The Melody of English: Intonation & Primary Phrase Stress

1. 1 The Melody of English: Welcome, I'm Sheila Levitt, income and American English pronunciation specialist. This course called English intonation and primary phrase stress will help you put the finishing touches on your speech. Primary phrase stress, or PPS, is the most important word. In each thought unit. We need to learn how to pick the right word that we want to emphasize the most inflammation occurs on the PPS thing can express the finality questions or finished thoughts. For example, if I say I'm done, then I'm not sure and I expect an answer from you. But if I say it, I'm done, then I'm very sure that I'm done and I don't expect you to object. In this lesson, I'm going to show you a breathing exercise that'll help make your speech more connected. How did I change the vowels? How do I know ended up, thin down or down and up, or up and down and back up again. Does the vowel changes and doing all that up and down. Let's find out together. Okay. 2. 2 Intonation Introduction: Welcome, I'm Sheila Levitt ENCO and American English pronunciation specialist. This course called English intonation and primary phrase stress will help you put the finishing touches on your speech. If you've already learned vowels, consonants, word stress, and sentence rhythm. Now you're ready to link the thought units or sentences together to make meaningful connections between your ideas. This is also a good time to talk about breathing and make sure you're taking the right amount of time for each inhalation. And exhalation. Breathing works harmoniously with intonation and primary phrase stress. Intonation is the rise and fall of the speaking voice. Without intonation, we will sound monotonous and the listener will have to guess how our ideas are connected. That's if he or she doesn't fall asleep first. Primary phrase stress or a PPS, is the most important word in each thought unit, we need to learn how to pick the right word that we want to emphasize. The most intonation occurs and the PPS and can express finality questions or unfinished thoughts. For example, if I say I'm done, then I'm not sure and I expect an answer from you. But if I say I'm done, then I'm very sure that I'm done and I don't expect you to object. If I say I'm done. That means I'm done with the task that I was doing, but I'm looking for you for direction for what to do next. But how exactly that I make those three, I'm done sound different. How did I change the vowels? How do I know indigo, up, bend down or down and up, or up and down and back up again. Does the vowel changes? I'm doing all that up and down. Let's find out together. 3. 3 Breathing Exercises for Intonation and connected speech : In this lesson, I'm going to show you a breathing exercise that'll help make your speech more connected. I'll also show you how this breathing exercise is connected to our intonation. I'll show you an example from one of my students who made a recording for me and part of it sounded a little bit choppy. Let's listen to my student. Bill doesn't have a job, but he still lives with his parents even though he's 35 years old. That sounded a bit choppy. Notice how he said even though his 35 years old, even though he's 35 years old, even though he's 35 years old, instead of even though is 35. I said that in one breath of air. So we're gonna do an exercise to learn how to do that. First of all, you want to make sure you're not doing shallow breathing. We're not just breathing from here. We want to make sure we're getting the air down into our diaphragm. So you want to feel your ribcage expands a little as you take a breath of air, then you'll have more breath in you and you can let it out for a longer period of time. You want to let your air come out over the whole sentence. So let's inhale, say for three seconds, then exhale a humming sound for five seconds. Good. Now as you practice that, eventually you will say, Hey, I can do that for six seconds and then seven, and then eight, and then nine. And if you can get to 10 seconds, that's pretty good. That might be all you need to say. A long thought unit in English and breathe in for three. And I hung out for 10. Good. Now as you do all that hamming, notice how your face is vibrating. The bridge of your nose is vibrating, your lips are vibrating. All of that energy is coming forward and that's what we want. When you speak, you don't want to swallow everything. You're saying. You want the air to flow outward. So let's try humming again and notice how everything's coming forward. Now let's try that again, just so you can get the idea of what it feels like to do it wrong. This time we're going to do it with a vocal fry, where instead of bringing the sound forward, we're trapping it in the back of our throat. It's not comfortable, it doesn't sound good, but you'd be surprised how many people do that and how many students who are learning English do that. You could try humming your favorite song, such as Happy Birthday. Everybody knows Happy Birthday array. Now I can breathe, inhale. And now I can breathe. Okay, so try doing that with your favorite song, where each line comes out in one long exhalation, no stopping in the middle. Now let's try saying a word. Let's take the word workaholic. Some students might say it like this, workaholic. But what? I'm kinda of swallowing it, a little bit of that vocal fry, a little bit of using the back of my throat instead of making the sound go forward. So again, I'll do it wrong. Workaholic. What the Hollich. Now, let's do it better than that. Workaholic inhale. You might not inhale for three, right? Sometimes we just inhale for one, but you should get that breath really low and still feel your ribcage expand a little bit. Workaholic. The sound went forward. It didn't get trapped in workaholic. Workaholic. Now here's the fun exercise that I wanted to show you today. We are going to count numbers and exhale numbers five at a time. Why numbers? Because you're all good at numbers. You weren't good at numbers. You would have lost all your money by now. So I'm going to inhale 123456789, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20. So when I did one through five, I did it in one exhalation, 1, 2, 3, 4, 5. And that would be very similar to a short fat unit in English. Sometimes we hold our breath after five and continue exhaling on six through 1012345678910. Now, on that 6, 7, 8, 9, 10, I was slowly exhaling, tell there was nothing left in my lungs. And then at the end of 10, I can breathe again for one or two seconds. Before I do 11 through 20. Let's try it again. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. So five was the high point in my sentence or in my thought unit, right? I went up and I got to the top at five. And then I started going down for six through 10. Let's try that again. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Say it with me. 12345678910. Now this time when we do it, let's even highlight 10 to show that, hey, we're done with this sentence. So tens going to have a little bump up and down. 1234567891012345678910. Remember, we don't want to swallow our numbers. We want it to be very smooth and coming freely out of our mouth. So swallowing might sound like this. 123456789, 10. Do you feel how I'm swallowing them? 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. It's like I'm being apologetic for speaking. Let the numbers spill out. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. When that gets easier for you, Let's do one through seven and then eight through 14 or one through 10, and then 10 through 20. How long can you hold your breath or keep air inside of you and slowly exhale before you need to take another breath. Okay. Let's do one through 71234567. 8, 9, 10, 11, 12, 13, 14. Say it with me. 123456789. 10, 11 12, 13, 14. Again. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14. Good. So let's practice one more time. The counting. Let's do one through 89 through 16. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16. Again, 123456789, 10, 11, 12, 13, 14, 15, 16. And you can keep going by the way, but just practice it like that because you're not thinking so hard about the numbers. And then later you can apply that technique to actual sentences. Now let's try saying these numbers smoothly. But with personality, you can feel different because sometimes when you speak you have different emotions. 12345678910. Say it with me. 1234567891012345678910. Say it with me. 123456789, 10. My student practice these exercises and then tried seeing that same sentence again. I'll do it first. Bill doesn't have a job and he still lives with his parents, even though is 35 years old. So that's divided into three sections. The first to go up because their unfinished thoughts, and the last section goes down because it's finished. Bill doesn't have a job. I go up a little band job because we're not done with the sentence. Bill doesn't have a job and he still lives with his parents. Again, I go up a little at the end of parents. I'm still not done with the sentence. And he's still lives with his parents. He even though is 35 years old, coming down at the end of old. Let's listen to my students. Build an average job. Any stone lives with his parents, even though East 35 years old, even though East 35 years old, even though he's 35 years old, even though it's 35 years. So even though he's 35 years old, even though it's 35 years old, even though he's 35 years old, even though East 35 years old. Notice how he's much more connected now. Practiced smooth counting and racks of air with the repetition audio practice. 4. 4 How to divide front vowels : Let's talk about how to divide vowels for intonation. Our vowels have to dance up and down. They have to dance up and down, sometimes very high in, sometimes just a little higher. Hey, learning intonation is a great opportunity to review all your vowels. Let's get started. So we'll start out with an exercise called siphoning, which is a pitch and birth control exercise that you'll need for intonation will be signing between two different pitches for each vowel in the English language. You get to decide with those two pitches are. But they should be. You're comfortably low pitch and you're comfortably high pitch. Of course, you could go lower than that and you could go higher than that. But it wouldn't be comfortable and it wouldn't sound so natural for you. So for me it might be, Hey, I think I can naturally speak slowly. And I think I can naturally speak this highly. So those might be my low and high pitches. We're going to siren smoothly between those two pitchers. We'll start with the long e. And remember, if you took my Val course, then you know that the long e rings below the ear, not too far forward but back in your mouth and below the ear e. So we're gonna siren up and down a couple times in one breath of air. So you inhale for two or three seconds. The new want to make sure the sound was consistently coming out and there were no breakages in the sound and there wasn't one part of the sound that was weaker or a louder than another part of the sound. It just went smoothly up and down. Let's try it again. The for intonation for a going to need to break our vowels into two or three parts. You'll learn why later, but right now we're just gonna learn how to break the vowel into two or three parts. Long, e. E. That is the red rainbow looking symbol on the screen. I go up on E and back down on e. E. Let's try it together. E, e. And then there's the one where you start higher and you go down and back up again, E, E. Let's try that with the word we'd. We'd we'd repeat after me. We need we need we need we need notice that I didn't draw a mountain red line like this. It doesn't look like a mountain. I drew a nice smooth arch because I don't want you to go. We need that's a little bit harsh. Just weed. It's rounded at the top. Now sometimes I need to break a word into three parts or break the vowel into three parts. So I would go up and down and then a little back up again. We need we need we'd we'd every time I break it into three parts like that, it'll show a blue squiggly line on the screen. We're gonna do the same thing with the word wean, or really with the long e before any voiced consonant. When we win, we win. We'll have to do it a little faster. If we have a voiceless consonant following the vowel, as in wheat. Wheat, wheat. We now putting the long e before an owl is always very interesting. We'll notice how I inserted a y consonant sound in between the E and the all sounds. So it's not just an L, but it's an all sound and that is a vowel. So we go up on P and then down on your. And remember it's not peel, but it's peel. We can go down with it, peel, or we can go up, down, up with it. Pil. There's a couple of subtle choices. How you could say peel. You could either go Puppy, where you go up and down and the E, and then up and the peel. Or you could start going down and the ya'll, and then go up again and just the L because you can take the l sound or you can go up and down with just an owl heel. This is also a lot of fun before an r sounds because you have to make the ER. And again, you'll put a y between them. So we go up and pee and down and year peer, or we go down here, or up, down, up here. Let's try looking at some sentences. Pull the weeds. I don't just say pull the weeds. Paul, the widths. Now I'm I'm inhaling, I'm swallowing my word. I need to get that word out and I need to show the census final by going weeds. Pull the weeds. Say it with me. Pull the weeds. Pull the weeds. Did you pull the weeds? That's a yes-no question where we go down and then up, stay with me. Did you pull the weeds? Did you pull the weeds? Now, when I put weeds in the middle of the sentence, I have an unfinished thought and that's where I do the up, down, up. I saw weeds but I didn't pull them. Say it with me. I saw weeds but I didn't pull them. I saw weeds but I didn't pull them. How do you break short I and two or three parts or so. Lets practice some ironing with that short I, because short I is tricky for a lot of people learning English in inhale. If you'll remember from the vowels course, the short i is ringing red and funnier knows your tongue and your cheeks. Everything is super relaxed. Let's try it again. Inhale. And, and that sounds really different from the long e, which is e. The, remember if you need more description about the difference between long E and short, I, please take one of my courses on vowels. Let's practice breaking up. Sure, I and words. Bid, bid, bed with an L. Bill. Bill bell. Again, we can travel more on the vowel or we can travel more on the L and do some training on the L. So here I travel more on the vowel Bell, Bell. And here I travel more on the L Bill. Bill. Whichever way you like better, a singer might choose to do more on the vowel. How about the word bib? Big, big, big, big, big, big. It'll be a little faster with the word bit because of the voiceless consonant. Bit, bit, bit, bit, bit, bit. Here's some examples. Place a bid. Place a bid. Did you place a bid? Notice I went bid, I went down first, and then up bid. I placed a bid, but I lost. I placed a bid, but I lost. How do you break long a into two or three parts? A, a. So a is different. You start out with a peer, a sound. But then the second part, well, it's actually somewhere between a long E and short I. So I might say a or I might say a. And when I get to the a, a, a, a, it's pretty close to a short eye. So let's start out by doing a, notice that my mouth gets a little smaller and my jar comes up as I transition into the short i ae. Or I can go down a. Now let's make sure you can siren between the long and the short iron along either comes after it. And how? A, what if I start by going down in the let's try the word where, where, where, where, where the word weighed. Where'd, where'd, where'd? Let's try it before an n. With an n, you have a choice. You can spend more time on the vowel, or you can spend more time on the end because you can siren on an end to, let's try it. You're using your nose a lot. If you don't think that's such a pretty sound, you might want to ride longer on the vowel. The word is when, when, when, when, when, or when. You choose how long you want to spend on the end, singers would spend less time on the N and more time on the vowel. But as a speaker, you have more flexibility. How about the word? Wait, wait, wait, wait. Pretty fast because of the t. Now let's try it before in L. And you know, of course that you can spend longer and the Val or a longer on the L. Let's siren on that L. So PAL, pal, pale or parallel. Now when we did pale, we don't have to really have any of the short I or II after the a because we're going up and pay and we never get to the short iron lung E. We just come right down on the paper towel, but not pay, just male. Now let's try along a before in our pair, you're ending with an ER pair or pair. I could ride that ER for a long time if I want to, but that might not be very pretty. We could sire in an ER. Her. Here's me spending a long time on the ER pair. Again, the short i or lung is not needed because you're going to go straight from the a to the euro. Pair. Examples of dividing long a in sentences. Do you know what he weighs? So I can be really extreme and I can say, do you know what he weighs? And I can actually get to that long ie ways. I'm a little excited. Maybe if I do that to you, nobody ways. There's definitely a long either. But if I'm not as excited, I might just say, Do you know any ways? There's no long either. I just went a a so I went to the short. I notice how wait is very fast because of the voiceless t. I need to know your weight. I need to know your weight. I need to know your weight. I know how much he ways, but I want tau. Notice that if I don't do that and I just say I know how much she wishes, but I won't tell. I sound kind of boring. So this intonation of up, down, up makes you sound a little more interesting. I know how much he ways, but I want to tell how do I break short e into two or three parts? Or the second part of the short e won't really be a short e. We're going to make our mouth a little smaller and you'll end up with a short eye. So you notice that my mouse got a little smaller on the second half. And if I go down, it still gets smaller. When I come back up. I do not say. I don't keep my mouth that much open the whole time. We definitely make it smaller. Let's try the word bed. Bed. Bed, or bad. Bad, bad, or bad. And the word bell. Bell. Bell, Bell. Again, you decide if you want to spend more time on the EN bow or the Allen bell, I'll do it more on the E. And now I'll do it more on the L bow. Which one did you like better? Maybe it just depends on your mood. You might want to try it both ways. Sometimes one way, sometimes the other way. That's probably what I do. Now let's try it before in N, Ben, Ben, Ben. This time I'll do more on the vowel again. And this time I'll do more on the end. Ben. And how about the word bet, which ends in a t, which is voiceless. So it's going to be fast. Bet, bad, bad, bad, bad, bad. Now for some examples in sentences, make your bed. Make your bed. Did you make your bed? Did you make your bed? Bed? Notice it's not bad, Ed. Ed. It's definitely not so separated like that. It's very smooth. Bed. Did you make your bed? Did you make your bed? I made my bed but I slept on it. Now some students might try to say, I made my bed but I stepped on it. Wow, that's an even sound like bad. It was so fast at center like that. And it was swallowed. I made my bed, but I slept on it. But we need to learn to lengthen those vowels so that we can go up and down with them. I made my bed, but I slept on it. I made my bed, but I slept on it. Now, how do you break short a and a, two or three parts. The first part is the short a we've already learned in the vowel course. And the second part is going to be the short e, because you'll open your mouth unless you're going to close your mouth a little for the second part. So it's or Let's look at the word bad. Bad, bad, or bad, bad, bad or bad. And before an L PAL, PAL or PAL. And before an L PAL. Pal or PAL. More time on the valve would be more time on the L would be powerful. How about before in n? Ban, ban or ban, ban, ban or ban. More time on the end would be ban, ban. And finally back, very fast. Bad, bad, bad, bad, bad, bad. He is very bad. He is very bad. Very bad. Very bad. His bad, but he'll improve. So when I say, did, I have to save some of that short e for going down and for going up. So it's back. So you're going to stretch out the short ELR, even though it's the short a that we're seeing. But the short a will be very loud and going up to the highest pitch. His bad, but he'll improve his bad, but he'll improve. Please practice with a repetition audio provided. 5. 5 How to divide central vowels : Now we'll look at how to break up vowels into two or three parts, and we'll focus on the central vowels. First of all, remember, or you need to pinch the corners of your lips and pull your tongue back. Her. Now, sometimes I tell students, imagine you have a vacuum cleaner in your throat and it's sucking everything backward, or that's true, but at the same time we still want to spill the sound out of our mouth so you could look at it different ways. I don't want to go or I don't want to swallow it but the sounds coming out but at the same time or if feel like something's getting sucked back, like sacking back and spilling the air out. At the same time. I go up and her and I go down and another There's like to urge there but they're connected. Or can you siren the ER, the word fiber, fiber, fiber, fiber, fiber, fiber, fiber. Wow, when I do this intonation, there's three years fiber. Let's do the word world because that's tricky for all of my students. We're going to go up and were and then down and rolled world, or world. I need that strong consonant r to connect the two parts where rolled or were rolled or world. How about the word Bern? Bern? Bern or burn? Again, you have a choice. You could spend more time on the ER or more time on the end. Let's try both. First, I'll spend more time on the ER, PR her. And now I'll spend more time on the end, burn. And now bert, which will be fast. Bird, bird or bird. And our examples. I like it's for like it's for do you like it's for do you like it's for? I like it's for but not its claws. I like it's for but not its claws. It's very subtle. But now that you know what to listen for, you'll probably hear it more often and you'll be drawing that little squiggly line. I like it's for but not its claws. How about the short you remember the short years, the most common valance, very relaxed and simple. Your mouth is halfway open in your tongue is flat and relaxed in the middle of your mouth. Or Let's siren with a short you inhale. How about the word fudge? Fudge, five edge or fi fj? Fi fj, five edge, edge. Let's do it before. In L, pulse, pulse, pulse, pulse, pulse, pulse. Now let me spend more time on the L. Paul's. Paul's. How about the word fun? Fun, fun, fun, fun, fun, fun, fun. Or fun? And voiceless consonant, cut, cut, cut, cut, cut, cut. Examples. I love fie. I've got the short you're going up, transitioning into the short, you're going down. I love for Edge. D like five edge. Now when I'm asking a yes, no question, I can do it two different ways. I can either go five edge or I can be really excited and say, Do you like five edge? And I can just go up and fall. And then up even more and edge. But don't turn into Mickey Mouse so you don't want to go D like fat, like you might get too high. So that's why a lot of people go down first. Do you like five edge? Do you like five edge? But sometimes we're really excited with AT like fudge may get kinda high. I like fudge but not every day. I like five edge, but not every day. Now let's do the short o. You'll start with a short where your mouth is open and your tongue is at the bottom. But as you get to the second half, you close your mouth Sam, and then it becomes a short you AA or NA, or I do not say, ah, I don't keep my mouth open that long. I have to close it off on the second half. Aa or NA or R. Let's siren the short, going up on the law and down on the short u. Now let's Siren by going down on the R and up on the shore. You, you'll need that for some questions. Large, large, large, large, large, large. How about bond, bond? Bond, bond, bond, bond, bond. Now when you do this one, this squiggly line, when you can spend either more time on the short URL or more time on the end. Let's try more time on the short u. And and, and now let's do more time on the end. Bond. Bond. How about the word massage? Massage? Massage? It's not massage, but it's massage. Massage. And how about the word cup with a T? Cut? Cut, cut, cut, cut. Examples of breaking up short o in sentences. Sleep and the large. Sleep and the large. Did you sleep in the lodge? Did you sleep in the lodge? Or we can be excited. Did you sleep in the lodge? Did you sleep in the lodge? I like the lodge, but it's expensive. I like the lodge, but it's expensive. I like the lodge, but it's expensive. Practice these sentences plus more in the repetition audio practice provided. 6. 6 How to divide back vowels : Now we'll talk about how to break back vowels into two or three parts for intonation. Long you will go up and with very tight rounds lips. And we'll go back down on the same ooh. Ooh. Actually, my second ooh will get even tighter than the first ux because I'm going to close it off. Watch my lips a little bit tighter on the second half. Ux or UI. Ux or UI, or UX. Ui. Let's try signing between these picker high and low range. And now we'll siren in the other direction too. Or chew or choo. Choo or chew. Or to rude or, or rude. Rude or, or rude. How about the word root? Root, root, root, root, root, root, long? You examples in sentences, the nut is hard to chew. The nut is hard to chew. Is it hard to chew? Is it hard to chew? Or is it hard to chew? Is a hard to chew. It's hard to chew, but it tastes good. It's hard to chew, but it tastes good. Remember, one breath of air on It's hard to chew, but it tastes good. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. It's hard to chew, but it tastes good. It's hard to chew, but it tastes good. How do you break short back you and a two or three parts. Both parts we'll have a short back u, which is a really relaxed, slips slightly around it, but relaxed. The tongue tip will be pointing down because it's a back vowel. But it's not as tight as Lou. Not nearly as tight. I've shown short back you on the screen by putting a little white dot on top of the EU that so you won't confuse it with the short u as an this is a not. Paul. Now notice that before that, I did put the dot on top of you to show a short vacuum. But does it really matter if it's a short vacuum or a short you are say it both ways and I don't think you'll hear that much difference. First, I'll do the short vacuum, Paul. And now I'll do a short you Paul. So really you can do it either way. Paul, Paul, Paul, Paul, Paul, paul. Now remember you can spend more time on the short vacuum or more time on the L. Let's do more time on the short vacuum. Paul. Paul. And I'm more time on the L. Paul. Paul. Now put very fast. Put, put, put, put, put, put. Examples in sentences. My coat has a hood. My coat has a hood. Does your coat have a hood? Does your coat have a hood or digit code? Have a hood? Digit code have a hood? I have a hood, but it won't stay on 123456789 10. I have a hood but it won't stay on. I have a hood, but it won't stay on. Now long o, the lung starts with 0, very rounded 0. But then in the second half, we're going to close up a little and relax a little to get to the short back you. So it's 0, 0, 0 or 0. Let's do some sirens going between 0 and notice how my lips are changing. When I'm up high, the OH, is really intense. And then as I come down lower, you see I lose a lot of the rounding and my fingers a little bit higher. What if I start by going down because I want it to be like a question. You still see my lips moving. So we have 0. Notice the lips become less intense and the second half 0 or 0. Road, road, Row, Row, Row, Row. Roll, roll, roll. Roll. Or more time on L, rho, rho, Rope, Rope, Rope. Rope. Examples in sentences. Drive down the road. Drive down the road. Did you drive down the road? Did you drive down the road? Did you drive down the road? Did you drive down the road? I drove down the road but I missed the turn. I drove down the road, but I missed the turn. I drove down the road but I missed the turn. I drove down the road but I missed the turn. Now short back, oh, short back. O is going to have oval lips. Are very low Chen, very low tongue. But instead of just neutral lips like are like short 0. So little oval are just a little bit. If you make it too oval, you get a very heavy east coast regional accent. And the second half, you're going to come to the short u, just like we did when we did short. We went from short over the short u. Now we're going from short back to short u. That means on the second half your mouth has to get a little bit smaller. Your job's going to come up. Ah, ah, ah, ah. Now let's try running short back. Oh, Don. Don dyn. Dyn time or you can spend more time on the N. Don Don, Paul. Paul or Paul? Paul. Paul. Paul. For more time on the L. Paul, Paul, fie, fie, fie, fie, fie, fie. Examples in sentences. Wake up at dawn. Wake up it don. Do you wake up at dawn? Do you wake up at dawn? Do you wake up at don? Do you wake up at dawn? I wake up at dawn but only on weekdays. I wake up at dawn, but only on weekdays. Practice breaking up back vowels with the repetition audio provided. 7. 7 How to divide moving vowels: How to break up moving vowels or diphthongs? How do we break long I into two or three parts. Now, when long I is at the end of a word, or before a voiced consonant, we start with a short O sound, and then we end with a long e or e sound. So it's I, j, or i. I. Before a voiceless consonant. We'll make it quicker, but will also change the first part of the vowel. Go up and down on e, i or i. Let's try signing for the i sound a, a, a, and now let's start going down. Let's try signing on long I. When it starts with a short you instead of I will say I VIA, or going down first. I VA VIA. How about the word pi? Pi or pi? Pi? Or pi? Pi. Pi will make the long I really big, starting with that short o before any voiced consonant. For example, lime, lime, lime, lime, lime, lime. Lime before a voiceless consonant will make it quicker, but will also change the first part of the vowel. I'm not going to say lights. I'm going to say lights. So what I did is I used a short U instead of a short. So we'll go up and down on IE, I, II, or III. Let's try the word fight, fight, fight, fight, fight, fight, or fight. Examples. I like apple pie. Apple pie. I like apple pie. I like apple pie. Do you like apple pie? Do you like apple pie? Do you like apple pie? Do you like apple pie? I like apple pie, but only on Sunday. I like apple pie, but only on Sunday. How about that? Always sound. How do we break that into two or three parts? We'll start with the long 00 and n with the long e. E. Now some Americans on the East Coast might make that a short back o instead of a long o. But I find that most Americans actually make a long o. So we go up on o and down on IE, or a, or a, or the opposite. Let's siren. All EU, the only, or we can start low. Or hey, let's try the word Toy, toy, toy, toy, toy, toy, toy. Now when we do this squiggly line, and we go up until we come down and E and then come back up on another ie. Totally, totally will do the same thing before any voiced consonant. For example, in join, join, join, join, join. Join. In a course if you want, you can spend more time on, in, less time on the vowel. It would sound like this. Join, join. Let's be quicker before a voiceless consonant. Joint. Joint. So the n is voiced but the t is voiceless and makes the vowel quicker. Joint or joint, or joint. Joint or joint or join. Some examples. I'd like to join. I'd like to join. Would you like to join? Would you like to join? A little bit more excited? Was you'd like to join? Would you like to join? I got pretty high there. I'd love to join, but I have to work. I'd love to join, but I have to work. Now how do we divide out or the long OU into two or three parts? This is our final vowel. We'll start with the short a and ends with a short back. You will start with the short a only at the end of a word. Or if it's before a voiced consonant. Cao, Cao. Cao, Cao. So I don't want to make it as tight as along you once in a while you might, if you get really excited or you want to exaggerate something, then you might go, cow, I'm just exaggerating and being a little silly. But sometimes we do things like that. I can say, is that a cow? It's possible but I'm probably just going to say is that a cow? And I don't get too tight. I don't know Cao. Cao. A little rounded so it's more like a short back you then along you will do the same thing before any voice. Consonant. Town, town, town, town, town, town. And if you want, you can spend longer on the end. Town. Town. Notice that I call this vowel the long OU, but we don't actually make an O sound. We're making a short a, so it's not tone. It's tat. You can see my tongue at the front of my tongue is up and forward for the front vowel. And down town. Now when we have this OU sound before voiceless consonant, it changes quite a bit. Instead of a short a will start from a short e. So it'll sound like 0, 0 or 0. 0. Let's say are in right now between both types of long OU's. We'll start with the owl from the short a. And now let's try that going down. Very smooth. It's a lot of mouth moving going from ad. It's going all the way across the vowel chart. Now let's try signing between the short E and short back, you know, and going down. Our example word is pow. Pow, pow, pow, pow, pow, pow. Let's look at some examples with OU. This is my town. This is my town. Are you from this town? Are you from this town? Or are you from this town? Are you from this town? This is my town for I was born here. This is my town for I was born here. Practice the sentences in this lesson with the repetition audio provided. 8. 8 Sirening Practice : Let's do some more siren in practice, just signing this time, I've already explained how to divide the vowels. Let's start with a long e. E, The. Now let's start by going down the, sometimes we add an R or an L to that long e, like ear or ele. Let's try signing those. Or try going down. Now. E, Lee and down. Now let's try doing along a, a and start by going down a. Let's add an R or an L to the long a, as in air and air. Where we have to make that combination of the long a and the ER really smooth as we go up and down with it. Air or air. How about ALL with an l? Now let's try sure. Ie. And we'll go down first. And now let's try short a. And we'll go down and short I and down first. Now we'll do ER doctor and down later. Sometimes repair an R or an L after the ER, as in URL. Url. Or can we siren without end down first? Now we'll do the short. You try to have a wide range between your top note and your bottom note so that you won't sound monotone. And let's go down first. And now the short o and down first. Now we'll do the long you to end down first. Who? What if we connect the lung you to an l or n? Let's try the siren that and starting down, who can we connect the lung you to in R to the ER? Or as an Pure or, or, or, and going down. Now we'll do the long 0, 0. So starting down, oh, let's connect along to an owl. A whole. Remember you need to put a W between the lung 0 or any long back vowel and an R or an L. 0 or 0, 0. And let's connect lung 0 to an ER. Or 0, or 0 over 0 over 0 or n going down 0, 0. Next we have the short back and going down. And now we have long I, I, the a going down, I see a. Let's connect long i, 2 and r. I. Put a y in between the I and the ER. I hire. I wear their hair and going down. And now we'll connect long I to an l i o psi running I, i, ng going down hill. And what about the smaller version of the lung I that starts with a short you I, I I VA, VA and going down I VA, VA now will do all the way or running or the, the, the hand going down. Or a. Finally, let's do the long OU. Or 0, 0, 0, 0 and going down 0, 0, 0. And a smaller version of the lung OU, which starts with a short e, 00 00, 00, 00, 00, 00. Going down. Our practice irony with a repetition audio. Siren will give you long, beautiful vowels and control over your dynamic intonation. Next, we will learn the rules to intonation. 9. 9 Beginner Intonation : Let's study intonation. Intonation is when the pitch of your voice goes up or down. In order to show what's going to happen next. First, let's look at statements and WH questions. Both of these have falling intonation at the end, but you have to rise before you can fall. We're going to rise on the most important syllable of the most important word in that chunk of information. So if we have, let's go to the library. Library. Is there an important word, usually the last word in English if we haven't already talked about it, is the most important word. Now in the word library, lie is the most important syllables. So we're going to go up on lie and then down on prairie. Let's go to the library. And when I go up, I go up rather quickly. Let's go to the lie. Let's go to the library. And when I say Prairie, I fall in a very relaxed manner. Library, I relax and let my energy reduce as I'm falling. Let's go to the library. I do exactly the same thing on a WH question, such as, where's the library? A WH question can begin with any words such as when, where, why, even how. Now the most important word in any chunk of information is called the primary phrase stress. And I've abbreviated that PPS here. Now it's your turn to practice saying, Let's go to the library. And where's the library? Let's go to the library. Where's the library? Now here's where the tricky part comes in. Suppose the primary phrase stress only has one syllable. Then I have to go up and down on that one syllable. So I'll need to divide the syllable into two parts and really stretch out that vowel with a high pitch and a low pitch. As in. Let's go to the show. I said Shaw. I took the O and show and divided it into two parts. The first Within up, the second with a down show. Let's go to the show. Where's the show? Let's practice that. Let's go to the show. Where's the show? Now let's look at yes, no questions. These are questions where you expect an answer of yes or no. So they don't start with when or where. They start with things like can or do or will. With a yes-no question, you'll have the opposite intonation of a WH question. You are going to rise at the end of the question. Before you can rise, you have to fall. We're going to fall on the primary phrase stress, or the most important syllable of the most important word, and then will rise after that syllable. For example, do you like it? Like is the most important word? And I actually fall unlike so that I can go up on it. The reason I do that is so I don't end up sounding like Mickey Mouse. Deal like we went to go down first. Do you like it? Do you like it? Do you like it? What if the primary phrase stress only has one syllable? Again, you'll need to go down on that syllable and then up. So he'll need to divide that one syllable into two parts by stretching out the vowel and going down on the first half and up on the second half, for example. Is that a fact? Is that a fact? When I say fact, I don't take a short a all the way up. It's actually a short a going down and a short e coming up. Fact. A fact. My mouth gets a little smaller as I come up. Is that a fact? Is that a fact? Is that a fact? Did you read the mail? When I divide mail into two parts, I'm going to stretch out the vowel and connect the a to the L with a y sound. You'll hear yo, on the way up mail. It's very important to put the y to have smooth linking between the sounds in the word. Did you read the mail? Did you read the mail? Did you read the male? Can you swim? Can you swear? They hang up? Can you swim? Can you swim? Can you swim? What if I have a compound noun like movie star? Is she a movie star? I'm going to go down on the first word in the yes-no question that I want to highlight and up and the second word, is she a movie star? Is she a movie star? The sheer Movistar? With introductory words, we will rise at the end, but we will fall before we rise. Essentially with an introductory where it you're saying, Wait, listen, I'm not finished. There's more to my sentence. Actually, I don't like it. I go down on app and I go up and Shelley to show that I am introducing a sentence. Actually, I don't like it. Notice that unlike I go up and then I go down on it because it's irregular statement one more time and then you'll practice. Actually, I don't like it. Actually, I don't like it. She lost her ticket. Therefore, she can't ride. Notice the introductory words such as, therefore, in this case, are all by themselves. They're in their own grammatical unit, so they get their own primary phrase stress. In this case, with an introductory word, we're going to go down on the main syllabus, which is there. And it will go up and for their for their four she can't ride. She can't ride. It's just a normal statement or you go up and ride and down on the same syllable. Therefore, she can't ride. Therefore, she can't ride. She paid for it. However, she can't find it. In this case, I go down on how and then I go up and her, because the strongest syllable in however, is the second syllable. So we go down for the first two syllables. However, she can't find it. However, she can't find it. Now because introductory words give very clear meaning and we know that more information is going to come after them due to the meaning, whether or not we do the intonation up or down. You can also say the introductory words with regular intonation that goes up and the main stress and then down. This might not be quite as clear. So if you want to be very clear, it's better to do the way I already showed you. But here's an example of doing it with just regular intonation. Actually, I don't like it. Actually, I don't like it. She lost her ticket bearer form. She can't write. Therefore, she can't ride. She paid for it. However, she can't find it. However, she can't find it. For unfinished thoughts. We have a longer sentence that has perhaps two different clauses in it. And on the first clause, we want to go up to show that we're not done speaking. It's like saying to the audience, we listen, I'm about to say something else. Don't stop listening yet. And then at the end of the entire sentence, you want to go down. So what we're gonna do at the end of the and Mary stressed word of the first clause. You're going to go down in, up to show that you're not done. And at the very end of the sentence, we go up and down on the primary phrase stress in that clause. So we have I was going to calm my boss, but I decided not to. The were boss is only one syllable. So I'm going to divide it into us. I'm going to have a short bar and a short yield us bars, except we're going to go down, up. So it's us. I was going to call my boss, but I decided not to. Not is the most important word in the second part of the sentence. So I'm going to go up or not. But I can go down on two because there's that extra word there, an extra syllable you go down on, Let's practice. I was going to call my boss, but I decided not to. I didn't want to hurt his feelings or get anyone in trouble. Notice that I went down and feel in up on feelings feelings, or get anyone in trouble. I went up and shrub and down on bull because it's the end of the sentence. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or I get anyone in trouble. Despite my poor decision, I hope you'll forgive me. I want to go down on the second syllable and decisions so that I can go up on the last syllable. Decision. I hope he'll forgive me. I'm going to go up on the give in forgive, and then down on me. Forgive me. Because in the word forgive, we do stress the second syllable since it's a verb. Despite my poor decision, I hope you'll forgive me. Despite my poor decision. I hope you'll forgive me. Last we've come to items in a list. Lists have their own special intonation. You want to go up on each item in the list to show luck. I'm not done with my list, but then on the very last item will come down. Of course, before we go up and each of the initial items, you need to go down. And on the very last item of question though, before you go down, Here's the example. I like carrots, broccoli, salary, and corn. Notice that I'm corn. I divided corn into two syllables so I could go up on coal and down on urn, corn. I like carrots, broccoli, salary and corn. Let's try it. I like carrots, broccoli, salary, and corn. What if my list is also a yes, no question? It's simple. We'll just do it down up on each of the words, but we'll do a bigger down up and the very last word. Do you like carrots, broccoli, salary and corn? Let's try. Do you like carrots, broccoli, salary, and corn? Finally, let's look at choice questions. They're really just lists with two items. We're going to go up on the first item and down on the second item. When I say, would you like coffee or tea, I go up on cough. And I go down a little and E, would you like coffee? And then I go down on T or T. Hot coffee or tea. Would you like coffee or tea? Let's try that. Would you like coffee or tea? We will add more detail to this lesson after is studying more advanced intonation. But this will get you off to a good start. 10. 10 Which word do I stress? PPS General Rules: How do I know which word in the sentence I should stress? The answer is found in the rules of primary phrase stress. Let's learn them. First, we need to know what a thought unit is. A thought unit is a grammatical chunk or a group of words that stays together. The thought unit could be a whole sentence, or it could just be part of a longer sentence. The primary phrase stress, is the most important word in a thought unit. It's the word you want to stress, primary phrase stress usually falls on the last content word in the new information. Content words are nouns, verbs, adjectives and adverbs. Pps falls on one of the last words and a thought unit. So don't die down in energy before you get to the end of the sentence. To the contrary, you usually need the most energy. At the end of the sentence, the match was between the two of them. The word to is a noun, and it's the last new content word in this sentence. I don't need to stress or them, those are not content words. The match was between the two of them. I have the highest pitch on the word to and also the most volume between the two of them. You'll rise in pitch on two, but then fall in pitch on them. The two of them, the match was between the two of them. You need to make it very smooth. So you wouldn't want to say the match was between the two of them. It needs to be smoothed between the two of them. Repeat after me. The match was between the two of them. Let's look at this example. This shows how PPS goes on the last new word in the thought unit, not just the last content word, it has to be a new one. Can I get a picture of you? Why? First school project? What's the subject of the project? Biology. We talk about snakes. Notice I've drawn all the arrows That's to show the intonation. Intonation is connected to primary phrase stress. In the first sentence, Can I get a picture of you? That's a yes, no question. And at the end of a yes-no question, you want the pitch or intonation to go up. But before you can go up, you need to go down on the primary phrase stress, which is picture. So I go down I'm picture. So I can go up on you. Can I get a picture of you? Can I get a picture of you? The question, why has its own thought unit? It's just one word all by itself. We're going to go up on Y and down on why all in one syllable. It's a WH question that has to have falling intonation will go up before we go down. Y. Y. For a school project. In this thought unit, we're going to stress projects. Some of you might think, oh, but isn't it a compound noun, isn't it school project? Now, this we just have to memorize. We actually just stress projects for a school project. So you'll go up on prom and down on objects. First school project. This next sentence has the new information. What's the subject of the project? So we've already said the word projects. We said that the last sentence. So we don't need to stress project again, instead, we stress subject. That's the last new content word in this new question. What's the subject of the project? Biology? We talk about snakes. So those are two separate chunks. Biology has its own chunk and I rise on the O in biology and that I fall on the end of that word. Biology. We talk about snakes. Again, snakes is your last content worried it's a new word, we haven't talked about it yet. It actually is the punchline in this conversation. It's the joke. She is insinuating that the person she's talking to looks like a snake or is like a snake. I go up and snake and down on snake, snake, snakes. We talked about snakes. We talked about snakes. Year the steak. Now here's an example where we're not going to stress the last content word, the last content where it is not new. We've already said the word snake, and we also want to emphasize the contrast here. So sometimes if you have explicit contrasts, even if the contrast is on a function word. You're going to stress it. So here I stress you're, you're the snake. Why is this an explicit contrast? Well, the first person said, we talked about snakes and she was implying that the girl she's talking to is a snake. So then that girl replies, year the snake. So the contrast is between you and me. Sometimes when you have a really strong or interesting adjective or adverb, you can stress that is your primary phrase stress, even if it's not the last new content word in the thought unit. Let's look at this example. You seriously can't take a joke. I thought serious was rather strong and interesting. So I decided to stress that instead of the word joke, I could have stretched joke. You've seriously can't take a joke. You have an option. Be creative. You just wait. This is threatening and it follows the general rule. Stress the last new content word which is weight. You just wait, I'll think of something good tomorrow. We don't stress words like tomorrow or any more or yet. These are just adverbials that express time in the context of the sentence. Don't stress them. Stress the last new word before those time adverbials. I'll think of something good tomorrow. Now repeat after me. Can I get a picture of you? Why? For a school project? What's the subject of the project? Biology. We talk about snakes year or the snake. You seriously can't take a joke. You just wait. I'll think of something good tomorrow. Just remember, PPS is the most important word in a thought unit. Choosing that most important when wisely, will help your audience concentrate and follow along with what you're trying to say. It'll help you deliver the message and it helps your audience pick out the most important words so they don't get distracted. Remember, PPS generally falls on the last new content word. Now this is a general rule and there are many exceptions. I've shared a couple of exceptions with you today, but be on the lookout for my next lesson where I'll share more exceptions to PBS and more examples. 11. How to avoid speaking too fast: Some native speakers, as well as non native speakers, tend to speak too quickly. Are you one of those people who speak so quickly that parts of words get blurred or deleted? And is it hard for others to understand you? Here's some reasons why some people make talk too fast and then we'll come up with a solution. What you can do to fix that, think faster than I can speak. So I talk too fast. I think faster than I can speak. So I talk too fast. That's true. We are able to think a lot faster than we speak. I get excited, so I talk too fast. Actually, I'm a victim of that. I think in pictures, the words come out messy. I use too many filler words such as like everything is like, oh yeah, like I was doing like yesterday. That can be really annoying when you're the person listening to all those likes. I get nervous and can't think of what to say next. My ideas just don't come out in complete sentences for any of these problems. If you identify with any of them, try this. Try thinking in small thought units or chunks of just three to five words. You don't have to think of the whole sentence, just one phrase or clause. Then as you say that phrase or clause or grammatical unit, you can say it more slowly. As you use your fast thinking capacity to plan the next thought unit that should logically follow. We want to put our busy fast thinking brains to work. Put it to work by planning what you'll say next, so that other people can understand you better. Because you know your ideas, you understand your ideas, but others don't need some of your help. If it's too difficult to think of the next thing you're going to say while you're saying the current thing, then you can do this. You can simply pause after the thought unit and think of what you're going to say before you start saying it. Because if you don't, you might come out with three likes. In the next sentence, listen to yourself. Say each thought unit. Listening to yourself also takes up some of your thinking power, so that you don't start talking too fast. Pay attention to whether you're comprehensible. Pretend you're the listener and you don't know what you're going to say next, even if you do know what you're going to say next. Let's try the following exercise. Everything that's blue is what you will think to yourself. Everything that's black is the line that you will actually say, you will think the blue line to yourself. Before you say the black line, let's begin. My brain is capable of thinking faster than I can speak. I need to pause every few words or between grammatical units and plan what I'm going to say next, either in the pause or as I'm speaking the current phrase. As I'm speaking the current phrase, I can use my fast thinking capability to think of the next phrase. I will say, you may be able to think the blue line to yourself as you're saying the previous black line. This time we'll try it a little faster by speaking and planning the next line. At the same time, my brain is capable of thinking faster than I can speak. I need to pause every few words or between grammatical units and plan what I'm going to say next. Either in the pause or as I'm speaking the current phrase. As I'm speaking the current phrase, I can use my fast thinking capability to think of the next phrase. I will say try using this method of chunking your thoughts into smaller units and planning what you will say next. This will reduce your speed and your use of filler words. 12. 12 Advanced intonation patterns: Let's look at some more advanced intonation patterns. I started out showing you just a few simple patterns to get you started. But in reality there are more. I didn't want to show them to you right away because it might seem daunting on the PPS, which is the most important word in a chunk. You can either rise or fall, rise or fall. And then after you rise or fall, you can either in tie ins low and mid pitch. Now I might ends low or ends with a low pitch when I'm very confident about what I'm saying or there's finality to what I'm saying, like I'm done. So an example of rising and ending low would be, I like you. I rise unlike and I ends low on you. I like you. I sound very final about it. You can't convince me not to like you. I like you. I like you. Now sometimes somebody might choose to go down on the word like, I like you. I like you. I went down unlike by emphasizing it, I emphasized it by going down sharply and going down deeply. And I started a little bit higher on the eye. I like you. My like took up more time and was louder than the eye. So I emphasized like, I like you, I like you. I am very final about that. I might fall and ends low to show lack of excitement, possibly some reluctance. I'd like you. Now we can also arise and end high. And that's when we have a question and we're very excited about it. You have ice cream. So I scream, or the word ice is my PPS and I'm going to go up on ice. You have ice, but I'm going to go up even higher on cream because I'm so excited and it's a yes-no question. You have ice-cream. You have ice-cream. And my voice gets really high there, so we don't use that one all the time, but when we get excited, we do it. You might also do it to show a repetition question. Like if X says, I have ice cream, then why can't believe it and says you have ice cream. And she's just checking now usually on a yes, no question, we will fall and then end high. So I might say, do you have ice cream? Do you have ice-cream? Do you have is here in ice is down here and cream is way up here. Do you have ice cream? Do you have ice cream? That way? I don't lose my voice. I don't get too high, and I'm using my whole range from low to high. Now we can also rise and ends mid pitch. And what really happens is we're rising or going down, and then we come back up again, but not all the way up, just to a mid pitch. So it's that squiggly line up, down and a little up. We do that when we have an unfinished thought. Maybe we're halfway through the sentence. I like you, but I don't want to date you. I like you. I was halfway through the sentence. I like you, but I don't want to date you. I like you, but I don't want to date you. You can also drop in ends mid. I like you, but I don't want to date you. I like you, but I don't want to date you. Let's look at some more examples of ending with a low pitch. Ends low. Not enough money. I rise on MAN and I come down on E. Not enough money. Not enough money. Let's stop. I rise on star and I come down on up. Stop, stop. Let's stop. Let's stop. Now let's try dropping. Not enough money. Notice I need to start a little higher, so I have room to drop. Not enough money. Not enough money. It almost sounds like I'm complaining, right? I'm not excited about my lack of money. Not enough money. Let's stop. Let's stop. It sounds very final. I don't expect anybody to disagree with me. Perhaps I'm tired and want to stop. Let's stop. Now let's look at examples of WH questions will rise and ends low, and then we'll fall and ends low. The most common way to do an information question or WH question is to rise and ends low. For example. How much money do you have? How much money do you have? I'm going up on MAN, down on E that you have. Which one do you want? I'm going up on law and down on remember, after the short o, we use a short you to fall down. Notice my mouth getting smaller as I come down. Why? It's which one do you want? Which one do you want? Now, let's try using a PPS fall for the same questions. How much money do you have? How much money do you have? Maybe I say it like that if I feel uncomfortable asking the question, which one do you want? Which one do you want? Perhaps, I don't wanna make you feel uncomfortable by asking you. Now let's look at examples of yes, no questions That ends high. First of all, rise and ends with a high pitch. Do you have enough money? Do you have enough money? When I rise so much, I sounds like a Worried Mother. Do you have enough money? Do you have enough money? The more common way to do the question is to say, do you have enough money? I go down on MAN and upon EA, perhaps I'm less worried about you here. Do you have enough money? Do you have enough money? Now, it's also possible to say, do you have enough money? I said it like a statement. I went up on MAN and down on IE. It was just like a sentence, a statement, not even a question. It's less common, but we do that sometimes. Perhaps a father is grilling his son. Do you have enough money? Do you have enough money? It doesn't sound very friendly. And another way to do it is just to fall and ends low. That's also less common. Do you have enough money? Do you have enough money? Perhaps a father is reluctant to give the money to his son when he asks the question that way. Now let's look at tag questions. First of all, we're going to rise and an anti, you have enough money, don't you? You have enough money, don't you? I sound like a worried mother. Now let's fall in anti you have enough money. Don't show. I sound less worried when I lower like that. Don't show. Now let's rise and ends low and see how the meaning changes. You have enough money, don't you? It sounds like you're asking me for money, but I know you have enough money and that you don't really need my money. So basically, I already know the answer. I'm asking a question to which I already know the answer. You have enough money. Don't show. I'm being a little sarcastic. Actually. You have enough money, don't you? You have enough money, don't you? How about falling and ending low? You have enough money, don't show. Here. I'm encouraging you to buy something because I know you can afford it. I'm being encouraging. You have enough money. Don't show. You have enough money, don't show. Now let's try repetition questions. First will rise and end high. The pencil costs a $100. How much does it cost? I went up a lot because I can't believe it. That sounds awfully expensive for a pencil. How much does it cost? How much does it cost? Now let's fall in anti, the pencil costs a $100. How much does it cost? Maybe I didn't hear you right? So I want you to actually answer the question again. How much does it cost? How much does it cost? Now let's work on ending mid pitch will use unfinished thoughts as the examples. First will rise and ends mid. If you need money, I can lend you some. If you need money, I can lend you some. Now let's fall and ends mid. If you need money, I can lend you some. If you need money, I can lend you some. Notice that I didn't go. If you need money, I can lend you some. You could do that too. And that's what I taught you in the beginner intonation lesson. But now we've added this new type of intonation where you don't have to go all the way up, you end mid. And that's a little bit more natural and more common for an unfinished thought. If you need money, I can give you some. If you need money, I can lend you some. Now let's look at non final list items. In the beginner intonation lesson. I had you go down, up, down, up high. And you can do that sometimes, but perhaps more common would just be to end mid. Let's try falling and ending MID on the first two choices. I take cash, check or credit card. I take cash check or credit card. Now, in the beginner intonation lesson, we would've said, I take cash, check, or credit card. And that's perhaps even clearer if you don't mind speaking so slowly and you want to make something very, very clear. But usually when people are speaking mid speed, they're just going to end mid. I take cash check or credit card. I take cash check or credit card. A more interesting way to do it is to fall in an MID on the first choice and then rise and end MID on the second choice. And then of course, you will rise and low on the last choice. I take cash check or credit card. I take cash check or credit card. I take cash check or credit card. That was really nice because it really shows the distinction between cash and check, between the first two options, cash starts low and check goes high. I take cash, check or credit card. I take cash check or credit card. Now let's look at choice questions. There are a lot of ways you could do it. First, let's rise and ends mid on the first choice. And rise and in low on the second choice. Should I pay before the lesson or after it? Should I pay before the lesson or after it? Now let's fall and ends mid on the first choice. Shall I pay before the lesson or after it? Shall I pay before the lesson or after it? You can really feel the distinction between the low four and the high after. Shall I paid before the lesson or after it? Shall I pay before the lesson or after it? But you could also rise on the first choice and drop on the second choice just to be different. So I pay before the lesson or after it. So I pay before the lesson or after it. That way is actually really common. And that's the way I showed you in the beginner intonation lesson. Shall I pay before the lesson or after it? Shall I pay before the lesson or after it? So let's review our advanced intonation patterns. Let's review them with a long e rise and ends low. E, e, E fall and ends low e, e e rise and end high e, e e fall and end high e. E e rise and ends mid e. E e fall and ends med. E, e. E. Please practice, practice, practice. 13. 13 Beginner Intonation with advanced add ons : Let's add the more advanced intonation patterns to the original intonation lesson. For statements and WH questions we're going to rise or sharply fall on the most important word. If you rise, ends low on the syllables that follow. Let's go to the library. Let's go to the library. Let's go to the library. Let's go to the library. Let's go to the library. Let's go to the library. I could say either one of those. Where's the library? Where's the library? Where's the library? Where's the library? Where's the library? Where's the library? I have a different attitude. If I drop right, I sound a little bit more annoyed or tired. Where's the library? Where's the library? Let's go to the show. Let's go to the show, show. Show. Let's go to the show. Let's go to the show. Let's go to the show. I'm emphasizing show by going down on it. This can be tricky for a lot of students. It's something you'll want to practice just to make you sound more diverse and not always sounding exactly the same. Where's the show? Where's the show? Where's the show? Where's the show? Where's the show? Where's the show? Yes, no questions. Now we have two ways to do them. We can go up and up some more, or we can go down and up. Let's try both ways. Do you like it? Do you like it? Do you like it? Do you like it? Do you like it? Do you like it? Is that a fact? Is that a fact? Is that a fact? Is that a fact? Is that a fact? Is that a fact? Did you read the mail? Did you read the mail? Did you read the mail? The movie, the male. Does UV the male. The movie the male. Can you swim? Can you swim? Can you swim? Can you swim? Can you swim? Can you swim? The Shema V star is shim V star is shim V star. The sheer movie star. The Shi a movie star. She a movie star. Introductory words. When you make an introductory word you're really saying, Wait, listen, I'm signaling to you that you need to listen. We can either fall and ends high, like we did in the beginner lesson. Or we can rise and in mid, which might sound more natural and be better for faster speech. Or we can lower and in mid instead of ending high. Also good for faster speech. Let's try it. Actually, I don't like it. Actually. I don't like it. Actually. I don't like it. Actually. I don't like it. Actually. I don't like it. Actually. I don't like it. Actually. I don't like it. Actually. I don't like it. Actually, I don't like it. She lost her ticket. Therefore, she can't ride. Therefore, she can't ride. Therefore, she can't ride. Or she lost her ticket. Therefore, she can't ride. Therefore, she can't ride. Therefore she can't ride. Or she lost her ticket. Therefore, she can't ride. Therefore, she can't ride. Therefore, she can't ride. She paid for it. However, she can't find it. However, she can't find it. However, she can't find it. Or however she can't find it. However, she can't find it. She paid for it. However, she can't find it. However, she can't find it. However, she can't find it. She paid for it. However, she can't find it. However, she can't find it. However, she can't find it. She paid for it. However, she can't find it. Occasionally we might rise and ends low on an introductory word like this. Actually, I don't like it. Actually, I don't like it. Actually. I don't like it. She lost her ticket. Therefore, she can't ride. Therefore, she can't ride. Therefore she can't ride. She paid for it. However, she can't find it. However she can't find it. However she can't find it. We could even drop actually, I don't like it. Actually, I don't like it. Actually, I don't like it. She lost her ticket. Therefore, she can't ride. Therefore, she can't ride. Therefore she can't ride. She paid for it. However, she can't find it. However, she can't find it. However, she can't find it. Now let's look at the unfinished thoughts. First, I will rise and admitted, and then I will fall and ends mid. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. If you wanted to, you could still fall and end high as we did in the beginner lesson. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. I was going to call my boss, but I decided not to. It might depend on how quickly you want to speak. I will end mid when I want to speak more rapidly. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. And now we'll drop low and high. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. I didn't want to hurt his feelings or get anyone in trouble. Notice the funny sound in my throat on feelings. I didn't want to hurt his feelings. That happens if you don't have enough air upon exhalation, we all make mistakes. Let me try it again. Make sure you fill your diaphragm with air. I didn't want to hurt his feelings for get anyone in trouble. I didn't want to hurt his feelings for get anyone in trouble. I didn't want to hurt his feelings for get anyone in trouble. Despite my poor decision. I hope he'll forgive me. Despite my poor decision. I hope you'll forgive me. Despite my poor decision. I hope he'll forgive me this time. Notice how my eyebrows go up to emphasise going up on decision. Despite my poor decision. I hope he'll forgive me. Despite my poor decision. I hope you'll forgive me. Use your whole body to speak. Facial and body movements correspond with intonation and BPS. Despite my poor decision, I hope you'll forgive me. Despite my poor decision. I hope you'll forgive me. Despite my poor decision. I hope you'll forgive me. Notice how my chin lowered on decision as my intonation fell. Despite my poor decision. I hope you'll forgive me. And now let's just ends a little bit higher. Despite my poor decision. I hope you'll forgive me. Despite my poor decision. I hope you'll forgive me. Despite my poor decision. I hope you'll forgive me. Lists. Let's review what we did in the original intonation lesson with lists. I like carrots, broccoli, celery, and corn. I like carrots, broccoli, salary and corn. I like carrots, broccoli, celery, and corn. There I rose a lie and I spoke rather slowly. Next, let's fall and ends mid three times. I like carrots, broccoli salary and corn. I like carrots, broccoli salary and corn. I like carrots, broccoli salary and corn. It wasn't as dramatic, but now I could speak faster. Now let's rise in end mid three times. I like carrots, broccoli celery, and corn. I like carrots, broccoli salary and corn. I like carrots, broccoli celery and corn. And now let's fall and end mid twice, and then rise and ends mid once. And then finally rise and ends low. I like carrots, broccoli celery and corn. I like carrots, broccoli celery and corn. I like carrots, broccoli celery and corn. So you can do these lists in any order, in any way you want. Be creative and don't always do it the same way. Let it reflect how you're feeling at the time. Here are some more options for choice questions. Would you like coffee or tea? Would you like coffee or tea? Would you like coffee or tea? The first option on the screen is this. Would you like coffee or tea? The second option on the screen. Would you like coffee or tea? Would you like coffee or tea? Would you like coffee or tea? The third option, would you like coffee or tea? Would you like coffee or tea? Would you like coffee or tea? And the fourth option where we're going to drop, would you like coffee or tea? Would you like coffee or tea? Would you like coffee or tea? Keep practicing all these intonation patterns with a repetition audio. Next, we're going to learn more about primary phrase stress and it's exceptions. 14. 14 PPS Exceptions noun constructions : Next we'll look at exceptions to the PPS rule that involve noun constructions. This is related to grammar. The first exception is when you have the word have or get, plus a noun or a noun phrase, or a clause or a verb. In this case, we will usually stress the noun phrase, not the claws or verb, even though the claws are verb may be last and maybe new information in the sentence. Could I leave? No. I've still got some tests to run on you. I've still got some tests to run on you. I've still got some tests to run on you. To run on you is a verb, and the tests is the noun, and you have the word got before that. So that's why we are stressing tests the most. Next I'll show you this exception was a clause instead of a verb. A clause has a subject and a verb. I've still got some test set data run on you. I've still got some test set data run on you. I've still got some test set data run on you. I've still got some tests I've gotta run on you. It's really fast, but this kind of grammar lends itself to being fast. I've still got some tests I've gotta run on you. I've still got some tests. I've gotta run on you. I've still got some tests I've gotta run on you. But Dr. I have a wedding to get to. So I use the word have and then the noun wedding. And then to get to is the verb. I'm going to stress wedding, not to get too. I have a wedding to get to. I have a wedding to get to. I have a wedding to get to. You've got your priority is messed up. The same thing. He said, God, priorities or your priorities as the noun phrase. And messed up is your verb, which we're not going to give the PPS two, you've got your priorities messed up. You've got your priorities messed up. You've got your priorities messed up. You wouldn't want to have a heart attack saying your vows. I gave more emphasis to heart attack. Then vows. You wouldn't want to have a heart attack saying your vows. Saying your vows is the verb phrase. You wouldn't want to have a heart attack saying your vows. You wouldn't want to have a heart attack saying your vows. You wouldn't want to have a heart attack saying your vows. Know. But now my fiance will have my wedding ring returned. Know. But now my fiance will have my wedding ring returned. Know. But now my fiance will have my wedding ring returned. Have wedding ring returned, stress wedding ring. Have my wedding ring returned? Have my wedding ring returned? Have my wedding ring returned? The next exception involves an explanation noun phrase plus a short predicate. In this case, you will stress the noun phrase again, even if the words after it are content words and their new will still stress the explanation noun phrase. The phone doesn't work. What's wrong with it? The batteries are dead. So the explanation to why the phone doesn't work is that the batteries are dead. The batteries is the noun. I stress batteries more than dead. What's wrong with it? The batteries are dead. What's wrong with it? The batteries are dead. What's wrong with it? The batteries are dead. Why don't you keep the cheese in that room? The cat lives there. The cat is the reason why I don't keep the cheese in that room. Why don't you keep the cheese in that room? The cat lives there. Why don't you keep the cheese in that room? The cat lives there. Why don't you keep the cheese in that room? The cat lives there. What's that smell? Notice I say smell. I go up on the short e and down on the short u. What's that smell? I can really lengthen smell and emphasize it by stretching out that vowel. What's that smell? What's that smell? What's that smell? The plastics burning. The reason I smell smell is that I smell the plastic. The plastic is the answer. The Plastics burning. The plastics burning. The plastics burning. The next exception is there plus b plus a noun phrase plus a clause, verb or adverb. Is there an ATM around here? So ATM is the word I'm going to stress. Is there or the VR plus b where at the beginning of the sentence but inverted because they're a question around here is the adverb. And I want to stress ATM, and of course I'll stress M because we've stressed the last letter of those abbreviations. Is there an ATM around here? In ATM around here, I drop on the m and then I go up on around here to show the intonation of the yes-no question. But I am emphasizing m by dropping on it. Is there an ATM around here? Is there an ATM around here? Is there an ATM around here? Yes. It's near the counter over there? Yes. It's near the counter over there. Yes, it's near the counter over their counter was the last content. We're not including the context setting location adverbial over there. It's near the counter over there. There's a bear hiding in the bush. I'm going to emphasize bear more than hiding in the bush because bear is the noun after there is. There is a bear hiding in the bush. There's a bear hiding in the bush. There's a bear hiding in the bush. Another exception is a question word plus a noun phrase plus a clause or a verb. I'm going to emphasize the noun. That's what we're asking about. Which movie did you like? I stress movie. Which movie did you like? Which movie to gel-like. Which movie did you like? What difference does it make? What difference does it make? What difference does it make? What difference does it make? The next exception is a noun phrase plus a final short relative clause. A relative clauses and adjective clause that describes a noun. In order for us to make this an exception and stress the noun instead of anything in that clause, it needs to be short, meeting just two or three words probably. Is this the toaster you bought? So you bought is a very short adjective clause that describes toaster. Since it's so short, I'm going to stress toaster instead. This is a yes-no questions. So I go down on toast, I drop, and then I end. Hi. Is this the toaster you bought? Is this the toaster you bought? Is this the toaster you bought? Yes, it has all the features I needed. I'm not going to stress needed even though it's the last new word and it's a content word because it's a short relative clause at the end of the sentence. Instead, I will stress features. It has all the features I needed. It has all the features I needed. It has all the features I needed. Where did you find it? I got it from a friend who was leaving the country. Now who was leaving the country is not that short. So I decided to make it into two separate thought units. I got it from a friend who was leaving the country. So then I chose to PPS is friend and country. I got it from a friend who was leaving the country. I got it from a friend who was leaving the country. I got it from a friend who was leaving the country. The next exception is a noun phrase plus an intransitive verb. An intransitive verb has no direct object. An example of a direct object would be the word milk in cats drink, milk. Milk is the direct object of drink. But we're looking at exceptions where the verbs do not have direct objects is at 10 o'clock yet. Know why? That's when the news comes on. So news is the word I will stress, comes on is the verb, but there is no object after comes on. It is an intransitive. So I say that's when the news comes on. I stress the noun instead of the intransitive verb. That's when the news comes on. That's when the news comes on. That's when the news comes on. I saw the farmer leaving. So again, leaving doesn't have an object. So I stress farmer. I saw the farmer leaving. I saw the farmer leaving. I saw the farmer leaving. What happened? His pigs escaped. Instead of escaped, I stress pigs because escaped is an intransitive verb. It has no object. His pigs escaped. His pigs escaped. His pigs escaped. Please practice these sentences with a repetition audio. See you for the next lesson. 15. 15 PPS Noun Construction Review : Let's look at examples of our noun construction. Exceptions to the PPS rule. There are a lot of mice than our house, so be careful when you go in the kitchen where we have trap set with stress mice instead of house because it's a, there is plus noun construction. There are a lot of mice in the house. I decided distress careful and make that a thought chunk after careful. There are a lot of mice in the house, so be careful. I just want to stop after careful to make the word careful more important. So be careful when you go in the kitchen where we have a lot of trap set. I also stopped after kitchen to take a break and then I emphasized kitchen. Now I stressed traps instead of set. Set is a short relative clause describing traps. We have a lot of traps that are set, or we have a lot of trap set. So be careful when you go in the kitchen where we have a lot of trap set. So be careful when you go in the kitchen where we have a lot of trap set. So be careful when you go in the kitchen where we have a lot of trap set. Why do you have traps in a high traffic area? That's just the regular rule. I stressed area by going up and then down because it's a WH question. Why do you have traps in a high traffic area? Why do you have traps in a high traffic area? Why do you have traps in a high traffic area? That's where the cheese is kept. Cheeses. The explanation to the last question. So I'm going to stress cheese instead of kept. That's where the cheese is kept. That's where the cheese is kept. That's where the cheese is kept. Can you carry your cheese to a low traffic area and keep your traps there? I stress low because it contrasts with the word hi from the previous statement. Can you carry your cheese to a low traffic area and keep your traps there? I actually went down on the word low. I stressed it by dropping on it. And I do stress there at the end of the sentence because it puts more emphasis on the low traffic area. Can you carry your cheese to a low traffic area and keep your traps there? Can you carry your cheese to a low traffic area and keep your traps there? Can you carry your cheese to a low traffic area and keep your traps there? That's where the cat lives. I stressed cat instead of lives because it's an intransitive verb. And we are stressing cat as the explanation for why I don't keep the cheese there. That's where the cat lives. That's where the cat lives. That's where the cat lives. If you have a cat, why does it kill the mice? I'm stressing cat because I want to draw attention to it. And I stress it because I want to contrast the cat from the trap. I'm wondering if the cat and not the trap, can kill the mice. If you have a cat, why does it kill the mice? If you have a cat, why does it kill the mice? If you have a cat, why does it kill the mice? That she's gives them a tummy ache? Here I'm following the regular rules, stressing the last new word, tummy ache. Tummy ache is a compound noun, so let's stress tummy. The first part of it. That she's gives him a tummy ache, that she's gives him a tummy ache that she's gives them a tummy ache. Why don't you remove the cheese traps so the cat can do its job. If I divide this statement into two chunks and split it up after traps, then the last new word in the first unit is remove. Because we've already talked about cheese and traps. We haven't used the word job yet and we haven't talked about the cat's job. So let's stretch job. Why don't you remove the cheese traps so the cat can do its job. Why don't you remove the cheese traps so the cat can do its job. Why don't you remove the cheese traps so the cat can do its job? What planet are you from? Then there will be a mouse gut strewn everywhere. I'd have a huge mess to clean up. I stress planet because this is the word after the question word, What planet are you from? What planet are you from? What planet are you from? What planet are you from? Then I stress mouse guts, which is a compound noun because it comes after a, there to be a verb construction. There will be mouse gut strewn everywhere. There'll be mouse gut strewn everywhere. There will be mouse gut strewn everywhere. I'd have a huge mess to clean up. That's the noun construction. Have plus a noun, plus a verb. Have a mess to clean up. I'd have a huge mess to clean up. I'd have a huge mess to clean up. I'd have a huge mess to clean up. What planet are you from. Then there will be mouse gut strewn everywhere. I'd have a huge mess to clean up. Please use the repetition audio to practice mimicking the intonation of these sentences so you can commit the flow to your muscle memory. 16. 16 PPS exceptions: context setting time adverbials & strong adjectives or adverbs : Let's look at two more exceptions to the general PPS rule. We don't stress context setting time adverbials, and we can stress really a strong adjectives or adverbs. Context setting time adverbials when a sentence ends with a context setting time adverbial, I don't want to stress that word. They're just there to set the time context of the sentence. Since they're just setting the context of the sentence, they do not receive the PPS. Let's look at a few examples. I'm not going to work tomorrow. I don't really say I'm not going to work tomorrow. I just stress work. I say I'm not going to work tomorrow. I'm now going to work tomorrow. I'm not going to work tomorrow. I'm not going to work tomorrow. Have you seen the news yet? Now this was a yes, no question. So I went down on my PPS, The word news, and then I went up on yet. So it might have seemed to you like I stressed yet, but really I stressed news by going down. Listen again. Have you seen the news yet? Have you seen the news? Yeah. Have you seen the news? Yeah. What are you doing tonight? I'm stressing the word do and I'm coming down on ING tonight. What are you doing tonight? What are you doing tonight? What are you doing tonight? He doesn't love her anymore. I stress love anymore is a context setting time adverbial. He doesn't love her anymore. He doesn't love her anymore. He doesn't love her anymore. He broke his glasses again. So we don't stress the word again, not usually. We stress the noun before it. He broke his glasses again. He broke his glasses again. He broke his glasses again. Sometimes somebody might say he broke his glasses again. And they're really going out of their way to stress again. But the general rule is not to stress words like that. He broke his glasses broke his glasses again. Broke his glasses again. I'm going to work soon. Soon as another context setting time adverbial, don't stress it. I'm going to work soon. I'm going to work soon. I'm going to work soon. Let's try dropping on a few of those PPS is just to see how it sounds different, what different feeling it gives us about it. I'm not going to work tomorrow. So instead of saying I'm not going to work tomorrow, I actually dropped on work. I'm not going to work tomorrow. I'm not going to work tomorrow. I'm feeling really final about it. And I'm not that excited about work. I'm not going to work tomorrow. I'm not going to work tomorrow. I'm not going to work tomorrow. But it when I go up on work, I'm not going to work tomorrow. I feel a little bit more excited about that. I'm not going to work tomorrow. Like I'm kind of happy about not going. I'm not going to work tomorrow. I'm not going to work tomorrow. I'm not going to work tomorrow. But when I say I'm not going to work tomorrow, I'm a little bit tired of work. Have you seen the news yet? So I went down on News. Have you seen the news yet? But that's because it's a yes, no question. Have you seen the news yet? Sometimes we actually go up and then down on a yes-no question, although it's not as common. Have you seen the news yet? Have you seen the news yet? Have you seen the news yet? What are you doing tonight? I went up and doing and down on tonight because it's a WH question. Let's do it the opposite way. What are you doing tonight? What do you doing tonight? I could do that too. He doesn't love her anymore. That makes it sound like love is a really good thing. But unfortunately, he doesn't lover. He doesn't love her anymore. He doesn't love her anymore. He doesn't love her anymore. How about if I had fall instead of rise? He doesn't love her anymore. He doesn't love her anymore. He doesn't love her anymore. I'm a little more depressed about him not loving her anymore. Now let's look at strong adjectives. If you want, you can stress the strong adjective instead of the last content where it, even if that last content where it is new, what a refreshing drink. I really like the word refreshing. I feel a lot of energy and excitement in that word. So I decided to stress it. What a refreshing drink? What a refreshing drink, what a refreshing drink. That music is coming from my a noxious neighbors. Noxious is a really strong word. It really describes those neighbors well with a lot of feeling that I have toward them. So I go up in pitch on it of noxious neighbors. That music is coming from Maya, noxious neighbors. That music is coming from my a noxious neighbors. That music is coming from my a noxious neighbors. I had a lousy time last night. Here I stress the word Laozi by falling on it. I went down on lousy. I had a lousy time last night. I had a lousy time last night. I had a lousy time lastName. I could also do that by going up. I had a lousy time last night. But somehow with the word lousy because it has a negative meaning, it makes me want to go down on it, down to show something a little more negative about it. I had a lousy time last night. But really you could do it either way. That's a beautiful dog. I stretched out the word beautiful to really stress it. Let's try dropping on that word. That's a beautiful dog. So I'm still positive about it, but I started a little higher. That's a beautiful dog. I can still say that's a beautiful dog. I probably prefer going up on the word beautiful, but I know a lot of people might try going down for some variety. And I might drop on beautiful just to show that it's kind of obvious that it's beautiful. Maybe I feel everyone agrees that It's beautiful. There's no question about it. With that in mind, I might be more likely to drop on it. That's a beautiful dog. That's a beautiful dog. That's a beautiful dog. That's a beautiful dog. That's a beautiful dog. That's a beautiful dog. It's a time of accelerating change. I stress the word accelerating. It's a really interesting word. It means things are changing faster and faster. Can I drop on it? Let's see. It's a time of accelerating change. Yep, you can drop on it. That might change your attitude about the sentence. Now I feel a little different about it. You can stress strong adverbs to she was exceedingly beautiful. Exceedingly is an adverb that describes the adjective beautiful. I'd stress the adverb instead, you have a choice. I could also just stress beautiful. She was exceedingly beautiful. She was exceedingly beautiful. She was exceedingly beautiful. Or she was exceedingly beautiful? She was exceedingly beautiful. She was exceedingly beautiful. Can you drop an exceedingly she was exceedingly beautiful. She was exceedingly beautiful. She was exceedingly beautiful. Yes, I dropped on it. Please practice these sentences with the repetition audio until they feel natural for you. 17. 17 PPS parentheticals finished: Now we'll study another exception to the general PPS rule. Parenthetically. If we put a parenthetical at the end of a sentence, we usually do not stress the parenthetical. Let's look at different types of parenthetically. Final address, such as, Sir, somebody's name, honey, or my friend. Good afternoon, sir. Good afternoon, sir. Good afternoon, dear. Good afternoon, dear. Hello, John. Hello, John. Notice that I go down on all of those addresses. Hello John. Hello John. Final assessment. I bet. I'm afraid. I guess I suppose. I bet. I'm afraid. I guess. I suppose you're making a lot of money. I bet. You're making a lot of money. I bet. You're not making a lot of money. I'm afraid you're not making a lot of money. I'm afraid. You're not making a lot of money. I guess. You're not making a lot of money. I guess. You're not making a lot of money. I suppose. You're not making a lot of money, I suppose. So I'm making all those guesses at the end of the sentence and I don't stress those. They just get tagged on to the end of the sentence. In the same breath of air. You're making a lot of money, I guess. Not. You're making a lot of money, I guess. But you're making a lot of money, I guess, makes sure money, I guess is all connected in the breath. Final reporting expressions like she said, He Wind he replied, are you feeling okay? They asked Are you feeling okay? They asked, I don't feel good. He wine. I don't feel good. He wine. There might not be any brick between feel-good and he wind. I don't feel good. He wine, you go up and feel good and you come smoothly down on he wind. I don't feel good. He wind, I don't feel good. He wind. Final exemplifies are another type of parent theoretical. I like hamburgers, for example. I like hamburgers, for example. He likes hamburgers and chips and ice cream and so on. He likes hamburgers and chips and ice cream and so on. He likes hamburgers and chips, for instance. Hamburgers and ships for instance. So it's like, for instance, is just the end of chips. Chips for instance, I highlight ships and come down on, for instance, without taking any break in the middle. I like hamburgers and chips, for instance. I like hamburgers and chips for instance. Also final sentence adverbials. I found a good job. Fortunately, I found a good job. Fortunately, I found a job actually. I found a job. Actually. I found a good job. In fact, I found a good job. In fact, I found a good job. In fact, I found a good job in fact. And final politeness expressions, pass the salt. If you would. Pass the salt if you would. Again, if you would seems to be a little tail at the end of salts. I have PPS and salt. Pass the salt. Soon as I come down, I fall rate into if you would pass the salt. If you would pass the salt. If you would pass the salt, please. Pass the salt, please. And final solicitations. His really good looking. Do you think he's really good looking? Do you think he's really good-looking? Would you say he's really good? Would you say he has a lot of money? Would you guess? He has a lot of money? Would you guess? And final epithets stop pushing me. You klutz, stop pushing me. You klutz stop pushing me silly. Stop pushing me silly. I'm just calling somebody a name. I'm calling them silly. Or you klutz. Stop pushing new full. Stop pushing me. You fool. It's all linked together. Pushing me, You fool. Pushing me You fool. And final explanations. I lost all my money for crying out loud. I lost all my money for crying out loud, some money as the high point, the PPS and then you come down on for crying out loud. I lost all my money for goodness sake. I lost all my money for goodness sake. I lost all my money. If you can believe that. I lost all my money, if you can believe that. And also mid-sentence or final repair phrases. I made 49. Let's make that $50. I made 49. Let's make that $50. I changed my mind in the middle of the sentence so I use the word, let's make it, but they don't stress Let's make it I mean, 49. Let's make it $50. I mean, 49. Let's make it $50. I broke that is destroyed the car. I broke that is destroyed the car. So I decided broke wasn't really strong enough. And I changed what I wanted to say in the middle of a sentence by using that is to repair what I said. But don't stress that is I broke that is destroyed the car. I broke I mean, destroyed the car. I broke I mean destroyed the car. Let's look at an example conversation. Has your cat Mike, has your cat Mike. He's doing better. I suppose. He's doing better. I suppose. You've been under a lot of stress. I guess. You've been under a lot of stress, I guess. Thanks for understanding my friend. Thanks for understanding my friend. Of course. Keep me posted on his health if you would. Of course, keep me posted on his health if you would. Here's another example conversation. What kind of cars that he say he likes? What kind of cars that he say he likes. How cats for arias and Corvettes. He said, hello, cats for arias and Corvettes, he said, Anything else? Anything else? Lamborghini, these are cool, but I can't stand anything else. He added Lamborghini is are cool, but I can't stand anything else. He added his father's rich. Fortunately. His father's rich. Fortunately. Please practice the intonation of parenthetically with the repetition audio provided. 18. 18 PPS Review: a famous story: Now let's do an intonation and primary phrase stress review. We're going to use a famous fable about a hare and a tortoise who go on a race. There once was a speedy hare, who bragged about how fast ticket run. There once was a speedy hare who bragged about how fast ticket run. Tired of hearing him boast. The tortoise challenged him to a race. Tired of hearing him boast, the tortoise challenged him to a race. All the animals in the forest gathered to watch. All the animals in the forest gathered to watch the hare ran down the road for awhile and then pause to rest. The hare ran down the road for awhile and then pause to rest. Let's try doing the same introduction to the story with pitch falls instead of pitch rises. There once was a speedy hare who bragged about how fast he could run. There. Once was a speedy hare who bragged about how fast he could run. Tired of hearing him boast, the tortoise challenged him to a race. Tired of hearing him boast, The tortoise challenged him to erase. I don't want to drop the whole time. So I decided to go up and raise all the animals in the forest, gathered to watch. All the animals in the forest gathered to watch the hare ran down the road for awhile, and then pause to rest. The hare ran down the road for awhile. And then pause to rest. Now let's mix up pitch rises and falls so that we're not too boring by doing the same thing all the time. There once was a speedy hare who bragged about how fast ticket Rome. There once was a speedy hare who bragged about how fast he could run. Tired of hearing him boast, the tortoise challenged him to a race. Tired of hearing him boast, the tortoise challenged him to a race. I decided to go down on the word boast because boast is a negative word. So it works really well to drop on it. Tired of hearing him boast. Boast. It's a bad thing. Tired of hearing him boast. The tortoise challenged him to a race, but race is a good thing. So let's go up and miss all the animals in the forest gathered to watch. All the animals in the forest gathered to watch. It makes it sound very final. Wow, they all got there and they stood still to watch, like standing still seems kind of final. Something you could go down on. The hare, ran down the road for awhile and then pause to rest. The hare ran down the road for awhile and then pause to rest. Now I easily could have gone down on the word rests, since raster's a rather stagnant action, we could go down on and then pause to rest. And then pause to rest. Now, make sure you don't get a vocal fry when you're dropping in pitch, you still need a lot of air coming out of your mouth. If you empty all the air out of your mouth who have no air left in my mouth. And then I started to sound like the size start to have a vocal fry. We don't want that to happen at the end of a sentence, especially when you're going low. So make sure you have enough air to go low without getting anything trapped in your throat. The hare ran down the road for awhile and then pause to rest. Rest. I had a lot of air, not pause to rest. And here's yet another way to say that story. There's so many ways to say the story. Nobody is ever going to see it exactly the same way as someone else. There once was a speedy hare who bragged about our fast he could run. There once was a speedy hare who bragged about how fast he could run. Tired of hearing him boast, the tortoise challenged him to a race. Tired of hearing him boast, the tortoise challenged him to a race. All the animals in the forest gathered to watch. All the animals in the forest gathered to watch the hare ran down the road for awhile, and then pause to rest. The hare ran down the road for awhile. And then pause to rest. Now let's continue the story, shall we? He looked back at the tortoise and cried out. He looked back at the tortoise and cried out, how do you expect to win this race when you're walking along at your slow, slow pace. How do you expect to win this race? When you're walking along at your slow, slow pace, the hair stretch themselves out alongside the road and fell asleep. The hair stretch themselves out alongside the road and fell asleep. There's plenty of time to relax. He thought there's plenty of time to relax. He thought the tortoise walked and walked, never, ever stopping until he came to the finish line. The tortoise walked and walked, never, ever stopping until he came to the finish line. The animals who were watching cheered so loudly for tortoise that they walk up the hair. The animals who were watching cheered so loudly for tortoise that they walk up the hair. The hair stretched, yawned and began to run again. The hair stretched beyond and began to run again. Notice I didn't stress again, it's a context setting time adverbial and began to run again, but it was too late. But it was too late. Tortoise had already crossed the finish line. Tortoise had already crossed the finish line. Notice how I stressed crossed instead of finish line. You could do it the other way if you wanted. Tortoise had already crossed the finish line. Now we'll do mixed pitch fall and rise on that same section. He looked back at the tortoise and cried out. He looked back at the tortoise and cried out, how do you expect to win this race when you're walking along at your slow, slow pace, how do you expect to win this race when you're walking along at your slow, slow pace, the hair stretched himself out alongside the road and fell asleep. The hair stretched himself out alongside the road and fell asleep. Asleep seems to be a good place to drop. It's asleep a word. And fell asleep. There's plenty of time to relax. He thought, I like dropping on plenty here. I could say there's plenty of time to relax. But he really wants to relax and relaxing and dropping feel the same, right? There's plenty of time to relax. There's plenty of time to relax. The tortoise walked and walked, never, ever stopping until he came to the finish line. The tortoise walked and walked, never, ever stopping until he came to the finish line. The animals who were watching cheered so loudly for tortoise that they walk up the hair. The animals who were watching shared so loudly for tortoise that they walk up the hair. The hair stretched beyond and began to run again, but it was too late. The hair stretched yarn and began to run again, but it was too late. That's really fun to go up and two and then drops significantly and leads. But it was too late. Tortoise had already crossed the finish line. Tortoise had already crossed the finish line. Practice the different versions of this story was a repetition audio.