8. The switchback
STATEMENTS
The simplest case is that of non-final word 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. In the example
On ˇweekdays | I ‛work, || but on ˇSaturdays | I ‛don't. ||
there is an obvious contrast between weekdays on the one hand and Saturdays on the other, and the contrast is underlined by the use of the Fall-Rise nuclear tone on both words; it is clearly weekdays as opposed to Saturdays, and Saturdays as opposed to weekdays. What are the oppositions in the following?
Examples
'We all ‛like it, | but ↘Mr. ˇSmith | ‛doesn't. ||
I ‛travel a ,great ,deal, | so when↘ever I'm at ˇhome | I 'make the‛most of it.
I ↘know his ˇface, | but I 'can't re'call his ‛name. |
In these examples the oppositions can be found in the text: they are, of course, We—Mr Smith; travel—home; face— name. But in other cases the opposition must be imagined. Consider this example: In ˇmy o,pinion | he's а ‛fool,
What is opposed here to my? There is nothing in the rest of the sentence which could conceivably contrast with it. So we must look outside the sentence and ask ourselves what is likely to be contrasted with my. And obviously it is words like your, or his, or their which spring to mind. So what the speaker is saying in effect is: 'I'm giving my opinion, and it isn't necessarily the opinion of anyone else,' What are the unexpressed contrasts in the following?
Examples
↘If I could have ˇseen the ,actors | I'd have en‛joyed it. ||
When↘ever I ↘see him in the ˇevening | he's ‛drunk.
In the ˇlater ,stages | it was ‛marvellous. ||
In all these and most other examples, the appropriate contrast, whether expressed in the text or not, is very clearly brought out by the use of the Fall-Rise nuclear tone in the non-final group. When however the Fall-Rise is the only accent in the non-final word group, the contrasting power of the Fall-Rise is much less apparent.
Examples
ˇSometimes | he 'irritates me ‛tегriblу. ||
He ˇ'told me | she'd 'gone a‛way. ||
In ˇthat ,case | we'd 'better ˚leave ‛now. ||
In these cases we quite often use the Fall-Rise in the non-final group, not so much to mark a contrast, but to avoid the dull deprecatory effect of the Low Rise in the Take-Off and the tentative, somewhat casual effect of the High Rise in the High Bounce.
The pointing of contrasts by the use of the Fall-Rise nuclear tone is not restricted to non-final word groups. It is also apparent in final word groups, where this tone group does not serve an introductory purpose. Consider the following:
Did you play cricket at the weekend? I ↘did on ˇSaturday.
Here Saturday is being singled out for contrast, since it bears the Fall-Rise, and the implied contrast is with the rest of the weekend, namely, Sunday. So it is clear that the speaker did not play cricket on Sunday, and he does not need to put it into words. What are the unspoken contrasts in the following?
Examples
I didn't know you drank coffee. I ↘do ˇsometimes.
Is it going to keep fine? I ˇthink ,so.
Why did you go there? ↘None of us ↘really ˇwanted to.
This distinguishing of two conflicting factors within the immediate situation is particularly useful in the field of concession. The example
She has a ↘lovely ˇvoice,
can be found in two quite different types of context:
1.What a lovely voice! ‛Yes,| she has a↘lovelyˇvoice.||(But I don't think much of her as an actress.)
In this situation the speaker explicitly, though grudgingly, concedes that the lady sings very well; at the same time he implies reservations about other aspects of her professional talents, about her acting ability as the extended context shows. When a speaker makes an explicit concession to his listener about part of the subject but implies reservations on the remainder, we call this situation grudging admission.
Examples
I'd like it as soon as possible. You could ↘have it by ˇdinner ,time. ||(But no earlier.)
Can I take this one? You ↘can if you ˇlike. || (But the other one's better.)
Is it raining? It ↘is at the ˇmoment. || (But it may clear up later.)
2. I don't think much of her as an actress. She has a ↘lovely ˇvoice. (Even if she can't act.)
In this second situation the speaker explicitly asks the listener to concede that the voice is good; at the same time, as the extended context makes clear, he implicitly leaves the way open for agreement on the listener's criticism of the lady's acting talents. In this situation the speaker sounds reluctant, defensive. So, when a speaker explicitly requires a concession from his listener about part of the subject but implies agreement on the remainder, we call this reluctant or defensive dissent.
Examples
I'd like it by tomorrow. I↘doubt whether I can↘do it byˇthen. || (But it won't be much later.) You look cold. I'm ↘not e↘xactly ˇcold. || (Just a bit shivery now and then.)
Everyone's gone home. ↘Not ˇeveryone. | (Most have, but John's still here.)
From this point it is only a short step to the expression of explicit corrections which, with this tone group, often sound concerned, reproachful or hurt.
Examples
When's he due? On Monday? On ˇTuesday.
It won't take long, will it? It'll ↘take at ↘least a ˇweek.
How many were there? Sixty? ˇSeventy.
This same concerned, reproachful, hurt attitude is apparent also in direct contradictions.
Examples
It didn't take you long. It ˇdid. (It took ages.)
So you don't like golf. I ˇdo.
John won't be here today. I ↘think he ˇwill.
You're not trying. I most ↘certainlyˇam.
Compare the following reactions to the statement: I can do that on Monday.
High Drop: You ‛can't. (I've just explained you can't.)
Take-Off: You ,can't. (You ought to know very well you can't.)
Switchback: You ˇcan't. (And I'm sorry you should think you can.)
The first contradiction sounds lively and dogmatic, the second resentful and the third rather reproachful. Notice, however, that if the original statement were: I'll do that on Monday, the only appropriate response would be the one having the High Drop.
This concern or reproach is carried on into other utterances which cannot be regarded as contradictions.
Examples
I've been sacked. You're ↘not ˇserious!
Did you catch the train? ↘Only by the ↘skin of my ˇteeth.
I went to London today. I ↘wish you'd ˇtold me.
This same attitude of concern or reproach is found in warnings.
Examples You'll ˇfall.
Your ˇchair's ,slipping.
You'll ↘miss your ˇtrain.
In apologies, where the concern might seem to be appropriate, this tone group tends to suggest reservations on the part of the speaker.
Examples
I'm ˇsorry. || (But I'm afraid it's impossible.)
I ↘beg your ˇpardon. || (But I'm afraid I must contradict you.)
ˇSorry, by itself, is an apology, but rather a perfunctory one.
One other category in which the Switchback is often used is that of tentative suggestions, where the speaker wants to help but not to commit himself too deeply to the course suggested.
Examples
We need another player. You could ↘ask ˇJohn.
When can we meet? ˇWednesday ,might be a possi,bility.
What will you do? I could ↘try ˇphoning him, I sup,pose.
questions
In echoed questions, whether of the wh- or the yes-no kind, the effect of the Switchback is of astonishment, as if the speaker can hardly believe his ears.
Examples
Are you going to the wedding? Am ˇI ,going?! || (Well, of course I am!)
What's the matter? ↘What's the ˇmatter?! || (Everything's the matter!)
In questions where there is only one word to be accented, the Switchback is used in a way reminiscent of the Take-Off in similar questions.
Examples
I've just seen Pablo Aron. ˇWho, did you ,say?
They must be here, somewhere. Well, where ˇare they, ,then?
It's your turn. ˇIs it?
John liked it. ˇDid he?
The possible disapproval of the Take-Off is minimised, and surprise, interest, and concern are dominant.
The Switchback is also used to make corrections to questions, as to statements.
Examples
How will Henry get home? ↘How willˇJane get ,home, you,mean. ||(Henry's journey's simple.) Is John going to play? ↘Is he ˇwilling to ,play, you ,mean.
COMMANDS
Commands with the Switchback have a warning note, but more urgency than with either the Take-Off or the Low Bounce, since the reproach or concern mentioned in relation to statements is also present here.
Examples ˇSteady! || (You'll have me over.)
ˇMind! || (There's a step here.)
↘Careful with that ˇglass! || (You'll drop it.)
INTERJECTIONS
A very few interjections of scorn take the Switchback.
Examples
Did you lend him any money? ↘Not ˇI!
Shall you be going again? ↘No ˇfear!
Will you give in? ↘Not ˇlikely!
As with other sentence types, corrections may also be made to interjections by this means.
Example
What a lovely swimsuit! What a ↘lovely ˇhandkerchief!