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Practise reading the joke several times

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Reproduce the model narration of the joke:

Young Peter came in one day bursting with excitement. Walking down the main street he had suddenly discovered he was side-by-side with movie actor Clark Gable.

— Did you talk to him? we asked.

— Well, it was like this, he said slowly. I knew who he was and he knew who he was — and it just didn't make sense us discussing it.

-------------

Some people were gathered on the verandah after dinner.

A young lady asked: "Can you name five days of the week without mentioning Monday, Tuesday, Wednesday, Thursday, Friday, Saturday or Sunday?" Nobody could guess. At last the young lady said: "It is very easy. Here are the five days: today, yesterday, the day before yesterday, tomorrow, and the day after tomorrow".

SECTION TWO. Intonation Pattern IX. High fall

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

Model: Why didn't you buy the picture?

— Much too ex,pensive.

Stress-and-tone marks in the text: High Fall. | ` |

The High Fall in the nucleus starts very high and usually reaches the lowest pitch. The syllables of the tail are pronounced on the low level.

The High Fall provides a greater degree of prominence for the word, making it more emphatic. The degree of prominence depends on the height of the fall.

This intonation pattern is used:

1. In statements, conveying personal concern or involvement, sounding lively, interested, airy; very common in conversation.

е.g. Do you know the man? — `No. (I `don't.) `Yes.| (I `do.) Where's my copy? — `Peter,took it,for you.

2. In questions:

a) In special questions, sounding lively, interested, е.g. I shall be late, I'm afraid. — `How,late?

b) In general questions, conveying mildly surprised acceptance of the listener's premises. е.g. I like it here. Do you? (I thought you'd hate it.)

3. In imperatives, sounding warm.

е.g. What's the matter? — Look. (It's raining.)

4. In exclamations, very emotional. е.g. It's eight o'clock. — Heavens! (I'm late.)

EXERCISES

1. listen carefully to the following conversational situations. Concen­trate your attention on the intonation of the replies:


1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59 | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89 | 90 | 91 | 92 | 93 | 94 | 95 | 96 | 97 |

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