UASli tNTOvNAllOi fTH fiYSTEMA'l'fC KXKKCISE (ilnrttell IniuerattH Sjihtary Stiiata. Kern fork BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE TSgT Cornell University Library PE 1139.P17 English intonation witli systematic exerc 3 1924 027 389 935 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027389935 ENGLISH INTONATION WITH SYSTEMATIC EXERCISES LONDON agents: SIMPKIN, MARSHALL, HAMILTON, KENT AND CO., LTD. First Edition 1922 Second Edition 1924 ENGLISH INTONATION WITH SYSTEMATIC EXERCISES BY Harold E. Palmer Linguistic Adviser to the Japanese Department of Education. Late Lecturer in Spoken English, University College, London, Author of *'A Grammar of Spoken English," etc., etc. "C'est le ton qui fait la chanson." CAMBRIDGE W. HEFFER & SONS LTD. 1924 PRINTED IN GREAT BRITAIN roy DEDICATED TC MY FRIEND AND COLLEAGUE H. O. COLEMAN, TO WHOSE INITIATIVE AND INVENTIVE GENIUS IS DUE MUCH VALUABLE KNOWLEDGE ON THE SUBJECT OF ENGLISH INTONATION. I'JP Preface The object of this book is fourfold: 1. To place on record a characteristic collection of the tones and tone-compounds as observed in the speech of most Southern English people in ordinary conversation. 2. To suggest a scheme of classification and terminology by which these tones and tone-compounds may be divided into classes according to their degree of resemblance or difference. 3. To formulate in a series of laws or rules the facts which have so far been discovered concerning the relation between tones and meanings. 4. To set forth a simple yet adequate system of tonetic notation, in order that tonetic texts may be produced inexpensively and abundantly for the use of teachers and students. The general utility of the book can be gathered by reference to the four objects for which it has been composed. I have more especially designed it for the use of foreign students of spoken English. No one who wishes to use the EngUsh language in the manner of English speakers can any more ignore the phenomena of its intonation than he can ignore the phenomena of its pronunciation. It may be no more than a personal opinion of mine, but I am convinced that the two things, pronunciation and intonation, are so bound up with each other that it is futile to teach or to leam one without the other. I base this opinion on psychological grounds. Mimicry is the most potent factor in the study of foreign languages (whether spoken or written). The successful mastery of a language depends on how successfully the student can imitate the models which serve as his standard. Systematic exercises in pronunciation have the effect of causing students to observe the sounds of the language; similarly, systematic exercises in intonation have the effect of causing students to observe the tones of the language. vi PREFACE This book should be of equal (or even greater) service to teachers of spoken EngUsh. A teacher of pronunciation cannot do efficient work if he is ignorant of the nature (nay, of the ver}' existence) of the sounds of the language he is teaching; but to teach foreigners to pronounce EngUsh without teaching them to intone it is an unbalanced procedure. And yet a teacher of intonation cannot do efficient work if he is ignorant of the nature (nay, of the very existence) of the tones of the language he is teaching. This book may be of interest to the Enghsh-speaking person whose intonation differs from that here recorded, for it will enable him to become familiar with the main features of other types of intonation than his own. The study of English intonation should be of great utility to the English student of foreign languages, if only to put him on his guard against speaking such languages with his native intonation. The effect of the French sentence, " Je ne I'ai pas vu hier," intoned as the English "I did not see him yesterday," is as remarkable (not to say laughable) as the converse effect. Furthermore, the EngUsh student of Chinese and other "tone- languages" will find his work greatly facilitated by a conscious knowledge of his own tones, for he wUl thereby be enabled to recognise, distinguish and to reproduce tone-differences which elude the ear and the mimetic capacities of one without such knowledge. A ready knowledge of the characteristic intonations of EngUsh, together with the possibility of reading and writing tonetic transcriptions, must enormously facilitate the work of teachers and students of diction. By referring to the tonetic transcriptions in Part XII. of this book, the reader wiU notice the ease with which one can read and write sentences intoned in a number of various ways. The pronunciation used in these exercises is in general conformity with that given in Professor Jones' EngUsh Pronouncing Dictionary. Scope. As I have already mentioned, I have confined my attention to the study of that system of intonation which is generally used by most of the natives of England. I have taken the data afforded by the PREFACE vii pioneers of tonetic research^; collected voluminious data of my own and experimented for some years with a view to making a contribution to the literature of the subject. I have more especially endeavoured to . set forth the basic principles of our tone-usage. The conception of Nucleus, Head and Tail is my own; I have used this system in actual teaching, and the results seem to justify it. In the following pages I describe the method of approach by which I have obtained these results. The reader will find, graded and arranged in their order of importance, the four groups of tones which seem to stand out distinctly both in form and in function. As the subject is one which is likely to be unfamiliar to the majority of my readers, I have endeavoured above all to express myself in a clear and simple manner, introducing each element and aspect of the subject in the most appropriate place, and proceeding from the simple and fundamental to the complex and particular. Where I am unable to explain a given phenomenon categorically, I do so tentatively. In the absence of a special semantic terminology expressing what are even fundamental aspects of meaning, I have to content myself with desig- nating some of the tone-functions in a circumlocutory manner. No adequate terms exist (so far as I can ascertain) to express, for instance, the great significative differences between (i) I can see him. — \ _ _ (2) I can see him. (3) I can see him. ' I am particularly indebted to Mr. H. O. Coleman (Intonation and Emphasis International Phonetic Association) ; Professor Daniel Jones (Outline of English Phonetics — Teubner ; also Intonation Curves — Teubner) and, in certain aspects, to Mr H. Klinghardt (various works). viii PREFACE The difference between these three modes of strong assertion is so great that no native English speaker would ever use one for the other: we aU feel that each expresses a different sort of assertion, a different attitude towards the person addressed. But they are aU assertions, each of the three may constitute a contradiction to or a denial of the sentence "You can't see him." Great as these differences are, and strongly as we realize them and invariably observe them in actual conversation, we feel that no existing semantic terms are adequate to describe them. And this is only one case out of many.^ In some cases I suggest appropriate terms, but suggest them with diffidence, being only too well aware that such terms may not evoke in the reader's mind the particular significance which I wish them to convey. What I do wish to emphasize, however, is the fact that we all recog- nize immediately and without effort each of the attitudes associated with the tones; we use them and respond to them, we express or conceal our thoughts by choosing the tone or tone-compound most Ukely to serve otir purpose. And aU this we do with such complete unconsciousness that most of us are ready to assert either that we have no tone-system in English, or that we have tones but no system, or that our tone-system is so elementary that no dif&culty can possibly be experienced by any foreign student in "picking it up." The contents of this book may convince those who are not already convinced that we have in English a most remarkable series of significative tones, that it constitutes a distinct and coherent system, and that its difficulties are such that few foreign students are likely to speak as Enghsh natives do until they have trained themselves to observe and to reproduce what they hear. This last consideration is the chief function of these Systematic Exercises in English Intonation. • See the alternatives and variants given in the pages devoted to tonetic tran- scription of texts, part xii. Table of Contents EXERCISES PREFACE KEY TO PHONETIC SYMBOLS SECTION I. Introduction A Few Hints for Teachers and Students SECTION II. First Definitions SECTION III. The "Nucleus" Rules Exercises 1-5 SECTION IV. The "Tail." Rules Exercises : Tone-Group I [\] ...6-9 Intensified Tone-Group i ['>] ...10-13 Tone-Group 2 [/] ...14-17 Tone-Group3 [1*] ...18-21 Tone-Group4 [-j] ...22-25 SECTION V. One-Syllable "Heads." Rules Exercises : Tone-Group I. Inferior Head [ — ^J ...26-29 Intensified Tone-Group I. Inferior Head [ — '\] ...30-33 Tone-Group i . Superior Head [ >] . . . 34-37 Intensified Tone-Group i. Superior Head [ '\] ...38-41 Tone-Group 2 . Inferior Head [ — i] . . .42-45 Tone-Group 2. SuperiorHead [ — /] ...46-49 Tone-Group 3. Inferior Head [ — 1^] ...50-53 Tone-Group3. SuperiorHead [ %] ...54-57 Tone-Group 4. ScandentHead ["^-^l ...58-61 TABLE OF CONTENTS SECTION VI. Two-Syllable Rules ' Heads." Exercises : Tone -Group i. Intensified Tone-Group i. Tone-Group i. Intensified Tone-Group i. Tone-Group i. Intensified Tone-Group i. Tone-Group 2. Tone-Group 2. Tone-Group 2. Tone-Group 3. Tone-Group 3. Tone-Group 3. Tone-Group 4. Inferior Head [ — ^] Inferior Head [ — '\] Superior Head [ >] Superior Head [ \\ ScandentHead ["^"^1 ScandentHead [" "^] Inferior Head [ — J} Superior Head [ — '/] ScandentHead [^'Z] Inferior Head [ 'U] Superior Head [ 1*] ScandentHead [ '1>] Scandent Head [' ^] EXERCISES PAGE . 28 .62-65 • • 31 .66-69 . . -32 ■70-73 • • 33 •74-77 • ■ 34 .78-81 . . 35 .82-85 • ■ 36 .86-89 • ■ 37 .90-93 . . 38 ■94-97 ■ • 39 .98-101 . • 40 .102-105. • 41 .106-109. . 42 .110-113. • 43 SECTION VII. Heads of Three and More Syllables. Rules 44 Exercises : Tone-Group i. Intensified Tone-Group i. Tone-Group i. Intensified Tone-Group i. Tone-Group i. Intensified Tone-Group i. Tone-Group i. Intensified Tone-Group i. Tone-Group 2. Tone-Group 2. Tone-Group 2. Tone -Group 2. Tone-Group 3. Inferior Head Inferior Head Superior Head Superior Head Unbroken Scandent Head Unbroken Scandent Head Broken Scandent Head . . . Broken Scandent Head . . . InferiorHead Superior Head Unbroken Scandent Head Broken Scandent Head . . . Inferior Head ■\\ ..114-117... 47 Al . .118-121... 48 ">] ..122-125... 49 "'>] ..126-129... 50 >] ..130-133... 51 ^] .. 134-137- • • 52 >] . .138-141... 53 'M ..142-145... 54 ■n ..146-149... 55 n ..150-153... 56 n ■•154-155- 57 n ..156-159... 58 %] ..160 59 TABLE OF CONTENTS xi EXERCISES PAGE Tone-Group 3. Superior Head [ 1*] .. .161-164... 60 Tone-Group 3. Unbroken Scandent Head . [ %] ...165-166... 61 Tone-Group 3. Broken Scandent Head ....[' %] ... 167-170. . . 62 Tone-Group 4. Unbroken Scandent Head . ["^-^l ...171-174... 63 Tone-Group 4. Broken Scandent Head .... [ -»] . . . 175-178. . . 64 SECTION Vni. Five-Syllable Exercises on the Tone-Groups, with the Nuclei in Varying Positions 65 Exercises : Tone-Group I [\] ...179-184... 66 Tone-Group 2 [/] ...185-187... 67 Tone-Group 3 [1*] ...188-190... 67 Tone-Group4 [^] ...191 ... 68 SECTION IX. Exercises on Heterogeneous "Heads" 69 Exercises : Tone-Group I [X] ...192 ... 69 Tone-Group 2 [-^] ...193 ••• 70 Tone-Group 3 [T>] ...194 ••. 7° Tone-Group4 [_<] •■•195 ••• 71 SECTION X. The Semantic Functions of the Tone-Groups 72 Rules and Examples: -^] 73 ■>] 73 >] 76 -/] 78 — /] 80 '^^] 81 1*] 82 -] 84 Synoptic Summary of the Semantic Functions of the Tone-Groups 86 Tone-Group I. Inferior Head Tone-Group I. Superior Head . Tone-Group I. Scandent Head Tone-Group 2. Inferior Head Tone-Group 2. Superior Head . Tone-Group 2. Scandent Head Tone-Group 3 Tone-Group 4. xii TABLE OF CONTENTS PAGE SECTION XI. "Sequences" of Tone-Groups 87 Co-ordinating Sequences : 89 [\\] 89 im 90 [%%] 90 Subordinating Sequences: 91 [V] 91 [A] 92 [>T^] 93 [l'^] 94 [^'^] 95 SECTION XII. Phonetic Texts in Tonetic Transcription 96 Phonetic Symbols. The phonetic transcription used is that of the International Phonetic Association, in its simplified or "broad" form. Key words are not required for: p, b, t, d, k, m, n, 1, r, f. v. s, z, h, w. The remaining phones are: Consonants. g give. 3 measure. D long. i yes. e thia. tl chin. a then. d3 jam. J sAip. Vowels. i: see. u put. i it. u: too. e get. A up. se cat. 31 bird. a: father. 3 china, cathedral 3 hot. o: saw. Diphthongs. ei day. is here. ou go- S9 there. ai fly. 03 four. au how. U9 tour. oi boy. Various Signs. Isolated words in phonetic transcription and isolated tone-marks are enclosed in brackets [ ]. [:] The length mark. xui xiv PHONETIC SYMBOLS. ['] indicates that the vowel by which it is preceded may be long, half- long or short. Phonetic symbols printed in italics represent sounds which are some- times inserted and sometimes omitted. For further details concerning the phonetic notation see Professor Jones' Pronouncing Dictionary, his Outline of English Phonetics, or my First Course of English Phonetics. The symbols relating to tonetics will each be explained in the course of the exercises. Section I. Introduction If anyone wrote the following sentence in a letter to you: "He doesn't lend his books to anybody," what meaning would it convey to you? At first sight you might interpret it as: "He lends his books to nobody." But it may also mean: "He is rather particular as to the persons he lends his books to; he doesn't lend them to everybody." Now how would you know which of these two meanings was intended? The sentence being a written one, you could only judge from the context which of the two ideas your correspondent wished to convey. Let us now imagine that the sentence is used by someone who is talking to us. In this case we need no context to help us; the sentence itself will now contain an element which will adequately differentiate the two meanings. What is this element ? It is not a difference in the words, for in both cases the wording would be identical. It is not a difference in the stress or emphasis, for in both cases the stress falls on the first syllable of the word anybody. But there is a difference, a difference perceptible to all whose mother- tongue is EngHsh; it is a difference of tone or musical pitch. In the first case, on the first syllable of the word anybody, the voice falls from a relatively high to a relatively low note, and remains low during the emission of the following three syllables. In the second case the voice will probably rise from a lower note to a higher one during the emission of the first syllable, pitch the syllables nybo on a very low note, and conclude with the syllable dy approximately on the same level as the beginning of the word.^ * Or, as an alternative, the first syllable may be pitched on a mid-tone, the second on a high tone, the third on a low tone, and the last on the mid-tone. Let us add, however, that a Scottish speaker may intone the word in neither of these manners. I 2 ENGLISH INTONATION Let us express this difference graphically. 1. A-NY-BO-DY High Note— > — Mid Note — > Low Note — > — — — 2. A-NY-BO-DY A-NY-BO-DY High Note — > — Mid Note — > — or possibly — — Low Note — > — — — We see, then, that the meaning of a given word or sentence may depend upon the relative pitch of the note or notes upon which it is sung. Here is a second example. Let us take the sentence: "He didn't come on account of the rain." If we sing the word rain on a falling tone, the sentence means: "It was on account of the rain that he didn't come." If we sing the word rain on the mid-high-low-mid combination of tones [%], -the sentence will mean: " It was not on account of the rain that he came." If anyone were to say to us: "I say it's warm," with the word say on the falling tone, we should interpret his sentence as " I don't think or believe that it's warm; I merely say it." Intoned in a different way, the sentence would mean: "Goodness gracious! Do you notice how warm it is?" Expressions such as "Good morning" or "Good evening" are sung in different ways according to whether they are used as a greeting to someone we meet, or to someone we are leaving. Consider the different shades of meaning we may give even to single words such as "here" or "now" by singing them in different ways. With the falling tone, "here" means "I tell you this is the place"; on a INTRODUCTION 3 rising tone the same word means "Is this the place?" With the mid- high-low-mid combination [%] the same word means "Not in the place you mention, but in this place." Coleman has furnished me with the following interesting example: They wouldn't get far if it did (fall on di^ =It wouldn't matter.... They wouldn't get far if it did (rise fall rise on did) = It would hinder them. The science which is concerned with the nature and meaning of this tone-play is called Intonation. That part which is concerned chiefly with the tone-curves irrespective of their meanings has been called Tonetics} Whether Tonetics is a branch of Phonetics or whether it is an inde- pendent science, does not appear to be a vital question. We need only note that what Phonetics does for sp&Gch.- sounds, Tonetics does for speech- tones. In both cases the rational application of these sciences (or branches) to language-teaching has, among others, the following effect: it makes us conscious of what we already do unconsciously in our native tongue; it enables us to use and to quicken our powers of observation, and affords us opportunities for systematic ear-training. We are no longer at the mercy of the "hit-or-miss" method; our desultory, haphazard and generally unsuccessful attempts at reproducing foreign speech phenomena is replaced by progressive and systematic exercises based on positive data; we proceed by sure steps from the known to the imknown. The path of the student is still beset with diffi- culties, but there is at least a path for him to foUow, a more or less clearly defined track, whereas without such linguistic sciences there is no path at all; the student has to grope his way across a treacherous ground without guides or indications of any sort. With the development of the science of intonation, the foreign student of spoken English is shown exactly what the EngUsh tone-system is, and what steps he must take in order to speak as the English d6. The 'By Professor D. M. Beach, of the University of Peking, whose remarkable studies on Chinese Intonation are likely to have important effects on the teaching and learning of Chinese. 4 ENGLISH INTONATION English student of French is told not only what the French tone-system is, but (what is perhaps more important) that he must refrain from using his English tone-system when he is speaking French The English student of Chinese wiU not only be told in what respect Chinese intonation differs from English, but he will also be shown in what ways he can utilize his English tone-habits as an aid to learning the Chinese system. Whether they like it or not, students of Chinese, Bantu, and other groups of languages must necessarily master the tone-systems as an integral part of the vocabulary and grammar of such languages. The science of intonation thus comes to supply a want which is already keenly felt, and to regularize and codify what has hitherto been done on more or less empirical lines. What is often diagnosed as a foreign "pronunciation," or foreign " accent," frequently turns out to be a foreign intonation. Many foreign speakers of English may be faultless in their English sounds, and even English stress, but they intone in such a manner that we at once detect that they are not English, and often we fail even to understand the meaning of what they are saying. I often have occasion to say to my foreign students : " I quite understand your sentence, as a sentence, but, excuse me, I cannot see what you wish to convey. Was your sentence an assertion, a comment, an exclamation, a contradiction, a corroboration, or a question?" One of the aims of Phonetics proper is to cause us to speak the foreign language in such a way as not to betray our nationality. This is also one of the aims of Tonetics. Many characteristic tones are as important as or even more important than characteristic sounds. If we say to a very young child, "Aren't you a nasty wretched little brat ! " in the same intonation as "Aren't you a dear precious little angel ! " the effect produced will be that of the latter sentence. Observers have also fre- quently remarked that dogs and other animals react not so much to the words we use but to the tones on which the words are pitched. "C'est le ton qui fait la chanson." INTRODUCTION 5 A FEW HINTS FOR TEACHERS AND STUDENTS. The first aim of the student should be to recognize the difference between falling, rising and level tones. The musician evidently has an advantage in this respect, but let me assure those who make no claim to having a good musical ear that the advantage is not so great as might be supposed. Sometimes, at the outset, some students experience a little difficulty in distinguishing fjdUng from rising tones; indeed, when called upon to drop the voice, they may often do just the contrary. This inability to recognize or to produce a given tone is generally, if not always, due to the utter novelty of the exercise. With a little practice, however, such difficulties are almost invariably overcome. It must be remembered that aU users of speech (no matter what their nationality or language, no matter whether musically trained or not) are users of tones, and consequently already possess the elements of any intonation system. AU they have to do is to perform wittingly and consciously what they are already in the habit of doing unwittingly and unconsciously. The following device will prove of service in overcoming this initial difficulty. Let the student press the tip of his finger lightly but firmly at a point just above the cartilage of the glottis (Adam's apple) ; then as he sings on a rising or falling pitch he will actually feel this cartilage rising or falling accordingly. In some cases the student must be exercised in using familiar tones in imfamiliar positions and circumstances. Most Swedes, for instance, are unaccustomed to use a long low-level succession at the end of a sen- tence, just as most Serbians are unaccustomed to use a succession of rising tones at the end of a sentence. Then the general procedure wUl be as follows: The teacher will first pronounce (with the intonation indicated) the five examples of the exercise. He may do this once or several times. The student or students win then imitate the teacher's performance. Should they experience any difficulty, the teacher may intone with exaggerated slowness or degree of pitch. Having successfully imitated the teacher, the student may be called upon to read off the examples without being prompted. 6 ENGLISH INTONATION Another type of work will consist of tonetic dictation. The teacher articulates one or more syllables and calls upon the students to write down in tonetic s5rtnbols what they think they have heard. These syllables may be meaningless ("nonsense syllables") or may simply be repetitions of any elementary sound or sound-compound, such as [la:] or [ma:]. The more serious dif&ctilty is the teaching of the semantic values of the tone-groups. The student may be able to imitate correctly, and to read correctly from his transcription, and yet be unable to use the ap- propriate tones in actual speech. There is only one remedy, viz. correct observation and correct imitation. The student must form the habit of noticing how people intone; and of imitating them mentally. One of the chief objects of this book of exercises is to teach the student how to notice and what to notice; how to imitate and what to imitate. Section II. First Definitions Various forms and shades of emphasis (such as word-prominence, word-group prominence, intensity, command, doubt, concession, re- assurance, etc.) are expressed in Enghsh by the use of musical tones (i.e. by varjdng the pitch of the elements contained in the sentence). All phenomena connected with this musical pitch or tone are desig- nated by the term Intonation. These tones may be indicated by means of an appropriate notation consisting of special signs or symbols. A text marked by such tone- S37mbols is caUed a Tonetic Transcription. The words contained in such a transcription may be written in phonetic characters, or when deemed more convenient, in traditional orthography. For the purpose of determining and classif5dng the phenomena cormected with intonation, we must consider that English speech is cut up into Tone-Groups. A Tone-Group may be defined as a word or series of words in connected speech containing one and only one maximum of prominence. The limits of a Tone-Group may be marked by placing the signs || or | on either side of it, or two adjacent tone-groups may be separated by the same sign. Each Tone-Group contains a Nucleus,^ which is the stressed syllable of the most prominent word in the Tone-Group. The nucleus corresponds to what is usually called sentence-stress. iWe find, however, occasional examples of special tone-groups containing no nucleus. (See pp. 100-105.) Section III. The Nucleus RULES. In Southern English there are foxu: characteristic Nucleus Tones: — 1. The Falling, which may be marked by placing the signs [>] or [>] immediately before the nucleus syllable. 2. The High-Rising, which may be marked by placing the sign [/] immediately before the nucleus syllable. 3. The Falling-Rising, which may be marked by placing the sign [V] immediately before the nucleus syllable. 4. The Low-Rising, which may be marked by placing the sign [_«] immediately before the nucleus syllable. In consequence of this, there are four kinds of Tone-Groups: — Tone-Group 1. containing the Falling Nucleus-Tone: ["V] or [>]. Tone-Group 2. „ „ High-Rising „ [/]. Tone-Group 3. „ „ Falling-Rising „ [1*]. Tone-Group 4. „ „ Low-Rising „ [^]. The terms "Falling" and "Rising" are relative, not absolute; the Range of a faUing or rising tone varies according to the degree of ani- mation of the speech. The word " No " when used in angry contradiction may start at the highest, and drop down to the lowest pitch of the speaker's voice. The same word used in languid assent may drop not more than a half-tone. Similarly in a surprised or indignant query, the word "Here?" may start on the lowest, and rise to the highest pitch of the speaker's voice, but when used in different circumstances (i.e. to express languid indifference) the word may rise not more than a half-tone. Intensification. The FaUing Nucleus Tone [>] or [>] is said to be "intensified" when the actual fall is preceded by a slight rise of pitch. This intensified Nucleus-Tone may be marked by the use of the symbol ['\]. The Falling-Rising Nucleus tone [%], being aJmost invariably inten- sified, it is convenient to consider it as the normal form. In those few cases in which this tone is not intensified, the symbol [ U] may be used. 8 THE NUCLEUS EXERCISES. Exercise 1. Tone-Group i. The Falling Nucleus: [\]. >jes. \nou. "Vou. \du:. Wai? Exercise 2. TAe Falling Nucleus {Intensified): ['\]. ajes. '\nou. ■^ou. '\du:. 'Wai? Exercise 3. Tone-Group 2. The High-Rising Nucleus: [/]. /jes. /wel. ihi9? /main? /wen? Exercise 4. Tone-Group 3. JAe Falling-Rising Nucleus: [%]. T^main. Wah. Ulaek. 1»hi9. T^nau. Exercise 5. Tone-Group 4. TAe Low-Rising Nucleus: [_<]. ^jes. _5aet s nou gud. \.. or \iu: sei it. V.. or \hu: sed sou? "V.. or ■Vniid ju' gou? \.. or 2-syll. Tail, Non-intensified. Exercise 8. Falling Nucleus, 2-^yll. Tail, Non-intensified. \evribodi. \... or "VSaet s not Qa keis. V... or \giv it tu im. "V... or "Vhu: tould ju' tu'? V... or >kud ju' teik it? V... or Exercise 9. Falling Nucleus. Tail of 4 or tnore Syllables. Non-intensified. \ai didnt teik it. V.... or'.... "V5set wount teik Ap mAtJ taim. 'V or' "Vfraidi sju:tid mi oikait. \ or' >evribodi si:mz to 6igk sou. \ or' \a:gjuir) wi6 im dAznt siam to bi eni gud. \ or' "THE TAIL' 13 Intensified Tone-Group 1. ['\]. '\lAvli! X or <'. '\gudnis! '\. or /. '\nouwE3 ! X or '. '\wai not? X or '. ■^du: ju'? X or *. Exercise 11. Falling Nttcleus. '\wAnd9fl! '\.. or '\bou6 ov as! ->.. or '\luk set Sam! ■>.. or '\hau meni? X. or '\ksen ju' kAm ? ->.. or i-syll. Tail. Intensified. 2-syll. Tail. Intensified. or or or or or Exercise 12. Falling Nucleus. 3-syll. Tail. Intensified. "^evidantli! ^... or ^... or '^Qset s not mAtJ gud! '>... or '... or '\lisn tu' it! '\... or * ... or 'Vhau did i' nou? '>... or * ... or '^wil 5ei kAm baek? ">... or *... or Exercise 13. Falling Niwleus. ■^wen wud i' du* it? '\6ei didnt teik eni. ■^ai Jl tel im ta rait it. Tail of 4 or more Syllables. Intensified. '\.... or*.... or-'... '\ or* or''... '\ or* or-' '\noubadi ksaz veri mAtJ fo' 5am. '\ or* or-' '\woznt 6aet a priti dij ta set bifo: 5a kig? '\ or* or*' 14 ENGLISH INTONATION Exercise 14. High-Rising Nucleus /sAmtaimz. /" or ^main woz. /• or /trai it. y or /wot neim? y or /nev9 ? y or Tone-Group 2. [/]. x-syll. Tail. Exercise 15. High-Rising Nucleus. 2-syll. Tail. /6is wAn iz. /membaz ksen. /pos9bli. /wot s jo' neim? /did ju' gou? Exercise 16. High-Rising Nucleus. /saevidsiz doiint. /ai dount Gigk sou. /trai if ju' laik. /wot did ju' sei? /dAz i' biir) Sam? 3-syW. TaiZ. Exercise 17. High-Rising Nucleus. Tail of 4 or more Syllables. /A5az 3v dAn it. /wi: neva sed it wud. /sAmtaimz it ainsaz veri wel. /msentjistar iznt on bs sau9 koust. /ai didnt noutis eni9ig pgtikjabr gbaut it. "THE TAIL" 15 Exercise 18. Falling-Rising Nucleus. WSaz. '\y or ' y 'UsAmwsa. '\/ or ^ / Tone-Group 3. [1*]. i-syll. Tail. Waii mait. ->/ or ^ Im du:. '^z or ^ "Uju: gou. \ or ^ Exercise 19. Falling-Rising Nucleus. 'Umaentjista. 'V./ or ^ ./ 2-syll. Tail. "Ujestadi. X/ or yy Uii laik it. xy or ^./ 1*praeps ai Jsel. "X.y or fy "Uluk set dsm. a./ or /./ Exercise 20. Falling-Rising Nucleus. 3-syll. Tail. 1*evribodi. '\../ or ^../ or .'.. 1*SAintaiiiiz ai did. ^..^ or ^ .y or ,' ./ Wi mait si: im. '\../ or ^../ 'Ufa:53 kamt kAin. '\../ or ^../ or .".^ Titrai ta bi- 5s3. '\../ or ^.y Exercise 21. Falling-Rising Nucleus. 1*31 Judnt tel im. T^ai dount 9igk i* waz dea. TiSAndi 3d sjuit mi o:lrait. "l^riidig womit help ju' veri mAtJ. I^evribodi dAznt du* it. Tail of 4 or more Syllables ■%. or / .. a. or / .. '\. or / .. or ' ->. .. or • . ■ ■• or ... 'V. , . • or / ... .•■ or .', i6 ENGLISH INTONATION Tone-Group 4. [ -]• Exercise 22. Low-Rising Nucleus i-syW. Tail. _<9aegk ju'. ^• or . ^jes sa'. _<• or . ^is wAn. _>• or . ^moinig. ^• or . ^nA9ig. _>■ or . Exercise 23. Low-Rising Nucleus 2-syW. Tail ^ai 0ir)k sou. ^• ■ or ■ •• ^probabli. _<■ ■ or • ■ ■ hi: wount maind it. _^.. ■ or .. ^SAm ov Sam mait. _J*.. • or .. Exercise 25. Low -Rising Nucleus. _iu: 1 msenidj it oilrait. ^ai dount Gigk 8a z mAtJ in it. ^5aet dAznt meik eni difrans. ->SAm ov 9am 1 get Sear oilrait. Tail of 4 or more Syllables. or or or or or Section V. One-Syllable ' ' Heads ' ' RULES. Any syllable or syllables preceding the nucleus in the same Tone- Group is termed the "Head" of the group. A Head may be Inferior, Superior, Scandent, or Heterogeneous. An Inferior head is one the tones of which are never higher in pitch than the initial point of the Nucleus-Tone. ai si:. ai kaen. ai mei. gud bai. — \ _/ — % __. Before the falling nucleus-tone (Tone-Group i) a one-syllable inferior head-tone is generally level,^ and starts on the mid or neutral pitch (about midway between the highest and lowest notes of the speaker's voice) .^ An inferior head-tone before the falling nucleus-tone may, if necessary, be marked by placing the sign [ — ] immediately before the head element, but such inferior head-tones may be left unmarked: — ai >si: or simply ai \si:. Before the rising nucleus-tones (Tone-Groups 2 and 4), an inferior head is always level, and starts on the low tone (on the same pitch as that of the initial point of the nucleus -tone). An inferior head-tone before the rising nucleus-tones may be marked by placing the sign [ ] immediately before the head element: ai Aaen. gud ^bai. An inferior head-tone before the falling-rising nucleus tone (Tone- Group 3) is on the low pitch. It may, if necessary, be marked by placing the sign [ ] immediately before the head element; but such inferior head-tones may be left unmarked: ai T^mei = % 'But may rise slightly. 'But may start on a low pitch. 17 i8 ENGLISH INTONATION ' A Superior head is one the tones of which are higher in pitch than the initial point of the nucleus-tone. wot fo:? nekst wi:k? not nau! gud bai. ~\ — / ^ '\^ ~ ^ Before the falling and falling-rising nucleus-tones (Tone-Groups i and 3), a superior head is level and is pitched on a fairly high tone. A superior head before the faUing and falling-rising nucleus-tones is marked by placing the sign [ ] immediately before the head element: ^wot >fo:? not 'l>nau! Before the rising nucleus-tones (Tone-Groups 2 and 4), a superior head is level and may be of a mid- or of a high-pitch, according to the degree of intensity with which the tone group is uttered. A superior head before the rising nucleus-tones may be marked by placing the sign [ — ] immediately before the head element. Where necessary, however, it may be marked by the sign [ ]: — ^nekst /wi:k? or ^nekst /wi:k? — gud ^bai. or gud Jbai. A Scandent head is one the tones of which rise or climb from the mid- level to the highest pitch of the whole tone-group. This highest point (which may be termed the " vertex") is therefore higher in pitch than the initial point of any nucleus. ai sei! wud ju:?! not nau! gud bai! A scandent head may be marked by placing the sign [ ] immediately before the head element: ai "^sei! "^wud /ju:?! "^not T^nau! — gud ^bai. Note. — ^The significative difference between a superior and a scandent one-syllable head is not great. The difference increases however pro- portionately to the length of the head. A Heterogeneous head is a combination of any of the three foregoing types. The nature of these heads is explained on page 69. ONE-SYLLABLE "HEADS" J9 Exercises Tone- Group 1. [>]. Exercise 26. Falling Nucleus. I'Syll. Inferior Head. No Tail. GaAtim •\ dsAst \sou. •% teik ^main. ■'V hu: \els? •> Jud \ju:? •% Exercise 27. Falling Nucleus. i-syll. Inferior Head, i-syll. Tail. gud 'Vmo'.nig. •\. or Sset s \pi fo'lt. A. or dount "Vdu- it. •>. or wai \du: ju'? -"V. or wil ^6is du:? ■\. or Exercise 28. Falling Nucleus. i-syll. Inferior Head. 2-syll. Tail. 3v \ko:s ai du:. •\.. or ■•.. ai ^geiv im waii. •\.. or •'.. wel \teik it Sen. •>.. or '.. wen "Vkaen ju- kAm? •>.. or •'.. wud ^ju: du' it? •'V.. or •'.. Exercise 29. Falling Nucleus. i-syll. Inferior Head. Tail of 3 or more Syllables. wot "Vksen wi* sei tu' im? ■\.... or ai 1 \haev ta du: wiSaut it. •> or ai \laik to:kig abaut SAtJ 9igz. A or wot "^kud ju' ikspekt in SAtJ 3 keis? -"V or nou WAndor i' didnt wont ta kAm baek ! • % or 20 ENGLISH INTONATION Exercise 30. Falling Nucleus (Intensified), i-syll. Inferior Head. No Tail. in'\di:d! A ai '\du:! •'\ it s Imain! -^ teik '^main! ■'\ wear '\els? •''V Exercise 31. Falling Nucleus (Intensified), i-syll. Tail. gud '^moinig! ■'\. or 9V 'Xkois not! ■'\. or 5aet s '"Vdifrant! ■'\. or it s '\lAvli! ■'\. or kan '\aihelp? ■'\. or i-syll. Inferior Head. ,/ y y Exercise 32. Falling Nucleus (Intensified), z-syll. Tail. I-syll. Inferior Head. 3'\nA59 wAn! •'\.. or .^.. in "^eni keis! ■X or y.. 6ast s '\nou ri:zn! ■'\.. or y.. kAm '\a:lia! •'\.. or y.. kud '\ai help ju"? ■■\. or y.. Exercise 33. Falling Nucleus (Intensified). of 3 or more Syllables. a '\veri gud wAn! A... or ■ ai 1 '\eigk abaut it! •■v.. or ■ ai '\ment im ta gou! A... or ■ wear '\els kad ai gou ? A... or ■ iz '^eni6ig paifikt? •'\.... or ■ i-syll. Inferior Head. Tail ONE-SYLLABLE "HEADS" 21 Exercise 34. Falling Nucleus, z-syll. Superior Head. No Tail. 93:>ti:n. luk >hi3. ^sit xiaun. hu: xIaz? Exercise 35. Falling Nucleus, i-syll. Superior Head, i-syll. Tail. ^i>no:m3s. ^nia -^lAndan. hau >o:kw3d! let >mi: trai. W3t >W3Z it? ">. or ••. '-*. or ••. ■>. or •'. ■>. or ■'. ■-V. or ••. Exercise 36. Falling Nucleus, i-syll. Superior Head. 2-syll. Tail. im>posabl. ^moust >intristig. ^Sset s >nou riizn. }u: ~«oupn it! ^wai >Jud i' kAm? ■>.. or ■ ■-*.. or ■ ■>.. or ■ ■-».. or ■ ■>.. or ■ Exercise 37. Falling Nucleus, i-syll. Superior Head. Tail of 3 or more Syllables. ^nou xiaut abaut it. ^wot -*els did ju' sei? hu: -vwontid ta tjeins it? ^wen -vdid ju* rait tu' im la:st? ^wot >buk did ai si: ju' ri:dig djAst nau ? or- or or or or 22 ENGLISH INTONATION Exercise 38. Falling Nucleus (Intensified). i-syll. Superior^ Head No Tail. -l33:'\Un! •a ^ou '\nou! •a ~"ai '\sei! "X hau "^nais! •a ou '\di9! "^ Exercise 39. Falling Nucleus (Intensified), i-syll. Superior^ Head. i-syll. Tail. " ~gud '\hevnz! ~0ri: '\aunsiz! "nou '\wAnd9! "wot '\we93! "teik '^Sis wAn! ■% or •'X. or ">. or •'>. or ■"X. or Exercise 40. Falling Nucleus 2-syll. Tail. hau "^gbirigs! "\.. ^ju: '\du: luk peil! "\.. hau "^kaind ov im! '^.. ai '^woz 09:sti! "\.. hi: '\did get kro's! "\.. (Intensified), i-syll. Superior^ Head. or or or or or Exercise 41. Falling Nucleus (Intensified. i-Syll. Superior^ Head. Tail of 3 or more Syllables. ou 'Wount i' bi' pliizd! ai '\did indsoi maself! ^8ei '>du: teik Ap a lot av rum! ^wot "^a: ju: piipl la:fig set? ai 'Vkamt Andastsend wai piipl du: Qset! 1 In all these examples the intensification is increased by replacing the superior [ ] by the scandent] ] head. '\... or •* ... X... or •/.... 'X or •/ 'X or V 'X .. or ■f ONE-SYLLABLE "HEADS" 23 Tone-Group 2. [>]. Exercise 42. High-Rising Nucleus. i-Syll. Inferior Head. No Tail. ai /du:. J wi' /mait. ./ o:l /rait, J it /walks. ./ ju' /kaen. ./ Exercise 43. High-Rising Nucleus. ta/morou. ^hi' /sed sou. it /woznt. ^9ei /luk kliin. it /mei bi'. i-Syll. Inferior Head. i-Syll. Tail. Exercise 44. High-Rising Nucleus. it /lukt o:lrait. bat /A6az mei. wil /blaek WAnz du:? ^a/griid ta gou? __iin/posabl? i-Syll. Inferior Head, 2-Syll. Tail. Exercise 45. High-Rising Nucleus. z-Syll. Inferior Head. Tail of 3 or more Syllables. it /mei tain aut fain. it /o:t ta saksiid. wi" /dount gou Sea veri oifn. ^it /luks az if it wa gouig ta kliarAp. ^a /ju: gouig ta teik pa:t in it? 24 ENGLISH INTONATION Exercise 46. High-Rising Nucleus. i-Syll. Superior'- Head. No Tail. — in /mei? -/ — ^wud /ju:? -f — ^nekst /wi:k? •/ — du' /ju:? •/ — ^Ap/stE3Z? •/ Exercise 47. High-Rising Nucleus. — ai /0o:t sou. — bai /tjuizdi? — Ji" /sed sou? — la:st ^fraidi? — ^not ^S9:tn? i-Syll. Superior^ Head. i-Syll. Tail. Exercise 48. High-Rising Nucleus. — did iju: tel im? — wud /5is wAn du:? —did /ai sei 5aet? — o:t /ai ta gou? — 6aet /jelou wau? i-Syll. Superior^ Head. 2-Syll. Tail. Exercise 49. High-Rising Nucleus. i-Syll. Superior^ Head. Tail of 3 or more Syllables. —did /Jeikspia rait 5aet? — daun/sts3z did ju' sei? — did /ju: rait Saet leta? — ^W3 /ju: WAn 9V iz stiu:d9nts? — o:t /evribodi ta du: 6aet so:t av W3:k? ^ In all these examples a Scandent ["^] instead of a Superior [ ] Head could be used. ONE-SYLLABLE "HEADS" 25 Tone-Group 3. [%]. Exercise 50. Falling-Rising Nucleus. j-Syll. Inferior Head. No Tail. ai IkIu:. .1* Wi' 1*113611. .% 6ei 1*116101. .% 3 1*ho:s. .'\> Sam 'Ustsemps. .% Exercise 51. Falling-Rising Nucletis Tail. ai 1*9igk sou. •V or .*, il^tseljan. .'V or .', S3in 1*gud wAnz. •V or .* . 8ei Ixiid lovm. ■V or .* . ai T/juist tu'. ."V/ or y. x-Syll. Inferior Head. i-Syll. Exercise 52. Falling-Rising Nucleus. Tail. ai lifsensi sou. .'\.y or Ql^merika. .''V.-' or ai 'Utould ju' sou.^ .'>. / or 5ei 'Ukeim o:lrait. .'\. • or 3 lipait ov it. .'\. / oy i-Syll. Inferior Head. 2-Syll. . / / / • Exercise 53. Falling-Rising Nucleus. 3 or more Syllables. hi' 1*sed i' mait kAm. hi' Woz in lAndan.^ hi' 'Vsed i' mait si: mi. 83 l/mait bi' 3 bet3 wah SAmws3. di1*semb3r iznt 3 veri nais mAuG. 1 Cf. ai "Vtould ju' || /sou . p. 92. i-Syll. Inferior Head. Tail of or or or or or 'Cf. hi' Woz in || /lAndsn. p. 92- 26 ENGLISH INTONATION Exercise 54. Falling-Rising Nucleus. j-Syll. Superior^ Head. No Tail. not 'Itnau. ~e3:1*ti:n. "ai Ixiount. "not "Ujet. "dount Weit. •1* ■% Exercise 55. Falling-Rising Nucleus, Tail. ^not T^jelou. ">/ or in T^paeris. ''^z or if 1*ai m Sea. ''\/ or ^mai 'Vfrend mait. "^/ or du: T^teik WAn. ">/ or i-Syll. Superior^ Head. x-Syll. V, Exercise 56. Falling-Rising Nucleus Tail. in 1*5 Am keisiz. wen 1»ai waz 569. ^not 'UeniwAn. ^if 1>ai W3 ju:. ^dount T^bam eni. ''\.- or '*. ">.- or •'\./ or "\./ or •'\./ or i-Syll. Superior^ Head. 2-Syll. v.. •A/ Exercise 57. Falling-Rising Nucleus. z-Syll. Superior^ Head. Tail oj 3 or more Syllables. ^if IjeniwAn dAZ. ^dount 'bluk is trAbl. ^Qaet kjuld wad. mait sju:t mi'. in %A.b9 rispekts it s oikait. bai'Ulin woznt 9 sju'tabl pleis. 'In all these examples the intensification is increased by replacing the Superior [ ] by the Scandent \_ '\ head ■X. ./ or './ ">.. ,■ or •/../ ■x. or '*...• ■X. ... /■ or ■/ ■'\.. or •/ ONE-SYLLABLE "HEADS" 27 Tone-Group 4. [_-]. Exercise 58. Low-Rising Nucleus gud ^bai. • oiL^rait. /, ^ai _wount hsev mAtJ trAbl ju* nou. /. Section VI. Two-Syllable ' ' Heads ' ' RULES. Inferior. Before the falling nucleus-tone ["V] a 2-syllable inferior head may remain on the mid-level: it s 3 dog. or the second syllable may be pitched between the mid- and the high-levels : it s 3 dog. _ "~ \ As, however, this difference corresponds to no significative distinction, it may be ignored in tonetic transcription: it will be sufficient either to place the sign [ — ] before the first syllable or to leave the head unmarked: it s a \dog. = --^ or •■%. Before the high-rising nucleus-tone [/] an inferior head always remains on the low-level. A two-syllable inferior head before a rising nucleus tone may be marked by placing the sign [ ] before the first syllable: iz it ihia? = ../ Before the falling-rising nucleus [1*] a 2-syllable inferior head is on a low-pitch. The second syllable apparently does not (as in the case of Tone-Group i) tend to rise. Such a head may be marked by placing the sign [ ] immediately before the first syllable, or by leaving it unmarked: if ju' 'Uksen or simply if ju' 'Ukeen = ..1* It is doubtful whether the low-rising nucleus (Tone-Group 4) is ever preceded by an inferior head. Should the case arise it could be marked by placing the sign [ ] before the first syllable. 28 TWO-SYLLABLE "HEADS" 29 Superior. Before the falling and falling-rising nucleus tones [\], [%], the first syllable of a 2-syllable superior head is on the high pitch and the second about midway between this and the initial point of the nucleus: wot s jo' neim? ha:f paist 9ri:. Such types of head may be marked by placing the sign { — ) immediately before the first syllable: ^wot s jo' >neim? = •. ha:f paist 'UGri:. . = •. ' In the case of Tone-Group i, when the second syllable is unstressed it may tend to remain on the same level as the first : ^wot s 5a >taim = ••-^ Before the high-rising nucleus [/] the first syllable of a 2-syllable superior head is on the mid or the high-pitch (according to the degree of intensity) and the second about midway between this and the initial point of the nucleus: ka:nt ju: si:? — > This type of head may be marked by placing the signs [ — ] or [ ] immediately before the first syllable: • — ^kamt ju' /si:? = '•/ ka:nt ju' isi:? = "•/ When the second syllable is unstressed, it may tend to remain on the same level as the first : — wAns 3 /vvi:k? = ••/ ^wAns a iwi:k? = "/ The low-rising nucleus-tone [^] is rarely preceded by a 2-syllable superior head. When it is considered desirable to mark it, the same method may be adopted as in the case of Tone-Group 2 [/]. 30 ENGLISH INTONATION Scandent. A 2-syUable scandent head consists of a continuous rise from the mid- pitch to the highest pitch (the "vertex"): ai dount nou. a: ju' 5sa? ai did a:sk. nev3 maind. A 2 -syllable scandent head may be marked by placing the sign [ ] immediately before the first syllable: ai dount >nou. a: ju' ^8e9? "^ai did Viisk. ^neva ^maind. Heterogeneous. See page 69. TWO-SYLLABLE "HEADS" 31 Exercises Tone-Group 1 . [\]. Exercise 62. Falling Nucleus. 2-Syll. Inferior Head. No Tail. veri \wel. --"V 5set s kwait \tru:. --"V du' it >nau. --"V wsa W3 "Vju:? ••% iz it \jo:z? --"V Exercise 63. Falling Nucleus. 2-Syll. Inferior Head. x-Syll. Tail dsu'ljas \si:z3. ••'\. or •■'. it s laik "VsAma. ••>. or •■'. trai Qa \la:d3 WAn. ••\. or ■■'. wen W3 "Vju: 5s3? •■%. or •■'. daz i' "Vlaik it? •■>. or ■■•. Exercise 64, Falling Nucleus. 2-Syll. Inferior Head. 2-Syll. Tail 6aet s WS3 \fa:63 gouz. ••>.. or • •* ai 3\gri: wi9 ju'. -X. or . •* gou an >get wah 5en. ^■^.. or ■ •* hau kan >ai help it? ■■\.. or • •* iz it >gud anAf? ■•Y. or . •• Exercise 65. Falling Nucleus. 2-Syll. Inferior Head, more Syllables. 5aet s a>nA8a sto:ri. wai Jad ^ju: du' it Sen? ai dount Maik du'ig Sset so:t av 6ig. 5s3 z a"VnA9a problam fa ju' ta solv. ai Jl "Vhsev ta teik it inta kansidareijn. ior Head. Tail of 3 or ^.. or • •* \. or . •• V. or . •• \.. or • •• \.. or . •• 32 ENGLISH INTONATION Exercise 66. Falling Nucleus (Intensified). Tail. sou ju' "^sed. ••'\ prseps it '\iz. ••'\ ai dount '\nou. ••'\ ai prg'^test. ••'\ wDt s it "Mo^l ••■> 2-SyW. Inferior Head. No Exercise 67. Falling Nucleus (Intensified). 2-Syll. Inferior Head i-Syll. Tail. streit bi'\fo: ju'. -X or ••'. bat it '\woz main. ■■% or -r teik 5i '\Ab3. ■■'\. or ••^. hau Jad "lai nou? ■■% or ■•''. wud ju' '^laik tu' ) ..% or r Exercise 68. Falling Nucleus (Intensified). 2-Syll. Tail. 6aet s wot '\Agkl sed. nou WAn '\9o:t ov it. bat ai '\du: laik it. trai 5i '\A5a wAn. wat s 9a '\gud ov it. '■v.. or ..• _ %. or ..y x. or ••'.. x. or .v.. x. or •■/.. 2-Syll. Inferior Head. Exercise 69. Falling Nucleus (Intensified), of 3 or more Syllables. 9a z nou '\daut abaut it. iz it '\laikli ai fud? ai Jad '\laik tu' av bi-n 9sa. ai Goit '\hi: waz 9a wAn ta bleim. wai Jad '^ju: trAbl abaut it? 2-Syll. Inferior Head. Tail \.. or ..'■ X.. or ../■__ X... or • ■/... x... . or ••■'... x... . or •V... TWO-SYLLABLE "HEADS' 33 Exercise 70. Falling Nucleus. ai dount >nou. ^dount ju: >gou. hu: sed >62et? ^wen W3Z ^Qset? ^wil 6ei -*kAin? 2-Syll. Superior Head. No Tail. Exercise 71. Falling Nucleus. ^moust An-^laikli. let Sam -^u' it! ^ju: get -vredi! ^wai not >tel im? ^wil 9ei >du' it? 2-Syll. Superior Head. i-Syll. Tail. ■■>. or ' '■>. or ' ■■>. or ■■■>. or ' ■■■>. or ' Exercise 72. Falling Nucleus. ^teik 3-vnA8a keis. ^nau wi: >Ja:nt bi" log. let mi: -^ksetj ju* Ssa! ^wsa W9d ->ju: av lukt? dAZ M: -vrialaiz? 2-Syll. Superior Head. 2-Syll. Tail. ■■>.. or '■■>.. or ■■>.. or ■■■>.. or ■■■>.. or Exercise 73. Falling Nucleus. 2-Syll. Superior Head. Tail of 3 or more Syllables. batt s not -vmai point 3V vju:. hu: tould >ju: to du* it? ai dount ->laik 6aet so:t ov 0ig. ^wot meid -nju: get Ap sou a:li? wai dotmt ^ju: kampouz o fju: igza:mplz? -V... ■■>.... > > or or or or or 34 ENGLISH INTONATION Exercise 74. FaUing Nttcletts (ItUensified). 2-Syll. Superior Head. Tail. ^moust Aii'\f69. ■■'\ ^ai dount '\nou. '''\ ^du: Qaet '^faist. '"'V ^wai not '\nau? "'x kaen ju: '\gou? "'\ No Exercise 75. Falling Nucleus {Intensified). T-SyU. Tail. ^wDt fain "^weSa! '•'\_ or '•^, ^gudnis '\greij9s! "•'\_ nv ■* ~Tiau di'\laitfl! '•'>. hau Jad '\ai nou? ■•'\_ "Tun d av 'VGoit it? '-x 2-SyU. Superior Head. or or or or or 76. Falling Nucleus 2-Syll. Tail. kwait im'^pasabl! wel ai '\aem sspraizd! wot la:d3 'Vioz i' z got! let 9am 'Vfaind mi' 5sa! ^wai kamt '\]ui du' it? (IrUensified). z-Syll. Superior Head. '■'\.. '■%. '■%. or or or or or EXBtase'pi. Falling Nucleus {IrUensified). Tail of ^or more Syllables. wel ju: 'kur in o mes! ^dount ju: '\lisn tu' im! wel ai '\aem sapraizd aet ju'! ^wai Jod '\hi: ind3oi So benifit? ^ju: dount '\nou hau aeggri hi- kon hi' ! 2-Syll. Superior Head. ■■'\., or "•' or ••/ or f or ••' or "v TWO-SYLLABLE "HEADS' 35 Exercise 78. Falling Nucleus ai dount >nou. •"> "8aet s not -^fsa. -S ■ sou it >iz! -S "^nia bl3ek^hi:e. ■■-, ^wot d ju' -vmim? -S 2-Syll. Scandent Head. No Tail. Exercise 79. Falling Nucleus. 2-Syll. Scandent Head. ' ^3 mi9 >traifl. kwait 3 >JAg WAn. "^it s laik >SAm9. -^ai doiint >laik it, "^wot s it >ju:zd fo"? i-Syll. Tail. -y. or ' '•, -V. or •■-. ■y. or •*•, >. or ■ ■ -y. or •*-, Exercise 80. Falling Nucleus. ^it s not ->gud anAf. ^d3Ast wot >ai wontid. nA9ii) >sju:tid im. "Tii' nouz >evri9ig. ^wot s i' >dAn wi9 it? 2-Syll. Scandent Head. 2 Syll. Tail. '■>.. or ■'-.. '>.. or •'•.. ">.. or • •__ '>.. or ■■-.. '"».. or • •,, Exercise 81. Falling Nucleus. 2-Syll. more Syllables. ai m not ^Joir^ obaut it. hi' z kwait ^gud at SAtJ Gigz. ai wAns >nju: a keis laik 8aet. ^ai dount -*nou sou mAtJ abaut it. "^iivn -«8en ai Judnt agri: wi8 ju' ' or "Vjuar. Scandent Head. Tail of 3 or • >... or " • •>... or ■ •.,, •'■>.... or *'*•••• •'%.... or ' '• •'>.... ... or • • 36 ENGLISH INTONATION Exercise 82. Falling Nttcleus {Intensified). No Tail. 2-SyU. Scandeni Head. ^wot 3 '\Jeim! ■'\ ^nou wAn 'VdAz! ■'\ ^dsAst laik '\main! ''X "^sou it %z\ ''\ "wot s it 'Vfo:? '\ Exercise 83. Falling Nttcleus {Intensified) 2 Syll. Scandent i-Syll. Tail. ^wot 3 '\piti! X or ■/. ai dount '^laik it! '\. or -v. "^wDt a '^njuisns! '\. or ••/. moust Ati'^pleznt! '\ or ■•/. ^it s laik '\sAm3! '\. or -v. Exercise 84. Falling Nucleus {Intensified). 2-Syll. Scandent 2-Syll. Tail. it s not '\rait ov im! •'X. or ■ v.. -^Qdii s Sa '\best ov it! •■'v.. or ■ v.. "^wel ai '\aem sapraizd! ■'X. or ■ v.. hi' z kwait "^gud aet it ! -'X. or ■ v.. ^wud i' '\w3nt ta gou? ''X. or • ■/.. Head. Head. Exercise 85. Falling Nucleus {Intensified), Tail of 3 oy wore Syllables. ai dount '\wAndar aet it! 5set s a '\gud igzaimpl! "^ai Jl '\haev ta spiik tu' im! ''ai Jad '\1av ta du: 6set so:t av Gig! it s a '^wAndafal ikspiarians fo' mil 2-Syll. Scandent Head. ■"a •■'"V or or or or or • ■/, •V, • ■/. •y. •■/.. TWO-SYLLABLE "HEADS' 37 Tone-Gionp 2. [/]. Exercise 86. High-Rising Nucleus. 2-Syll. Inferior Head. No Tail. ^veri /wel. ../ ^nev3 /maind. ../ ]es it iiz. .J _iz it >blu:? .J ^ju' mait >trai. ../ Exercise 87. High-Rising Nucleus. jz it /hevi? ^d9z i' /laik it? veri /laikli. nou it /wDznt. W3Z it /0UV3? 2-Syll. Inferior Head. z-Syll. Tail. Exercise 88. High-Rising Nucleus. 2-Syll. Inferior Head. 2-Syll. Tail. ^jet it /mait 9V bi'n. _did ju" /spiik tu' im? ^wud ju' /ainsar it? ^it s kwait /klous tu' ju*. . iz it /in 59 rum? Exercise 89. High-Rising Nucleus. 2-Syll. Inferior Head. Tail of 3 or more Syllables. iz it /oilwiz laik 5aet? ^bat ai /didnt tel im ta kAm. ^veri ifAni sD:t 9v ainsa ta giv. __wa ju' ieibl ta du: eniGig fo'r im? ^a ju' /laikli ta si: im bifo: saetadi? 38 ENGLISH INTONATION Exercise 90. High-Rising Nucleus. — ^kaen ju: /si:? ••/ — ^jes it /iz! — stedi -^on! — ^mAst ju' /gou? — a:nt 9ei /8s9? 2-Syll. Superior Head. No Tail. Exercise 91. High-Rising Nucleus. — ^wa: 9ei /rial wAnz? — dount ki:p /stsarig! — ^iz Ji' /priti? — ^ka:nt ju' /hia mi'? — du: 8ei /plei mAtJ? 2-Syll. Superior Head. i-Syll. Tail. Exercise 92. High-Rising Nucleus. — did ju: /poust Sa ka:d? — not Sat /ai maind mAtJ". — ^ka:nt ju' /si: it s wet? — dAZ mai /nouz luk red? — ounli /jestadi? 2-Syll. Superior Head. 2-Syll. Tail. Exercise 93. High-Rising Nucleus. 2-Syll. Superior Head. Tail of 3 or more Syllables. — ^wud ju: /laik ta liv 8sa? — ai dount /0igk ju' ni:d gou 8sa. — So:]i^ /ju: dount apru:v ov it! — a: ju' /sa:tn hi' ka:nt du: 8am? — du: wi' /riali sig laik 9is wen wi' spi:k? or "Juali. TWO-SYLLABLE "HEADS" 39 Exercise 94. High-Rising Nucleus. 2-Syll. Scandent Head. No Tail. vobn/tia?! ■"/ "^wa* Sei ijo:z?! •'/ "^neva imaind?! •"/ kaint ju' /weit? ■'/ haev ju' /traid? •"/ Exercise 95. High-Rising Nucleus. in sau/6aeinptn?! -^wil i' ^get it? ■^doxint ju' /laik 8am? tu: an /eitpans? ! '^haid pa/teitouz?! 2-Syll. Scandent Head. x-Syll. Tail. Exercise 96. High-Rising Nucleus. ^cud ju' /spea mi wAn? ■^wount 8i /A8a du'? iznt /8is 8a wAn? 'dount ju' /wont ta gou? ounli /wAn keim bsek?! 2-Syll. Scandent Head. 2-Syll. Tail. Exercise 97. High-Rising Nucleus. 2-Syll. Scandent Head. Tail of 3 or more Syllables. — dount ju' /faind it sou? ■ ^waint 8ei /drest propali? "^amt Sei /gud auAf dount ju* Gigk? — nia 8a /poust ofis did ju' sei? ■^a: 8ei Mali az bsed az i* sez? 40 ENGLISH INTONATION Exercise 98. Falling-Rising Nucletis if ju" 'Ukaen. ..% Tone-Group 3. [%]. 2-SyU. Inferior Head No Tail. bat ai 'Uwoz. .A bat it %iz. ..% in 5a T^haus. ..% wiar al^loun. ..% Exercise 99. Falling-Rising Nucleus. Tail. if ju' 'Ukaen gou. ■■\ or .y. bat ai Ijwoz 5ea. ■■\ or ..// bat it 1»iz hia. ■'\ or .y. in 8a l^gaidn. ■■\ or .y. it s im't^poitnt. ..V or .y/ 2-Syll. Inferior Head. i-Syll. Exercise 100. Falling-Rising Nucleus. 2-SyU. Inferior Head. 2-SyU. Tail. if ju' 1*ksen si: im. ..'\.- or .y.- bat ai '1>wdz Apstsaz. ..'\.- or .y.- bat it Tiiz redi. .."X.- or .y.- in 8i T^ASa rum. ..Xy or ••• V 8i aT>kaedami. ..'\./ or ... / Exercise 101. Falling-Rising Nucleus. 2-SyU. Inferior Head. Tail of 3 or more Syllables. if ju' likaen kAin tadei. bat ai 1>woz at 8a steijn. in 8i I^ASa dipaitmant. if ju' l^ksa ta kAm houm wi8 mi. if ju- T^Jud kAm akro's it at eni taim. a..^ or X.. or 'V...- or '\....- or •\....- • or TWO-SYLLABLE "HEADS" 41 Exercise 102. Falling-Rising Nucleus. 2-Syll. Superior Head. No Tail. if ju: 'Ulaik. '■% ^nou wAn IkIaz. ■•'\, ^Ssets not '\io:l. '•% ^not in 'Uhia. '■% ha:f pa:st 1*011:. '■% Exercise 103. Falling-Rising Nucleus. Tail. if ju: Wont WAn. ^nou WAn T^sed sou. ^not on T^poipas. ^not fo 'Umai seik. ^not wail "Uai m hia. 2-Syll. Superior Head. i-Syll. ■•V or ■•V or ■•V or ■•V or ■•V or Exercise 104. Falling-Rising Nucleus Tail. ^if ju: Wont to gou. ^5aet s wot 1*31 Jod du:. ^nou WAn Wonts ju' tu'. ha:f pa:st Waji wod du:. ^if it T*kAmz tu' it. 2-Syll. Superior Head. 2-Syll. ■•'\./ or ■•'\./ or "n./ or '■'\.^ or "n..- or './ Exercise 105. Falling-Rising Nucleus. 2-Syll. Superior Head. 3 or more Syllables. ^nou WAn 'Ulaiks to bi' leit.. ha:f pa:st Wau mait siu:t im. ^if ju: 'Ukso to kAm houm wi5 mi'. if ju: Wont to teik holodi. ^ai dount 1*nou 5at 60 z eni obdsekjn. Tail of ■">". or ••/, ./ '■'\..- or ••/_ .• '•"x..- or ••/. ■ • ■"V....- or ■■/. ..••* '•"X .. or ••/_ 42 ENGLISH INTONATION Elxercise 106, Falling-Rising Nucleus. 2-Syll. Scandent Head. No Tail.- "^if ju' "Uksen. •■'\, ''ai did 1>trai. ■'% ^"ai m not '\*Jd9.^ •'% "^ju' mait Viisk. ■'% ai dount T^nou. •■'\, Exercise 107. Falling-Rising Nucleus. 2-Syll. Scandent Head. I'Syll. Tail. "^m 53 'bgaidn. ^ai m not 'l>s3:tn. ^5ei did '\>a:ns3. '^ai nou ^dson dAz. ^"ai dount 'UGigk sou. 'v or ••/ "v or ■ •/ "v or •V "v or • V 'v or ■V Exercise 108. Falling-Rising Nucleus. Tail. if it 'UkAmz tu' it. '^5ei did T*sei 9ei wud. ^it woz 1*intristig. not in 1>evri keis. ju' kaint 1>kaunt on it. 2-Syll. Scandent Head. 2-Syll. ■'\.^ or ■v.. ''\..^ or •■■'./ ■^/ or •■'./ '"X.^ or •v.. ■'\./ or •■'./• Exercise 109. Falling-Rising Nucleus. 2-Syll. Scandent Head. 3 or more Syllables. if ju' T^ksa to du' it. it did 1«i:m raiSo streui3. ^ai dount I^Sigk i' kon kAm. ^t woz 'Ukaind ov im to kAm. if ju' IjksEn msenids to du: wi5aut it. ''\. .• or •V. ■'\. y or •V. ''\. { or • •/. ■'\. ./ or ■ •/. ■'\. or •V. Tail of ' or 'UJuo. TWO-SYLLABLE "HEADS" Tone-Group 4. [^]. 43 Exercise 110. Low-Rising Nucleus. 2-Syll. Scandent Head. No Tail. "^dount bi: ^leit. "^it s o:L.rait. hia ju' ->a:. "in ]u' _sept it rait anAf. dount bi' ^aegkjas abaut mi. "^ai wount ^tel enibodi. 2-Syll. Scandent Head. Tail of 3 ^ or ^doa. Section VII. "Heads" of three and more Syllables RULES. Inferior. Before the faUing nucleus-tone (Tone-Group i), a head of three or more syllables may remain on the mid-level: 8set s d3Ast wot ai wontid i^ nou or each successive syllable may be pitched slightly higher than the one before, up to a point a little below the initial point of the nucleus : 8aet s d3Ast wot ai wontid t9 nou — \ As, however, this difference corresponds to no significative distinction, it may be ignored in tonetic transcription, it will be sufficient either to place the sign [ — ] before the first syllable or to leave the head unmarked: — 8aet s d3Ast wot ai wontid tg "Vnou or 8aet s dsAst wot ai wontid ta "Vnou = "Vor "V. Before the high-rising nucleus-tone (Tone-Group 2) an inferior head always remains on the low level. This may be marked by placing the sign [ ] before the first syllable: do ju' 6igk i' z laikli to /lovm? = / Before the falling -rising nucleus (Tone-Group 3), an inferior head is on the low-pitch and (unlike the head of Tone-Group 1) does not tend to rise. Such a head may be marked by placing the sign [ ] immediately before the first syllable, or by leaving it unmarked : ju' kod ov Waiad = ...% In the case of Tone-Group 3, examples of an inferior head of more than three syllables appear to be rare or of doubtful occurrence. It is doubtful whether the low-rising nucleus (Tone-Group 4) is ever preceded by an inferior head. Should the case arise, it could be marked by placing the sign [ ] before the first syllable. 44 "HEADS" OF THREE AND MORE SYLLABLES 45 Superior. Before the falling and falling-rising nucleus-tones (Tone-Groups i and 3), the first syllable of a superior head is on the high pitch, each successive syllable being pitched slightly lower than the one before. The last syllable is sUghtly higher than the initial point of the nucleus. Such types of head may be marked by placing the sign [ ] imme- diately before the first syllable : ^wot meiks ju: kAm sou >leit? = -^ maind ju: doimt meik im tu: l^kro's = 1* Note however that unstressed syllables may tend to remain on the same level as the syllable immediately preceding: ^wot da ju' meik 5a -^taim? = *■■"> ^9aet s wot i* sed ta mi' T^faist. = '"•"']> Before the high-rising nucleus (Tone-Group 2) the first syllable is on the mid- or the high-pitch (according to the degree of intensity), each successive syllable being pitched sHghtly lower than the one before, the last syllable is slightly higher than the initial point of the nucleus. This type of head may be marked by placing the signs [— ] or [ ] immediately before the first syllable: ^doimt ju: 9igk hi' o:t ta /rait? = i Note however that unstressed syllables may tend to remain on the same level as the syllable immediately preceding: iznt it ra:6a istrein^3? = ■■■■•/ It is doubtful whether the low-rising nucleus (Tone-Group 4) is ever preceded by a superior head of more than one syllable. Should occasion arise, it could be marked as in the case of Tone-Group 2. [/] Scandent. Scandent heads of three or more syllables may be Unbroken or Broken. Unbroken Scandent. In an unbroken scandent head each successive syllable tends to continue the rise of the preceding syllable. 46 ENGLISH INTONATION An unbroken scandent head may be marked by placing the sign [ ] immediately before the first syllable: ^"ai 9oit it W3Z wAn 9n >faiv = > ^"waint 5ei in Sa /wei? = -") "'it iznt 3 Txiog. = ""% ^ai 1 kAm bsek az su:n az ai _^kaen. = ^ In the case of Tone -Groups 2 and 3, examples of an unbroken scandent head of more than four syllables appear to be rare or of doubtful occurrence. It would seem that scandents of this length tend to become "broken." This however only applies to Tone-Groups 2 and 3, for very long im- broken scandents may be noticed when followed by a falling nucleus: "^it s WAn av 8a moust impjudant rikwests ai v eva haid in oil mai -ylaif ! = -« Broken Scandents. A broken scandent may be described as a succession of rising syllables interrupted once or more by sudden drops: wot a rima:kabli priti litl haus! It will be noted that each successive drop is slightly lower than the preceding one. Broken scandent heads may be marked by placing the sign ["^ before each of the syllables initiating a rise. Thus the above sentence will be transcribed as ^wot 9 ri ^ma:kabli "priti Utl >haus! Heterogeneous Heads. See page 69. 'HEADS" OF THREE AND MORE SYLLABLES 47 Exercises Tone-Group 1. [>]. Exercise 114, Falling Nucleus. 3-Syll. Inferior Head. gud a:ft3\nu:n. •••% 8aet s d:1 ai V >got. •••"V du' it 9"\getn Sen. ••■\. or •■'. wai dount ju* >gou 8s3. ■••\. or ■■''. kaint wi: faind \aut obaut it? ■••\... or ••'... Exercise 115. Falling Nucleus nA0ir) els waz Meft! hi' woznt at ^houm. wai Judnt i' 'Vdsoin as? ai didnt weik "VAp in taim. wot s 5a gud av \spi:kig tu' im? 4-SyZ/. Inferior Head. •■■■>. •■••>.. ■•■■\... or or or Exercise 116. Falling Nucleus. 5-Syll. Inferior Head. ju' V got ta teik jo* "Vtjains. "V iz it 6a WAn ju' Wontid? 'V. or tel im it iznt "Vgud anAf. \.. or SAm ov 9am siimd kwait \aegkj9s ta gou. \... or wai dount ju' rait an "Vaitikl abaut it? \ or Exercise 117. Fatting Nucleus. 6-Syll. Inferior Head. > \. or ■•■ \.. or ■•• 8set s igzsekili wot ai \sed! wai Jad i' bi' sou a>noid 8en? iz 8ar eni ju:s in 'Vgouig 8ea? ai dount Gigk 8a z eni \ni:d fa ju' ta rait tu' im. W' dAznt si:m ta bi* 'Veibl ta du: 8aet so:t av Gig. •■•\. ■■\ or or 48 ENGLISH INTONATION Exercise 118. Falling Nucletis (Intensified). 3-Syll. Inferior Head. it o:l di'\penrfz! ai m glaed ta 'Vhiar it! ju' mait 3v 'Vnoun ai Jud! ai dount nou '\hau ta du: it! 9aet s d3Ast wot 'Vai W9z gouig ta sei 1 •••a •••'>. or •••'\.. or •■■%.. or ■■■%... or Exercise 119. Falling Nucletis [Intensified). 4-Syll. Inferior Head. ai ment 5aet fa '\ju:! ai V dAii it o:l'\redi! 8aet s d3Ast wot ai 'Vdu: wont! 9a point iz ai '\ni:dnt aksept it! 9aet s wot mai otild '\Ai)kl ju:st ta sei! -1, or -x or ■■%.. or ■■'\.... or Exercise 120, Falling Nucletis [Intensified). 5-Syll. Inferior Head bat ai doimt Oigk i' '\woz 8sa! wai not gou 8ea neks^ '^niAndi? woteva did ju' 'Viu' it fo'? ju" o:t ta teik mo: '\ksa av ja Gigz! hi' ]u:st ta bi* kwait '\fond av 8aet so:t av 6ig! Exercise 121. Falling Nucleus [Intensified). 8aet s igzsekili wot ai 'Vsed! iz 8ar eni juis in '\gouig Ssa? 9aet s wot meid mi sou a'^noid wi9 im! ai WAnda ju' didnt '\stei a fju: deiz! ai tould im ai haednt '\got eniGig fo:r im. a. or ■ '\. or ■ y_ a.. or ■ /__ %. or • /___ ^.. .. or • ...•■'... 6-SyU. Inferior Head. -> a. or ^ '\. or A a. or ^ %. ... or X "HEADS" OF THREE AND MORE SYLLABLES 49 Exercise 122. Falling Nucleus. ^-Syll. Superior Head. ^wai dount ju* >trai? '■•■> let s haev a^nASa. ■"■■>. or ai m not sou ^Joir^ abaut it. ■"•>... or ^nou wAn S3>d3estid sAtJ a Gig. "■•->.... or hi: lukt sou -^il wen ai so: im la:st. '"•> or Exercise 123. Falling Nucleus. ^-Syll. Superior Head. ^wot meiks ju: Gigk -vQset? ^wai not gou 9e3 >nekst mAndi? ^wot s 6set got ta >du: wi6 it? ^wot s 8a gud av ^spi:kig tu' im? trai ta meik a >betawAnwailio'rabautit » ■■■■>.. or ■ * *»^^ ■■■■^.. or * •»,, "■■"*... or '"•... ».... .. or ■ ' '*•>><<•■ Exercise 124. Falling Nucleus. 5-Syll. Superior Head. ^wot meiks ju: kAm sou ^leit? ■> ^dount teik sou mAtJ fa -^graintid. >. or wai not gou 5sa neksi -^mAndi? >. or ^woteva did ju' viu: it fo'? >.. or ^wai dount ju' rait an >a:tikl abaut it? > or Exercise 125. Falling Nucleus. 6-Syll. Superior Head. ^wai dount ju: trai ta faind -vmoa? -* bddt iznt 5a wau ai >wontid. >. ^wot s gouig ta bi' Qi' >end ov it o:l? >... ^ai ka:nt kwait meik Ap mai >maind abaut it. -^... ai Jl haev ta du: wi>8aut iz asistans Sen. >... ' or >Juar. or or or or 50 ENGLISH INTONATION Exercise 126. Falling Nucleus (Intensified). 3-Syll. Superior^ Head. sou ai Jad '\0igk! "•'\ ~wot a ri'\li:f! ■■•'\ ai ka:nt dis'\kraib it! "■'\. or "■*. luk at 8set '^maen Ap 9sa! "''\.. or hi: si:md sou '\pli:zd wi8 63 buk! '"'\... or •f. \-Syll. Superior^ Head. or or or or Exercise 127. Falling Nucleus [Intensified. ^wai dount ju: du: '\mo3? "'"\ ^wai Judnt i- '\d3oin 9s? ""^. ^trai ta meik 9 '\bet9 watl! ""'\. ^9igk 9v oil 69 '\taim ju- v spent on it! '"•'\. ^wai dount 8ei let '\a99 pi:pi haev 9 tjains ? "••'\. Exercise 128. Falling Nucleus [Intensified). ^d3Ast Gigk wot o:l 8set '>mi:nz ! ""■'\ ^9ir)k wot oil 5aet mAst ''Vniim tu* im! ""•'\.. ai mos to:k tu' im '\si9ri9sli! "■••'\... ^wai didnt ju' tel '\mi: abaut it? "'•'\... ^WE9 z Saet nais ould a:m'\tjs9 ju' ju:si t9 hffiv ? ■■■•■'\.... or 5-Syll. Superior^ Head. or or or Exercise 129. Falling Nucleus [Intensified). 6-Syll. Superior^ Head. ai V sed sou taim a:ft9 '\taim! '\ ^iz 891 eni ju:s in '\gouig 6s9? '\.. or '. ^iz i' eibl tu' 9'\rein3 89 maetg? '\... or ".. hau strein3 8ei dount si: hau "^sili it iz ! f^... or '.. SAm pi:pl meik SAtJ" 9 '\f as abaut 8set so:t 9v Gig! '\ or ^ * In all these examples the intensification is increased by replacing the Superior [ ] by the Scandent [^] head. "HEADS" OF THREE AND MORE SYLLABLES 51 Exercise 130. Falling Nucleus. 3-Syll. Unbroken Scandent Head. dsAst laik ould >taimz! ai V b'st mai ^.ki:! ■^aet s wot bid ^d3o:d3 sed! ^Tii' mait sv >broukn it! • ai 9o:t i* >laikt kAmig hia! '> ■-^ ■~». or ■■v.. or '>... or Exercise 131. Falling Nucleus. ^-Syll. Unbroken Scandent Head. ^ai 6o:t it waz -vblu:! a regjub >nju:sns! ''ju: V mist oil Sa ->best ov it! ai juisi ta 6igk >nA9ig ov it! d3Ast wot ai ik>spektid im ta du: ! ••■■-V ••■■■>. or ••■■•>.. or ••■■-^... or ••■■>.... or Exercise 132, Falling Nucleus. 5-Syll. Unbroken Scandent Head. ^ju' V mist moust av 5a >fAn! ai 6o:t it waz a >blaekba:d! ai wAnda ju' dount >trai foT it! "^Saet s dgAst wot ai in>tendid ta duj ! bset s wai ai didnt >sei eni9ig! • •■■■-» • ••■■>. or •■•■ >.. or • •■"S... or • ••■■>... or Exercise 133. Falling Nucleus. 6-Syll. Unbroken Scandent Head. ai 0o:t it waz waii an >faiv! ■ ^it mait av bi'n moust im>po:tnt! biet s wot ai wontid ta >tel ju' abaut! -^ai wAnda ju' dount ri>f ju:z ta du: 9a wa:k ! — it nevar entad mai >hed ta sei sat J a Gig ! or or or or 52 ENGLISH INTONATION Exercise 134. Falling Nucleus {Intensified). ^-Syll. Unl Head. "^iznt it '\nais! ••■'\ ^wot da ju' '^Bigk! •-a "it s kwait di^laitfal! •••'\. or -^ai dount 0igk "^eniwAn dAz! ■•■'\... or ■"wsar a ju' '^gouig tu' tamorou! ■••a or Unbroken Scandeni ■■■'\ ■■■% or ■■■%. or ■-a.. or ..A.. or Exercise 135. Falling Nucleus {Intensified). 4-Syll. Unbroken Scandent Head. ■^dAznt it luk '\nais! ■"it iznt at a'^toil baed! "^it s simpli ri^dikjalas! ^"ai wAnda ju' '^lisn tu' im! ^it waz simpli '\kAvad wi6 8am! Exercise 136. Falling Nucleus {Intensified). S-Syll. Unbroken Scandent Head. "^didnt i' luk a'\noid! 'Tii' ]u:st ta bi' sou '\fond ov it! ■ ^woznt it riali 'IwAndafl! "^didnt wi' hasv a '\lAvli taim! 'ai 6ir|k it s a moust '^maivalas pi:s av wa:k ! Exercise 137. Falling Nucleus {Intensified). 6-Syll. Unbroken Scandeni Head. ■^Gigkhau mAtJ it mAst av '^ko'st! '\ it neva si:md tu' av a'\lca:d tu' im! '\.. or '.. "it waz riali tu: ri'\dikjulas! ^.. or •". ""ai Judntav6o:tit '\kudavbi'nsoubsed! '\.... or /.... "^ai 0o:t it waz satj a '\pa:fikt igzaimpl! '\.... or •'... A.. or A.. or ■%. or A.... . or "HEADS" OF THREE AND MORE SYLLABLES 33 Exercise 138. Falling Nucleus. 3-Syll. Broken Scandent Head. "^ou ^wot a >Jeim! • > ■^wot 3 "^vail >smel! ••/> ai V lo'st mai >ki:! • > hau "Tcaen ju' >stsend it! / . • >. or '■■ ^ai -^Boit i' >laikt kAmig hi9! / . Exercise 139. Falling Nucleus. 4-SyZ/. Broken Scandent Head. 'wot a -^naisti >dei! •"•■> -^wot 3 ^fAni >kAl3! •"••->. or •'•••. ^meari 'dAznt >laik it! •"•■>. or ■■•. hau ^nbaedli hi >spi:ks! ''••"> ^dsAst wot ai ik>spektid im t9 du:! •■•■>.... or •'•••.., Exercise 140. Falling Nucleus. $-Syll. Broken Scandent Head. 'ws9 d9 ju' "^wont t9 >gou? ^wot 3 "Hot ov ould >rAbiJ! ai tel ju' ai "^wount >h8ev it! "^ai 6o:t i- didnt >nou eni frenij! ^wot do ju" Gigk i- -vdid it fo' Sen? Exercise 141. Falling Nucleus. 6-Syll. Broken Scandent Head. — ^ai '9o:t it woz WAn on -\faiv! /•••••> "^wot evo ^meid "^ju: ' Gigk >9set! ' ^/^ — hi aektjusli "^tould mi' >not tu'! ••■'•■>. or •'"''. — it "^riali ^dAznt si:m >pos9bl! ^ •'">.. or ''•'••■•, — ^ai dount And9 ^stsend 9 >w3:d ov it! ■■■■■">.. or ""•''. •■■■■■V •■■■■>. or •••/>. or •"•■>... or •■■•■>... or 54 ENGLISH INTONATION Exercise 142. Falling Nuclem {Intensified). s-Syll. Broken Scandent Head. ^its "Ttwait a '>tjein^3! ''■''\ "iznt -"aset '\fain! ■'^'X Gigk -^wot it '^mhnz tu- ju'! ^■■'\.. hau taen ai '^Gaegk ju* anAf ! '^"'\.... "^wot Lvvli '\we5a wia haevig! ''"^.... or ''•v.... Eixercise 143. Falling Nucleus {Intensified) 4-Syll. Broken Scandent Head. or or hau 'naisli hi' '\spi:ks! '■■■^ ■^faensi "^miitig '\j-a:! •■••'\ -^tel mi "o:! a'^baut it! ■■■■% or ^wot a "TavU '\sAnset! ■■■■% or "wot -najuitifl '\kAl3z! '■■■% or -a "a. or /•■ .-^ ■^. or •■■ ■ •/ ■'\. or ^•' '■'', •'\.... or •■' • v Exercise 144. Falling Nucleus {Intensified). 5-Syll. Broken Scandent Head. ^wai not 'gou far a "^woik? 'Tiau ^nais it mAst av '\saundid! ■^•' hau ju' ^mASt av in'\dg3id it! "Tiau veri "^wel i' '\raits, tu:! ^.- ^ai riali Gigk ai '^mAst, wAn av 8i:z deiz ! • • ' Exercise 145. Falling Nucleus {Intensified). 6-Syll. Broken Scandent Head. ^wot a ^priti litl '\haus! "^wear a ju' gouig ta'\morou! hu: eva wud av i'^maedgnd sAtJ a Gig ! "^ai Judnt av -^Qoit it '\kud av bi-n sou nais! "^iznt it "riah a '\gb:rias pi:s av nju:z! ■■'\ -'\. or •■■ ..•* ■■'%... . or'- ••V •■'\... . or •■■ •.V -'\... . or •■ ••■' "HEADS" OF THREE AND MORE SYLLABLES 55 Tone-Group 2. [/] Exercise 146. High-Rising Nucleus. 3-SyU. Inferior Head. ju' niidnt -^sei ai tould ju'. ai nev3r /a:st im ta kAm. ai didnt /9ir)k it maetad mAtJ. ai dount Gigk /ju: eva ni:d gou Qsa daz i' 9ii)k /hi' kad du' it enibeta? Exercise 147. High-Rising Nucleus. ai Judnt av inoun. 4-Syll. Inferior Head. ...J ^wel it o:l di/peiK^z ju' nou. •' Qa z nA0ig 6a Anseta wi6 it. •■' bat ju' didnt /oilwiz hould Saetvju: ••• ^it iznt a /pa:fikt spesiman. • Exercise 148. High-Rising Nucleus. 5-Syll. Inferior Head. ai didnt 9igk it /msetad. ' az log az i' bi/heivz imself. •' 5set mAst bi' veri /o:kwad fo-r im ■■■ it iznt 8at ai /laik du'ig satj" Gigz .•• ai neva nju' i' /laikt du'ig 5set so:t av 9ig ■• Exercise 149. High-Rising Nucleus. 6-Syll. Inferior Head. wi' oilwiz hsev 9am at /houm. / ^it iznt 9at ai ab/dgekt tu* it. ■' aiftar oil it woznt Marias. ' ai hsednt eni ab/d3ekj"n tu- it. •■' it iznt az if it /msetad veri mAtJ tu' im 56 ENGLISH INTONATION Exercise 150. High-Rising Nucleus. ~ai ju: in/Joid? ""6aet wDznt Anai aidia. "dount ju' Gigk i6is wAn mait du:? ~W9: ju: in itaim jestadi? "did ju: sei /ju: kad du: SAin ov 53m? 3-Syll. Superior Head. Eixercise 151. High-Rising Nucleus. /^-Syll. Superior Head dount bi' sou imipeijnt! ^ju: so: Aim in ipseris la:st mAn9?! ^did ju' get mai /letar in taim? did i' sei hi' /woznt gouig ta mi:t as? ' ^ni:d wi' riali itrAbl abaut it? Exercise 152. High-Rising Nucleus. 5-SyU. Superior Head. dount ju' 6igk it s tu: iould? "•••/ dount bi' in SAtJ" a /hAri. ka:nt ju: si: wot ai m >draivig set? \z it riali im/posabl ta gou Sea? ^wnd ju' laik ta luk /ouva 8a bildig? Exercise 153. High-Rising Nucleus. 6-Syll. Superior Head. ^iznt it ra:6a ma/natanas. iz it laikli ta bi' -^pa:manant? dount 8ei liv SAmwsa nia /livapul stri:t? dount ju' Gigk ju' mait im/pru:v on SAtn av 8i:z meGadz ^dount get inta sAtJ a /tempa wen pi:pl kritisaiz ju* ! "HEADS" OF THREE AND MORE SYLLABLES 57 Exercise 154. High-Rising Nttcleus. 3-SyU. iznt it /rait? ^woz it in /oigast? kamt ju' 3/reinrf3 to kAm? dount ju" get /taiad av 6aet soit sv 6ig? -^aint ju' ig/zsedsareitig Sa sitjueijn ra:6a? Unbroken Scandent Head. Exercise 155. High-Rising Nucleus. ^-Syll. Unbroken Scandent Head. "wa:nt 5ei in 6a -^vei? ••■'/ ^wudnt i' kanisent ta 5a tjeint^s? 'Tii' woznt at /houm, did ju' sei? ■ ^woznt it im/paitant anAf? kudnt ju' pa/sweid im ta let ju' o:f? (Good examples of Tone-Group 2 containing a 5 or more syllable Unbroken Scandent Head appear to be of rare or doubtful occurrence.) 58 ENGLISH INTONATION Exercise 156. High-Rising Nucleus. s-Syll. Broken Scandent Head. ■^dount ■ ^ju ^'nou iSaet?! dAz i' ^"spiik ^igglij? -^iz 6set "^jo: /dog ai so:? "Tcaint ju' aheind^ t9 kAm sAmtaimz? a:nt "^ju' ig^zaedgareitig 59 sitjueijn ra:69? •V.' Exercise 157. High-Rising Nucleus. 4-SyU. Broken Scandent Head. 'aint 8ei ^raiSgr iould? 'iz it "Tcwait in /oida? 'did ju' get mai AetsT in taim? 'dount ju' ""Sigk it >wud bi' beta? 'niidwi' ^ri9li /tiAbl gbaut it? / Exercise 158. High-Rising Nucleus. 5-Syll. Broken Scandent Head. 'woznt it "^raiQar iod? ■••.-/ ^wudnt it ' bi' a /gud wAn? ^"iznt it "^raiSgr 9 /koman keis ■ didnt ju' Gigk 8ei /w9:kt ha:d 9nAf? "^da ju: pri^ fa: 9i /ibstreitid idijn? Exercise 159. High-Rising Nucleus. 6-SylL Broken Scandent Head. ' didnt ju' "^si: im t9/dei? ■••.••/ ^'wud ju' kE9 t9 ""gou an /get wAn? ■•■•■.■ ""haevnt ju' '''ev9 si:n iQouz bifo:? ■■"•■■.•■ "dount ju' "Gigk i' -"mait bi' /tould abaut it? •■••■•.••■ "waint 8ei -^ra:8a "^baedli /o:f 9t 8aet taim? ■'••••.••■ "HEADS" OF THREE AND MORE SYLLABLES 59 Tone-Group 3. [%>]. Exercise 160. Falling-Rising Nucleus. ju' kad 3V Waiad! ju" mi:n "in I^Lrndgn"! it W3Z 53 1*best bAta! SAm av 8i 'UAQaz malt nou! if ju' wa 1*S9:tn hi' d hi* 8s3.... (Examples of Tone-Group 3 containing a 4 or more Syllable Inferior Head appear to be rare or of doubtful occurrence.) 3 -Syll. ..A Inferior Head. ...'\/ or . ./ ^ ..A.. or . ..*.• ..A. / or . ..•' y ..A.. / or . • •• 6o ENGLISH INTONATION Exercise 161. Falling-Rising Nucleus. ySyll. Superior Head. dount bi: tu: I^Joa^! ''•% 8aet s not wot T^ai miin! "'"'V/ SAm piipl lidai laik 83m! ''■'\.- ^if ai wa T^saitn ov it! ''■'>..• ^noubodi Wontid ta gou Sea! ''•'>..• or ■••/ or •-./ or ••V or ••■/ Exercise 162. Falling-Rising Nucleus. 4-Syll. Stiperior Head. ^9aet s not wot ai lament ta sei. ^wen ai went ta Imaentjista. ^nau ai m bsek in T^Luidan agen.... ^ai dount si: wot "Ujuis it s gouig ta bi*. Sset woznt wot 1*ai waz toikig abaut. Exercise 163. Falling-Rising Nucleus. 5-Syll. ^if M: sed it in T^pAblik.... ^dount 9igk i' riali Tanirnz it. pi:pl dount o:lwiz T^sei wot 8ei 9igk. ^dount sei ai didnt "Worn ju' abaut im! ^nau ai kAm ta kan1./ or ' •■.f / "■•'\.- or ■ '■■•. ^ ••••%•• or '•■'.- '■■■■\...- or ' ■••'..• -■■'\.... • or ' •••f... Inferior Head. •••••V or ' ■■••*/ •••••v or ' -.'/ ••••.'\..- or ■ "••/. ^••■■^..■ ■ or ' •••.f ■■■■■'\..- ' or * ' • , Exercise 164. Falling-Rising Nucleus. 6-Syll. Superior Head. ^maind ju: dount meik a mis'Vteik. ai dount mi:n hi' d du' it '\>baedli. ^if i' z laikli tu' a'\^ri: tu' it.... 9aet s not wot ai woz kam1>pleinig abaut. ^if hi' Jad haepn ta Tanenjn 9a maeta tu* ju', % '\^ oy .. .../ '\.- or .. ..•' 'V.- or .. . . •• 'V.... • ■ or .. • . »• ^ or 'UJua. "HEADS" OF THREE AND MORE SYLLABLES 6i Exercise 165. Falling-Rising Nucleus. ^maind ju* dount 'Ufo:!! 3-Syll. Unbroken Scandent Head. Saet iznt 'UevriGig. ^it s not 8 1*810111119. ju' malt av 'Uritn tu' itn! "al dount Glgk 'Umenl plipl 9d du' It. Exercise 166. Falling-Rising Nucleus. 4-Syll. Unbroken Scandent Head. '\.y or • ••/./ %y or ••■•V "X..- or • ■'••. • '\ or • ' *•' ^maind ju' dount dlsl^taib Im! "^It Iznt 3 'Ulaids wau. ^It Iznt a'UstonlJ'ig. 8s a raiSar 3 T^boQa SAmtaimz. ^t dAznt si:m 'Ulaikli ta stop relnlg. ■•■'\..- or or or or or (Good examples of Tone-Group 3 containing a 5 or more syllable Unbroken Scandent Head appear to be rare or of doubtful occurrence.) 62 ENGLISH INTONATION Exercise 167. Falling-Rising Nticleus. — ^if ju' "^dount 'Umaind. "^maind ju* dount 'kirop it! "^Saet iznt VvriSig. — hi: "^iz iml^peijiit abaut it! 3-Syll. Broken Scandent Head. 'V ■'>.... 'ai "^dount "Sigk l^evribodi ad du' it. ^'^ y'\.. or or or or y * / /.. Exercise 168. Falling-Rising Nucleus. 4-Syll. Broken Scandent Head. if i' didnt 1>nou.... " ^maind ju' "^dount fg'Uget it! 'nau ai ' kAm ta 'UGigk abaut it.... ■^Qaet -^woznt Sa UJiif difiklti. ■^ai dount si: wot 'Uju:s it is gouig ta bi'. ■% or or '■■/•/ ••V . •'\...- or ,..., ■■\ or ■•v_. Exercise 169. Falling-Rising Nucleus. 5-Syll. Broken Scandent Head. ' ai spouz ju' "^kudnt l^kAin. ai ka:nt weit "Tiiar o:l Mei. "^dount fa ^get ta ril^maind mi. ■ ^pi:pl "^dount '^o:lwiz T^sei wot 8ei 0igk. 'dount ^sei ai ' ^didnt Wo:n ju' abaut im. ■1* ■-u 'V or ■•••"/ •\... or .•/../ "\..- or /.-../■ Exercise 170. Falling-Rising Nucleus. 6-Syll. Broken Scandent Head. ^maind ju- dount "meik a misT^teik! "^if i' d ''a:st mi fa pa'VmiJn.... "^it woznt sou ^mAtJ 9a 'VmAni kwestjn. it iznt wot "^hi: z ik'Uspektid ta du:. "^it s not wot ai m in 6a T^hsebit av du'ig . •■•■••1, ::-:^: or ■ or ■ .•••/ ••••/ ..-.■rx . or ■ ••••/ ■■■■•'\'... or • ■•••/ "HEADS" OF THREE AND MORE SYLLABLES 63 Tone-Group 4. [_>]. Exercise 171. Low-Rising Nucleus. z-Syll "^put it g^wei. maind ju' dount ^lu:z it. "^ai J"a:nt fa-^get it. "^gud a:ft3_:.nu:n. ai 1 du: mai ^best fo' ju.' Unbroken Scandent Head. Exercise 172. Low-Rising Nucleus. dount faget ta ^rait. dount du: tu: mAtJ ^W9:k. "^maind ju' dount target it. "^maind ju' du' it -j.propali. "^63 z nA0ig ta ^wAri abaut. 4-SyW. Continuous Scandent Head. Exercise 173. Low-Rising Nucleus. 5-Syll it mait av bi'n mAtJ _^wa:s. hi' 1 bi' daun in a ^minit. ai 1 bi' saitn ta ^poust it. ai houp ju' 1 haev gud ^weSa. "^it s a greit konsa^leijn. Continuous Scandent Head. Exercise 174. Low-Rising Nucleus. 6-Syll sou niAtJ" 6a beta fa ^mi:. -^du' it az wel az ju' _ykaen. ai 0ii)k it 1 bi' oiL^rait. ai 1 kAm baek az sum az ^posabl. ■ ^ju' wount hsev ta weit niAtJ" ^bgga . Continuous Scandent Head. 64 ENGLISH INTONATION Exercise 175. Low-Rising Nucleus. "^maind ju ^douiit ^fo:l. 3-SyW. Broken Scandent Head. dount ^"kiip im _>weitig. /.• dount ^'meik it -jdaiti. /.• 'Tisev 9 "gud ^hobdi. •V ai kan teik _^moust ov 53m. ••/ Exercise 176. Low Rising Nucleus. /\-Syll. Broken Scandent Head. ^'dount meik ' tu: mAtJ .^noiz. ■'•■^ giv mai "^av ta -^msari. ■■••.. "TcAin an "^sei gud_>bai tu mi*. "■•■... ^TAn a log an _]. 1. \ai so: Sam laist wi:k. 2. ai ~Vsoi 6am laist wi:k. 3. ai so: >6em la:st wi:k. 4. ai so: 5am \la:st wi:k. 5. ai so: Sam la:st \wi:k. Exercise 182, [ '>]. 6.1 15- 16. 17- 18. '^hau Jad ai nou 5am? ! hau '^Jud ai nou Sam ? 1 hau Jad '\ai nou Sam? ! hau Jad ai '\nou Sam? ! hau Jad ai nou '\6em? ! Exercise 180. [—'\]. 6. '\&set waz wai ju' went ! 7. Sset '^woz wai ju' went ! 8. Sset waz '\wai ju- went ! 9. Sset waz wai '^ju: went ! 10. Sset waz wai ju' '^went ! Exercise 183. [-^X]. 1.2 \ai 9o:t i' waz il. 19. ^"ai ■\9o:t i' waz il. 20. ^ai 0o:t >hi: waz il. 21. ''ai 6o:t i' >woz il. 22. ai 9o:t i' waz >il. Exercise 181. [ >]. i.^ Wai did ju' kAm hia ? 11 . ^wai >did ju' kAm hia ? 12. ^wai did ~»ju: kAm hia ? 13. wai did ju' >kAm hia ? 14. ^wai did ju' kAm >hia ? Exercise 184. [•^'\]. 6.* '>hau wel Souz pla:nts grou !* 23 . 'Tiau '^wel Souz pla:nts grou ! 24. ''Tiau wel 'VSouz pla:nts grou !* 25 . — liau wel Souz '\pla:nts grou !' 26 . ''Tiau wel Souz pla:nts '^grou !* ^ Apparently indistinguishable from the first example of Ex. i8o. ^ Apparently indistinguishable from the first example of Ex. 179. * Apparently indistinguishable from the first example of Exs. 180 and 182. * Of rare or doubtful occurrence in such types of sentence. ^ Shown as a continuous scandent, but the speaker would tend to transform it into a broken scandent. FIVE SYLLABLE EXERCISES 67 Tone-Group 2. [i]. Tone-Group 3. [1*]. Exercise 185. [ /]. 27. /ai kan teik mai buk. 28. ai iksen teik mai buk. 29. ai kgn /teik mai buk. 30. ai kan teik /mai buk. 31. ^ai kan teik mai /buk. Exercise 188. [_'V]. 40. I^if ju' kan kAm nau. 41. ^if 'Uju: kan kAm nau. 42. if ju' 'Uksen kAm nau. 43. if ju' kan 'UkAm nau. 44. if ju' kan kAm T^nau. Exercise 186, [ i] or [— /]. 27.^ /did ju' get mai ka:d? 32. did /ju: get maika:d? 33. ^did ju' /get mai ka:d? 34. did ju' get /mai ka:d? 35. ^did ju' get mai /ka:d? Exercise 189. [ %\. 40.* 'Uai dount 6ii)k 6ei plei. 45. ai 'kiotmt Gigk 8ei plei. 46. ai dount T^Sigk 8ei plei. 47. ai dount Gigk 1<3ei plei. 48. ' ai dount 0igk 6ei 'Uplei. Exercise 187. [-^/]. 27.^ /kaint ai teik 9ouz bsek? 36. kaint /ai teik 5ouz bsek? 37. ka:nt ai /teik 5ouz bsek? 38. — ka:nt ai teik /5ouz bsek? 39. ka:nt ai teik 5ouz /bsek?* Exercise 190. ["'U]. 40.' 49. 50. 51- 52. 'Uju: ka:nt luk set im. — ^ju' T^kamt luk set im. "^ju' ka:nt 1*luk set im. "^ju' kamt luk Wt im. "'ju' kamt luk at Tihim. 1 Apparently indistinguishable from the first example of Ex. 185. 2 Shown as unbroken scandent but the speaker would tend to transform it into a broken scandent. ^ Apparently indistinguishable from the first example of Ex. 188. 68 ENGLISH INTONATION Tone-( Sroup i L W. Exercise 191. ["->]• 53- ^ai eigk i' kg kAm. 54- '^ai ^igk i' kg kAm. 55- ai Gigk ^hi: kg kAin, 56. "^ai eigk i- ' jksen kAm 57- ai Gigk i' ' kg ^kAm. Section IX. Exercises on Heterogeneous "Heads" A Heterogeneous Head is a combination of any of the types already described. They may be marked in tonetic transcription by an appropriate use of the various S5anbols already illustrated. It may be (and the author hopes) that further research will elucidate some or all of the problems presented by these seemingly eccentric and irregular forms. There is probably some connection between these and certain imsolved problems of stress and length. All that we can say in the present state of our knowledge is that the varying head-curves correspond more or less to the various degrees of prominence expressed by each significative element in the head. Many of these heads may perhaps represent embryonic nuclei. Let us take the first example given in the following exercises: || ai dount eigk ai >k3en||. By placing more emphasis on the word "dount," this word may become equal in prominence to the nucleus "ksen." But as a Tone-Group, by definition "can only contain one maximum of promi- nence" the word "dount" wiU become the nucleus of an independent tone-group, and the sentence wiU read II ai \dount GigkH ai \kaen|| = •\..\ or •■..> Exercise 192. Heterogeneous Heads. Tone-Group i ai ^doimt Gigk ai ^ksen. [>]• ai v "^ost mai >ki:. 6aet s ig ^zsekili wot ai >sed. '^Qa point iz — ai "Vniidnt aksept it. wai wi a Icwait -vklous tu' it! hi' Goit it waz tu: >kould. 6aet s — wot ai \sed. it keim — abaut in "V8is wei. hi' waz ^ra:99 ha:d >Ap. ai — dount Gigk ai >poustid it. ai ^dount kwait >nou. 69 or or 70 ENGLISH INTONATION Exercise 193. Heterogeneous Heads. Tone-Group 2 [/]. ai haednt eni abidsekjn tu' it. ' •■" it ^iznt Sat ai /laik duig it. •"■■.■•■ —did ^ju: get mai /let9? •'■•.■ dount 6ei liv ^SAmws3 nia /hia? ■■■•••/ ai dount igzaekli sei ai /laik it. •• " wud ju' kea ta istei? ••'■} or ••"/ Sei 0o:t it ^od ^5ei didnt si: eni /rats. ••■' tor •••'.. This might also be transcribed : • Sei 0o:t it od ^Sei didnt si: eni /raets. •"■ f waz it laist /wi:k ju* wa hia? •• .••* bat ^did ju: /si: im? •'-.■ — iznt it — ^niali /taim? ••'••/ — ^woznt it — ^ra:S3r in Sa /wei? •••..../ Ezeicise 194. Heterogeneous Heads. Tone-Group 3 [%]. hi' ^sed 3 lot ov 'Unonsns. it s ^not ^wot ai m in Sa 'Uhaebit av du'ig. •*.., ^it wDznt sou niAtJ 8a kwestjn av 1*niAni. ••' ai m a freid i: 1 1*9ii)k sou. ai Jad lia:dli 8igk r Wud. ..'■ ju' ^mait ^av 'kx:st mi'. hi' ^dAznt si:m ta 'Ukea veri mAtJ. bat ai du: 0igk i* mait av T^traid. ••'... it s ^ra: ^Sar a T^boSa sAmtaimz. ai ka:nt weit hiar o:l Txiei. V 1* V or-'.// EXERCISES ON HETEROGENEOUS "HEADS" 71 Exercise 195. Heterogeneous Heads. Tone-Group 4 "^ai 1 tel ju' ^wen ai v ^finijt. or -^ai 1 tel ju' — ^wen ai v ^finijt. maind ju' du: — oil ov Sam ^propali. ai 1 bi ^daun in 9 _]. Tone-Group i has so many functions, and these vary so greatly according to the nature of the "head" that I have so far failed to find any comprehensive formula for its use. It is sometimes assumed that it necessarily expresses some sort of finality, but the exceptions are so numerous that it would be unwise to formulate any general rule to this effect. We shall therefore consider the several values of Tone-Group i according to the nature of its "heads." All word-groups with a falling nucleus are subject to intensification, which means that [\] may become ['\]. Such intensification produces a particularly vivacious effect. When used unduly or too extensively it results in that form of speech which has been described as " gushing." Intensification is more characteristic of the speech of women and children than of that of men speakers. 72 SEMANTIC FUNCTIONS OF THE TONE-GROUPS 73 (a) With Inferior Head. In a tone-group containing an inferior head, the prominence is almost entirely confined to the nucleus-word. The system [ — \] is used: 1. In Categoric Statements having a conclusive or final character. The implication contained is: "What I am putting forward in this statement, is an absolute fact." The best examples are to be found in ^^ (i) Answers to questions. N^-.f*' [What's a table?] it s a pi:s 9V \f9:nitj9. [What's it made of?] it s meid 9v \wud. [Where are you going to-morrow?] ai dount \nou. [Are you pleased with it?] 9v "Vkois ai sem. [Is that right?] \jes || it Mz. (ii) Categoric Contradictions, Retorts, etc. [You didn't see him.] ai \did (si: im)! [It's green.] \nou, || it s \blu:! Saet s 69 seim "VSig! 5set s d3Ast wot ai "Vsed! (iii) Announcements, Statements putting forward a fact-not previously mentioned. ai so: \d3Dn jestgdi. 8aet s wot \ai ju:s< t9 6igk. ai 9D:t >lii: W9Z Qg wAn tg bleim. 2. In Special Questions {= questions containing an interrogative word), when the whole of the significative prominence falls on the word marked by the nucleus. The implications contained are: "Then, in that case " "Never mind about that; what I want to know is " [Never mind where I was;] ws9 w9' \ju:? [I don't care what he wrote;] wot did i' "Vsei? 74 ENGLISH INTONATION [Then, in that case,] wai did ju' 8k"Vsept it? [I know where this one is, but] wea z 8i \A8a wAn? [In that case,] wai not \a:sk im? 3. In Commands when the whole of the significative prominence faUs on the word marked by the nucleus. The impUcations contained are: "Then, in that case " "Never mind about that; what I want you to do is " [You're tired? Very well then,] gou an lai >daun! [If you don't like doing it,] dount \du: it! [Very well then, as one isn't enough.] trai an faind a\nA83! 4. In General Questions ( = questions requiring merely yes or mo as an answer) used as tentative solutions to problems. The implications contained are: "But after all...." " Now I come to think about it...." "Here's a point which may solve the problem..." "Perhaps our difficulty in coming to a decision is due to the fact that we have not asked ourselves the following question...." [We've been talking about whether you can go, whether you must go, whether it's right for you to go, and so on, but] ^" da ju' \wDnt ta gou? [Here's a way out of the difficulty:] kudnt wi' gou dsa \leita? [The important thing to know is] wil it Wa:k? [We know they're cheaper, but] a: 8ei az \gud? [After all,] iz it joiz ta Vgiv? 5. In Isolated Words, when quoted or contrasted with other words. eaAtim. a:m"Vtj6a. konva"VseiJn. SEMANTIC FUNCTIONS OF THE TONE-GROUPS 75 Tone-Group 1. [\]. {Continued.) (6) With Superior Head. In a Tone-Group containing a superior head, the prominence is dis- tributed over the head and the nucleus-word, the nucleus however (as by definition) having the maximum of prominence. The system [ >] is used: 1. In Statements of a less Categoric Nature. In the same way that we may have one prominent or outstanding word in a sentence, we may have one prominent or outstanding sentence in a passage. Such sentences (especially when of an emotional or dramatic character) are generally intoned according to this system They are sentences which might be italicized in their entirety. ai dount >laik Qset so:t 9V Gig! ai ka:nt dis^kraib it! 5aet iznt >mai aidig. ^ju: mait av >noun ai Judnt du: satj a 0ii)! ■^ai Gigk ju: o:t ta >spiik tu' im! ^sAdnU 5ei so: 9ri: inoimas >wulvz! 2. In Special Questions (= questions containing an interrogative word) in their most normal form, without any special implications. ^ws9 daz i' >liv? hau ksn ai >get 5e3? ^witj wAn did >ju: teik? ^wot meid ju' >menjn it tu' im? ^wai dount ju* kAm an sit -vdaun? 3. In Commands in their most normal form without any special im- plications. kAm an sit >daun. trai 69 >la:d3 wau. ^gou an >get 9 fju:. ^neva ju: -vmaind! ^ju: du: wot ai -vtel ju! 76 ENGLISH INTONATION ju: teik mai 9d>vais! ^doiint bi' tu: >Jo;r^ abaut it. let s haev a-»nA5a. 4. In General Questions ( = questions requiring merely yes or «o as an an answer) with the following special implications: "....and I answer the question negatively in advance." "Although I ask the question, I know that the answer is negative." "The question is...." [Glendower. I can call spirits from the vasty deep. Hotspur. Why, so can I, or so can any man; but] ^wil 8ei kAm, wen ju: >du: ko:l fo' Qam?!^ ^a: wii gouig ta sgb^mit ta Sis steit av 6igz?! [I know they're deep, but] a: 8ei >gud?! haez i' dAn iz >dju:ti?! [I say he hasn'tl] ^iz it wa:0 wail peiig eni a^tenjn ta satj Gigz? ! [Of course it isn't.] If however the question contains a negative word, the implication win be an affirmative answer: ^iznt 8set >gud ov im?! [Of course it is.] ^dount ju: >0igk sou?! [I know you do.] ^wount 9aet bi ^Lvvli?! [= It will be lovely.] Tone-Group 1. [\] or [->]. (Continued.) (c) With Scandent Head [-^^l. In a Tone-Group containing a. Scandent Head, the prominence is distributed over the head and the nucleus-word; the nucleus however (as by definition) having the maximum of prominence. The significative difference between the Superior and Scandent Heads is difficult to define with precision. As compared with a Superior Head, ^ or -^Juar. 2 The First Part of "King Henry IV.," Act III., Scene I, SEMANTIC FUNCTIONS OF THE TONE-GROUPS 77 the Scandent Head generally expresses more animation. Compare the impressive: 'sAdnli 5ei so: 6ri: inoimas ^wulvz! with the vivacious: 'sAdnli 6ei so: 0ri: ino:m3s >wulvz! The jBrst sentence implies: "How horror-struck they must have been! What a terrible situation for them!" The second sentence imphes rather: "How surprised they must have been! What an interesting experience for them!" Compare also the gloomy: ^it waz moust dis9>pointig ! with the petulant: ^., ^ ,. ■ ^- , it W9Z moust diS9>pomtig! The system ['^>] is used analogously to the system [ >] except (as already stated) that the scandent head expresses more animation. I. Statements. ai dount >laik Qset so:t av Gig! 3. Special Questions, "^wsa daz i' >liv? 3. Commands. kAm 9n sit -^daun! 4. General Questions, ^"wil 6ei kAm wen ju* -vdu: ko:l fo' 59m?! 5. Most Exclamations prove to contain an intensified nucleus with a scandent head [^'^] : ^ "Tiau "^nais! ^wot 9 '\bju:ti! ai '\du: Sigk it s Lvvli! -^au '^kaind ov ju! ^wot 9 ^priti litl "^haus! * Exclamations expressing displeasure, pain, disgust, etc., may, however, replace the scandent by the superior head : wot 9 dredfl '\noiz! or replace the intensified by the non-intensified nucleus : "^wot 9n ■ ^Agli ^kAb! or to be intoned on the non-intensified nucleus preceded by a superior head : wot 9 piti it s kAm on t9 ~»rein! 78 ENGLISH INTONATION Tone-Group 2, [/]. The chief use of Tone-Group 2 is for General Questions (i.e. questions requiring merely yes or no as an answer). It is however not the only Tone-Group used for such questions. The other uses depend more or less on the nature of the head, and each will be examined in turn. Generally speaking, the use of [/] imphes a lack of finality. As Coleman points out in his Intonation and Emphasis: " Here we find what I beUeve to be the true explanation of the rising intonation in questions capable of being answered by "yes" or "no." Such questions seem to me to be simply alternative questions in which the second alternative is suppressed. By its nature such a question expects one of two answers; it is therefore an alternative question; the alter- native "or not" ii in such cases always present to the mind." (a) With Inferior Head. In a Tone-Group containing an Inferior Head, the prominence is almost entirely confined to the nucleus-word. The system [ /] is used: I. In Statements with such implications as .then why....?" .then why not....?" .and so therefore...." ....after all." ...I admit." ju: waint Anhsepi on 53 ^la:st akeisn [then why should you be unhappy on this occasion?] — it W9Z o^lrait /jestadi [then why isn't it all right nowl'\ — it iznt 9Z if it war an /ould wAn [and so therefore....] ai doimt Sigk it veri mAtJ ^maetaz [after all]. _ju' b:nt ifrentj veri iizili [then why shouldn't you learn another foreign language easily?] SEMANTIC FUNCTIONS OF THE TONE-GROUPS 79 — ju' niidnt sei /ai tould ju* [and so the objection doesn't arise.] it iznt a /paifikt spesiman [I admit.] 2. In Statements implying doubt, hesitation or uncompleted thought. ai dount 9igk /ju: eva ni:d gou 5e3 [but stiU....] Q^ z nA9ir) Qs /mseta wi8 it [is there?] it iznt Sat ai /laik du'ii) satj" Gigz [but....] ^it iznt a /paifikt spesiman [I admit, but....] ai hsednt eni abMsekJn tu- it [except perhaps that....] __veri >wel [I don't mind.] ai didnt /nou it waz 5sa [but I'm quite prepared to believe you if you say it was.] __wel, /jes [perhaps it is, you may be right.] 3. In Special Questions (= questions containing an interrogative word) which have already been asked and answered, i.e. the "repeated question." The implication is "Excuse me if I repeat the question; I forget what you answered the first time {or I didn't quite catch yom: answer)." Note. — ^As the nucleus of such questions always falls on the interro- gative word, and as the interrogative word is usually the first word in the question such Tone-Groups are generally without a head. When however a head does occur, it seems invariably to be inferior; for this reason we place this category under the "Inferior Head" group. /wot s jo' neim? /wot did ju' sei jo' neim woz? let mi' si: nau, /wot s jo' neim? /wsa did ju' sei i' livd? ^at /wot taim did ju' gou 6sa? 4. In General Questions ( = questions requiring merely yes or mo as an answer) when the whole of the significative prominence falls on the word marked by the nucleus. The best examples are to be found in a series of guesses, such as in the "guessing game." G 8o ENGLISH INTONATION _iz it /blaek? [No.] iz it ^wait? [No.] _iz it /blu:? [Yes.] ^iz it in 8is /rum? [No.] Etc. But good examples are found in any question in which it is desired to concentrate all the prominence on one single word: daz i' Gigk 5at /hi: kad du' it eni beta? iz it /oilwiz laik 5aet? 3 ju' ilaikli ta si: im bifo: ssetadi? __wa ju' eibl ta /spi:k tu' im? 5. In Words or Word Groups the nucleus of which modifies the nucleus- word of an adjacent tone-group. For examples see Sequences 1-I-2 — page 91. 2-1-1 — page 92. Tone-Group 2. [/]. (Continued.) (b) With Superior Head. In a tone-group containing a Superior Head, the prominence is distributed over the head and the nucleus-word, the nucleus however (as by definition), having the maximum of prominence. The system [— /] or [ /] is used: 1. In Statements having a lively protesting character. ai dount /D:fn gou 9e9! ^jes it /iz! 8aet woznt /mai aidia, bles ju'! ^not Qst ai /maind mAtJ. ai dount 9igk /ju: ni:d gou 5e9. 2. In Commands having a protesting or exclamatory character. ^dount 9igk ai m du'ig it i^ mai /oun seik! bi: /peijnt! dount get inta SAtJ a /tempa wen pi:pl kritisaiz ju! ^du: bi: /kwaiat! SEMANTIC FUNCTIONS OF THE TONE-GROUPS 8i 3. In Special Questions (= questions containing an interrogative word) which are merely echoes of somebody else's question, often ex- clamatory questions. These are in reality General Questions having the form of Special Questions. ^wot iiz it? = dount ju* nou wot it /iz? [What is it?] ^wot /iz it? [Surely you know what that is!] [Where did you go ? ] ^we9 did ai /g ou ? [Why, I went to London ! ] [Who came here?] hu: keim /hia? [Nobody came here!] [How much is it?] hau /mAtJ iz it? [7 don't know how much it is!] 4. In General Questions in their most normal form without any special implication beyond " Is it true?" " ....do you mean?" or " ....please answer yes or no." did /ju: du: 8aet? iz /8is rait? kamt ju: /hia mi'? du: wi: Mali sig laik 9is wen wi spiik? dount ju' 9igk ju* mait im/pru:v on sAm av 8i:z meGadz? 5. In Echoed Statements. These are in reality General Questions having the form of Statements, ju: V Uvd hia fo:ti:n /ja:z?! [did you say?] 9ri: taimz a /dei?! [do you mean that?] nia /Undan?! [are you sure?] ^not ila:d3 anAf?! [did I hear you say?] in imei? ~~9aet /jelou wau? Tone-Group 2. [i]. {Continued.) (c) With Scandent Head. In a tone-group containing a Scandent Head, the prominence is distributed over the head and nucleus-word; the nucleus however (as by definition) having the maximum of prominence. 82 ENGLISH INTONATION The significative difference between the Superior and Scandent Heads is difficult to define with precision. As compared with a Superior Head, the Scandent Head generally expresses more animation. There are notable differences in meaning between the Superior and Scandent Heads of Tone -Group 2. The system [" /] is apparently never used in ordinary statements nor in Commands. It seems to be confined to 1. Special Questions which are merely echoes of somebody else's question (almost invariably exclamatory). These are in reaUty General Questions having the form of Special Questions. This is the more animated and more exclamatory form of the category Tone-Group 2 J, 3. See page 81. ^wot iiz it? = "^"dount ju' nou wot it /iz? 2. General Questions slightly more animated than those of the most normal type (Tone-Group 26, 4.) Compare the more normal (but rather severe) ka:nt ju: /hia mi"? with the pleasanter , 'K:a:nt ju: /hi9 mi'? 3. Echoed Statements of a more animated nature than those given in Tone-Group 2&, 5. Tone-Group 3. [1*]. The exact semantic functions of this tone-group are exceedingly difficult to define with precision. Probably no word exists in the language which wiU aptly describe the peculiar attitude conveyed by its use, although perhaps the term concession expresses it better than any other. It is used exclusively for Statements and Commands, never for Questions. Its main function seems to be to express a certain kind of contrast. In some instances this contrasting function is evident. In the sentence [ai ^didnt sei it waz Wait; || ai sed it waz \bl3ek] the word white is contrasted with the word black. But so strongly does this tone imply SEMANTIC FUNCTIONS OF THE TONE-GROUPS 83 contrast that in many cases the speaker leaves the second element to the imagination of the hearer, thus if I say to you: [ai ~didnt sei it W9Z Wait], you wiU say to yourself: [9en i' sed it waz sAm \a83 IcAla]. In other terms, the use of the tone [1*] implies an unexpressed com- plementary word-group or sentence, introduced by such words as but, although, even if, because, but all the same, you mean. ~6set s not wot Im mi:n, [although it may be what \you mean.] SAm piipl IkIu: laik Sam, [but there are others who \don't.] noubodi Wontid ta gou 8s3, [but everybody \had to.] ^5aet s not wot ai 'lament ta sei, [even if I "vdid say it.] ai ~"dount mi:n ta sei hi' d du- it ^baedli, [but at the same time, I don't think he'd do it \wel]. it ^dAznt si:m T^laikli ta stop reinig, [but all the same it \may.] pi:pl ^dount odwiz Ijsei wot Sei Gigk, [they sometimes con'Vceal what they think.] ^dount sei ai didnt Worn ju' abaut im, [because I "Vdid.] [ Come on >Monday.] on 'Ujuizdi [you /mean.] The use of Tone-Group 3, then, may frequently correspond to the French use of " tout de meme." Ex. it ^iz 1*kould = il fait tout de meme froid. To my friend, Mr. M. Kinoshita, of University College, London, is due the discovery that the use of [1*] in English corresponds to the use of the particle [wa] in Japanese. He has noticed that Qa ~Vdokta keim = ijo go kimajta. 5a 'kiokta keim = ija wa kimajta. Notes on the "Heads" of Tone-Group 3. With an inferior head, the prominence is confined to the nucleus-word. With superior or scandent heads some of the prominence is shared by the head. The significative difference between the superior and scandent heads of Tone-Group 3 is exceedingly difficult to define with precision. The superior head tends to make the sentence impressive; it throws the whole Tone-Group into prominence in relation to adjacent Tone-Groups. 84 ENGLISH INTONATION The scandent head tends to make the sentence (or word-group) conciliatory. Compare (a) ^maind ju: dount 1*fo:I! (A somewhat severe or even minatory command.) (6) "^maind ju- dount 'Ufo:l! (A friendly warning expressing a sort of mock severity.) The scandent head is frequently used (especially by amiable and non- aggressive speakers) when it is not certain whether the statement or command will be welcomed or resented. Tone-Group 4. [j]. The significative value of this tone-group is peculiar, and appears to bear no analogy whatever to the High-Rising Tone-Group [f], nor are there apparently any intermediate or transitional forms between the two. This, I think, justifies its right to be considered as an inde- pendent tone-group, and not a variety of [/]. It is used to convey the idea that aU is well, that there is perfect agreement between speaker and hearer; it is a reassuring intonation. It is intended to have a calming or soothing effect on the hearer but, when injudiciously used, may be irritating to adults. Like Tone-Group 3 [%], its use is confined to Statement^ and Commands, it cannot be used in Questions. It is largely used when talking to very yoimg children; indeed, in many cases any other tone would be so alarming to a sensitive child that tearful consequences might be anticipated. With adults it is chiefly used for the last words said at the moment of parting from anyone, consequently most farewell greetings are intoned on this system. The head is almost invariably Scandent (we have already had occasion to note the animated nature of this type of head). ^ The term statement here covers all sentences which are neither commands nor questions. SEMANTIC FUNCTIONS OF THE TONE-GROUPS 85 Examples, "^gud ->bai. gud _,.,., ^ , mavmg lively protestmg character. ' 2. Commands ) o j f o 3. Special Questions echoed. 4. General Questions. Most normal form. 5. Echoed Statements. 1. Special Questions echoed (in animated manner). 2. General Questions. Animated. 3. Echoed Statements. Animated. Tone -Group 3 f I. Statements "> implying concession. I 2. Commands /Used chiefly for contrast. Tone-Group 4 -tf i. Parting Greetings. [-'] \ 2. Statements having reassuring character. Section XL "Sequences" of Tone-Groups A sentence may contain one, two or more nuclei ( = maxima of promi- nence), and consequently as many tone-groups. Any pair or more of tone-groups in any one sentence (simple or compound) constitutes a tone-sequence. In the present state of our knowledge (or rather ignorance) concerning the fimctions of tonetic phenomena, we can do little but collect t5rpical examples of the various sorts of sequences, endeavour to specify their more obvious semantic functions and trust that these collections will serve as a starting-point for further research. Coleman, in his Intonation and Emphasis has already broken the ground; he has formed certain conclusions and has written much that is helpful and suggestive. The association of tone-groups in sequences has certainly a great bearing on problems of semantic expression; we unconsciously observe these unwritten laws of English intonation, and in so doing ensure the right connection or balance between the different parts of the sentence. The intonation sequences are the spoken equivalents of what is expressed in writing by punctuation,^ underlining and suchlike written devices. It will be found that tone-sequences may express various forms of co-ordination, subordination, reciprocal prominence, contrast, and other ^I have just noted in a news paragraph describing a collision in the Irish sea: "One of the travellers says Mr. Michael Collins was calm, almost indifferent, throughout." As it stands, this sentence means that Mr. Collins was calm, etc. By inserting commas after " says " and " ColUns " we should understand that Mr. ColMns said that the traveller was calm. Without commas the sentence might be intoned : WAn 3V 69 trsevbz sez ^mista maikl 'Ukolinz . waz ^kaim, etc. With the comma, the sentence might be intoned : WAn 3v 63 'Utraevbz, sez mista maikl /kolinz, W9Z \ka:m, etc. 87 88 ENGLISH INTONATION unnamed phenomena of spoken language. In the polished periods of painstaking and scholarly writers, the sequence of ideas is expressed by the careful use of word order, the appropriate use of connective words, and the right use of words. In the spoken language of everyday con- versation, used with a rapidity and spontaneity which precludes such recourse to meticulous phraseology, we tend to express the sequence of our ideas by means of tones. More especially perhaps is this the case in modern English, the stylistic peculiarity of which is a comparative rareness of the equivalents of the French du reste, mats d'un autre c6t&, pourtant, cependant, nianmoins, tout de mime, d'ailleurs, of the German dber, sondern, dock, and of the numerous significative ' particles ' of the Oriental languages. The English tone -sequences may be grouped into two classes, which for want of better terms we may respectively call co-ordinating and subordinating. The co-ordinating sequences are those in which the successive Tone- Groups are identical, viz. : 1. \ followed by \ (T-G. i + T-G. i) 2. / „ „ / (T-G. 2 + T-G. 2) 3- '^ „ „ 1* (T-G. 3 + T-G. 3) The subordinating sequences are those in which the successive Tone- Groups are dissimilar, viz. : 1. \ followed by / (T-G. i + T-G. 2) 2. / „ „ \ (T-G. 2 + T-G. I) 3- ^ „ „ T* (T-G. I + T-G. 3) 4- '^ „ „ ^ (T-G. 3 + T-G. I) 5- ^ „ ., ^ (T-G. 2 + T-G. 3) Tone-Group 4 [^] is apparently of rare or of doubtful occurrence in sequences. The two (or more) members of a tone-sequence may conveniently be separated by means of the sign ||, which does not imply any break or pause, except when preceded by a comma or other sign of punctuation. "SEQUENCES" OF TONE GROUPS 89 THE CO-ORDINATING SEQUENCES. These are used: (i) In Sentences (simple or compound) containing equally prominent alternatives. (2) In cases of Apposition. (3) In other cases difficult to define. Tone-Group 1 + Tone-Group 1. [\ || \]. 1. Equally prominent alternatives or contrasts. it mei bi* \grim, || o: \blu:. ju' k9n teik "V8is wau, || o: ~V6aet wau. hi' mait av bi'n aWei, |1 oir i- mei bi' \ded. ai laik -^is, || bat ai ^dount laik ^Saet. ai prifaid >main || an hi: prifaid >hiz. || an ^ju: prifaid -vjoiz. ai ^dount >nou || an ai ^dount -vksa. 2. Apposition. ai V d3Ast sim "Vbraun, 1| 5a ~Vb:ja. hi' waz pleiig wi6 >pi:ta, || 9a ^kaet. ai m spi:kig av \paeris, 1| 9a kaepitl av \fra:ns. 9a \koman || o' "Vga:dn varaiati. 3. Other cases difficult to define. hi' z ablaidsd ta gou ta \Lvndan, || on \biznis. ai >rout tu' im abaut it, [| 'Vjestadi. ai waz Mntristid in it, || "Vveri. hi' Uvz at blsekMii:0, || nia \L\ndan || ~"in -vkent ai Gigk. ai Jal bi glsed ta get ^aut || an stretj mai Megz a htl. \ai waz 9Ea || >tu:. \ai woznt 9ea»' 11 \ai9a. go ENGLISH INTONATION Tone-Group 2 + Tone-Group 2, [/ || /]. Equally prominent alternatives or contrasts. it mei bi igri:n 1| ^d* /blu:. ai laik /5is, || bat ai dount laik /Saet. ai dount /nou || an ai doimt /ksa. Apposition. da ju' mi:n /braun || — 8a idokta? hav ai eva tould ju' abaut /d3sek || — mai /dog? a ^ju: gouig on 9a fa:st av /dssenjuari || — nju: jaiz /dei? Other cases difficult to define. /wa:kig! |1 on /sAndi? — ^wa iju: 8sa |1 itu: ? — dount /ju: laik it || /aiSa? da ^ju: imsedsn ai d /la:f |1 — on an akei3n av /8aet so:t? Note the sequence / || / || / || / in enumerations: /ten II _i/levn 11 itwelv 11 /ea:ti:n 11 /fa:ti:n 11 /fifti:n Tone-Group 3 + Tone-Group 3. [1* 1| 1*]. 1. Equally prominent alternatives or contrasts. it mei bi' 'l>grim, |1 o: 1»blu:. ai kamt teik I^Sis wAn; || ai ksn teik T^aet wAn. hi' didnt T>kAm || bat i' did 'Wait. ju' ^mei bi' Wou, || bat ai Jad neva ko:l ju' 'Uleizi. ^ai did; |1 %\m didnt. 2. Apposition. ^not 1>braun || 9a 'Udokta. ai ^woznt to:kig abaut Ijdsaek 1| mai "Mog. ai m ^not gouig ta du' it on 8a fa:st av 'kisaenjuari, || nju: ja:z IxieL. "SEQUENCES" OF TONE-GROUPS 91 3. Other cases difficult to define. 1>ju: ni:dnt gou 9s9 || l^tu:. ai ^Judnt giv im mo: Qan ha:f a 'Ukraun || or ^Bri: 'UJiligz. ^dount 'Uspiik tu' im abaut it || l^jet. THE SUBORDINATING SEQUENCES. These sequences are used in sentences containing two prominent elements, the one expressing the more important, and the other the less important fact. The one expressing the more important has the falUng, and the one expressing the less important has the rising or the falUng- rising nucleus.^ The following seems to me to be a possible formula to explain sub- ordinating sequences: " The speaker wishes to call the attention of the hearer to the fact that a given element in the sentence is to be related to, modified by, or connected in the hearer's mind with another element in the same sentence." Example, ai went ta ^Lmdan || /jestadi. /jestadi || ai went ta ^Lvndan. ai went ta \lAndan |1 lijestadi [but....] 'Ujestadi || ai went ta \lAndan [but....] In all four cases the speaker invites the hearer to note the connection between yesterday and his going to London, and to assume that on other days he did not go to London. Tone-Group 1 + Tone-Group 2. [^ || ^'l- hi' 'Vpleiz || isAmtaimz. "Vai sei || /9set. hi' 'VUvz II ^^p/stsaz. ju' kan \ki:p wah |1 if ju' /laik. ai so: jo: >brA8a || la:st iwi:k. 6set s 8a ~Vbest || av Uvig in /taun. ^Coleman, in his Intonation and Emphasis, sketches six general rules for the more general cases of what I have called co-ordinating and subordinating sequences. ga ENGLISH INTONATION ai \dount du' it |1 idsenrali. ai \nju: SAmbgdi laik 5set || -^vAns. 5ei dount pr9\nauns it laik Qset || in /Luid9n. \noub3di si:mz veri fond av \\ ^Saet sort av Gig. i:vn if ju' 'Ma: pei ekstra || ju' dount si: eni /mo:. >5s3 z II ^53 /si:. \9is mAst bi' it 1| ai /Gigk. ai ra:6a ~Vlaik || /5is. ai \toiild ju' II /sou.^ hi Woz II in iLuidan^. 59 trein o:t tu' 9v \sta:tid || b9 /6is taim. 'VSis wAn II /iz. This sequence is also used in cases of sharp, protesting or angry contradiction : "VmAndi! || _not /tju:zdi! Wait! ||_not /blaek! it s ~V6s9! II ^it iznt /hia! ai sed "Vai Jad du' it ! || ai didnt sei /hi: d du- it ! Tone-Group 8 + Tone-Group 1. [/ |1 ^]. This sequence is semantically equal to [\ || /], except that the order is reversed. , , (a) /sAmtaimz || hi' 'Vpleiz. if ju' /laik II ju' k9n "Vki:p wAn. la:st /wi:k || ai so: jo: ~VbrA59. /dgenraU || ai dount \du' it. /wAns II ai \nju: sAmb9di laik 8aet. in /lAnd9n || 5ei dount pra^nauns it laik Saet. ju' dount si: eni /mo: || i:vn if ju' "Vdu: pei ekstra. /Sset s wot II >ai sei. 8ei ju:si t9 ko:l /kseridsiz || \koutJiz. hi' z 9 msen u' ko:lz 9 /speid |1 9 \speid. 1 C/. p. 25. "SEQUENCES" OF TONE-GROUPS 93 wen ai /rait, || ai ju:z s \pen. ai dount >nou || an ai dount \ks3. (6) Note in the following examples that the tone sequence obviates the use of a word equivalent to the German sondern. not /tjuizdi! || \mAndi! _not /blaek! ||\wait! _it iznt ihia! || it s \8s3! ai didnt sei /hi: d du* it! || ai sed \ai Jad du' it! Note the use of this sequence when concluding an enumeration: .../siksti:n 11 /sevntiin 11 ieitim 11 /naintim || >twenti. Tone-Group 1 + Tone-Group 3. [\ || 1*]. This sequence may be used in contradiction having a polite or "concessive" character. it s \569, II ^not 'Uhia. on "VmAndi, || not tal^morou. ai "Vdu: nou it, || ai dount mioh ItSigk ai nou it. In the following examples contrast is implied between the two words constituting the respective nuclei. it waz 9o \hi:t || raiQa 89n 89 Waik witj" Apset im. \sAm0ig z II beta 8n '\>nA0ig. \ha:f a louf s || beta San nou Inbred. This sequence is used for similar purposes as [\ || /] except that in the present case the contrast is expressed less aggressively. \mAndi! II ^not 'Utjuizdi! Wait! ||~not 'Ublaek! it s ^8sa! II it ~iznt 'Uhia! ai sed \ai Jad du' it! || ai didnt sei T^hii d du' it! 94 ENGLISH INTONATION Miscellaneous Examples. ai 'Vdidnt sei || l^ai kad du' it. wi' d o'Uredi wo:kt || niali Wsiti mailz. ai \dount gou Ssa || veri %oiin wi' hsevnt \taim || 'Vnau. it s tu: "Vleit || 'l^nau. ai m 'Vsori || abaut Wset. ai ~Vko:s || ju' kaint 'Vpru:v it. hi' \nju: oil ba taim || Ai' d T^sed it. ai W9Z "Vounli seiig || wot1*A69 piipl ad sei. Tone-Group 3 + Tone-Group 1. [% \\ \]. This sequence is semantically equal to [^ || %], except that the order is reversed. ha:f 9 'Ulouf s || beta 59n nou 1>bred. Wau II wi' hsevnt 'Vtaim. ju' kamt 'l>pru:v it || af >ko:s. Wahs II ai went t9 69 rorj "Vsteijn. ai s9l>pouz II i' ment it az a kaind av prsektikl \d30uk. 'UsAm ov as || hsed \fa:6a ta gou. WAn JAi) felou II waz kam pliitli nokt >Ap. ai ba'Uliiv || i' haed ta lai in \bed far a dei a tu:. ju' V got l^tu: || in wau "Vsentans. Wau av 8a misteiks || \mei bi* a misprint. bat 8i V8a || \ka:nt bi'. wot s gud anAf fa 1>ju: || Jad bi- gud euAf fa \mi:. Ijhi: II neva Wud admit it. liSaet s II wot meid im sou "Vkro's. wen ai 1*rait, || ai ju:z a \pen. "SEQUENCES" OF TONE-GROUPS 95 Tone-Group 2 + Tone-Group 3. [/ 1| %[.] This sequence is probably nothing other than the simple Tone-Group 3 with a scandent head ["^1*] in which one of the head-syllables is felt to have become prominent enough to warrant an independent nucleus- tone. '^it woznt Wait (with unemphatic [woznt]). it /woznt II Wait (with emphatic [woznt]). See, under heading, Heterogeneous Heads, remarks concerning embryonic nuclei. Page 69. Miscellaneous Examples. ai /dount jj 'USipk ai du:. _it Anait || _hv% hia. >nouwAn II IjdAz spiik laik Qaet. __wi' /oifn II Mu'. /58et s wot II T^ai fad av sed. ai /Judnt av || 1*9o:t sou. Section XII. Phonetic Texts in Tonetic Transcription. I. hsednt ju' beta get /Ap nau? or hsednt ju' ' beta get /Ap nau? it s getig Meit. or it s getig T^leit. or it s getig 'Uleit. hsw ^ju: oidad ibrekfast? or hsM ju' ^aidgd /brekfast? -yjes. or \jes. "V6set s oil rait; ai 1 bi' ^daun in ten ^minits. or ai 1 bi' ^daun in ten ^minits. or ai 1 bi' daun in ten >minits. _wen wi' v hsed /brekfast, || wi' 1 gou aut an luk fa "Vlodsigz; ai-m a ^freid 8is Aoulitel Hal bi' ra:8ar ik\spensiv. or ai m afreid 8is Aoutel al bi' ra:9ar ik^spensiv. ■ ^a ju' /redi? or a ju' iredi? ai Jl bi' ^redi in a ^minit; ai V ^ounli gat ta get mai ^bu:ts on. or ai V "Vounli got || ta get mai _8sa z II 8a /si:, or "Vdsa z 8a si:, wi a kwait 'Vklous tu' it! or wi a kwait -*klous tu' it! 96 PHONETIC TEXTS IN TONETIC TRANSCRIPTION 97 bear 3 sam "Vbouts; ^wot da ju' sei tu' a >rou? \seilig bouts || Mu:-} let s gou far a >seil! wi' haevnt "Vtaim || /nau : or wi' haevnt ^taim || 'Unau: or wi' haevnt taim T^nau: wi' V got ta faind Mo:d3igz. wi' ^mei az wel haev a %heib 5ou: "l^Saet wount teik log. T^ai Ja:nt beiS: it s tu: '^kould 1| fa 'Umi:. or it s tu: "Vkould fo: mi', wel luk -^hia: ""ai 1 ^bei5 || an ^ju' Jl gou an luk fa -^lodsigz; or ai 1 ibeiS |1 etc. "Vju: Andastaend 6aet so:t av Gig || beta Qan iai du:^ ju' 1 \faind mi' || /hia || wen ju' kAm \baek. or ju' 1 "Vfaind mi' hia || wen ju' kAm _jbaek. Adapted from Sweet's Primer of Spoken English. II. ^wot da ju' du: wi6 jaself on >SAndiz? or ^wot da ju' >du: wi5 jaself on SAndiz? ju' mAst faind it ra:5a /dAl livig hiar o:l ba jaself. or ^ju: niAst faind it ra:6a MaI livig hiar o:l ba jaself. or ju' mAst faind it ra:6a ~VdAl livig hiar o:l ba jaself. \ou, II ^wen it s /fain || ai dsenraU gou aut av \taim || on AAndi; or ou, wen it s ifain || ai dsenrali gou aut av "Vtaun on SAndi; ai teik 6a trein abaut ten o' twelv mailz aut av /Lvndan, or ai teik 8a /trein || abaut ten O' twelv mailz aut av ilAudan, ^ " "Vseilig bouts tu: " would mean nothing except " Those rowing boats are also sailing boats." 98 ENGLISH INTONATION 9n wo:k aut tg SAm pleis wear ai kg get 9 trein >b8ek. or an wo:k aut ta SAm pleis wear ai kg get a trein -vbsek. it s rai53r \o:kw3d 1| ^SAmtaimz or it s raidar >3:kw9d sAmtaimz or it s raiSar \o:kw9d || liSAmtaimz or it s ra:99r /o:kw9d SAmtaimz bikoz 99r 9 sou fju: \treinz || on /sAndiz. or bikoz bar a sou fju: >treinz || on isAndiz. ai rimenib9 wAns ai W9Z aut f9 69 dei wi9 9 lot 9V /felouz or ai ri ^membg waus ai W9z aut f9 99 dei wi9 9 lot 9v /felouz or ai ri\memb9 || WAns ai W9z aut f9 99 dei wi9 9 lot 9V felouz 9n wi ^mist auo >wei sAmau getig t9 99 steijn. or 9n wi ^mist au9 -dwei SAmau || getig t9 99 >steijn. or 9n wi mist au9 >wei SAmau || getig t9 99 ^steijn. ai 1*10:99 9igk wi' went || t9 99 \rog steijn, or ai 1*ra:99 6igk wi' went || t9 99 rog \steijn, or ai ra:99 'Veigk || wi' went t9 99 \rog steijn, or ai ra:99 T^Gigk || wi' went t9 99 rog \steijn, 9n sou haed t9 gou tg 9i \a99 wau. "Venihau, || dsAst 9z wi' keim Ap t9 99 /steijn, 99 ^po:t9 jAt 99 do:r in auo >feisiz. hi' mait "Vi:zli 9v let 9S |1 /in, fa 9a trein didnt 'Vsta:t til tu: minits || /a:fta. or fa 99 trein didnt sta:t til tu: minits -\a:ft9. ai sg'Upouz || i' ment it 9z a kaind av praektikl >d3ouk. or ai s9pouz i' ment it 9z a kaind av praektikl "Vdsouk. "Venihau, |1 it waz 99 la:st >trein, or "Venihau, || it W9z 99 la:st Itrein, 9n 99 W9Z nou -«help fo:r it: or an 99 waz ^nou 'Vhelp foT it: or an 99 waz nou /help fo'r it: or an 99 W9z ^nou -^help fo'r it: wi' haed ta wo:k -»houm. or wi haed ta >wo:k hoxmi. PHONETIC TEXTS IN TONETIC TRANSCRIPTION 99 hau -^fa: woz it? fo:ti:n -^mailz. or fo:ti:n -^mailz. \wel, II >5set woznt mAtJ. or "Vwel, II 1<5aet woznt mAtJ. or ^wel i5set woznt mAtJ. or wel ^aset woznt mAtJ. or /wel, \\etc. ■Vnou II bot wi' d o'lVedi wo:kt || niali "VGaiti mailz. or \nou II bat wi' d o'lVedi woikt 1| niali /Saiti mailz. ai didnt get houm til nia "VwAn, or ai didnt get houm til nio >wAn, or ai didnt get /houm || til nio \wAn, an 1*SAm ov as || haed \fa:6a ta gou. or an /sAm ov as |1 haed \fa:8a ta gou. Wah JAg felou || waz km pli:tli nokt >Ap. or /wAn JAg felou || waz km pliitU nokt -^Ap. ai baliiv i' haed ta lai in \bed far a dei a tu:. or ai bal^Uiv || i' haed ta lai in \bed far a dei a tu:. or ai ba/liiv \\etc. '\»ai waz nAn 6a wa:s fo:r it. Adapted from Sweet's Primer of Spoken English. III. ^wot da ju" -»9igk? ai V hsed a ~^kworal || wi8 pra fesa ^smi9. or ai V haed a >kworal 1| wi5 pra fesa -^smiG. or ai V haed a kworal wi9 prafesa "Vsmie. it ^woznt 1*mai fo'lt. ai 1 ~d3Ast tel ju' hau it >hsepnd. aa veri dei mai /buk keim aut, hi' ^met mi' at 6a >steij"n. hi' kAmz in ba 6a seim \trein. loo ENGLISH INTONATION sou i' bi gaen bs konvg/seijn || bai ^seiig : or sou i' bi1>gaen 9a konvaseijn bai seiig: or sou i' bigsen bs konvaseijn bai seiig i^ "\ou, II "Vkoulman, || jo' 93 veri msen ai wontid ta >si:. 3 baut 9aet >buk 3v joiz, \]u: II /nou, or ju: /nou, k3 loukwisl >igglij o' SAinGig, or k3loukwi3l "ViggliJ || o* /sAmSig , ai f3~Vget || 9i igzaekt /neim, ^did ju: ...31... si: 93 /pru:fs?" sou 3f \ko:s ai sed: or sou 3f \ko:s || 'Uai sed: or sou 3f ko:s ai sed:^ " ^gud >b:d, jes. ju' ^didnt s3pouz ai let Ssm pAbliJ eni9ig wi9 mai neim tu' it wiSaut nouig we93 8ei d TjdAn it prDp3li." or dAii it 'UprDp3li." or ju' didnt sapouz ai let 93m pAbliJ eni9ig wi9 mai neim tu' it wi9aut nouig we93 9ei d idAn it prop3li." or dAn it /prDp3li." sou 9en i' sed:^ "wel, luk >hi3 || ...3:...^ or "wel, luk \hi3 || ...3:.... ai dount wont t3 h3:t jo' 1>fi:ligz, or ai ^dount wont t3 li3:t jo' 1>fi:ligz, — b3t,2 — wel,2 II _t3 put it iblAutli or t3 \put it II liblAntli, 931 3: lot av mis^teiks in it." ^sou ai sed* "/ri3li? II 98et s /intristig, or "Visli? II \98et s || /intristig. 1 A low level tone-group without a nucleus. ^ Neutral tone. PHONETIC TEXTS IN TONETIC TRANSCRIPTION loi — ^kan ju' menjn WAn oifihsend?" or kan ju: /menJn wAn || oifihaend?" ^sou i' sed^ "wel ju' V got T^tu: || in waii \sent9ns." or "wel ju' V got T^tu: || etc. or "wel ju' V got ~Vtu: || ^in /wAn sentans." ai \gest wot waz || l^kAmig az 9 msetar 9 fsekt. or ai \gest || wot waz /kAmig |1 9z a maetar a /fsekt. bat ai kept /kwaiat abaut it, ai pri ^tendid ta 6igk i' waz rifairig ta sam mis^prints || ai hsednt >noutist, ju' si:. or ju' /si:. or ai pritendid ta Gigk i- waz rifa:rig ta sam inis->prints || etc. sou ai dsAst sed^ "'\m! II 6aet s ra:5a \siari9s! or ha\ II 6aet s ra:5a isiarias! or \9aet s ra:5a || isiarias! ai m \sori || abaut T^Sset. or ai m "Vsori || abaut -^Qset. ai went 9ru: 6a pru:fs veri /ksafali || in\di:d." or ai went 6ru: 8a 'l*pru:fs veri ksafali || in\di:d. or ai went 0ru: 9a /pru:fs veri ksafali || in\di:d. sou i' went on:^ "\wel, or " wel, WAn av '9a misteiks || "Vmei bi' a misprint, or .... II 'Umei bi- || a mis^print, or .... II '^mei bi* a misprint, or >wAii av 9a misteiks || >mei bi' a misprint, or .... II ''Umei bi' || a mis\print, or — WAn av 9a misteiks -vmei bi' a misprint. 1 Low level tone-group without a nucleus. 102 ENGLISH INTONATION bat 6i V53 || \ka:nt bi'. or bat 9i 'UaSs ka:nt bi'. ^ju' V put a prepa>zijn || at 5i end av a >sentans, or ju' V ^put a prepa-\zij"n || at 8i end av a >sentans. "ant^ ju' V put Shu:' || "^fa Shuim.' or and! ju' v put '\hu:' || fa '"Vhu:m.' ju' V put ' hu: z it >bai?' || 'on 8a >kAva, tu:^ or .... II on 8a McAva || /tu:. or .... II on 8a >kAva || /tu:. evriwAn 1 si: it drekli 8ei pik 8a -vbuk Ap. or \evriwAn 1 si: it || ^drekli 8ei pik 8a -vbuk Ap. or evriwAn 1 %sii it || ^drekli 8ei pik 3a -^buk Ap. or ....buk >Ap. or evriwAn 1 \si: it || drekli 8ei pik 3a "Vbuk Ap. or ....buk \Ap. 3en 8ei 1 sei^ "\<8aet s a fain pa:sn ta la:n igglij from! or '"V8aet s a fain pa:sn ta la:n igglij from! wai, hi ka:nt to:k it propali im"Vself. or wai, M ka:nt to:k it propali im-\self. or ^wai, hi ka:nt to:k it /propali ||im"Vself. "^u: ^eva kan i' av got ta ^pAbliJ it?' " or liu:eva kan i' av got ta >pAbliJ' it?' " sou f ko:s ai sed:* "\wel, II if eniwAn sez 8set ta 'Vmi:, or wel, if ^eniwAU, etc. ai Jl d3Ast sei:^ or ai Jl — d3Ast sei:^ or T^ai Jl dsAst sei: on 8a -vkAva, || ^tu: would mean "also on the cover." * Ix)w level Tone-group without a nucleus. * Heterogeneous Tone-Group without a nucleus. PHONETIC TEXTS IN TONETIC TRANSCRIPTION 103 '"Vwel, II ~wot s gud anAf far s prafesar av igglij T^litaritja || z gud anAf fa Wi:.' " or 'wel, ^wot s gud anAf, etc. or 'wel, wot s gud anAf far a prafesar av igglij /litaritja || z gud anAf fa \mi:.' " or ....z gud anAf fa /mi:.' " or ....Mitsritja || z gud anAf fa Ani:.' " sou af "Vkois II hi fel inta 6a traep at Waus. or sou f ko:s i fel inta 8a traep at \wAns. hi sed:^ "pra ^fesar av igglij /litsritja? hu: da ju' >mi:n? " or — hu: ds ju' \mi:n? " ^sou f ko:s ai sed:^ "\ju:. ju' V ^dsAst meid 8a veri misteiks ju' akju:z -vmi: ov. or ju: V djAst meid 8a veri misteiks ju' akju:z \mi: ov. or 1*ju: v dsAst meid 8a veri misteiks ju' akju:z '\mi: ov. or ju: V d3Ast meid 8a veri misteiks ju* akju:z ->mi: ov. or ....3a veri mis/teiks || ju* akju:z 'Vmi: ov. fa:st ju' sed:^ "\*8aet s a fain pa:sn ta la:n igglij from! '^ or ' ^8aEt s a fain pa:sn ta la:n igglij -vfrom! '* or ' 8aet s a fain pa:sn ta la:n •^igglij || /from! '* 8set s a prepazijn at 6i end av a /sentans. or 8aet s a prepazijn at 3i end dv 8a \sentans. or 8aet s a prepa>zijn || at 8i end av 8a 'Vsentans. 8en ju' went on bai seiig:^ or ^8en ju' went 'Von bai seiig: * Low-level Tone-Group without a nucleus * Quoting the intonation used by the other speaker. ' The speaker wishes to emphasize the preposition. 104 ENGLISH INTONATION ''^nv^eva kan i' av " ^got t9 >pAbliJ it? '^ or ' huieva kan i' av got ta >pAbliJ it? ' ^ or 'hu:eva kan i' av got ta VpAbliJ it? or '\hu:eva kan i' av got ta pAblij" it? ' * 5set s '\hu:' || insted av '"Vhu:m.' or 58et s 7hu:' |1 insted av '>hu:m.' or >5aet s || 'hu:' insted av '>hu:m.' or T^aet s || 'u:' insted av '\hu:m.' and ju' V ^dsAst finijt ^o:f bai seiig: 'hu: da ju' >mi:n? or and ju v d3Ast finijt tef, etc. or ....Shu: da ju' nii:n? ' ^ or ....' hu: da ju' >mi:n? '* or and ju' v ^dsAst finijt o:f bai seiig, etc. 6aet s a\nA9a 'hu:' insted av 'hu:in.' " f >ko:s II hi' dinaid i' \sed it. or i \ko:s || hi' di'Unaid || i' \sed it. or f \kos hi' diltnaid i' >sed it. pi:pl laik 6set neva \du: admit 9ei to:k 5aet wei. or ^pi:pl laik T^aet || neva \du: admit, etc. or .... II neva \du: || ad'\*niit 5ei to:k 5aet wei. an af \ko:s || ju' ka:nt 1*pru:v it.... or an af \ko:s || ju' ka:nt /pru:v it.... ^anles 6ei v bi-n to:kig intu a /graemafoun. or ....'Ugraemafoun. \stil, hi' "Vnju: o:l 9a taitn || hi' d lised it, or hi' nju: o:l 8a \taim || hi' d -^sed it, ^sou i' bigaen ta sei:^ " ^ou >wel, or " >ou II \wel, ^ Low level Tone-Group without a nucleus. ^ Quoting the intonation used by the other speaker. * The speaker wishes to emphasize the element " who." PHONETIC TEXTS IN TONETIC TRANSCRIPTION 105 ai W3Z ^ounli seiig wot "UaSs piipl ad sei. or ai W3Z ounli seiig wot a63 T^piipl ad sei. or ai woz "Vounli seiig || wot etc. or ....\pi:pl od sei. veri laikli 8ei "Vwudnt spi:k paifikli karekli." ^sou ai sed:^ "ju nou ^paifikli >wel or ju' nou "Vpo:fikli wel /ju: II sa nainti nain aut av a hAndrid edsukeitid igglijinan VDilwiz to:k laik 8aet." or " ju nou paifikli wel ju: an nainti nain aut av a hAndrid edsukeitid igglijman io:lwiz to:k laik 8set." or ju nou pa:fikli wel >o:lwiz to:k laik 9aet." sou i' sed.^ " ju' dount nou wot jo: >to:kig abaut." or " ju' dount nou wot jo: ■>to:kig abaut." or " ju' doimt nou wot jo: >to:kig abaut." or " ^ju' dount nou wot jo: ^to:kig abaut." ^ju' /si:? hi' d put a prepa\zijn || at 5i end av 8a "Vsentans agen! or hi' d ^put a prepa^zijn || etc. or ju si: hi d put a prepazijn at 8i end av 8a sentans a>gen! 8en i' so: wot i' d \dAn, or ben i' "Vso: wot i' d dAn, an bigsen ka~Vrektig imself. i '\ko:s II ai kudnt help Ma:fig, or i ko:s T^ai || kudnt help 'Vla:fig, or f \ko:s || ai kudnt help /la:fig, an T*8set put im || intu a baed \tenipa. or an /8aet put im || intu a bsed \tempa. wi' a not on 'Vspi:kig ta:mz || /nau. or II 'Unau. 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