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Файл:Практическая фонетика первого иностранного языка. Шаг за шагом. Учебно-методическое пособие для студентов первого, второго курсов
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Articulation For „N‟ And „U‟ Type Words:
You know New York,
You need New York,
You know you need unique New York.
Articulation For „P‟ Type Words:
Peter piper picked a peck of pickled peppers.
If Peter piper picked a peck of pickled peppers,
Where's the peck of pickled peppers that Peter Piper picked?
Articulation For „L‟ Type Words:
Larry sent the latter a letter later
Articulation For „Q‟ Type Words:
Quick kiss. Quicker kiss. Quickest kiss.
Articulation Of „V‟ Type Words:
Vincent vowed vengeance very vehemently.
Articulation For „R‟ Type Words:
Round the rugged rocks the ragged rascal ran.
Articulation For „T‟ Type Words:
Ten tame tadpoles tucked tightly in a thin tall tin.
V. Rate of speech
Talk With Time, Not Against It
If you are a high-energy person, you probably will not be able to permanently slow down
your rate of speech. But you can learn to vary your rate. People live according to patterns or
rhythms, usually structured around a work week and a weekend. Language is also rhythmic. It
contains regular beats and pauses. Your language rhythm is an expression of your life‘s rhythm.
If you are a slow speaker, you can consciously vary your rate to increase speed. Your speaking
rate is similar to your rate while reading out loud. A slow speaker reads about 120 words per
minute, while a fast speaker reads more than 190 words per minute.
Time to PRACTICE
Ex.1 Read the following passage in your everyday speaking style. Don‘t attempt to read
interpretively or use vocal variety.
A slash ( /) occurs at 50-word intervals. Use a stopwatch or a watch with a second hand to
time yourself and determine your speaking rate.
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from THE U.S. PRESIDENT‘S MESSAGE ON EDUCATION TO CONGRESS,
JANUARY 29, 1963
Education is the keystone in the area of freedom and progress. Nothing has contributed
more to the enlargement of this nation‘s strength and opportunities than our traditional
system of free, universal elementary and secondary education, coupled with widespread
availability of college education. For the individual, the doors to the / schoolhouse, to the
library, and to the college lead to the richest treasures of our open society: to the power of
knowledge – to the training and skills necessary for productive employment – to the wisdom,
the ideals, and the culture which enrich life – and to the creative, self-disciplined
understanding of / society needed for good citizenship in today‘s changing and challenging
world. For the nation, increasing the quality and availability of education is vital to both our
national security and our domestic well-being. A free nation can rise no higher than the
standard of excellence set in its schools and colleges. Ignorance and illiteracy ,unskilled
workers and school dropouts – these and other failures of our educational system breed
failures in our social and economic system: delinquency, unemployment, chronic
dependence, a waste of human resources, a loss of productive power and purchasing power,
and an increase in tax-supported . For the individual, the doors to the / schoolhouse, to the
library, and to the college lead to the richest treasures of our open society: to the power of
knowledge – to the training and skills necessary for productive employment – to the wisdom,
the ideals, and the culture which enrich life – and to the creative, self-disciplined
understanding of / society needed for good citizenship in today‘s changing and challenging
world. The loss / of only one year‘s income due to unemployment is more than the total cost
of twelve years of education through high school. Failure to improve education performance
is thus not only poor social policy, it is poor economics.
At the turn of the century, only 10 percent of our / adults had a high school or college
education. Today, such an education has become a requirement for an increasing number of
jobs. Yet nearly 40 percent of our youths are dropping out before graduating from high
school; only 43 percent of our adults have completed high school; only 8 / percent of our
adults have completed college; and only 16 percent of our young people are presently
completing college. As my Science Advisory Committee has reported, one of our most
serious manpower shortages is the lack of PhDs in engineering, science, and mathematics;
only about one-half of 1 percent of our school age generation is achieving Ph.D. degrees in
all fields.
This nation is committed to greater investment in economic growth; and recent research
has shown that one of the most beneficial of all such investments is education, accounting for
some 40 percent of the nation‘s growth and / productivity in recent years. It is an investment
which yields a substantial return in the higher wages and purchasing power of trained
workers, in the new products and techniques which come from skilled minds, and in the
constant expansion of this nation‘s storehouse of useful knowledge.
In the new age of science / and space, improved education is essential to give new
meaning to our national purpose and power. In the last 20 years, mankind has acquired
more scientific information than in all of previous history. Ninety percent of all the scientists
that ever lived are alive and working today. Vast stretches of the / unknown are being
explored every day for military, medical, commercial, and other reasons. And finally, the
twisting course of the cold war requires a citizenry that understands our principles and
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problems. It requires skilled manpower and brain-power to match the power of totalitarian
discipline. It requires a scientific effort which / demonstrates the superiority of freedom. And
it requires an electorate in every state with sufficiently broad horizons and sufficient maturity
of judgment to guide this nation safely through whatever lies ahead.
John F. Kennedy
If you‘re a fast speaker (over 150 words per minute), take a full two seconds to say each of
the following words:
droopy crash gloomy sputter grisly roar grumble luscious murmur rumble
lovely snowflake merry stretch glimmer sluggish passion moan rustle stroll
hush lover lonely fluffy happy delicious
If you‘re a slow speaker (less than 120 words per minute), say each of the following words
rapidly:
flick snap flip pip flit bit
glib clip chip blip dip snit
tip nit snit fib glint click
Ex. 2 Write a one-page composition describing your daily activity. Then read it aloud. If you are
a slow speaker, read it as rapidly as you can. If you are a fast speaker, lengthen the time you
spend saying each word.
VI. Intonation: showing feelings
1.Emphasizing the role of intonation in speech, Kingdon says: ―Intonation is the soul of a
language while the pronunciation of the sounds is its body‖. ―There is a practical reason why it is
advisable to pay more attention to intonation than to pronunciation . The sounds of English as it
is pronounced by different speakers and in different dialects vary within wide limits, so that the
foreign learner has a certain atitude in this field, but in most dialects stressing and intonation
conform fairly closely to the same pattern‖.
Intonation in a language can be compared with a tune in music. It can go up or
downwards. In English, the sentence intonation often indicates the mood of the speaker.
Different tunes on the same word or phrase can send different messages about the speaker's
feelings. Here are some examples:
really = disapproving
really = surprised and curious to know more
really = very surprised
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really = not very interested
!Notice that greater falls or rises usually indicate stronger feelings!
2. Rules about intonation in English
Complete these statements about intonation in English.
1 Questions with a question word usually end in a ... fall / rise
2 Questions without any question word usually end in a ... fall /rise
3 Statements usually end in a ... fall / rise
!!!Read and practice these intonation rules.
1. Yes/No Questions:
a) Questions that ask for a yes or no answer require a strong rising intonation on the stressed
words and on the final word of the sentence. b) When you want to ask a quick question or one
that isn‘t very important, make the rising intonation flatter.
1-a) Do you take the train to work? 1-b) Do you take the train to work?
Do you like your commute? Do you like your commute?
2. Tag Questions:
a) To confirm a statement, raise your intonation on the stressed word and then let it fall. Then,
raise your intonation again on the question tag. b) Falling intonation on the tag implies that you
think you know the answer and you want the listener to agree with you.
2-a) You take the train to work, right? It‟s really nice outside, isn‟t it?
2-b) You take the train to work, don‟t you? It‟s really nice outside, isn‟t it
3. Information Questions:
a) Questions that ask for information require a rising and falling intonation on the stressed word
at the end of the question. b) If the stressed word is not the last word of the sentence, then the
intonation rises on the stressed word and then falls on the final word(s).
3-a) How long is your commute? What is your name?
3-b) How long does it take you to get to work every day? What‟s your last name?
4. Questions with a Choice:
a) Questions that ask you to make a choice have rising intonation on the first choice and falling
intonation on the second choice.
b) If the question has more than two choices, the intonation rises on all the choices except the
final one. The final choice has falling intonation.
c) The intonation rises on all choices if the speaker wants to indicate that there may be more
choices or that the listener does not have to make a choice at all.
4-a) Do you want coffee or tea?
4-b) Do you want coffee, tea, or soda?
4-c) Do you want coffee or tea? (You don‟t have to choose either one.)
5. Statements into Questions
You can turn a statement into a question by adding rising intonation on the stressed words
at the end of the sentence. This can be used to show surprise.
5) You left at five in the morning?
Ex.1 Read the following questions aloud. Decide if each question has a rising or falling
intonation pattern.
Are you an owner or employee?
How many people work in your office?
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Do you have what it takes to be successful?
Your name is Kate, isn‟t it? (You‟re pretty sure her name is Kate.)
Do you have a Korean or a Japanese car? (This is not an “either/or” question.)
How many years have you worked for this company?
Who called?
That company got $3 million in funding! (You‟re surprised.)
3. Intonation as 'punctuation'
In writing, a full-stop tells the reader a sentence is finished. But a listener depends on the
speaker's voice to tell him. At the end of a sentence, the tune falls.
Similarly, in writing, commas often equate to a rising tune in spoken English.
e.g., As soon as I know (↗), I'll give you a call (↘).
The comma : rise pattern is very clear with lists. Compare a written shopping list with a
spoken one.
Could you get some milk, juice, peanuts, crackers and a paper? could you get some milk
(↗) juice (↗) peanuts (↗) crackers (↗) and a paper (↘)
4. How can I sound more confident?
Life is too short to be little. Man is never so manly as when he
feels deeply, acts boldly, and expresses himself with frankness
and with fervour.
Benjamin Disraeli
In this chapter, we look particularly at specific easy techniques that will make a marked
difference to your general feeling of confidence and in how you come across. People often want
to be able to speak with more authority, gravitas or maturity. These abilities all stem from
confidence and you will learn these skills in this chapter too.
Well-balanced posture
We have talked about basic relaxation. Standing or sitting in a confident way instantly makes
you look like someone to be reckoned with and makes you feel more confident inside. The
balanced posture also gives your voice the best base for good sound. Remember to take a good
breath and feel the air enter your whole body. As you breathe out, release your jaw and facial
muscles, and drop your elbows and every part of your body. Your breath is always moving and a
well-balanced posture is not static. Once you stick in a posture, you become rigid. As you stand,
feel the constant small adjustment of your feet to balance, feel your head gently leading your
body upwards towards the ceiling. Feel also your back broadening in width. It‘s a subtle
sensation of expansion. This language of lengthening and broadening is used in the Alexander
Technique, much practised by singers, musicians and actors. F. M. Alexander, who developed
the technique, was a Shakespearian actor who developed chronic laryngitis while working as a
performer. Embarking on a journey of self-discovery to cure his voice, he worked out ways to
lengthen the spine and free compression in the neck area, and further, restore the balance of the
whole body. Following his advice, you can restore natural posture and through release of tension
gain a new feeling of calm and confidence. From a tall, relaxed place, imagine yourself speaking
from your body rather than from your head. Feel relaxation spread through you and allow your
whole body to be part of the action.
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Strong emphasis
Confident speakers use strong emphasis to great effect. So it will be good news that
increasing your emphasis is really easy. Emphasis is a feature more of some languages than
others. When you listen to French or Italian, the sentences glide along smoothly, even when the
speaker gets passionate or agitated. English speakers sound far more heavily emphatic. If an
Italian speaker wants to stress a particular word, he lengthens the syllable. The assured English
speaker lands on certain words with a heavy stress and sails easily over the others. The stressed
words are always the most important words in terms of content.
!Confident speakers stress these particular words more strongly than unconfident speakers!
Try it out in the following line:
: The new strategy has important implications in terms of time and money.
Listen to commentators and interviewers in the media. If you copy the way they lay the stress
on particular words you will probably be surprised by how strong the emphasis feels when
you do it yourself. In listening, we are thoroughly used to the effect and probably don‘t
notice it at all.
Stress and meaning
Stress is especially important for bringing out the sense of a sentence, as any change of stress
affects the meaning, sometimes fundamentally:
“I’m not going”(not me; maybe someone else, you, he or she)
Time to PRACTICE
Rhythm Exercises
Ex.1 Read the poem. Stress the bold words and pause at the slashes.
There once was a developer named Bob, /
who couldn‟t find joy in his job. /
He wanted to quit /
but he couldn‟t admit /
that he did / love to hear / himself sob.
Ex.2 Say these phrases concentrating on the final consonants. Remember the rhythm. There
should be two beats in each phrase.
1 Don't talk.
2 The shirts were scorched.
3 We asked him some questions.
4 He squealed loudly.
5 The results were ruined.
6 The experiments took time.
7 The discs are corrupt.
8 I asked her out.
9 I was quite upset.
10 But I soon bounced back.
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Intonation Exercises
Ex.1Raise the pitch of your voice on each word that‘s underlined.
I will make my voice change at this time.
I will make my voice change at this time.
I will make my voice change at this time.
Ex.2 Use rising intonation when you say these words:
Hello? Really? Ready? Now? Excuse me?
Ex.3 Use falling intonation when you say these words:
Hello Really Ready Now Excuse me
Ex.4 Read these sentences and make your voice go up and down where the words go up and
down.
I like their business model. I‟ll be there at five.
He got promoted last year. She‟s going to call at nine.
Stress Exercises to Change Your Focus
Ex.4 Stress each word that is in bold.
What have you been doing?
What have you been doing?
What have you been doing?
What have you been doing?
What have you been doing?
Pausing Exercises
Ex.1 Pause at each slash.
Changing directions / at this point / would just set us back / six months.
Time to pair (group) PRACTICE
RISING and FALLING TONES
Ex.1
Student 1 Student 2
1a. We need a better library! 1b. We need a better library?
2a. I‘m going to get an A in this class? 2b. I‘m going to get an A in this class!
3a. I deserve a raise? 3b. I deserve a raise!
4a. I‘m a good student! 4b. I‘m a good student?
5a. I worked hard on the project? 5b. I worked hard on the project!
6a. Sujin is my best friend? 6b. Sujin is my best friend!
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7a. Hans doesn‘t like pizza! 7b. Hans doesn‘t like pizza?
8a. We saw Jorge‘s new car? 8b. We saw Jorge‘s new car!
Ex. 2
Student 1 Student 2
Can you hear me? Yes, I can.
Are we staying? No, we‟re going.
Can I help you? Yes, please.
Is he your brother? No, he‟s my friend.
Have they left yet? Yes, they‟ll be here soon.
Can I ask you a question? Yes, sure.
Has he won the competition? No, he hasn`t unfortunately
Do you know my brother Ben? Yes, for many years.
Have they managed it? Yes, he gave them a chance.
Does he really mean it? I think he does.
Can I join you? You do, with pleasure.
Did he succeed? He did, in some way.
Are you in a hurry? No, I`m all yours.
Was your mother very cross? Just fancy!
ASKING AND CHECKING TONES.
Ex. 3
Student 1 Student 2
Can you see a bridge? A bridge? To the left?
Can you turn right? Turn right?
That striped carpet near the door? Exactly!
What, in front of the bar? Yes, in front of the bar.
Is he that young man with a black hat? I think, he is.
Can you pass the crossroad? What, to the left?
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VII. Vocal Variety
1. Vocal variety – is putting the colour in our voices. The nuances of delivery, how we speak,
making our voice uniquely ‗us‘ rather than anybody else. Vocal variety is our vocal signature, a
sound portrait, announcing who we are to the ears of our listening world. So, it‘s not about words
… It‘s a blend of:
● pitch
● tone
● volume
● pace
● pause
● breath
And it‘s not about the words we choose to use but how we say them.
Vocal variety is a patchwork – a blend of mixed elements or ingredients. A little bit of
this, a little bit of that, a pinch of something else –t hat when combined makes the picture of our
voice.
Those ingredients are a combination of pitch – how high or how we talk, tone – the
emotional or feeling qualities we convey in our speech, volume – how loudly or softly we speak,
pace – how quickly or slowly we utter our words, pause – how we use silence to punctuate what
we say, and finally breath – how we support our voices.
The vast majority of people do not consider how they sound in the ears of other people. It
simply doesn‘t occur to them. It‘s something they don‘t question. A voice is a voice. It belongs
in the same basket as the world is round and the sun rises in the morning.
In a native speaker, the base vocal signature will be informed by the dominate patterning
heard in childhood. That will be a mix of regional, social class and family influences combining
to form a voice image that for those who care to listen, gives them an insight as to who this
person is, where they came from and perhaps, what they aspire to. In a non-native speaker, the
voice image and the vocal variety used is more complex. The base is laid down by the
conventions of their birth tongue. On top of that come the overlays of the new languages they
learn – each bringing new influences, patterns to integrate.
The non-native speaker is far more likely to be acutely aware of the effect his/her voice is
having on those around them because, quite literally, they have stepped out of the comfort zone
of their first language. In this new environment, how they sound, their vocal variety, matters.
Talking in black and white
The result of using very little, or a habitual range, of vocal variety is monotony. It
becomes boring – not matter what the person is saying. People stop listening, blank you out,
ignore you. This is talking in black and white – a voice without colours.
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The only truly reliable way to get an idea of how we sound in the ears of others, the vocal
variety we habitually use, is to record ourselves. That way we cannot hide behind what we
fondly imagine we sound like. Recording lets us know our voice strengths as well as
weaknesses. We get to hear whether we speak too fast, too slowly, too loudly, too softly,
without expression or too much of it and so on. Once we‘ve identified areas needing work –
we can focus and improve our skills. The ultimate goal is vocal flexibility – having a range to
choose from, enabling us to select what is most appropriate to fit the context of our speech.
2.Pitch
Vocal range – high\ low
To understand pitch, think of music. It has high and low notes as do people's voices.
Everyone's voice has a natural pitch. Women's tend to be higher than men's and everybody has a
pitch range: the number of notes used. When that habitual range is very small, the effect is
monotonous. With practice we can step up, and down, at will.
2. Listening for impact.
Say the following sentences at a low, middle and high pitch. Listen for the impact each has.
What difference does it make?
I am delighted to meet you.
I am good at exams.
People should love their neighbours as themselves.
3. Tone
Tone refers to the emotional content carried by our voices. It is not the words themselves,
but 'how' we say them. To speak expressively, is to fill or energize our words appropriately. For
example: a person who puts very little energy into their speech, no matter what they are saying,
is often described as being 'flat'. By contrast someone who fills their speech to overflowing with
energy is described as being 'exuberant' or 'enthusiastic'.
If you think of a word as a basket carrying its meaning or intent, you'll get the idea. Some
people put very little in their word baskets. Others stuff them so full they almost burst.
4. Pace
Pace is the speed or rate at which words leave our mouths.
If you‘ve been called a motor-mouth it will be because you speak at a very fast rate,
giving your audience little time to reflect, think about anything you are saying. You give them
one idea, followed by another, by another, by another and another until suddenly, boom, there‘s
a nose-to-tail collision in the thinking department. Chaos, and confusion everywhere because
nobody understands what you are saying.
At the other end of spectrum, there is too slow. The words are dragged reluctantly one, by
hesitant, one. The audience waits, growing impatient, for a full sentence to appear. If they have
to wait too long, they lose interest and mentally, or literally, walk away. Mr Too Slow is left
talking to himself.
What‘s needed is not the middle ground between slow and fast but flexibility and
adaptability. We need to be able to select from what we are going to say what would be better
spoken quickly, and what would be better taken at a gentler speed. In other words, speech rate
needs to closely match its material and its hearer‘s needs.
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