7) Timbre

At the same time voices which have some plausible reference to:

a) segmental pronunciation are termed as sibilant, bleary, blurred, distinct, lisping, orotund, precise, slurred, twittering, thick, clipped;

b) pitch-range differences are called bird-like, bleating, colourless, creaky, croaky, dark brown, deep, flat, flutting, grating, gravelly, gravy, graveyard, gruff, heavy, high, light, light blue, loud, low, pale, pale pink, piping, rich, reedy, rumbling, sepulchral, shill, silvery, sombre, sonorous, twittering, whining;

c) particular types of pitch movements within a particular pitch-range are said to be droning, melodious, monotonous, musical, quavery, querulous, sing-song, whining;

d) loudness-range: big, booming, colourless, creaky, croaky, farcarrying, full, gravelly, gruff, husky, light blue, loud, low, orotund, pale, pale pink, piercing querulous, raucous, resonant, rumbling, sharp, shrill, small, soft, sombre, sonorous, staccato, strident, strong, weak, brazen, rasping;

e) tempo: drawning, droning, fast, graveyard, quick, sepulchral, slow, ,sombre, staccato, twittering, sharp;

f) continuity: clipped, droning, jerky, staccato, smooth, fluent, fluid;

g) phonational register, as the mode vibration: breathy, cracked, crackling, creaky, creaky, falsetto, grating, gravelly, gritty, gruff, harsh, hoarse, husky, rasping, rough, rumbling, shrill, sombre, thin, throaty, velvety, whispery, thick, blurred;

h) physical foundation: tenor, baritone, bass, double-bass, soprano, contralto;

j) different types of muscular setting:1) the effect of vertical adjustment of the position of the larynx: clergyman’s, dark brown, graveyard, hollow, light blue, pale pink, pulpit, preacher’s, sepulchral; 2) latitudinal settings: clenched teeth, grinning, guttural, hot-potato, open-mouthed, orotund, plummy, slack-jawed, strangled; velic settings: droning, nasal, sonorous, whining, plangent; 3) settings of overall muscular tension of the vocal track: brassy, brazen, dull, hard, metallic, muffled, pig’s whistle, plangent, rasping, raucous, resonant, soft, strident, tinny; laryngeal settings: beery, bird-like, brandy, breathy, cracked, crackling, creaky, croaky, dark brown, dulcet, falsetto, fluting fruity, ginny, grating, gravelly, gruff, harsh, hoarse, husky, light blue, mellifluous, mellow, melodious, metallic, muffled, musical, pale pink, pig’s whistle, piping, rasping, rich, rough, rumbling, shrill, thick, thin, velvety, whisky, whispery.

4. Intonation group as a meaningful unit, its functionally relevant parts and their functions. Types of intonation groups.

Intonation group is the unit of intonation hierarchically higher than the rhythmic group. The structure of the intonation group (intonation contour): pre-head, scale (body), nuclear tone and tail:

a) pre-head is the unstressed syllables that precede the stressed syllable of the rhythmic unit. For instance, in the word progressive /^|/ the first unstressed syllable /-/ is called a proclitic. According to the changes in the voice pitch preheads can be:

low (level, ascending),

pre-head mid,

high (high level, high descending);

b) scale (head, body) is stressed and unstressed syllables up to the last stressed syllable.

The types of scales

The stability of tone movement within the scale
Regular		Broken
The general direction within the scale
Descending	Ascending				Level
The localization of unstressed syllables in rhythmic groups
Stepping	Sliding				Scandent