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Tone Group IX.

TUNES:

1. Fall-Rise + Tail of one syllable.

2. Fall-Rise + Tail of more than one syllable.

3. Fall-Rise only.

4. Low Pre-head + Fall-Rise (+ Tail).

5. (Low Pre-head +) Sliding Head + Fall-Rise (+ Tail).

STATEMENTS.

The simplest case is that of incomplete groups, where the Fall-Rise draws particular attention to one element for the purpose of contrast, and at the same time shows an intention to continue the utterance.

Examples:

On ^\/weekdays | I ^\work, | but on ^\/Saturdays | I ^\don’t.

^We all ^\like it, | but Mr. ^\/Smith | ^\doesn’t.

If the ^\/weather’s _good | it’s ^\pleasant, | but if it ^\/isn’t, | it’s ^\dreadful.

In ^\/my o_pinion | he’s ^perfectly ^\right.

I travel a _great _deal; | so when^æever I’m ^\/home | I ^make the ^\most of it.

In complete groups this contrasting of one thing with another is used for the purpose of selecting one aspect of the whole subject for comment and deliberately leaving the remainder unmentioned. This limiting of the speaker’s comment implies a contrary opinion on what has not been mentioned.

Example:

Did you play cricket at the week-end? I ^ædid on ^\/Saturday.

From the whole subject – the week-end – the speaker chooses one part – Saturday – and comments on that. He makes no mention of the remainder – Sunday – and it is clear without any more being said that he did not play cricket then. Quite often this contrary opinion is actually stated, as, for example, in

I ^ædid on ^\/Saturday | but ^not on ^\Sunday,

But this merely puts into words what the intonation has already said. In the examples below possible extensions of the short answer are added in brackets.

Examples:

This distinguishing of two conflicting factors within the immediate situation is used widely in the field of concession. Two cases may be noticed:

1. The speaker makes an explicit concession on the part of the subject but implies reservations on the remainder.

2. The speaker explicitly requires a concession from the listener on the part of the subject but implies agreement on the remainder.

Consider this example: She has a^æ lovely ^\/voice. This may occur in two different types of context:

A.

This is the case defined in 1 above; the speaker concedes the listener’s point about the voice whilst implying reservations on other matters.

B.

This is the case mentioned in 2 above; the speaker asks the listener to admit that the voice is good whilst leaving the way open for agreement on the mediocrity of the remainder. We might call the situation in 1 grudging admission, and in 2 reluctant or defensive dissent.

Examples:

1. Grudging admission.

2. Reluctant or defensive dissent.

From this point it is only a short step to the expression of direct contradictions and corrections.

Examples:

The result is often concerned, reproachful or hurt. Compare the following reactions to the statement: I can do it on Monday.

1. You ^\can’t; (I’ve just explained that you can’t.)

2. You _/can’t; (as you ought to know perfectly well.)

3. You ^\/can’t; (and I’m sorry that you should think you can.)

Notice that if the original statement were: I’ll do that on Monday, the only appropriate response of the three mentioned above would be: You ^\can’t.

Further examples:

Contradictions.

Corrections.

This concern or reproach is carried on into other utterances which cannot be regarded as contradictions.

Examples:

This same attitude of concern or reproach is apparent in warnings.

Examples:

You’ll ^\/fall.

Your ^\/chair’s _slipping.

You’ll ^æmiss your ^\/train.

You’d ^æbetter be ^æcareful with the ^\/fragile _ones.

In apologies, where the concern might seem to be appropriate, this tone group tends to suggest reservations on the part of the speaker.

Examples:

I’m ^\/sorry, | (but I’m afraid it’s impossible.)

I ^æbeg your ^\/pardon, | (but I’m afraid I must contradict you.)

^\/Sorry, by itself, is an apology, but rather a perfunctory one.

One other category in which Tone Group IX is often used is that of tentative suggestions, where the speaker wants to help but not to commit himself too deeply to the course suggested.

Examples:

QUESTIONS.

Tone Group IX is heard as an intensified variant of Tone Group VI in certain questions.

Examples:

The disapproval of Tone Group VI is minimized, and surprise and interest are dominant.

In echoed questions the effect is of astonishment, as if the speaker can hardly believe his ears.

Examples:

Tone Group IX is also used to make corrections to questions, as to statements.

Example:

COMMANDS.

Commands with Tone Group IX have a warning note, but more urgency than with Tone Groups VI or VII, since the reproach or concern mentioned in relation to statements is also present here.

Examples:

^\/Steady! | (You’ll have me over.)

^\/Mind! | (There’s a step here.)

^æCareful with that ^\/glass! | (You’ll drop it.)

^æDon’t be any ^æstupider than you can ^\/help!

^æTry and be ˙there by ^\/six; | (otherwise it’ll be too late.)

INTERJECTIONS.

A very few interjections of scorn take Tone Group IX.

Examples:

As with other sentence types, corrections may also be made to interjections by this means.

Example:

Assignments:

1. Listen to the recording of the “Switch-Back” on the tape. Put down the script and intonation marks of the mini dialogues you hear. Figure out what types of sentences the recorded drills are and what attitude do they convey according to the tune they are pronounced with. Prepare test reading of these mini dialogues in pairs.

2. Read the following drills in pairs. Follow the intonation marked in the text. Analyse them from the point of view of their connotations.

Intonation Drills:

STATEMENTS.

COMMANDS.

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