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Compound tunes.

All the tunes we have dealt with up to now have contained only one nuclear tone; these are called simple tunes, and the majority of tunes in English are of this kind. However, there are tunes which contain more than one nuclear tone, and these are called compound tunes.

Compound tunes may be formed by omission of a pause between what would otherwise be separate sense groups with simple tunes:

E.g. Do you take sugar? ^\No, I ^\don’t.

You were here yesterday. ^\No, I _/wasn’t.

This omission of pause is rather common in conversational speech, since the shape of the tunes is usually sufficient to delimit the sense groups without pause. We have preferred in such cases to put pause marks in rather than leave them out, since the meaning of such compound tunes is merely the sum of the meaning of the two consecutive simple tunes, and the interpretation of compounds of this kind presents no difficulties beyond those connected with simple tunes.

There are two other types of compound tunes which are important for the foreign student:

High Fall(s) followed by a High Fall or Fall-Rise.

E.g.

You ^\simply ^\can’t i^\magine how _ıdull it _ıwas

I could ^\hardly ^\bear to ^\shake his ^\hand.

You know ^\perfectly ^\well I ^\never al^\low it.

You can ^\have it if you ^\/like.

I’m ^\absolutely ^\certain I ^\/brought it.

In these examples the last important word is marked by either a High Falling tone or a Fall-Rising tone; all the other important words are marked by a High Fall. Compare the first example with the following:

You ^simply ^can’t i^\magine how _ıdull it _ıwas.

The prominence given to the words simply can’t by the Stepping Head is less than that given by the two High Falls, but otherwise the effect of the tunes is much the same. The function of the High Falls is simply to provide a greater degree of accent for the words on which they occur, and this is true of all the above examples.

High Fall followed by Low Rise.

E.g.

I ^\like _/chocolate.

You can ^leave them ^\all if you _/like.

I’d ^like a^\nother if you _ııdon’t _/mind.

This compound tune consists in its simplest form of a High Fall on one word and a Low Rise on a following word any intervening syllables being low in pitch. The resulting pattern may be very similar to some forms of the simple tune containing the Fall-Rise nuclear tone. They differ a great deal, however, in their meanings, so it is necessary to keep them separate. The compound tune is basically a combination of a simple tune ending in a Low Rise. Compare the following:

a) By the ^time he ar_/rived | he was com^pletely ex^\hausted.

b) He was com^pletely ex^\hausted by the _ııtime he ar_/rived.

In a) the adverbial clause precedes the main clause and is given a separate rising tune, but in b), where the main clause comes first, the two tunes are, as it were, welded together into one. The fall is still on the word exhausted and the rise on the word arrived, but there is no longer any pause and the word time is said on a low rather than a high pitch. Suppose that the last example was said with the simple Fall-Rise tune:

He was com^mpletely ex^\/ hausted by the _ıtime he ar_ırived.

The differences between this and the compound Fall plus Rise are as follows:

1. In the simple tune the Sliding Head is used; in the compound tune the Stepping Head.

2. The fall in pitch on exhausted is from a higher level in the compound tune than in the simple.

3. The fall in pitch may be to a lower level in the compound tune than in the simple.

4. In the simple tune the syllables after the fall may gradually rise one after the other; in the compound they are always at the lowest level until the final Low Rise.

5. In the simple tune the stresses after the fall may be weakened or suppressed; in the compound this is never so.

If all this differences are operating, the patterns of pitch and stress will be as follows:

He was com^pletely ex^\hausted by the _ııtime he ar_/rived.

He was com^mpletely ex^\/hausted by the _ıtime he ar_ırived.

However, all these differences may not be operating; there may be no head needed in the tune, and there may be no distinction between the final pitch of the fall, the stressing of syllables after the fall, and the way the syllables reach the terminal pitch. All that is left then is the height of the fall, and this is not always a reliable enough guide. So it is perfectly possible for the following to be regarded as either a simple Fall-Rise or a compound Fall plus Rise:

I like chocolate.

Yet because the simple and the compound tunes express very different attitudes on the part of the speaker it is helpful, even in such cases, to distinguish the two tunes in notation.

E.g. Simple tune: I ^\/like _chocolate.

Compound tune: I ^\like _/chocolate.

Compare also the following pairs, which may be indistinguishable in form:

I ^\/hope you’ll be _able to _come.

I ^\hope you’ll be _ııable to _/come.

^\/Try not to be _later than _six.

^\Try not to be _ıılater than _/six.

One other point is worth remembering: because the Fall plus Rise is a compound, the fall and the rise always occur on separate words. Therefore if both the fall and the rise occur on one word, the pattern must be an example of the simple Fall-Rise.

Answer the following questions:

1. What is a tune? What are the six tunes of single-syllable sense groups?

2. What are the peculiarities of longer sense groups?

3. What is the nucleus? What is the tail? How do we know where they separate from one another? What are the nuclear tones?

4. What are the possible items of a pre-nuclear pattern?

5. What types of head can you name?

6. What types of pre-head can you name?

7. What is the difference between simple tunes and compound tunes?

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