Владимир Аракин - Практический курс английского языка 1 курс

expressing contradiction, correction, contrast, concern, reproach, sometimes soothing.

8. Read the following sentences, containing the opposition. Use Intonation Patterns VI or

VII to express the opposition:

1. There was a beautiful vase on the piano and above it there lung a picture.

2. On the dressing table in front of the looking

glass you 'll see a hair-brush and comb,a hand-mirror, a bottle of

scent and a powder-box. In the wardrobeI keep my suits and other clothes,

which I hang on coat-hangers. 3. Then there 'sthe motor cycle, with which you

can travel quickly and cheaply, but for long journeys it's rather tiring. With a

motor-carone can travel comfortably foi long distances without getting too

tired. 4.1 saw members of the crew carrying out their duties in various parts of

the ship, while the captainwatched the operations and gave his orders from

the bridge. 5. You'll probably want to sit as near to the stage as possible. But if

you're at a cinema,you may prefer to sit some distance from the screen. 6. She

kept the books in the bookcase and the dictionariesstood on the shelf

above her writing table. 7. The sun was shining brightly butthe airwas still

cold. 8. It takes 45 minutes to get there by bus. But if you go there by

metroit won't take you half an hour. 9. The lawns were already green, but

the apple-treesstood still bare. 10. The Smiths enjoyed the view of the

whole city from the Vorobyev Hills while the Wilsonsliked the historical

monuments of Moscow. 11. We'd better put the table to the wall and the

armchairsin the corner of the room. 12. The elder children were tobogganing,

skiing, making snowmen while the smallestwere just watching them. 13.

You may have a good time in town, going to the museums, theatres and cinemas.

But if you want to have a really quiet holidayyou'd better go to the

country at the week-end. 14. It was already summer. The days were hot and

stuffy. But the morningswere still fresh.

9. Read the following sentences. Observe the position of the communicative centre.

Use Intonation Patterns VII in the clauses of condition and time to make the

communicative centre more prominent:

1. If you are going to stay in England for some time, you ought to spend at

least a week at the seaside. 2. But if you're at a cinema, you may prefer to sit

some distance from the screen. 3. If you can stay only a few days in London, you

won't have much time for your sightseeing. 4. If you want to send a telegram,

you can either take it to the nearest post-office or dictate it over the telephone. 5.

If you want to send a parcel, you hand it to the assistant. 6. If you want a guide to

show you round, they'll get you one. 7. If the price of a reel of cotton is

fourpence, you hand over four pennies for it. 8. If you feel too ill to go to the

doctor, you'll have to send for him. 9. While we were watching

the last scene, her hand small and hot touched mine. 10. When I met her at

the entrance to the theatre, she looked excited and her eyes sparkled. 11. And

before their tour came to an end, they had seen and learned a lot of interesting

things about our country. 12. When we were children, we used to enjoy playing

on the beach, making castles and forts and channels in the sand. 13. When you

are tired of London, go down to the sea for a week or a fortnight. 14. When

summer comes, the weather gets warmer still.

10. Read the sentences according to the situation suggested in brackets. Observe the

position of the communicative centre:

1. It was my first visit to London (not the second one). 2. I hope Mary will

come soon (not John). 3. She's coming on Sunday at four (not on Tuesday). 4. I'd

like to have a few English books (not Russian ones). 5. May I go and see Tom?

(not only ring him up) 6. This house is situated on the left side of the street (not

on the right one). 7. You'll find the magazine in the desk (not on the desk). 8. I

must see him (not his sister). 9. I did it (not anyone else). 10. Will you lead the

way? (I can't do it myself).

X X . This exercise is meant to develop your ability to hear the intonation and reproduce

it in proper speech situations, a) Listen to the Conversation "Asking the Way" (See p. 253)

sentence by sentence. Mark the stresses and tunes. Practise the dialogue, b) Record your

reading. Play the recording back immediately for your teacher and fellow-students to detect

the errors in your pronunciation. Practise the dialogue for test reading. Memorize and

dramatize it. c) Give conversational situations for the phrases of the following type:

I. Excuse me ... . 2. Excuse me, (officer) ... . 3. Can you tell me the way to ...?

4. Certainly. 5. Thank you very much. 6. How far is it from here? 7. There's sure

to be. 8. Yes, (sir), any (bus) will take you. 9. Sorry, (sir) ....

12. Read the following dialogues:

"Take matches."

"What's the time?"

"Where are they?"

"Ten to eleven."

"In the usual place, I expect."

"We shall have to be quick, then."

"I can't see them."

"He tells me you've been very good to him."

"Oh we do what we can for him. He is a nice boy." '

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13. *** Make up a conversation with one of your fellow-students using phrases from the

Conversation "Asking the Way".

13. This exercise is meant to develop your ability to hear the intonation and to

reproduce it in reading, a) Listen to the text "A Street in London** sentence by sentence.

Write it down. Mark the stresses and tunes. Practise the text, b) Record your reading. Play the

recording back immediately for your teacher and fellow-students to detect the errors in your

pronunciation. Practise the text for test reading.

14. This exercise is meant to develop your ability to read and narrate a story with proper

intonation, a) Listen to the joke. Write it down. Mark the stresses and tunes. Practise reading

the joke, b) Listen carefully to the narration of the joke. Observe the peculiarities in

intonation-group division, pitch, stress and tempo. Note the use of temporizers. Retell the

joke according to the model you have listened to.

15. Read the jokes silently to make sure you understand each sentence. Find the main

sentence in the text. Split up each sentence into intonation-groups if necessary. Mark the

stresses and tunes. Underline the communicative centre and the nuclear word of each

intonation-group. It is not expected that each student will intone the text in the same way.

Your teacher will help you to correct your variant. Practise reading the joke several times.

Retell the joke according to the model above (see Ex. 15):

When a group of women got in the car every seat was already occupied. The

conductor noticed a man who seemed to be asleep, and, fearing he might miss his

stop he said to the man: "Wake up."

"I wasn't asleep," the man protested.

"But you had your eyes closed."

"I know. I just hate to look at ladies standing up in a crowded car."

* * *

A very stout lady said angrily that she wanted to report the conductor of the

bus that had just gone, "He's been rude," she shrilled. t "How?" asked the official.

"Why," went on the lady. "He was telling people the bus was full up and

when I got off he said: "Room for three inside."

Section Eleven

Intonation of Direct Address

M o d e l : vChildren, vlisten to me.

vMo,ther, j Vcan I have an 'ice-cream?

-> Never /mind, Tom, | I'll help you with vpleasure.

Direct Address at the Beginning of the Sentence

Direct address at the beginning of the sentence is stressed. It is pronounced

with the low-falling nuclear tone in formal serious speech and with the falling-

rising tone to attract the listener's attention or in a friendly conversation.-

e. g. vChildren,| ^listen to me. vMa,ry,

j -*come vhere.

EXERCISES

M o d e l 1: vPeter, | come vhere.

1. Listen carefully to the following sentences and repeat them in the intervals.

Concentrate your attention on the intonation of direct address:

1. Mary, sit down! 2. John, listen to me! 3. Harry, look at the map! 3.

Children, look at the blackboard! 5. Kitty, it's time to get up! 6. Peter, we've run

out of vegetables. 7. Peter, sit here on my left! 8. Tom, who's on duty? 9. Nick,

hurry up. 10. Boys, don't be so noisy.

2. Read the following sentences according to Model 1. Follow the intonation line

exactly:

1. Children, stand still at your desks! 2. Ann, stand up straight! 3. Comrades,

take your seats! 4. Helen, why were you absent yesterday? 5. Kitty, you're late

again. 6. Children, stop talking! 7. Ann, come to the board and divide it into two

parts.

8. Peter, please fetch some chalk! 9. Children, stop making noise! 10. Harry,

stand aside, so that we all can see the board.

M o d e l 2: xMO/ther, | Vcan I have an 'ice-,cream?

3. Listen carefully to the following sentences and repeat them in the intervals.

Concentrate your attention on the intonation of direct address:

1. Peter, may I use your pencil? 2. Edward, something has gone wrong with

my electric iron. 3. Mary, isn't this skirt long for me? 4. Porter, will you see to