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Pre-nuclear patterns.

We know the main endings that tunes may have, but up to now we have considered only sense groups with a single prominent word right at the beginning of the group. Now we must consider sense groups containing words and syllables before the nucleus. It is convenient to divide the pre-nuclear pattern (i.e. that part of the tune preceding the nucleus) into two parts, the head and the pre-head. The head begins with the stressed syllable of the first prominent word (before the nucleus) and ends with the syllable immediately preceding the nucleus; the pre-head consists of any syllables before the stressed syllable of the first prominent word. In the examples below, prominent words are italicised.

| It was an un|usually dark | night.|

Pre-head Head Nucleus

The head begins with the stressed syllable of unusually, that is, the second syllable, and ends with dark, the last syllable before the nucleus, which is night. Notice that the first (unstressed) syllable of unusually belongs to the pre-head, together with the first three words of the sense group which are all unstressed.

|Where’s | John? |

Head Nucleus

Here the head consists of a single syllable and there is no pre-head, since there are no syllables before the head.

| I could have | kicked |myself.|

Pre-head Nucleus Tail

In this case there is no head since there is only one prominent word, and that must of course be nucleus. So the pre-head and the head may occur together or separately, or they may not be present at all if the nucleus is the first syllable of a sense group; but the nucleus is always present in every complete tune.

Heads.

There are three different types of head, the low head, the stepping head and the sliding head.

The Low Head.

In the usual form of the low head, all the syllables contained in it are said on the same, rather low pitch. Before a low-falling nucleus this pitch is a little higher than the pitch of any tail.

E.g. Don’t be so impatient,then.

Before the low-rising nucleus the low head must be at the same pitch as the beginning of the rise.

E.g. No one’s going to hurt you.

Before the high-falling nucleus, the low head most often starts on a low pitch but rises gradually, syllable by syllable, to end just below the starting pitch of the nucleus.

E.g. How did you manage to do that?

In the low head, the important words are singled out for attention – or accented – by means of stress alone, with no help from pitch features of the kind mentioned in dealing with the accentuation of the nuclear word. Words which are not prominent do not bear stress.

E.g. Don’t upset yourself about that.

In this example the stresses which might be heard in other circumstances on the second syllables of yourself and about are suppressed, and the four consecutive unstressed syllables are all said more quickly as a result.

The low head is symbolised by placing the mark [ _ıı ] before the stressed syllable of each prominent word in it. Unstressed syllables are left unmarked. The examples quoted in this section thus read as follows:

_ıı Don’t be so im_\ patient, _ıthen.

_ıı No one’s going to _/ hurt you.

_ıı How did you _ıımanage to do ^\ that?

_ıı Don’t up_ııset yourself about _/ that.

The Stepping Head.

In the stepping head, the stressed syllable of the first important word is on a high, level pitch; that of the second important word is a step lower; that of the third a step lower still, and so on until the nucleus is reached.

E.g. Why did you tell me you couldn’t come?

Accent in the stepping head is indicated by stress and pitch combined: a step down in pitch at the stressed syllable marks the word concerned as important. Unstressed syllables are said on the same pitch as the previous accented syllable. If a stress occurs in this head without a downward step in pitch, the word concerned is not accented.

E.g. Are you coming back again on Sunday?

The stresses on the words coming and again do not accent those words because there is no change of pitch accompanying them. Usually the stress in such words is weakened if not altogether suppressed.

If the head contains only one prominent word, the accented syllable of that word is high in pitch and there is of course no step downward because the only other accented syllable is the nucleus.

E.g.

How do you do?

Come over here a minute.

Apart from this case, each accented syllable is a step lower in pitch than the previous syllable; the exact pitch interval of the downward steps will vary in two ways:

a)The more accented syllables in the sense group, the smaller the downward step. In a head containing only two prominent words the whole available range can be devoted to the single step down.

E.g. Come and see me tomorrow.

When there are, say, five accented syllables in the head, the available pitch range must be divided between the four steps.

E.g. Why did you tell me that Regent’s Park was quite close?

b)Before a Low fall or a High Rise the stepping head must end slightly higher in pitch than the beginning of the fall or rise; the interval available for the total fall in pitch within the head is therefore less than it is before the High Fall or the Low Rise.

E.g. Tell him to go away. Tell him to go away.

Tell him to go away? Tell him to go away.

The stepping head is symbolised by placing the symbol [ ^ ] immediately before each accented syllable. The syllable which is stressed but not accented has the symbol [ ˙ ] placed before it. The examples quoted in this section are completely marked up as follows:

^Why did you ^tell me you ^couldn’t _\ come?

^Are you ˙coming ^back a˙gain on _/ Sunday?

^How do you ^\ do?

^Come over _/ here a ˙minute.

^How _\ stupid!

^Come and ^see me to_\ morrow.

^Why did you ^tell me ^Regent’s ^Park was ^quite _\ close?

^Tell him to ^go a_\ way.

The Sliding Head.

This is similar to the stepping head, as will be seen from the following example:

Everyone’s bound to see it sometime.

The pattern of the accented syllables is exactly that found in the stepping head, the first high, the second lower, and so on, but the accented syllables are treated differently: instead of being said on the same pitch as the previous accented syllable they form a descending sequence, the first lower than the accented syllable, the second lower still, and so on. The last syllable of such a sequence may be on a very low pitch indeed but in any case it will always be lower in pitch than the starting pitch of the following accented syllable. If the structure of the sense group is such that there are no unaccented syllables between successive accented ones, then the accented syllables themselves may perform the downward slide, each successive slide beginning a step lower than the preceding one. This is quite different from anything found in the stepping head.

E.g. You can’t just leave it.

Accent is again marked in this head by a combination of stress and pitch features: a stressed syllable which is at the beginning of one of the downward slides or which itself slides downwards, as in the last example, is accented. Stressed syllables in words which are not prominent conform to the pitch pattern of unstressed syllables.

E.g. No-one’s likely to notice.

The stressed syllable of likely continues the downward slide and is not a step higher than the previous unstressed syllable; the word is therefore not accented.

To symbolise the sliding head the mark [ ^æ ] is placed immediately before each accented syllable; any stressed but unaccented syllable is preceded by [ ˙ ]. The examples quoted in this section are fully marked as follows:

^æEveryone’s ^æbound to ^æsee it ^\/sometime.

You ^æcan’t ^æjust ^\/ leave it.

^æNo-one’s ˙likely to ^\/notice.

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