
(початковий), MEDIAL (серединний), FINAL
фінальний/кінцевий) or from the end – ULTIMATE (останній),
PENULTIMATE (передостанній/другий від кінця),
ANTEPENULTIMATE (третій від кінця);
2. by the position in relation to stress: PRETONIC
(переднаголошений), TONIC (наголошений), POSTTONIC
(післянаголошений). (Any syllable which is not tonic is
ATONIC/ненаголошений):
e.g. tre- men- dous
initial medial final
antepenultimate penultimate ultimate
pretonic tonic posttonic
Now we shall consider three very important functions of the
syllable:
96
1) constitutive function (конститутивна функція). It lies in
its ability to be a part of a word or a word itself;
2) distinctive function (смислорозрізнювальна /
дистинктивна функція). In this respect the syllable is
characterized by its ability to differentiate words and word-forms,
that is ['nai-treit] nitrate – ['nait-reit] night-rate;
3) identificatory function (ідентифікативна функція): the
listener can understand the exact meaning of the utterance only
when the correct syllabic boundary is perceived:
an aim – a name
mice kill – my skill
an ice house – a nice house
peace talks – pea stalks
plate rack – play track
Sometimes the difference in syllabic division might be the
basic ground for differentiation sentences in such minimal pairs
as:
I saw her eyes. – I saw her rise.
I saw the meat. — I saw them eat.
11.3 Word stress
Word stress can be defined as the singling out of one or

more syllables in a word, which is accompanied by the change of
the force of utterance, pitch of the voice, qualitative and
quantitative characteristics of the sound which is usually a vowel.
Signals: pitch of voice (level), sonority of sound (vowel quality:
strong, weak; stressed syllables have strong vowels – pot, Tom,
97
office, odd, man – weak: potato, official, addition, woman),
duration in time (length – syllables are extra long when they are
prominent) – together they make syllables sound louder. Degrees
of stress: primary, secondary (partial), weak. Stress may be
semantically contrasted (verb – noun – adjective). Modify of
stress: photogragh-photographer-photographic.
Orthographically identical word-pairs in English differentiated

by word-stress as nouns (penultimate stress) or verbs (ultimate
stress):
Table 2
abstract commune detail extract object recess

accent compound digest fragment outrage record
addict compress discard import perfume reill
address conine discharge impact pervert refuse
affect conlict discount impress present segment
afix contest discourse incline project survey
annex contrast escort increase produce subject
collect convict envelope insert progress suspect
combat defect exploit insult protest torment
commerce desert export intern rebel transfer
transport
increase [' inkr is] [in'kri:s]
insult [' insʌlt] [in'sʌlt]
impress ['impres] [im'pres]
inlay ['inlei] [in'lei]
transport ['træsnspɔ:t] [træns'pɔ:t] or [trəns'pɔ:t]

torment ['tɔ:ment] [tɔ:'ment] or [tə'ment]
combine ['kɒmbain] [kəm'bain]

conduct ['kɒndʌkt] [kən'dʌkt]
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contrast ['kɒntra:st] [kən'tra:st]
11.4 Functions and tendencies of the English stress.

Typology of accentual structures
The numerous variations of English word stress are

systematized in the typology of accentual structure of English
words worked out by G.P. Torsuev [1960]. He classiies them
according to the number of stressed syllables, their degree or
character (the main and the secondary stress). The distribution of
stressed syllables within the word accentual types forms accentual
structures of words, e.g. the accentual type of words with two
equal stresses may be presented by several accentual structures:
'well-'bred, 'absent-minded or 'good-looking . Accentual types and
accentual structures are closely connected with the morphological
type of words, with the number of syllables, the semantic value of
the root and the prefix of the word.
The accentual types are:
I. This accentual type marks both simple and compound words.
The accentual structures of this type may include two and more
syllables, e.g. 'father, 'possibly, 'mother-in-law, 'gas-pipe.
II. The accentual type is commonly realized in compound
words, most of them are with separable preixes, e.g. 'radio-'active,
're'write, 'diso'bey.
III. and IV. The accentual types are met in initial compound
abbreviations like 'U'S'A, 'R'S'V'P.
V. The type is realized both in simple and compound words,
very common among compound words, e.g. 'hair-,dresser,
'sub,structure.
VI. The accentual type marks a great number of simple words
and some compound words as well. In simple words the stresses
fall onto:
the prefix and the root: 1. ,maga'zine;
the root and the suffix: 2. ,hospi'tality;
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the prefix and the suffix: 3. ,disorgani'zation.
VII. The type includes rather a small number of simple words
with the separable prefixes, e.g. 'mis,repre'sent.
VIII. The type is found in a very small number of words,
usually simple words with the stresses on the prefix, the root and
the suffix, e.g. ,indi,viduali'zation.
IX. The type is met in rare instances of compound words with
separable prefixes, e.g. 'un'sea,worthy.
X. The type is represented by rare instances of simple and
compound words, e.g. 'soda-,water ,bottle.
XI. The type is found in rare instances of compound words
consisting of the three components, e.g. ,ginger'beer-,bottle.
Memorization
 Functions of the syllable: 1) constitutive; 2) distinctive; 3)

identificatory
Test

№ Question Answer
1 Words can be cut up into units called …
2 Do syllables serve any meaning-signalling
function in language?
3 A word contains at least … syllable
4 Each word can be cut up into … called
syllables
5 There are … syllable types
6 … and sonorants are syllable-forming
elements
7 How many degrees of word stress are singled
out in English?
100
8 The limit for the number of syllables in
English is … …
9 What symbol is used to designate a syllabic
consonant?
10 How is the syllable preceding the stressed
syllable designated?
1) Define the notion syllable.

2) Tell the difference between language and speech.
3) Enumerate the syllable types.
4) What are the functions of the syllable?
5) What information does the word stress contain?

2. Аddendum: Tone Groups I-IV.
1) Subject
2) Function
3) Procedures
4) Conclusion
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Requirements

Page Setup
 paper size A4;

102
Subject: The Prosodic System of English
Function: to learn the prosodic system of English, to define

the notion Intonation and remember its functions, to be able to
define the structure of English tone-group

Translate them.
3. Find the notions prosody and intonation, memorize them.
definitions.
Theory
13.1 A general notion of prosody
In linguistics, prosody (pronouncedn /'prɒsədi) is the

rhythm, stress, and intonation of speech. Prosody may reflect
various features of the speaker or the utterance: the emotional
state of the speaker; the form of the utterance (statement, question,
or command); the presence of irony or sarcasm; emphasis,
contrast, and focus; or other elements of language that may not be
encoded by grammar or choice of vocabulary.
103
13.2 Intonation as a complex unity of prosodic features
Alongside of the term "intonation" the term "prosody" is

widely used. "Prosody" and "prosodic" denote non-segmental
phenomena, i.e. those which do not enter into the system of
segmental phonemes. D. Crystal defines prosodic features as
"vocal effects constituted by variations along the parameters of
pitch, loudness, duration and silence".
From the definition of prosody and intonation we can
clearly see that both the notions include essentially the same
phenomena. But the terms "intonation" and "prosody" are used
differently by different linguists.
The notion of prosody, consequently, is broader than the
notion of intonation as it can be applied to the utterance, the
word, the syllable, whereas prosody of the utterance and
intonation are equivalent notions.
13.3 Intonation: definition, approaches, functions
Intonation is a complex unity of non-segmental, or

prosodic features of speech:
1. melody, pitch of the voice;
2. sentence stress;
3. temporal characteristics;
4. rhythm;
5. timbre.
Intonation organizes a sentence, determines communicative
types of sentences and clauses, divides sentences into intonation
groups, gives prominence to words and phrases, expresses
contrasts and attitudes.
Functions of intonation
• Emotional function's most obvious role is to express
attitudinal meaning – sarcasm, surprise, shock, anger, interest,
and thousands of other semantic nuances.
• Grammatical function helps to identify grammatical
104
structure in speech, performing a role similar to punctuation.
• Informational function helps to draw attention to what
meaning is given and what is new in an utterance. The word
carrying the most prominent tone in a contour signals the part of
an utterance that the speaker is treating as new information.
• Textual function helps larger units of meaning than the
sentence to contrast and cohere. In radio news-reading,
paragraphs of information can be shaped through the use of
pitch. In sports commentary, changes in prosody reflect the
progress of the action.
• Psychological function helps us to organize speech into
units that are easier to perceive and memorize. Most people
would find a sequence of numbers, for example, difficult to
recall. The task is made easier by using intonation to chunk the
sequence into two units.
• Indexical function, along with other prosodic features, is
an important marker of personal or social identity. Lawyers,
preachers, newscasters, sports commentators, army sergeants,
and several other occupations are readily identified through their
distinctive prosody.
13.4 Components of intonation and the structure of English

tone-group
Different kinds of meanings are expressed by different sound

means. Lexical and grammatical meanings are made using sound
segments and rhythmic patterns that form the shell of morphemes
and words. Syntactic structure is expressed primarily by grammar
linking words and their order.
But the utterance also has other functional characteristics.
Main ones define its purpose (statement, question and motivation)
and its communicative structure (rheme, which is the semantic
focus, and theme). Modal assessments of the content of the
statement, such as its prominence, are less important and optional.
105
These functional characteristics are expressed in several
linguistics means but intonation is the most significant.
There are two types of intonation means: phrasal accents
usually placed on the stressed syllables of words, and integral
(non-accent) characteristics relating to the certain phrase or to the
whole sentence. The most important functions of intonation are
performed by the accents.
A remarkable feature of major intonation components (pitch,
loudness, tempo) is that each of them can be used both locally (in
the phrasal accents) and integrally as a general description of the
intonation group, grammatically expressed by phrase or by the
whole sentence. Possible dual use of prosodic attributes of
different types is presented in the table below.
Two ways of using of prosodic attributes
Using of accentual Using of integral

components components
Pitch Ascending tone on the Inclination (slow rise on
stressed syllable the group of words)
Loudness High intensity on the Loud pronunciation of the
stressed syllable whole intonation group
Tempo Length of stressed vowel Slow tempo of the
intonation group
Tones are divided into two classes: static and kinetic. Static
are level tones, their number corresponds to the number of pitch
levels. Kinetic tones are classified according to the following
criteria:
a) the direction of the pitch change;
b) the interval of the pitch change;
c) the relative position of the pitch change within the
speaker’s voice range.
106
According to Roger Kingdon [1958] the most important
nuclear tones in English are:
The Low Fall – the voice falls from a medium to a very low
pitch.
The Low Rise – the voice rises from a low to a medium
pitch.
The High Fall – the voice falls from a high to a very low
pitch.
The High Rise – the voice rises from a medium to a high
pitch.
The Fall-Rise – the voice first falls from a fairly high to a
rather low pitch and then rises to a medium pitch.
The Rise-Fall – the voice first rises from a medium to a
high pitch and then falls to a very low pitch.
Low Fall \No

Low Rise /No
High Fall \No
High Rise /No
Fall-Rise \/No
Rise -Fall ^No
Roughly speaking the falling tone of any level and range

expresses "certainty", "completeness", "independence". Thus a
straight-forward statement normally ends with a falling tone since
it asserts a fact of which the speaker is certain. It has an air of
finality, e.g.
Where's John? – He ->'hasn't ,come yet.
What's the time? – It's \nearly 'five o\c1ock.
A rising tone of any level and range on the contrary expresses

"uncertainty", "incompleteness" or "dependence". A general
question, for instance, has a rising tone, as the speaker is uncertain
of the truth of what he is asking about, e.g.
I think I'll go now. – >Are you ,ready?
107
Michael is coming to London. – \ls he 'coming ,soon?
Parenthetical and subsidiary information in a statement is also

often spoken with a rising tone, or a mid-level tone, because this
information is incomplete, being dependent for its full
understanding on the main assertion, e.g.
I'm not sure I can join you now. – If you > like | we can \go to
the 'picnic \later.
Encouraging or polite denials, commands, invitations, greetings,

farewells, etc. are generally spoken with a rising tone.
What shall I do now? – >Do go ,on.
Could you join us? – >Not ,now.
A falling-rising tone may combine the falling tone's meaning of

"assertion", "certainty" with the rising tone's meaning of
dependence, incompleteness. At the end of a phrase it often
conveys a feeling of reservation; that is, it asserts something and at
the same time suggests that there is something else to be said, e.g.
Do you like pop-music? – ,Some,times. (but not in general)
e. g. I \/think his face is fa'miliar (the divided variant)
The falling-rising tone, as its name suggests, consists of a fall in

pitch followed by a rise. If the nucleus is the last syllable of the
intonation group the fall and rise both take place on one syllable –
the nuclear syllable. Otherwise the rise occurs in the remainder of
the tone unit, cf.:
Do you agree with him? – \/Yes.
What can I do to mend matters? – You could ap\/ologize ,to her.
The final level tone is always more prominent than the others,
e.g. I'm afraid I can't manage it. – In \view of 'all the >
circumstances | \why not 'try a \gain?
In subordinate structures this tone may be replaced by a rising-
type tone.
108
In non-subordinate structures this tone has a particular range of
meaning (boredom, sarcasm, etc.) which is very similar in force to
other nuclear semantic functions.
Low-Level tone is very characteristic of reading poetry. Though

occasionally heard in reading Mid-Level tone is particularly
common in spontaneous speech functionally replacing the rising
tone. That is why it should be by no means ignored in teaching.
There are two more nuclear tones in English: Rise-Fall and

Rise-Fall-Rise. But adding refinement to speech they are not
absolutely essential tones for the foreign learner to acquire; Rise-
Fall can always be replaced by High Fall and Rise-Fall-Rise by
Fall-Rise without making nonsense of the utterance in the way in
which a foreign or other unsuitable intonation does.
14.1 The Intonation Group
An intonation group may be a whole sentence or a part of it.

In either case it may consist of a single word or a number of
words. An intonation group has the following characteristics: 1. It
has at least one accented (stressed) word carrying a marked
change in pitch (a rise, a fall, ets). 2. It is pronounced at a certain
rate and without any pause within it.
The pitch-and-stress pattern or the intonation pattern of the
intonation group consists of the following elements:
1. the pre-head – unstressed or partially stressed syllables
which precede the first full stressed syllable;
2. the head (scale, body) – the intonation pattern extending
from the first stressed syllable up to (but not including) the nuclear
syllable;
3. the nucleus – the syllable bearing the nuclear (terminal)
tone;
4. the tail – unstressed or partially stressed syllables
following the nucleus.
109
He told me he would think of it.
pre-head head nucleus tail
There are different types of pre-heads, heads and tails.
14.2 Types of heads
Head patterns are classified into three groups: descending,

ascending and level according to the way it begins from the point
of view of pitch movement.
Descending heads move down from a medium or a high
pitch level to the low one. The first stressed syllable is the highest.
In the stepping head the stressed syllables gradually
descend in pitch levels, unstressed or partially stressed syllables
are pronounced on the same level as the preceding stressed ones.
This head conveys the impression of the balanced, active,
“normal” mood of the speaker.
I don’t want to go to the cinema.
The unstressed syllables may gradually descend in pitch too.

In this case the head is called a falling head.
A fall in pitch may not be gradual but rather jumpy which is
achieved by a considerable lowering of the pitch inside the
stressed syllables or by pronouncing unstressed syllables at a
much lower level than the preceding stressed ones. Such a head is
called the sliding head. It usually reflects an excited state of mind
and, sometimes, a highly emotional attitude to the situation.
Ascending heads are the opposite of the descending heads:

their stressed syllables move up by steps with the intervening
unstressed ones continuing the rise and in this case it is a rising
head.
110
If the voice moves up jumpy the head is called climbing.
Unstressed syllables glide up too.
In level heads all the syllables are pronounced on the same

level (or gradually ascends towards the nucleus) either high or
medium or low. So there are three level heads correspondingly. It
is shown by the tone mark before the first stressed syllable.
Low head conveys an impression ranging from cool and
indifferent to sulky and hostile.
14.3 Types of pre-head
There are two types of pre-head: the low pre-head and the
high pre-head. The low pre-head is pronounced at a low pitch and
may occur in all unemphatic and many emphatic utterances. Its
main semantic function is to mark the comparative unimportance
of initial unstressed syllables.
The high pre-head is pronounced at a high pitch level. It
has a clearly emphatic function. Before a rising tone it usually
gives a bright, lively, encouraging character to the utterance. The
high pre-head is marked by the tone-stress mark placed before the
first syllable above the line of print.
14.4 Types of tails
There are two types of tails: the low tail and the rising tail.
The low tail goes after the falling tone and is pronounced at a low
pitch.
Show me.
The rising tail occurs after the rising tone and gradually
rises in pitch producing the very effect of the rising tone whilst the
word carrying the syntagmatic stress is pronounced on the lowest
level in the sense-group.
Really?
111
Memorization
Word Symbol Tone Meaning

names
Yes → Level Neutral; uninterested: “Yes”
Yes Fall Positive response “I agree”
Yes Low-rise Question, eliciting a response
Yes High-rise Disappointment: “Are you saying
Yes”
Yes Fall-rise “Carry on, I’m listening”
Yes Rise-fall Reserved, indicating doubt
Test

№ Question Answer
1 Prosody is the rhythm, stress, and intonation
of ...
2 According to Roger Kingdon there are …
most important nuclear tones in English
3 An intonation group may be a whole … or a
part of it
4 Head patterns are classified into … groups
5 If the voice moves up jumpy the head is
called …
6 The notion of prosody is broader than the
notion of …
112
7 Intonation is a complex unity of non-
segmental, or … features of speech
8 The most important functions of intonation
are performed by the …
9 Tones are divided into … classes
10 There are … types of tails
1) What are the most important nuclear tones?

2) Tell the difference between static and kinetic tones.
3) What are the elements the pitch-and-stress pattern of the
intonation group consists of?
4) Enumerate the types of heads.
5) What are the functions of intonation?

2. Аddendum: Tone Groups V-VII.
1) Subject
2) Function
3) Procedures
4) Conclusion
113
Requirements

Page Setup
 paper size A4;

114
Subject: Intonational Styles
Function: to get acquainted with intonational styles, to be

able to differenciate them and not to make intonation mistakes
using all of the styles mentioned

Translate them.
3. Find the notions intonational style and functional style,
memorize them.
definitions.
Theory
Style integrates language means constructing the utterance,

and at the same time differentiates one utterance from another. A
functional style can be defined as a functional set of formal
patterns into which language means are arranged in order to
transmit information.
There are five intonational styles singled out mainly
according to the purpose of communication and to which we could
refer all the main varieties of the texts generated in everyday
communication of a modern man. They are as follows:
1. Informational style.
115
2. Academic style (Scientific).
3. Publicistic style (Oratorical).
4. Declamatory style (Artistic).
5. Conversational style (Familiar).
Functional styles reveal their language peculiarities on a
number of levels, including grammar, vocabulary, and phonetics.
The formal means used to mark phonetic peculiarities of
functional styles are all the components of intonation: (a) changes
of pitch (range, level and direction), (b) changes of energy
(variations of stress and rhythm), (c) changes of duration (tempo
and pauses), (d) changes of timbre or voice quality.
Intonational styles distinction is based on the assumption that
there are three types of information: (a) intellectual information,
(b) emotional and attitudinal information, (c) volitional and
desiderative information. Consequently, there are three types of
intonation patterns used in oral communication: (a) intonation
patterns used for intellectual purposes, (b) intonation patterns used
for emotional and attitudinal purposes, (c) intonation patterns used
for volitional and desiderative purposes. All intonational styles
include intellectual intonation patterns, because the aim of any
kind of communication is to give some intellectual information.
The frequency of occurrence and the distribution of emotional (or
attitudinal) and volitional (or desiderative) patterns shape the
distinctive features of each style.
15.1 Informational Style. Scientific (Academic) Style.

Publicistic (Oratorial) Style. Types of speeches
Informational (formal) style occurs in formal discourse

where the task is to send the message without giving it any
emotional or volitional evaluation. This intonational style is used
by radio and television announcers, or in various official
situations, such as classroom activity. It is considered to be
stylistically neutral. In most cases the speaker sounds
dispassionate.
116
The characteristic feature of informational style is the use of
the Falling tones, normal or slow speed of utterance and regular
rhythm. Pauses are always semantically predictable, that is an
intonation group always consists of words joined together by
sense. Besides, intonation groups tend to be short; duration of
pauses varies from medium to long. Short pauses are rather rare.
Scientific (academic) style tends to be objective and precise,

it is not entirely unemotional. Scientific intonational style is
frequently used by university lecturers, schoolteachers, or by
scientists in formal and informal discussions. The most pure
manifestation of the academic style is realised in a lecture. The
most commonly used tone is Falling (High Fall, Fall-Rise) which
makes the intonation group sound weighty. This enables the
lecturer to sound categoric, judicial, considered and persuasive.
The speed of utterance fluctuates from normal to accelerated, but
it is never too fast. Pauses are predominantly short.
In publicistic (oratorial) style the general aim is to exert

influence on the listener, to convince him that the speaker's
interpretation is the only correct one. The task is accomplished
through persuasion and emotional appeal. For this reason
publicistic style has features in common with scientific style, on
the one hand, and declamatory style, on the other. It is especially
noticeable in public political speeches, judicial speeches, and
sermons.
Publicistic style is characterized by a number of phonetic
peculiarities. Loudness is usually enormously increased to
produce certain psychological effect. Pitch levels are greatly
varied, predominantly wide ranges are used. The speakers often
use the so-called "rhetorical trick" – High Level Heads are
alternated with the Low Level Heads. Terminal tones are mostly
emphatic, especially on emotional semantic centres; in non-final
intonation groups the falling-rising tones are used. The speed of
the utterance is moderately slow, but some unimportant parts of
117
the speech are pronounced quicker. The use of so-called
"rhetorical pauses" is aimed to influence the public. Rhythm is
properly organized. Voice timber is dignified, self-assured,
concerned and personally involved.
The four basic types of speeches are intended: to inform, to
instruct, to entertain, and to persuade. These are not mutually
exclusive of one another. You may have several purposes in mind
when giving your presentation. For example, you may try to
inform in an entertaining style. Another speaker might inform the
audience and try to persuade them to act on the information.
Functional styles (FS) are the subsystems of language, each
subsystem having its own peculiar features in what concern
vocabulary means, syntactical constructions, and even phonetics.
For example, the general aim of publicistic style is to influence
the public opinion, to convince the reader or the listener that the
interpretation given by the writer or the speaker is the only correct
one and to cause him to accept the expressed point of view.
15.2 Declamatory (Artistic) Style. Language of Poetry.

Phonetic Expressive Means in English Poetry. Drama
In declamatory (artistic, belles-lettres) style the speaker's

aim is to appeal simultaneously to the mind, the will and feelings
of the listener by image-bearing devices. Declamatory style is
generally acquired by special training and it is used in stage
speech, recitation, reading aloud fiction. The intonation of the
author's speech or a monologue is characterized by the use of
Falling tones. The nuclear tone in final intonation groups is
generally the Low Fall. The principal nuclear tones in non-final
intonation groups are the Low Fall, the High Fall and the Fall-
Rise. The speed of utterance is relatively slow and as a result there
are no marked variations in rhythm. Pauses may be different in
length but long pauses are more common.
118
Verses have well-defined patterns of rhythm – the stressed
syllables follow one another in regular intervals of time: the
intervals between the stressed syllables are approximately equal.
The most typical tone of recitation is Falling. The Low Fall is
especially often used in quiet lyric poems. The High Fall is used
when the atmosphere is of the poem is strained. It is often used in
grand, pompous, solemn verses. Tempo is also a very important
feature of poetic speech. Pauses in poetic style fulfill various
functions. More or less equal length of pauses creates the
atmosphere of quietness in lyric poetry. Long pauses create
pompous atmosphere. Psychological pauses are often met to fulfill
emotional function in poetry.
Language of the drama is entirely dialogue. The author's

speech is almost entirely excluded except for the playwright's
remarks and stage directions. But the language of the characters is
not the exact reproduction of the norms of colloquial language.
Any variety of the belles-lettres style will use the norms of the
literary language of the given period.
15. 3 Familiar (Conversational) Style
The usage of conversational (familiar) style is typical of the

English of everyday life. It occurs both within a family group and
in informal external relationships, namely, in the speech of
intimate friends or well-acquainted people.
Generally speaking, conversational style, unlike other styles,
allows the occurrence of the entire range of intonation patterns
existing in English. Relatively unexcited conversational situations
are characterised by stepping scales and simple low falling or
rising tones. Monosyllabic response utterances display
standardised narrowed pitch patterns. Degrees of increasing
intensity of excitement correlate with increased pitch height. As a
result, widened pitch patterns with the high falling nuclear tone
are typical of more excited situation. Besides, there is high
119
frequency of compound tones. There is also the occasional
completely unexpected placement of nuclear tone.
Memorization
In Ukrainian the leave-taking Дo побачення can be

pronounced both with low rising and low falling tone, which
sounds neutral, while in English Good-bye pronounced with a low
falling tone sounds fairly rude, while rising tone makes it neutral.
Test

№ Question Answer
1 A functional style can be … as a functional
set of formal patterns
2 … integrates language means constructing
the utterance
3 … intonational style is frequently used by
university lecturers
4 Publicistic style is characterized by a number
of phonetic …
5 The four basic types of speeches are …: to
inform, to instruct, to entertain, and to
persuade
6 the general aim of … style is to influence the
public opinion
7 … style is generally acquired by special
training
8 Psychological pauses are often met to fulfill
… function in poetry
9 Language of the drama is entirely …
120
10 … style occurs within a family group
1. Define the notion style.

2. Tell the difference between scientific and conversational
styles.
3. Give the deinition of functional style.
4. Classify phonetic styles.
5. What are the basic types of speeches?

2. Аddendum: Tone Groups VIII-X.
1) Subject
2) Function
3) Procedures
4) Conclusion
Requirements

121
Page Setup
 paper size A4;

122
П 8. 34 Final Test
Variant 1
“Good news”

combinations:
a secretary to afford to leave

to feel very business is bad to see sb.
nervous
to look up to pay to enter
to sit down large salaries sb. turn have come
English Ukrainian
He smiled and told me.
My turn had come.
I said in a weak voice.
Don’t interrupt!
An extra thousand pounds a
year.
Ukrainian English
Я був знервований коли
увійшов до його кабінету
Він не глянув на мне
Справи були кепські
Звільнили 20 людей
Я зрозумів, що прийшла моя
черга
123

the audio-lingual method, the teacher is prepared to correct
any and all mistakes made by the student.
Variant 2

“A polite request”

combinations:
to park a car to let sb. go during a

holiday
in the wrong polite a ticket
place
a traffic to be lucky a note
policeman
to welcome to parking an area
English Ukrainian
A traffic policeman will soon
find it.
He lets you go without a
ticket.
124
You will enjoy your stay here.
This note is only a reminder.
You cannot fail to obey it!
Ukrainian English
У Швеції
Звертати увагу на дорожні
знаки
Я знайшов записку
Таке рідко трапляється
Тут заборонено паркування


125
APPENDIX
TONE GROUP I
(Low Pre-Head+) Low Fall (+Low Tail)
Low Pre-Head: all the syllables in the low pre-head are said
on the same rather low pitch.
Low Fall: the voice falls during the word from a medium to a
very low pitch.
Low Tail: the unstressed syllables forming the low tail are
pronounced on the lowest level pitch. Tone Group I is used with
final, categoric, calm, reserved statements; сalm, serious, flat,
reserved statements; calm, serious, flat, reserved special question;
calm, unemotional, serious imperatives and interjections.
Tone Group I may also be used with general questions to put
the question forward as a suggestion or a subject for discussion.
Again the general attitude is phlegmatic, reserved.
Drill I. Listen carefully to the conversational situations.

Concentrate your attention on the intonation of the replies. Repeat
these sentences after the speaker:
Whose book is this? Mine.

You must ask for them now. Why?
I’ll send it to him. Do.
What do you advice me to do? Go.
He’s just arrived. Oh.
Here’s your sweater. Thanks.
What’s your name? Johnson.
126
Who’s running the music club Peter’s going to run it.
this year?
He says he is coming. Why is he coming?
I rather like Mary. Very pleasant, isn’t she?
What shall I do with this Burn it.
rubbish? Nonsense!
Oh, I am cold. I am a shop assistant.
What’s your job? Well I was at a number of
Where did you go to school? schools.
Someone’ll have to do it. But who?
I’ve said I meet you. Yes, but where?
I’ve got so many things to do. Can I help at all?
Thank you for your offer. Will it help do you think?
I can tell you now. Then phone me about it.
I’m afraid I’ve got a cold. No wonder.
Drill II. Read the following sentences using the intonation

patterns of Tone Group I. Mark the intonation. Define the
communicative type and the attitudinal meaning.
You are always dissatisfied. I'm a school teacher. Well, who

exactly? Give it to me. Pity. Well, take it, then. Where is it? Fine.
Be quiet for a minute. At last. I think so. Thank you. Which one?
Certainly, professor. Repeat it.
127
Drill III.
A. Give brief answers. Make them sound final, categoric,
reserved.
Model: – When are you to meet him?

– At five.
What's your name? How old are you? What are you? Where
are you from? How many brothers have you? What is the capital
of France? When is he coming?
B. Ask a question to make the task more precise. Make your

questions sound calm, serious, flat, reserved.
Model: – Open the window.

– Which one?
You are to do some exercises. You'll have to come. Pass me

the book, please. Someone will have to help me. Do it again. Go
and see them. Ask her to come later.
C. Make up imperative sentences. Make them sound calm,

serious, unemotional.
Model: Ask your friend to explain something to somebody. -

Explain it to him.
Ask your friend: to come with you, to note something for
you; to phone you, to ask for something; to call for you; to listen
to something; to stop somebody.
D. Show your indifference to the subject of the conversation

while thanking and exclaiming. Model: I'm ready.' - Fine.
Would you like some coffee? He's here. I've told them. I've
lost my pen. They say he's against it. They won't help us. He
promised to give it to me.
128
Drill IV. Read the following dialogue using Tone Group I
intonation patterns where you think they are suitable. Mind that
the driver sounds final and reserved. Get it recorded:
A. Do you know you were breaking the speed limit, sir?

B. I don't think I was, officer.
A. Oh, yes, you were. Could I have your name, please?
B. George Anderson.
A. And are you the owner of the car?
B. Yes. Why?
A. Could I see your licence, please?
B. All right.
A. Oh, yes. And your insurance certificate.
B. It's at home.
A. Well, you'll have to bring it to the police station.
B. 1 will.
A. Excuse me, sir, have you been drinking?
B. Certainly not.
A. I see.
129
TONE GROUP II
(Low Pre-Head+) Stepping Head+Low Fall (+Low Tail)
Stepping Head: in the stepping head, the stressed syllable of

the first important word is on a high, level pitch; that of the second
important word is a step lower; that of the third a step lower still,
and so on until the nucleus is reached.
Tone Group II is used with final, categoric, considered,
weighty statements; serious, intense, responsible special question;
firm, serious, considered, weighty, pressing imperatives and rather
emphatic, weighty interjections.
Like Tone Group I, Tone Group II may also be used with
general questions to put the question forward as a suggestion or a
subject for discussion to put the question forward as suggestion or
a subject for discussion, but more insistently, often impatiently.

Is it easy? Not so easy as you might think.

I’m afraid I can’t do it. Can’t do what?
What’s he saying? How can I hear when you’re
making so much noise?
It’ll be very exiting. Will you stick to the point?
He’s two hours late again. Isn’t he just a sort of person
to drive you mad?
What do you think you are Mind your own business.
doing?
130
What do you want me to do? Read the paragraph beginning
at the bottom of the next page
but one.
Here I am at last. Welcome back!
Isn’t it mild today! Whay a difference from this
time last week?
Why did he run away? I haven’t the slitest idea.
Where’s that book of mine? I’ve put it away in the
dining room cupboard.
Will you help? How could I possibly refuse?
Oh, for a bit of quiet! When will they stop making
that dreadful din?
We’ve both got the same Now isn’t that peculiar!
answer.
Do you remember our walk in What a beautiful day wasn’t it?
Epping Forest?
It’s not much of a risk. Well don’t say I didn’t warn
you.
Here’s the pen you’ve lost. Thank you very such indeed.
I haven’t seen you for ages. And imagine us meeting here
of all places.
131
patterns of Tone Group II. Mark the intonation. Define the
I wanted to have a chat with you. How are you going to get
home? Go right back to the beginning again. I can't quite make up
my mind about it. Thank you very much indeed. Whatever made
you think of that? We haven't heard from him for ages. What will
they do next? Stay as long as you possibly can. What a pity! When
is she going to learn to be careful?
Drill III.
A. Answer the following questions in detail. Make your
answers sound final, categoric, considered, weighty.
Model: Why didn't you wait for him? -I expected him much
earlier.
What kind of books do you prefer to read? What's your

homework for today? What do you usually do at the lab? What
must 1 do to improve my pronunciation? What do you do to air
the room?
D. While asking questions make them sound serious,

responsible, intense.
Model: Ask your friend what the spelling of the word

"generosity" is. - What is the spelling of the word "generosity"?
Ask your friend: how often he comes to see his relatives; how
old his mother is; when the English celebrate Mother's day; when
he is going to meet you; why he doesn't read enough.
E. Suppose you are in charge of a group of children. Give

them firm, serious, weighty, pressing orders.
132
Model: Tell the children to come and have dinner. - Come
and have dinner.
Tell the children: not to go out into the street alone: to put on
coats and boots; to let the old man pass; not to make so much
noise; to be careful while crossing the street.
F. Think of an exclamation proper in the situation mentioned

below. Let it be weighty and rather emphatic.
Model: Suppose the weather is lovely. - What lovely weather

we are having!
Suppose: your younger brother is a lazy-bones: you've just

come to know your friend is ill; the man you are discussing some
important matter with appeared to be a nice man to deal with; you
found a wonderful place for your picnic; your girlfriend is wearing
a beautiful dress.
Drill IV. Read the following text using Tone Group II

intonation patterns where necessary. Get it recorded:
Once Mark Twain wanted to borrow some books from his

friend. But his friend told him that he never lent books to
anybody. He never let anybody take books from his house. "You
mustn't take the books home", he said. "If you want to read these
books you have to read them in my house."
In summer the same friend had to cut grass in his garden. But
he couldn't do it because he had no lawn mower. He asked Mark
Twain to give it to him for a day or two. This time Mark Twain
refused to lend him his lawn mower. "If you want to use the lawn
mower", he said, "you have to do it in my garden".
133
TONE GROUP III
(Low Pre-Head+)(Low Head+) High Fall (+Low Tail)
Low Head: in the usual form of the low head, all the syllables
contained in it are said on the same, rather low pitch. Before the
high falling nucleus, the low head most often starts on a low pitch
but rises gradually, syllable by syllable, to end just below the
starting pitch of the nucleus.
Tone Group III is used with s t a t e m e n t s as definite and
complete as those with Tone Groups I and II, but expressing rather
a personal concern or involvement in the situation, sounding
lively, interested, polite, friendly, airy.
When a Low Head precedes the High-felling nuclear tone,
the attitude expressed is one of disgruntled protest, irritation.
Tone Group III is also used with lively and interested special
questions. Statements and special questions with Tone Group III
(and Tone Group IV) are particularly common in c o n v e r s a t i o n .
I m p e r a t i v e s with Tone Group III show more warmth
than with the previous tone groups, often connoting a critical
surprise that such an obvious course should not have occurred t o
the listener.
I n t e r j e c t i o n s with Tone Group III are rather
emotional. Sometimes Tone Group III may occur with general
questions. The reaction then is one of mild surprise but acceptance
of the listeners premises.

Do you know Basil Fish? No, I don’t.

Why didn’t you buy the Much too expensive.
picture?
134
I saw the Queen yesterday.
Let’s paint one of the walls Where?
pink. Which of them do you think?
John’s generosity is amazing.
They can’t go after all. Is it generosity, do you think?
May I borrow your pen? Pity, isn’t it?
The paper’s too big for the Yes, do.
envelope. Fold it than, you helpless man.
Have you taken over your new Heavens yes. Ages ago.
house?
What did you think of the It was wonderful.
show?
You can’t eat all that. Oh, but I can. I’m starving.
You must do it. But how?
I know all about it. But how can you know?
They both passed the exam. Oh did they?
May I use your phone? By all means.
Peter came early. Well so did I.
Why didn’t you say you’d I didn’t know I had. I’m just
won? as surprised as you are.
I doubt whether David will Is it fair ro expect him to.

subscribe.
135
He paid five thousand for that It’s absolutely rediculous, isn’t
house. it.

patterns of Tone Group III. Mark the intonation. Define the
It’s raining. I'd love to. With pleasure. Where is it, then?
Forget it. It must be right. Well when exactly? Delightful. Don't
mention it. Who is it, do you think? By all means. But I told you.
It was wonderful. Of course not. I'm sure 1 shall.
Drill III.
A. Give brief answers to the following questions. Be polite
and friendly. Show your interest in the subject of the conversation.
Model: Who wrote "Twilight"? - Byron did.
Who wrote "Hamlet"? What language do they speak in

France? What is the longest river in this country? How many
months are there in the year? When is he coming?
B. Ask a question to make the task more precise. Try to be

friendly and lively.
Model: Phone Tom. - Why?
Come and help me. Listen to the text. Tell him everything.
Meet them at the station Discuss it with them. Give it up.
C. Tellyour friend warmly how to cope with the situation.

Express your surprise that such an obvious course should not have
occurred to him.
Model: The desk is dirty, - Clean it.
136
The duster is dry. The button is not pressed. There is no
chalk. The broth is not hot enough. The door is closed.
Drill IV. Reply to the following remarks in a polite and

friendly way using "How terrible" or "How nice".
Model: He's broken his leg. - How terrible! I passed the

exam. - How nice!
Do you know John failed in Phonetics? We'll be able to play

tennis after all. He had been rude to his teacher. They bought a
new car. My daughter always tells the truth. We've lost our way,
I'm afraid. There's steak for dinner. I'm getting married.
Drill V. Read the following dialogue using Tone Group III

intonation patterns where necessary. Mind that this is a friendly
conversation. Get it recorded:
 Good morning, Mr. Adam. How are you?

 Fine. How are you?
 Very well, thanks. Isn't this, weather lovely!
 Beautiful. And hot.
 But they say it’s going to rain to-night.
 Oh.
 Yes. It was on the radio.
 Pity.
TONE GROUP IV
137
(Low Pre-Head+) Stepping Head + High Fall (+Low Tail)
(Low Pre-Head+) High Fall(s) + High Fall (+Low Tail)
Tone Group IV is used with complete, definite but friendly

light and airy statements connoting a personal concern; with brisk,
businesslike special questions; sometimes with general questions
to make a suggestion; with imperatives suggesting a course of
action and with mildly surprised intellections.
Tone Group II is more appropriate for a narration, Tone
Group IV for emotional conversation.

It’s not so bright now, is it? It looks as if it’s going to rain,

doesn’t it?
I can’t think what to say. Don’t say anything at all.
Leave it entirely to me.
What shall I do with this? Put it in the waste paper basket.
We’ll go there on Friday. The sooner, the better.
I was sorry to have to vote A fine friend you turned out to
against you. be.
What was the party like? The food was terrible, I’m sorry
to say.
He said he knew nothing about But I told him myself.
it.
Oh I know he couldn’t help it. Then why are you so angry?
138
I bumped into Alice yesterday. Did you notice how thin she’s
become?
That’s not very convincing. Well can you think of a better
argument?
Have you heard about Alex? Isn’t it incredible!
Of course he’ll agree. Don’t be so sure.

patterns of Tone Group IV. Mark the intonation. Define the
Simply spleendid. 1 should never have believed it. When did

you expect him? Take as many as you like. Better late than never.
What did you have to say about it? What an extraordinary thing to
do! Well copy it again then. 1 was afraid it might be difficult.
What's the trouble? And the best of luck to you!
Drill III.
A. Answer the following questions in detail. Make your
answers sound definite but friendly. Show your interest in the
subject of the conversation.
Model: Why didn't you tell him the truth?

-I didn't know myself.
What were you doing in the evening? Why didn't you meet
her at the station? How many classes a week do you have? Why
didn't you ask him about the telegram? What is this novel about?
B. While asking questions make them sound brisk and

businesslike.
139
 Model:Ask your friend what you can do to clarify the situation.
What can I do to clarify the situation?
Ask your friend: when he can come; what was discussed at

the meeting; why he was away from classes; how many mistakes
he made in the dictation: when he is going to be back.
B. Suggest a course of action to your friend. Try to be

friendly.
Model: What shall I do to make up with him? Tell him the
truth.
What shall I do to improve my pronunciation? How can 1 air

the room? What must 1 do to switch on the tape-recorder? How
can I get this book? I'm afraid I'll catch a cold.
Drill IV. Read the following dialogue using Tone Group IV

intonation patterns where necessary. Mind that this is a friendly
conversation. Get it recorded.
 What's that building in the picture?

 It's St. Paul's Cathedral.
 I suppose it's very old.
 Yes, Christopher Wren built it.
 And when was that built?
 Sixteen eighty.
 How old it is! I'd like to visit it.
 Fine! Catch a fifty one bus.
 Well, I really wanted to walk.
 Turn right at the corner.
 Mm... and then?
 Walk along for some time and then turn left.
 Well, I'd rather take a bus.
TONE GROUP V
140
(Low Pre-Head+)(Stepping Head+) Rise-Fall (+Low Tail)
Rise-Fall: the voice first rises from a fairly low to a high

pitch and then quickly falls to a very low pitch
Tone Group V is used with all communicative types of
sentences. This Tone Group implies all the definiteness and
finality associated with the other falling tone groups. It
particularly shows that the speaker is greatly impressed.
Tone Group V gives special questions a note of challenge and
antagonism, which is usually equivalent to the word "but" placed
before the question or the word "though" after it. The main
contribution of Tone Group V with imperatives is a matter of
shrugging off responsibility.
Drill I: Listen carefully to the conversational situations.

these sentences after the speaker. Define the communicative type
and the attitudinal meaning of the responses:
Can you see? Perfectly.

Is he as tall as his father? Taller even.
I was very cross with him. Naturally. Anyone would be.
I finished wall before time. Clever, aren’t you?
I hate it, but what can I do? Tell them you hate it.
Did you finish that job? Heavens yes. Ages ago.
Is it cheaper by coach? Much.
You pay for it. How?
Well borrow a ruler. Whose?
May I take this newspaper? Do. Please.
141
John’s got it now. Oh! That’s different!
Can you manage alone? I’m sure I can.
Nobogy seems at all keen. Well give up the idea.
Is he getting fatter? Getting fatter? He’s huge.
Did you save time? I was able to do it in half the
time.
I don’t like the man. You’ve never even spoken to
him.
Which one shall I choose? It’s up to you. You must make
up your own mind.
I’ve had this pain for days. Why didn’t you do something
about it?
Thank you so much. Not at all. Thank you.

patterns of Tone Group V. Mark the intonation.
Well. Did he. Goodness. He won the prize. Splendid. He's

passed. Which is die best way to do it? They are twins. How did
you manage it'? That's perfectly true. It was lovely.
Drill III. Read the following dialogue between a man and a

woman. The woman is impressed by the man's story. Use Tone
Group V intonation patterns where they are suitable. Get it
recorded.
 Did I tell you 1 went to Switzerland for my holiday? Well.

 I flew there by jet
142
 Did you?
 It only took an hour and a half.
 Quick, but dangerous.
 Well, when you fly a lot, you get used to it.
 Oh.
 I remember once I was flying over the Alps when one of the
engines stopped.
 Good heavens. I'd have been terrified.
 Some of the passengers were.
 Not surprising.
 But I soon calmed them down.
 How brave.
TONE GROUP VI
143
(Low Pre-Head+) Low Rise (+Rising Tail)
Low Rise: the voice rises during the word from a low to a
medium pitch or a little above.
Tone Group VI is used in non-final, not categoric statements
reserving judgment, expressing reproving criticism or resentful
contradiction. It is often used for continuative purposes, to show
that there is more to be said, as, for example, in enumerations.
Tone Group VI is also used in disapproving, slightly wondering,
mildly puzzled special questions; in disapproving and sceptical
general questions; in calmly warning imperatives and in short
interjections reserving judgement and implying calm, casual
acknowledgement of a not unexpected matter.
Tone Group VI often occurs with question tags. One must
remember that question tags with Tone Group I and III invite
confirmation of the speaker's view while question tags with Tone
Group VI show that the speaker has not made up his mind about
the thing and is genuinely concerned to have the listener's view.

Did you catch tha last train? Just.

What does a haberdasher sell? Shirts, ties, socks, gloves.
When’s the meeting due to take When? (Why at five).
place?
The meeting’s at five. When? (I thoght it was at 6.)
But how do you do it? Watch.
It’s half past ten. Well.
144
Do you ever go to the club? Sometimes.
Tony’s always late. Last week he was on time.
How old are you? How old am I? (How old do
you think?)
I thought she was pretty. Did you?
Your change, sir. Thank you.
Have you been there? I have.
I wonder if they sell books. You could enquire.
That’s my final offer. If that’s the way you want it
(there’s noting more to say).
There’s someone to see you. Who is it?
Oh good! Breakfast in bed! Do you like breakfast in bed?
I can’t find my key anywhere. You haven’t lost it, have you?
Thank you. Don’t mention it.
Drill II. Read the sentences and comment on the attitude

rendered by the Low Rise in different communicative types of
sentences.
We do. I think so. Of course. Continue. With who? Since you

insist. Are you sure? Be careful. At what time, did you say?
Inhale. Do you think so?
Drill III. Ask questions in a slightly wondering and mildly

puzzled way about the following remarks. Get the questions
recorded.
145
Model: I put it in the waste-paper basket - Where did you put
it?
I met Mr. Adams yesterday. I saw her at the theatre. He asked

Mrs. Andrews to help him. My elder son is twenty-five. They live
in Liverpool. I hit my knee on the fridge. You must take this tonic
three times a day after meals. He married Miss Joans. I phoned
him this morning. My daughter-in-law went to Medical School.
Drill IV. Mark the intonation in the following sentences

rendering the attitudes given in brackets. Get the sentences
recorded.
I think I shall (non-final, not categoric, reserving judgement).

Whose coat is this? (mildly puzzled), Does he really mean what he
says? (sceptical). Good for you (calm, casual acknowledgement).
Can we get there by ten? (sceptical). If you insist (reserving
judgement). Stop it (calmly warning). What's she going to do
about it? (disapproving).
Drill V.
A. Read the following disjunctive questions, making the tags
sound as if you were asking for correction or confirmation.
Your name is Robinson, isn't it? You won't be here tonight,

will you? You like children, don't you? You speak Italian, don't
you? She's teaching English, isn't she? They will come, won't
they? We can't go there today, can we? He won't be here
tomorrow, will he?
B. Readthe following disjunctive questions. Be sure that you

don't expect any answer and use the tag for purely conversational
purposes.
146
It's a nice day today, isn't it? Mr. Smith is a teacher, isn't he?
She hasn't gone to Moscow, has she? Let me see, it's Wednesday
today, isn't it? We must make a start soon, mustn't we? He was
surprised, wasn't he? It's my turn, isn't it? You don't mind, do you.
Drill VI. Read the following dialogue using Tone Group VI

intonation patterns where you think they are suitable. Get it
recorded.
 He says they'll both come.

 Can John come?
 He said he might if he had time.
 But will he have time in fact? And what about Nick?
 He says his mind's quite made up.
 Does he really mean what he says?
 Well.
 Oughtn't he to ask his mother first?
 I don't think she'll have anything against it.
 Do you really think so? Hadn't we better phone and find out
for certain?
 Perhaps I will, then
 Will you?
– If you like. Do you want him to come?
 Yes, why?
 He's a bore.
 Is he? If you really mean it. You just don't want him to join
us, do you?
 I don't
 Am I to take that as final?
 Absolutely.
TONE GROUP VII
(Low Pre-Head+) Stepping Head + Low Rise( +Rising Tail)
147
Tone Group VII is used in soothing, reassuaring
statements; in puzzled, sympathetically interested special
questions; i n soothing, encouraging, calmly patronizing
imperatives; in airy, casual, encouraging interjections.
Tone Group VII is by far the most common way of asking
general questions; it should be regarded as the normal way, and
any other tone group should be used only in the special
circumstances outlined in the appropriate place.

Concentrate your attention on the intonation of replies. Repeat
I hate climbing ladders. It’s all right. You won’t fall.

I must pay what I owe you. There’s no hurry. Whenever
it’s convenient.
Tell me, doctor. Is he badly Nothing at all serious. Just a
hurt? few bruises.
I’ve decided to reject his After you’ve heard what I have

application. to say, (you’ll change your
mind, I think).
I leave tomorrow morning. What train are you thinking of
catching?
Steven’s going to retire. Who do you think will take
over from him?
I’m going to do some Can I come too?
shopping.
148
I’d love you to come.
I suppose I’ll have to. Are you taking the car?
They’ve sent us four. Would you like me to drive?
We don’t need so many, do
What time will you call round? we?
Shall we say five o’clock (or is
I just can’t quite manage it. that too early for you?)
I’m just going. We’ll keep trying.
I really must be off. Have a good time.
Have a good holiday. Don’t let me detain you then.
I’ll be back later. And you?
Good-bye for the present. See
You’ve got the wrong number. you then.
Sorry you’ve been troubled.

patterns of Tone Group VII. Mark the intonation. Define the
It's no trouble. Why not? All in good time. Did you go there
last year? Don't worry. Would you care for another cup of tea?
Good luck, my boy. Couldn't we leave that till tomorrow? Well
done. Now don't stay too late.
Drill III.
149
A. Change the following statements into general questions.
Mark the intonation making general questions sound genuinely
interested. Read them.
Model: I haven't seen Tom lately. - Have you seen Tom

lately?
They will be off to Italy this summer. You could ring him as
soon as he returns. I think he was telling the truth. I'll be home in
time for dinner. She doesn't want it, We don't want her to come. I
am not going to be there at 3. It wasn't a good party last night.
She's waiting for my brother. He's just a person I was looking for.
B. Read the verbal context and translate the replies into

English. Pronounce the replies making imperatives sound
encouraging and interjections sound airy, casual.
Alice is on the phone. - Нехай не кладе трубку.

I had the time of my life with you. - Приїздіть і залиштесь в
нас на деякий час.
I was so disappointed. - Не бери близько до серця
I'm afraid they've gone out. - He проблема.
They take too long to do it. - Прийди допоможи.
Drill IV. Read the following dialogue using Tone Group VII
intonation patterns where necessary. Get your reading recorded.
 I went to see "Henry VIII" at the cinema last night.

 Did you enjoy it?
 Yes, very much indeed. Go and see it.
 Isn't it quite an old film?
 Well, it was made about some twenty years ago, I suppose,
 And was the acting good?
 Oh, very good.
 Do you like Shakespeare?
 Well, some of his plays, not all of them. I like the tragedies.
150
 Do you like Hamlet?
 I never really understand it, I'm afraid.
 But do you like it?
 Oh, 1 saw a good production of it once.
 Did you really''
 Yes, the fighting was very good. Lots of blood everywhere.
 Did anyone get hurt?
 Oh, no. It was only tomato juice.
 Was it at Stratford?
 Yes, it was actually. Quite good production they have at
Stratford.
TONE GROUP VIII
151
(Low Pre-Head+)(Stepping Head+) High Rise(+Rising Tail)
High Rise: the voice rises during the word from a medium to
a high pitch.
Tone Group VIII is used mostly with statements, special
questions and general questions. Statements with Tone Group VIII
have the effect of questions in most cases. Special questions with
Tone Group VIII call for the repetition of the information already
given in case the nuclear tone is on the interrogative word. When
the nuclear tone is not on the interrogative word, the speaker is
often echoing the listener's question in order to get it clear in his
mind before giving an answer. General questions with Tone Group
VIII may be echoed questions (as with special questions above) or
not. General questions with Tone Group VIII sound light and
casual. Short general questions with Tone Group III are used just
to keep the conversation going.
Tone Group VIII may sometimes be used with imperatives
and interjections but almost exclusively to question a part or all of
the utterance of the listener and elucidate the exact meaning.
Drill I. Listen carefully to the conversational situations. Concentrate your attention on the intonation of the replies.
Repeat these sentences after the speaker:
It’s snowing. Much?

Can I borrow some Matches?
matches?
I’ve got to go to Leeds. You’ve got to go?
Who’s Archibald Simpson? Who did you say? (or how?)
How did he find out? How did he find out? (Through
Max I imagine).
152
Can you make me one? Make you one? (With pleasure).
Wasn’t it stupid? Was it so stupid, I wonder?
What lovely cherries! Want some?
I like Barbara. Do you?
Telephone me then. Telephone you? (How can I?)
Has Michael arrived yet? You were expecting him.
He really insulted me. Insulted you?
My knife’s broken. Your what’s broken?
Would you like one? Would I like one?
Take them away. Take both of them away?
Fantastic. Fantastic? (What’s fantastic
about it?)
Why not ask Jenny? You think she might agree?
It isn’t fair. Not fair? (Why not?)
How many children has he? How many? (Six I believe).

patterns of Tone Group III. Mark the intonation.
You've lost it? You mean that? At what time? That's whose
piano? Is it my fault if you're clumsy? Would they accept it, did
you say (or expect it?) Remind you? How charming? For how
much? She's been invited?
153
Drill III. Ask questions about the following remarks as if you
haven't heard them properly. Write them down. Mark the
intonation.
Model: I met John Anderson. - Who? Or. Who did you meet?
or: Who did you say?
I found your book on the dressing-table. My holiday starts
tomorrow. I think it's Joan's bag. You can phone me tonight. My
birthday’s on the twenty first. Andy brought her some flowers. Sit
by the window. John is leaving.
Drill IV. Echo the questions the speaker asks and then answer
them.
Mind that the High Rise is used in echoing questions while
the Low Rise is used in genuinely interested general questions.
Model - Are you English?

 Am I English?
 No, am not.
Are you Russian? Are you working hard at your English? Are
you happy? Are you studying French? Are you thirsty? Are you a
student of the University? Are you bored? Are you tired? Are you
John's wife?
Drill V. Read the following dialogue using Tone Group VIII

intonation patterns where necessary.
 I say, Arthur. Have you seen anything of Jack Taylor
recently?
 Jack Naylor.
 No, Taylor with a T.
 Who's Jack Taylor may I ask?
154
 Who's he? Don't you remember? The man who gave you
those driving lessons last autumn.
 Oh, him. No. I'm afraid I haven't. Why d'you ask? You
don't need more lessons, do you?
 Me. No, I don't need lessons. My sister does.
 Your sister. But didn't you say your father was teaching
her?
 He was, but he literally couldn't stand the pace. My sister
has no conception of speed. So, father said to find an instructor.
 So that's why you were asking about Jack Taylor. I am
afraid I can't help you. Haven't seen him for ages.
TONE GROUP IX
(Low Pre-Head+) (Sliding Head+) Fall-Rise (+Low Tail)
Fall-Rise: the voice first fells from a fairly high to a rather

low pitch, and then, still within the word, rises to a medium pitch.
155
Sliding Head: the pattern of the accented syllables is exactly
that found in the stepping head, the first high, the second lower,
and so on, but the unaccented syllables are treated differently:
instead of being said on the same pitch as the previous accented
syllable they form a descending sequence, the first lower than the
accented syllable, the second lower still, and so on The last
syllable of such a sequence may be on a very low pitch indeed but
in any case it will always be lower in pitch than the starting pitch
of the following accented syllable.
Tone Group IX is often used in incomplete groups, where the
Fall-Rise draws particular attention to one element for the purpose
of contrast, and at the same time shows an intention to continue
the utterance:
On weekdays |I work, |but on Saturdays |I don't.
In complete groups this contrasting of one thing with another
is used for the purpose of selecting one aspect of the whole subject
for comment:
Will you have dinner with us? – I will | if I can.
Tone Group IX is used in grudgingly admitting, concerned,
reproachful, hurt, tentatively suggesting statements; surprising,
interested questions (in echoed questions the effect is of
astonishment); in urgently warning (often with a note of reproach)
imperatives and scornful interjections.

I thought they all took one. Ann did. But the others didn’t.
I like oysters. You may. But I certainly don’t.
His name is John. Harry.
How do you go to the office? Often I walk.
They swear they gave us eight
156
pounds. Seven wasn’t it?
Sometimes this train stops at
Amersham. Rarely, does it?
I’ll dump the suitcases here.
Gently. They are not made of
iron.
I’ve found a four leafed clover. Show me.
Have you finished? Practically.
D’ you smoke? I do sometimes. (But I won’t
right now).
What a nasty cold day! It’s bitterly cold. (But it’s not
nasty).
What a poky little house! It isn’t a large one. (But it’s
quite nice).
Can I take this one? You can if you insist. (But the
other one’s better).
Can I borrow your penknife? It’s not very sharp.
Let me know tomorrow. I doubt whether I can give you
an answer by then.
You are not trying. I most certainly am.
We got here about midnight. I was earlier than that.
Alen’s forgotten his umbrella. He always leaves something
behind.
157
Let me have them by tonight. I beg your pardon. (But it’s out
of the question).
What did you think of the I wasn’t exactly sensational,
lecture? was it?
I think it’s going to rain. Oh don’t say that.

patterns of Tone Group IX. Mark the intonation.
Six are left. Next week will suit me. Watch for the turning. I
hope you don't want to miss it. You may if you are in a hurry.
Mind the step. I don't want to be unfair. Quick. Besides this one.
Yes. Pardon my disturbing you again.
Drill IIІ. Read the verbal context and translate the replies into
English. Pronounce them. Mind the implication given in brackets.
Mark the intonation.
Did she pass her exams? - Вона здала перший (а з іншими

їй не пощастило).
There were forty people there. - Двадцять (а не сорок).
I see you are dissatisfied. - He те, щоби я був зовсім
незадоволений, але мені це не дуже сподобалося
Let's go alone. - Це досить небезпечно.
It's no use trying. - Нема чого і намагатися робити це в
такий спосіб (Але є і інші).
She's nice, isn't she? - Вона розумна (але не така вже й
гарна).
It's impossible - Якщо тобі це не подобається (для чого
казати, що це неможливо).
Don't forget to phone John tomorrow. - Нагадай мені про це
(це ж тобі потрібно).
158
Have you read Shakespeare? - Чи я читав? (Безумовно,
читав, що за питання).
Are there many mistakes in her dictation? - He надто багато
(але могло бути менше).
Drill IV. Read the following dialogue using Tone Group IX

intonation patterns where you think they are suitable. Get the
dialogue recorded.
 Well we'd better make a list of the people we're going to

invite. There's the Smiths and John...
 We ought to invite John.
 But not the Smiths? All right But Chris Smith is rather nice,
I think.
 Yes, Chris is.
 I suppose his wife is slightly strange. She's attractive
though.
 She's certainly attractive.
 She has a charming voice too.
 She has a charming voice.
 I see you are jealous! But you must admit she looks
beautiful.
 She looks beautiful.
 I don't understand women. Most people think Smith is very
lucky.
 They don't know his wife.
 Oh you are impossible. Their children are very sweet.
 They certainly look sweet.
 Well they did throw milk over the walls when they were
here but children are like that.
 It wasn't only milk.
 All right. All right. Well, I suppose we must ask the
Browns and Mark and Stephen...
159
TONE GROUP X
(Low Pre-Head+)(Stepping Head+)High Fall+Low

Rise(+Rising Tail)
160
Note: the High Fall may also be preceded by the Low Head.
Any syllables occurring between the High Fall and the Low Rise,
whether accented or not, must be said on a very low level pitch
and indicated by the case they are accented.
Tone Group X is used with apologetic, appreciative, grateful,
regretful, sympathetic, persuasively reassuring, pleading
statements; in pleading, weary, warm, sympathetic affectionate
special questions; in pleading long-suffering general questions; in
reproachfully pleading, reassuring imperatives; in warm,
appreciative, sympathetic, occasionally surprised, puzzled
interjections.

I’ve had it six years now. You’ll be buying a new one

soon I imagine.
Whyever bring a mac. It was raining when I left this
morning.
I thought of going for a stroll. I’ll come too if I may.
How did you get on with him? Rather well, strange as it may
seem.
What about approaching Janet? No, I’d hate the thought of
asking her a favour.
I had five years with Nelson. (Really?) I should have hated
working with him.
161
patterns of Tone Group X. Mark the intonation.
It'll take a week if you help. They play football when they are
out. Try getting him on the phone in that case. I'm glad you've
changed your mind. It's ages since 1 have lost it. I do apologize.
Drill III. Read the verbal context and translate the replies into
English. Pronounce them rendering the attitudes given in brackets.
Can't you do it now? - Я дійсно не можу (apologetic). I am

not going there. Take that as final. - Будь гарною дівчинкою,
Кітті. (pleading).
How's Tom getting on? - Він закінчує свою книжку через
тиждень (appreciative).
You are through with it now. - Повинен сказати, ти мені
дуже допоміг.
Не refused to do it. - Як він може бути таким нерозумним
(sympathetic).
One can't help it now. - Боюся це моя провина (regretful).
You seem to like this house. - Я би хотіла жити в такому
домі (appreciative).
Drill IV. Read the following dialogue using Tone Group X

intonation patterns where you think they are suitable. Get the
dialogue recorded.
– How do you find things over here?

 I'd like it very much if it wasn't for the climate.
 It won't take you long to settle down.
 Sorry to say I'm leaving in a day.
 You may just as well stay with us for another week.
 Thank you very much but I'm afraid I can't. I have a date in
Rome.
162
 What train are you thinking of catching?
 Don't you think I might try the six thirty.
 I suppose so.
 But will your people mind my going so early? Won't it be
inconvenient?
 It needn't be. We can put everything ready for breakfast
overnight.
 You needn't bother much. I can get some more on the train
- at least I hope so. But won't Elsie feel she's got to get up and
look after me.
 She may. But it's really her own fault if she does.
 All the same, I'd feel rather guilty.
 I don't think you need. We'll try to persuade her not to.
 All right, that's settled, then.
Sum up Exercises
Exercise I. Read the following sentences according to the

tonetic marks. Explain the attitude of the speaker toward the
content of the utterance and to the listener. Determine the
communicative types of the sentences.
You don’t like it? What are you doing it for? Well we’ll get
in touch with you, Mr. Gray. You must ask him. Are you really
sorry? Careful. Poor old John. Do you intend to stay there long?
They are awful.
Exercise II. Copy the sentences. Mark the intonation

according to the remarks in brackets. Get the sentences recorded.
163
I shan't stay a minute longer (final, categoric). Have another
lump of sugar (suggesting a course of action). When did you say
he was coming (asking to repeat the information already given). I
hope I am not late (apologetic). Why didn't you say that before
(unpleasantly surprised). Fine. (calm, reserved). But I'll see you on
Sunday (soothing, reassuaring). I am not prompting (disgruntled
protest). Did you go there last year? (genuinely interested). And
what are you going to do with this animal in winter? (brisk,
businesslike).
Exercise III. Give different ways of reading the following

sentences changing the attitude toward the situation. Get the
sentences recorded explaining the attitude you are trying to render.
What's the matter? Thank you. Well, take it then. I haven't

seen him for ages. Is this the best way to do it? He'll come, won't
he? It doesn't matter all that much.
Exercise IV. Read the following dialogues. Mind the

implication given in brackets.
A – Good morning, Daddy (polite, friendly).

 Good morning, Jane (reserved). Well, where were you last
night? (interested, businesslike).
 Where was I last night, Daddy? (echoing while thinking
what to say). What do you mean? (puzzled).
 You know what I mean (personal concern). You were out
with Allen (involved).
 Who did you say? (asking to repeat).
 That lazy-bones Allen (categoric, weighty).
 He's a very nice friend (hurt, reproachful).
 Is he? (disapproving, sceptical). Well I wish he had his hair
cut (irritated).
 It is fashionable to have long hair (polite, friendly).
164
 Well, fashionable or not you are not going out with him
again (categoric, weighty).
B – Hello! (polite, friendly).

 Hello! (encouraging further conversation).
 Well, what do you do for a living? (brisk, businesslike).
 I'm a teacher (final, calm).
 A teacher (echoing).
 Yes, I teach English (light, airy).
 Oh I was never very good at English (contrasting with the
following). I was always fond of maths (definite but light, airy).
 Hey, watch out! (warning).
 What's the matter? (involved).
 You're spilling your coffee over me (irritated).
 Oh, I'm so sorry (apologizing). Do forgive me (polite,
emphatic).
Exercise V. Read the following dialogues. Get them

recorded.
A – Good morning, Mike.

 Good morning!
 What's the matter?
 Well, I don't feel very well actually.
 I've got a terrible headache. Would you mind very much
driving me home?
 Would I mind? Of course not. You live in Hampstead, don't
you?
 Yes
 Well don't worry. You'll soon be home.
B. – Hello! Is that Bill?
 Yes.
 This is Helen.
165
 Who?
 Helen. How are you?
 Fine
 You know, I met Christopher yesterday.
 Who?
 Christopher.
 Really? Has he come back yet?
 He told me he got a new job.
 Splendid! Where?
 I don't know exactly. Well, good-bye, Bill.
 See you soon.
ПЕРЕЛІК ВИКОРИСТАНИХ ДЖЕРЕЛ
166
1. Врабель Томаш. Лекції та методичний посібник для
семінарів з теоретичної фонетики англійської мови
(англійською мовою). – Ужгород: ПоліПрінт, 2009. – 176 с.
2. Телегіна Н. І., Уварова Л. К. Методичні розробки з
практичної фонетики (частина II). – Івано-Франківськ, 2010. –
46 с.
3. Peter Roach. English Phonetics and Phonology.
A Practical Course. Third ed. – Cambridge University Press, 2000.
4. Peter Roach. English Phonetics and Phonology.
Glossary (A Little Encyclopaedia of Phonetics). – 2011.
[Електронний ресурс]. Режим доступу :
http://www.gobookee.net/get_book.php?
u=aHR0cDovL3d3dy5jYW1icmlkZ2Uub3JnL3NlcnZsZXQvZml
sZS9FUFBfUEVEX0dsb3NzYXJ5LnBkZj9JVEVNX0VOVF9JR
D0yNDkxNzA2JklURU1fVkVSU0lPTj0xJkNPTExTUEVDX0V
OVF9JRD03CkVOR0xJU0ggUEhPTkVUSUNTIEFORCBQSE9
OT0xPR1k – Назва з екрана.
167

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CONTENTS

ЗАГАЛЬНІ МЕТОДИЧНІ ВКА3ІВКИ …................................ 5

LABORATORY WORK NO 1 .................................................... 7

APPENDIX ............................................................................... 126

ПЕРЕЛІК ВИКОРИСТАНИХ ДЖЕРЕЛ .............................. 167

1. Ознайомлення з теоретичною частиною.

Subject: Pronunciation as a way of materializing of oral

Function: to realize the importance of proper pronunciation,

1. Read the theoretical part.

Pronunciation as a way of materializing of oral forms of language

Pronunciation refers to the ability to use the correct stress,

Pronunciation is 1) the act, instance, or manner of

Suggest one-word/phrase answers to the following

Answer the following questions:

Individual practical task:

1. Listen to the texts from “Alexander Stories” Lesson 1 “A

2. Be sure you know the words, phrases and word

to have a good seat to sit behind sb to get angry

3. Translate into Ukrainian:

5. Сhoral repetition: repeat the phrases from task 2 in unison,

7. Individual practice: practice the text. In a strict application of

8. Listen to the texts from “Alexander Stories” Lesson 2

9. Be sure you know the words, phrases and word

to get up early/late to be dark to have breakfast

11. Translate into English:

12. Сhoral repetition: repeat the phrases from task 9 in unison,

13. Individual repetition.

14. Individual practice: practice the text. In a strict application

15. Write the report.

1. Сахневич І. А., Янишин О. К. Вступний фонетико-

Page Setup (параметри сторінки)

Subject: The system of sounds

Function: to look through the classification of the English

1. Read the theoretical part.

The System of English Phonemes. Consonants

The articulation of a sound consists of a set of articulatory

Phonation Oro-nasal Manner of articulation

The Sounds of English

fricativ affricate approximant vowel

mnŋ bdg fθsf tʃ dʒ i: i u: ʊ

Suggest one-word/phrase answers to the following

Answer the following questions:

a) In how many subtypes are the English sounds subdivided?

Labial Medio- Back

plosives p,b t,d k,g

1. Listen to the texts from “Alexander Stories” Lesson 3 “Please

2. Be sure you know the words, phrases and word

to spoil sth to send a card to write a card

3. Translate into Ukrainian:

4. Translate into English:

7. Individual practice: practice the text. In a strict application of

8. Listen to the texts from “Alexander Stories” Lesson 4 “An

9. Be sure you know the words, phrases and word

to receive a letter to go to a spring

10. Translate into Ukrainian:

12. Сhoral repetition: repeat the phrases from task 9 in unison,

13. Individual repetition.

14. Individual practice: practice the text. In a strict application

15. Write the report.

1. Сахневич І. А., Янишин О. К. Вступний фонетико-

У верхньому колонтитулі вказати: групу, прізвище,

 paper size A4;

Subject: Word/lexical stress