Imperatives (sounding plaintive, pleading, reproachful)

I'm afraid I've lost it. - Never mind.

Quickly. - Wait a minute.

What's all the knocking about? - Oh don't just sit there. Open the door.

What's upsetting you? - Do shut the door. There's such a draught.

I rea1ly must go. - Please stay a little longer.

I'd willingly fetch some more. - Please don't bother on my account.

Whatever shall I do? - Carry on as usual, if you can.

When shall I start? - Start right away, if that's con­venient for you.

Exclamations (warm, sympathetic, encourag­ing; plaintive, puzzled, sur­prised)

I've invited him for tea. -Jolly good! Good show!

That's the second time he's failed. - Poor old Peter!

I thought I asked you to make up the fire. - All right!

And we'll have a new carpet. - Just a second! (Where's the money coming from?)

Here I am at last. - Hallo, Stephen! (It is good to see you.)

COMPOUND TUNES Two or More Falls Within One Sense-Group

Now what do you want? - I don't want any­thing.

Everyone's gone home. - Not everyone.

In sense-groups with the High Falling or Falling-Rising nuclear tone there may be one or more other words marked by a relatively high falling tone. The function of such Falls is to provide a greater degree of prominence for the words on which they occur. All other words of the head are not stressed. The attitude expressed by the sentence is not changed but the utterance sounds emphatic. In this case the head is called Sliding.

Compare: ­

Fancy anyone wanting to do that. Fancy anyone wanting to do that.

Stress-and-tone mark: syllables of the head uttered with falls: [ ]

EXERCISES

Read the following conversational situations, intone the replies according to the suggested attitudinal meanings and read them properly.

What was the party like? - The food was terrible, I'm sor­ry to say.

Tom's having tea. - What for you, Arthur? I'd prefer a cup of coffee.

It's such a tiring journey by train. - Well why not fly?

Which one can I have? - Which would you prefer?

Oh I know he couldn't help it. - Then why are you so angry with him?

I'm going to London tomorrow. - How long d'you intend being away?

The door won't open. - Why not try turning the key?

All right. Let's go to the pictures. - Do you really want to?

That's not very convincing. - Well, can you think of a better argument?

She's only working half time now. - Yes, but need she go to work at all?

Have you heard about Alex? - Isn't it incredible?

Of course he'll agree. - Don't be too sure.

These stewed apples aren't very sweet. - Have some more sugar with them?

What time's convenient for you? - Come whenever you're free.

I can't manage all that. - Well, eat as much as you can, then.

He didn't say a word. - How very unusual!

How about a show tonight? - If only you asked me earlier!

It's my birthday today. - Very many happy returns!

INTONATION PATTERN XI (LOW PRE-HEAD+) HIGH RISE (+TAIL)

(LOW PRE-HEAD+) (HIGH HEAD+) HIGH RISE (+TAIL)

Don' t! - Don't?

They were all delighted. - All of them?

Do you want to go alone? - Don't you yourself want to go?

Stress-and-tone marks: High Rise [ ]

If there is no tail the voice in the nucleus rises from a medium to a high pitch. If there are unstressed syllables following the nucleus the latter is pronounced on a fairly high level pitch and the syllables of the tail rise gradually. The syllables of the- pre-head rise from a low pitch up to the start of the High Rise.

This intonation pattern is used in questions, echoing, calling for repetition or additional information, sometimes shading into disap­proval or puzzlement; sometimes meant to keep the conversation going. e. g. We shall have to return. - Immediately? It's ten feet long. - How long? What's that bowl for? - What's it for?

Is it raining? - Is it raining?

EXERCISES

Read the following conversational situations, intone the replies according to the suggested attitudinal meanings and read them properly.

(Questions echoing, calling for repetition or additional infor­mation, sometimes shading into disapproval or puzzle­ment.)

I want you a minute. Yes?

I should phone him about it. Now?

It's snowing. Much?

What do you think of my dress? New?

Could I have another cup of tea? Sugar?

I've just read that new travel book. Interesting?

I listened to every word he said. Every word?

Everybody thinks it's magnifi­cent. Everybody?

He's going on holiday. Alone?

I've given up smoking. For good?

What do you think of the car? Your own?

I've just met her husband. You like him?

Have you seen my pen any­where? You've lost it?

What do you think of my coat? It's a new one?

I've just had a new suit made. Good fit?

Alan's not here, I'm afraid. He's gone home?

We're going shopping. Right away?

Let's go to the pictures. You've got enough money?

I think this is Joan's umbrella. Whose?

That big one's mine. Which one?

I shall need a dozen, at least. How many?

These flowers are for you. ­ Who are they for?

He must be made to obey. He must be what?

He'll meet us at three fifteen. At what time?

What is it? What is it?

What reason did he give for his behaviour? What reason?

Does it matter? Matter?

Do you mean it? Mean it?

Is that your little boy? My little boy?

Wasn't it stupid! Was it stupid, I wonder?

What lovely cherries! Want some?

I like Barbara. Do you?

How do you like my song? Do you always sing as flat as that?

Would you like one? Would I like one?

We had a meeting last night. Should I have been there?

Is it raining? Is it raining?

Have you answered his letter? Have I answered it?

Have you finished it? Have I finished it, did you say?

Did you enjoy the concert? Did I enjoy it?

What a delightful meal! Will you have some more coffee?

Stop it. Stop it?

Telephone me, then. Telephone you?

Keep them for me. Keep them for you?

Be nice to them. Be nice to them?

Get rid of it. Get rid of it?

Please don't worry. Don't worry, did you say?

Take it home. Take it home?

Tell me the time, please. Tell you the time?

Marvellous! Marvellous?

Wonderful news! Wonderful news?

Fantastic! Fantastic?

Well done! Well done?

INTONATION PATTERN XII (LOW PRE-HEAD+)RISE-FALL(+TAIL)

Did you see any lions? – Lots.

Can you manage it alone? – I’m sure I can.

I don’t like the man. You’ve never even spoken to him.

Stress and tone mark: Rise-Fall [ ].

In syllables pronounced with the Rise-Fall the voice first rises and then very quickly falls to a very low pitch.

This intonation pattern is used:

1. In statements, sounding impressed, self-satisfied, challenging, disclaiming responsibility. E.g. It’s rather difficult, isn’t it? – Terribly difficult. Are you sure? – Certainly. Jane was terribly upset. – You can hardly blame her.

2. In questions: a) In special questions, sounding challenging, antagonistic, disclaiming responsibility. Eg. I can’t understand her. – Who can?

b) In general questions, sounding impressed, challenging, antagonistic. Eg. He shot an elephant. – Did he?

3. In imperatives, sounding disclaiming responsibility, hostile. Eg. I hate it but what can I do? – Tell them you hate it.

4. In exclamations, sounding impressed. Eg. He’s due home tomorrow. – How marvellous!

EXERCISES

Read the following conversational situations, intone the replies according to the suggested attitudinal meanings and read them properly.

Statements (sounding impressed, self-satisfied, challenging, disclaiming responsibility)

Have you heard about Pat? Yes.

Who painted this? Me.

Who was top of the class? Jane.

Can you see? Perfectly.

Wasn’t it a good lecture? Very good.

I was very cross with him. Anyone would be.

Shall we be in time? We’ll be ahead of time.

It was rather odd, wasn’t it? It was incredible.

Can I have a word with you? By all means.

Did you like it? I simply hated it.

What was the party like? First rate.

Which one shall I choose? It’s up to you.

Special questions (sounding challenging, antagonistic, disclaiming responsibility)

You’ll have to accept. Why?

You pay for it. How?

I can’t see you today. When, then?

Would you mind passing the book? What book?

Don’t forget to bring your camera. Which one?

General questions (sounding impressed, challenging, antagonistic)

You can’t go in here. Can’t I?

They’ve nowhere to live. Haven’t they?

I wouldn’t put up with it. Wouldn’t you?

You don’t know what you are talking about. Don’t I?

You ought to apologize. Ought I?