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3 | Speech and Play Production 24

UNIT 3: AN EFFECTIVE SPEAKING VOICE

3.0 Intended Learning Outcomes
a. Demonstrate an understanding of the nature of basic voice production and delivery;
b. Create a rich vocal sound that will contribute to personal and professional success;
c. Value expressions of feelings through voice or sound quality produced; and
d. Evaluate produced sound based on learned concepts of an effective speaking speech.
3.1. Introduction
Diaz (2008) mentioned that our voice, a God-given gift, is an important instrument in
conveying meaning and feeling. It plays a very significant role in communicating thought. This
oral representation of words is the expression of the speaker’s mental and emotional states, to-
gether with his/ her attitudes at the same time of speaking. Such production of sound is also
the chief indicator of the age, sex, and personality of the speaker. Simply put, this is what en-
hances a speaker’s effectiveness. Hence, you should understand its aspects and try to develop,
improve and use it to the fullest.
The lessons incorporated in Unit 3 will give tips and information essential in developing
effective speaking voice.
3.2 Topics /Discussion /Activities/ Assessment
3.2.1 The Desirable Speaking Voice
According to Diaz (2008), voice is the raw sound produced when the surging air from the
lung s vibrates the vocal cords in the throat. It can exist without speech, but speech cannot exist
without it.
Did you know?
Improving the voice is accompanied first and foremost by being conscious of it and one of the
best means to do so is taping your voice. Identifying your strength s and weaknesses in speak-
ing is the first step toward the development of the effective speaking voice. It, therefore , pays
to know the five most desirable characteristics of voice. They are as follows:
1. Audibility—The voice should be loud enough to hear.
2. Pleasantness—It should be pleasing to the ears. It is your natural voice which is low, well-
modulated, resonant and mellow.
3. Clarity— It is clear and distinct enough to be understood.
4. Flexibility- It has ready capability for modification or change. This readiness in making ad-
justments makes it versatile enough to carry the greatest possible amount of meaning.
5. Fluency—It is articulate and effortless. Like fluid , it flows smoothly and easily.

3.2.2 Factors that Aid Voice Production

Diaz (2008)) stated that a pleasing voice is determined by three factors, namely: ease, pos-
ture, and breath control.
EASE
Learn to relax. Why should you be tense, anyway? Be comfortable with your voice. A re-
laxed throat and jaw make for effortless smooth speech. Relaxation fosters calmer spirit , improves
voice, and augurs better thinking. When you are in a relaxed state, good tones result. Fear, fatigue
and undue strain are to be avoided; they affect the voice. If you are tense, your breathing will be
inhibited. Tension in the throat impedes the easy flow of sound. It may tire your throat or make
your voice hoarse.
To work at relaxation, do the following exercises:
1. Open your mouth wide . Yawn and stretch. Then shake rag-doll fashion in your chair.
2. Roll your head slowly in a wide lazy circle. Left ti right, then right to left. Slowly. This
lessens tightened neck muscles. Shrug your shoulders till they feel at ease.
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3. Take a deep breath. Inhale through the nose, exhale through the mouth.
4. Stretch your lips, articulate and warm up on vowel sounds.
5. Kick your feet and touch your toes , wiggle your arms, move your hands like an octo
pus , gyrate to relax your body.
6. Observe correct posture.
POSTURE
Also considered important for voice production is posture. Bad tightens posture in the
first place, is an uncomfortable sight to listeners. In the second place, it interferes with voice place-
ment Like tension, it inhibits proper breath control. This happens when you make your spine in
the center and trust your neck forward to keep your balance. This tightens the muscles of your
throat. Your posture should therefore, be free from all peculiarities or mannerisms like putting the
head to one side, swinging the arms, twisting the fingers or jiggling the legs. These affects your
voice.
Good posture is the arrangement of the bones and muscles which puts the body in per-
fect alignment so that various parts of the body fall naturally in place. This is manifested primarily
by an alert, comfortable, and erect but relaxed carriage. It is not slouchy or stiff.
1.If maintained, good posture gives five advantages. They are as follows:
2.It suggests health.
3.It makes you look great.
4.It conditions a pleasing voice.
5.It is one of the finest exercises you can do.
6.It eases fatigue and tension.
THE RIGHT WAY TO STAND
1. Stand up straight and tall.
2. Keep your shoulders back.
3. Pull your stomach in.
4. Put your weight mostly on the balls of your feet.
5. Keep your head level.
6. Let your arms hang down naturally at your sides. Image 1.
7. Keep your feet about shoulder-width apart. Source: MedlinePlus, National Library of Medicine

Now, your turn!

Take a look at yourself in a long mirror and face the truth. This is what you should see:
 Head high, chin parallel to the floor
 Shoulders relaxed to make your neck look as long as possible
 Tummy tucked in, midriff lifted up into the rib cage,
 Front point pointed straight forward, back foot at the angle of around 45 degrees
behind it.
Your body is in perfect line when the tip of your ear, shoulder joint and hip joint, mid-
dle of knee-cap and the ankle of the foot are in one straight line. Image 1 demonstrates this.
You may try testing yourself for a straight back by doing any of the following:
1. Stand against a wall with heels, back of knees, shoulders and head against the wall.
2. Walk with a book on your head.
3. Imagine someone pulling up your hair at the crown of your head and pulling yourself
upward as if you were a puppet on a string.
Did you know?
BREATH CONTROL
Breath control is another essential in voice production. The principal muscle involve in
breathing is the diaphragm. It controls the power and steadiness of vocal tones. Therefore,
the first step in vocal training is to develop diaphragmatic abdominal breathing. Breath con-
trol activity must be centered in this region for four good reasons:
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1. Ease in voice production

2. Increased vocal energy
3. Proper voice projection, and
4. Sustained tones for speech
It must be remembered that in good speech, what counts is not how much air is in-
haled but how you control the out-going air to sustain the tones for controlled speech.
Principles Related to Breathing which Aid in Voice Production
1. The breath should come easily with no apparent effort. There should be no strain,
either in taking its full breath or in consciously controlling its outlet.
2. The rhythm of breathing must conform to the rhythm of speech.
3. Both the mouth and the nasal passages are made use of in breathing during
speech.
4. Frequent sips of air should be taken when pausing between phrases so that the
breathing does not become obtrusive and shortness of breath does not occur.
5. There must be proper control of exhalation so that tones have sufficient support.
6. Loud tones are given considerable pressure in exhalation; soft low tones
7. Proper posture, characterized by ease contributes much to effective voice produc
tion.
Let’s do the exercises!

To be aware of the diaphragm and its movements, do the following exercises:

1. Stand erect. Locate the diaphragm by placing your hands on your waist. Cough and
feel its movement. Breathe in and feel the contraction of the muscles. Breathe out and
feel the expansion of the diaphragm. It is when you exhale that vocal tones are pro-
duced.
2. Inhale deeply and easily. Count to ten as you exhale with the throat remaining re-
laxed. Do not let air escape between numbers. Never raise the shoulders in breath-
ing.
3. Put your hands on your stomach . Panting vigorously through your mouth saying
yuh, yuh, yuh several times will help you develop habit of breathing from the top of
your diaphragm.
Of course, not at all of us can have beauty and wealth at the same time, but we can
have pleasant voice if we choose to because the capacity is there. Through study and
painstaking effort, developing an impressive voice is not impossible.

In summary, here are some pointers that will help make your voice an asset:
1. Relax. Only with total freedom fro tension can your voice be be full and pleasing.
2. Develop good breathing habit.
3. Watch your posture.
4. Train your ears.
5. Use enough volume to be effective.
6. Develop resonance in your voice.
7. Work for pleasant quality.
8. Don’t talk through your nose.
9. Keep your speaking voice pleasingly low.
10. Don’t speak in deadly monotone.
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3.2.3 How to Take Good Care of Your Voice

Let’s look into this!
How can you take good care of your voice? Here are some practical tips to help you keep
your voice in peak condition.
1. Give your voice regular opportunities to rest , When speaking for hours without
break, at least try to keep your vocal energy by means of careful breath control
and extra movement in articulation. Above all avoid all tension in the throat.
2. Avoid strain. Don’t compete with noise nor drown others’ voices with your own
shouting. Get attention by other means, such as gesturing, tapping the table,
then speak with quiet emphasis.
3. Keep clear of smoke and alcohol. It makes the voice husky and you often need to
clear it repeatedly. If you have to smoke or drink, do so with moderation.
4. If you have a cold, rest your voice. The strain may result in hoarseness.
5. Don’t force yourself to to clear your throat. Remove the phlegm by panting. Keep
your voice animated. Make it pulsate with life.
6. Avoid eating dairy products before an important speaking occasion. It roughens
the voice.
7.Avoid eating a heavy meal late at night before sleeping . Acid from the stomach
lying on your vocal cords all night affect the way you sound in the morning.
8. Avoid hot, dry rooms if you can. A dry atmosphere dries out the throat before
long.
9. Practice a few quite exercise after a long speech to prepare the muscles for rest and
restoration.
Now, your turn!
With the use of a voice recorder in your cellphone or any voice recording device, try reading this se-
lection to discover your weak and strong points. Listen to your recorded voice and take note of your strong
and weak points. Be ready to accept your weaknesses. For the second time around, read again the selection,
build on your strong points and work on your faults. Then, listen how you were able improve your voice in
delivering the lines from the passage below.
FOOTPRINTS IN THE SAND
One night a man had a dream. He dreamed he was walking along the beach with the Lord.
Across the sky flashed scenes from his life. For each scene, he noticed two sets of footprints in the
sand; one belonging to him and the other to the Lord.
When the last scene of his life flashed before him, he looked back at the footprints in the
sand. He noticed that many times along the path of his life there was only one set of of footprints .
He also noticed that it happened at the very lowest and saddest times in his life.
This really bothered him and he questioned the Lord about it, “Lord, you said that once I
decided to follow you, you’d walk with me all the way, but I have noticed that during the most trou-
blesome times in my life, there is only one set of footprints. I don’t understand why when I needed
you the most, you would leave me.”
The Lord replied, “my precious, precious child, I love you and I would never leave you.
During your times of trial and suffering , when you see only one set of footprints, it was then that I
carried you..”
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Let’s check!
In an essay form, answer the following questions concisely. Please provide a paper as your Answer
Sheet to the Unit 3 Assessment.
RUBRICS

Excellent Good Needs Improvement

CRITERIA
(10-8 points) (7-4 points) (3-0 points)
Content Addresses the question Addresses the question Does not address the question; facts
by stating relevant facts simply by stating facts. are not relevant to the question.
clearly and directly.
Organization Presents excellent argu- Presents good argu- Does not present logical argument;
ment logically with clear ment relevant to the needs to work on creating transitions
and smooth transitions, question. between ideas.
Mechanics of writing Clear and readable, Writing style uses tran- Shows frequent problems with me-
(spelling, punctuation, writing style with excel- sitions, spelling, punc- chanics of language; occasional awk-
grammar, clarity of lent use of transitions, tuation, and/or gram- ward sentences and poor transitions;
prose) spelling, punctuation, mar. reduce readability.
and/or grammar.
UNIT 3 Assessment

1. With the topics, activities and discussions in this lesson, how do you differentiate now “voice” from
“speech”?
2. Now, try analyzing your own voice and speech. What distinctive qualities make the way speak unique
to you?
3. They say that “improving your speech lies largely within your own power”. Do you agree? What does
this imply?
4. With the tips, and suggestions in improving your speaking voice, assess and identify which area you
need to focus on. Create a plan in a tabular form and indicate a timeline as to which area needs improve-
ment for you to have an effective speaking voice.

3.3 References
Dela Cruz, Edna. (2009) Advanced Speech Communication. Manila, Q.C. Rex
Bookstore. (Module: Unit 3) *This is the most recent edition of the book with the
same title and author
Diaz, Rafael H. (2008) Speech and Oral Communication. Mandaluyong City. National Bookstore
(Module: Units 3-4) *This is the most recent edition of the book with the same title and au
thor
Pangilinan, Estelita C. and Dilig, Myrna J. (2005) Speech and Drama. Metro Manila. Na
tional Bookstore. (Module: Units 1-7) *This is the most recent edition of the book with
the same title and author
MedLine Plus. (February 10, 2020) Guide To Good Posture. https://medlineplus.gov/ g u i d e t o
goodposture.html

3.4 Acknowledgment
The images, tables, figures and information contained in this module were
taken from the references cited above.
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UNIT 4: THE RHYTHM AND INTONATION OF ENGLISH

4.0 Intended Learning Outcomes
a. Demonstrate an understanding of the nature of basic voice production and delivery;
b. Create a rich vocal sound that will contribute to personal and professional success;
c. Value expressions of feelings through voice or sound quality produced; and
d. Evaluate produced sound based on learned concepts of an effective speaking speech.
4.1. Introduction
Unit 4 is all about the word stress and intonation. Diaz (2008) recognizes “stress”
as the mark or sound we put on or give a word or syllable to make it stand out in a
group, and ‘intonation’ is the combination of musical tones with which we pronounce the
utterance or when sentence results in a tune or melody of speech.
When we pronounce stressed and unstressed syllables in words, we hear the
rhythm of English, and when our voice rise and fall in a sentence, we hear the music of
language. According to Dela Cruz (2009) stress and intonation in spoken English lan-
guage must be properly mastered to avoid partial, incomplete or breakdown of commu-
nication. Nguyen (2020) mentioned that when words and sentences are pronounced every
with the same pitch, volume and length, it would make it difficult for native speakers to
understand.
This Unit would appreciate stress and intonation for effective communication.
4.2 Topics/Discussions /Activities/ Assessment
4.2.1 Word Stress
How do you pronounce the following words?
decrease increase refuse
present object desert
reject record address
contract conflict project
Are you sure you have pronounced it properly? Now, the following topic will help you
check if you have pronounced the words properly.
Diaz (2008) mentioned that the rhythm of English is brought about by the recurrence of
stressed and unstressed syllables in a word. Stress is that mark or sound we put on or give a word
or syllable to make it stand out in the group.
The elements of stress are:
Force or intensity (loudness)
Pitch (tune)
Duration (length of the vowel sound)
It is important , however, that you come to know when and where to put the stress or stresses in a
word even without guidance of the teacher by learning how to consult the dictionary every
time you doubt the stress of the word. Rather than rely on the hunches it is best to develop
study habits. Here is a guide for you as to when you are going to use the stress.
Did you know?
There are Eight (8) Word Stress Rules to help improve your English pronunciation?
1. Nouns and adjectives with two syllables
The rule: When a noun (a word referring to a person, thing, place or abstract quality) or an
adjective (a word that gives information about a noun) has two syllables, the stress is
usually on the first syllable.
Notice that in the examples above, syllables in capital letters are the once with stress for emphasis purposes.
Examples: table /TA-ble/ scissors /SCI-ssors/
pretty /PRE-tty/ clever /CLE-ver/
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Exceptions: Unfortunately, there are exceptions to this rule. It could be that a word was borrowed
from another language or it could be totally random. You just have to learn these “outsiders” by
heart. Here are three words you can start with:
hotel /ho-TEL/ extreme /ex-TREME/ concise /con-CISE/
2. Verbs and prepositions with two syllables
The rule: When a verb (a word referring to an action, event or state of being) or a preposition (a
word that comes before a noun, pronoun or the “-ing” form of a verb, and shows its relation to
another word or part of the sentence) has two syllables, the stress is usually on the second sylla-
ble.
Examles: present /pre-SENT/ export /ex-PORT/
aside /a-SIDE/ between /be-TWEEN/
3. Words that are both a noun and a verb
The rule: Some words in English can be both a noun and a verb. In those cases, the noun has its
word stress on the first syllable, and with the verb, the stress falls on the second syllable.
If you’ve been paying attention, you’ll see that this rule is a derivation from the prior two sections
and notice some of the same words. However, this is a separate section since those pairs of words
are relatively common in English and they’re likely to cause misunderstanding due to the same
spelling.
Ex: present /PRE-sent/ (a gift) vs. present /pre-SENT/ (give something formally)
export /EX-port/ (the practice or business of selling goods to another country or an article that is
exported) vs. export /ex-PORT/ (to sell goods to another country)
suspect /SU-spect/ (someone who the police believe may have committed a crime) vs suspect /su-
SPECT/ (to believe that something is true, especially something bad)
There are, however, exceptions to this rule. For example, the word “respect” has a stress on the
second syllable both when it’s a verb and a noun.
4. Three syllable words ending in “er” and “ly”
The rule: Words that have three syllables and end in “-er” or “-ly” often have a stress on the first
syllable.
Examples: orderly /OR-der-ly/ quietly /QUI-et-ly/ manager /MA-na-ger/
5. Words ending in “ic,” “sion” and “tion”
The rule: When a word ends in “ic,” “sion” or “tion,” the stress is usually on the second-to-last syl-
lable. You count syllables backwards and put a stress on the second one from the end.
Examples: creation /cre-A-tion/ commission /com-MI-ssion/
photographic /pho-to-GRA-phic/
6. Words ending in “cy,” “ty,” “phy,” “gy” and “al”
The rule: When a word ends in “cy,” “ty,” “phy,” “gy” and “al,” the stress is often on the third to
last syllable. Similarly, you count syllables backwards and put a stress on the third one from the
end.
Examples: democracy /de-MO-cra-cy/ photography /pho-TO-gra-phy/
logical /LO-gi-cal/ commodity /com-MO-di-ty/
psychology /psy-CHO-lo-gy/
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7. Compound nouns
The rule: In most compound nouns (a noun made up of two or more existing words), the word
stress is on the first noun.
Examples: football /FOOT-ball/ keyboard /KEY-board/
8. Compound adjectives and verbs
The rule: In most compound adjectives (a single adjective made of more than one word and of-
ten linked with a hyphen) and compound verbs (a multi-word verb that functions as a single
verb), the stress is on the second word.
Examples: old-fashioned /old-FA-shioned/ understand /un-der–STAND/
As English language learners, mastering word stress is never easy because it follows
rules and there are exceptions. We learn words of our target language in second language ac-
quisition, but as second language learners it is also important that we know how to establish
common understanding between you as speaker and your listener or vise versa. These eight
rules may serve as a guide or reference. One an make it as a habit to practice to pronounce
with word stress or by looking into the dictionary.
Now, your turn!
(This will be graded for Class Participation. Write on a one whole sheet of yellow or bond paper
to be submitted together with Unit Assessment answers)
Pronounce these words again, this time as a noun and a verb. Then use it in a sentence.
decrease increase refuse
present object desert
reject record address
contract conflict project
4.2.2 Intonation, The Music of Language
According to Diaz (2008), pitch is the musical tone with which we pronounce the
stressed syllable. It is an element of stress. The combination of these musical tones with which
we pronounce the utterance or sentence results in a tune or melody of speech. The technical
term for this tune is intonation.
The way our voice goes up and down at the end of the sentence constitutes a meaning
signal. When our voice goes up and then down at the end of the sentence, we signal state-
ments of fact, command , or special questions not answerable by yes or no. When our voice
goes up at the end of a sentence, we signal questions answerable by yes or no. The first way is
called rising-falling intonations: the second, rising intonation.
Rising-Falling Intonation
The intonation is rising-falling when the tone moves from pitch 2 (normal) to pitch 3
(high) on the stressed syllable, and then moves to pitch 1 (low). These number of pitch are tak-
en from the basic tones of English. These are:
1—low 2—normal 3—high 4—extra high
Tones 1,2 and 3 are most commonly used ones.
Tone 4 is used in expressing strong feeling and emotion.
The final rising-falling intonation is of two types
1. The drop or shift.
Ex. Good morning. Good evening
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The voice rises on the stressed syllable and falls on the unstressed syllable. The
drop is used when the stressed syllable is followed by an unstressed syllable.
2. The slide or inflection.

Ex. Good day. Good afternoon. Good night

The voice rises on the stressed syllable and goes down gradually on the same
syllable. It is when the stressed syllable is the final or last syllable in the sentence that
the slide is used.
Rising Intonation
The intonation is rising when the tone moves from pitch 2 (normal) to pitch 3
(high).
Is he in school? Do you act? Do you agree?

Are you coming? Am I right?

The most important rule of intonation to remember is : the high tone (pitch 3) of your voice
coincides with the last sentence stress.
The normal intonation pattern is represented by the pitch formula 2-3-1 (rising-falling into-
nation) or 2-3-3 (rising intonation).
Often, we use a very high note (pitch 4) to emphasize what we say when we are under
emotional stress: excitement, anger, fear, etc. Thus, the pitch formula 2-4-1 or
2-4-4 may signal exclamatory sentences like:

What a surprise! Hurrah! Fire!

Are you really leaving us? Wait!

Let’s do the exercises!

Practice saying the following utterance with correct intonation.
Rising– Falling Intonation
Simple statement of facts: Commands: Special questions:
I am now in college. Go to your bed. What do we do now?
I’d like to walk. Give it to me. Where are you going?
He is playing. Say it again. What’s the matter?
They are going Come closer. Why are you crying?

Rising Intonation
Are you alone?
May I help you?
Will you join us?
Is it okay?
Is Catbalogan the capital of Samar?
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Now, your turn!

With the dialog below, choose someone as partner in delivering the lines. Make the-
voice rise and fall on the right place. Use rising intonation in asking questions answerable by
yes or no. Carefully listen to the tones and make your own conversation using applying the
rising intonation.
Conversation Drill
Kathryn: Would you care for some juice?
Daniel: Yes, please. Thank you. Are you going out today?
Kathryn: Yes, I’m going to the mall.
Daniel: Can I go with you?
Kathryn: Sure! I’m just going to look for a wall décor for my room.
Daniel: Great! I could spend more time with you!
Kathryn Don’t you have a tv guesting today?
Daniel: No. It was rescheduled. And I’m glad ‘coz I get to spend the whole day
with you!
Let’s do the exercises!
A. In a piece of paper, copy the sentence and identify whether the sentence is in rising or
falling intonation by writing a falling arrow ( ) if sentence ends in low pitch, and ris-
ing arrow ( ) if it ends in high pitch.
1.I eat breakfast everyday.
2.You can call her up via video call.
3.We eat our lunch together.
4.Did you check on Lee Jung Suk’s instagram?
5.Kuratsa is most popular dance in Samar.
6.What is your pet’s name?
7.Where do you live?
8. Liza gets up at five o’clock in the morning.
9.May I ask for you number?
10.Do you watch Korean drama?
B. Mark the intonation of the last word or words in the following sentences. Mark a drop
or slide to indicate the movement of the voice. Draw your pitch lines above or below
each syllable.
1. How is she? 11. Dinner is ready.
2. I beg your pardon. 12. How do you do?
3. Happy anniversary. 13. I’d like some wine.
4. I apologize. 14. Let’s go.
5. I’m glad to see you. 15. She’s studying.
6. What’s the matter? 16. Come with me.
7. We’re students. 17. It’s raining.
8. He’s at the canteen 18. What are you doing?
9. Where are you from? 19. Drink it slow.
10. It is ten o’clock. 20. Speak clearly
Guide Questions:
1. On rising and falling intonation, use the basic tone of English and differentiate be-
tween the 2-3-1 and the 2-3-3 intonation patterns and the 2-4-1 and the 2-4-4 patterns
2. When are the drop and slide used?
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4.2.3 Intonation ad Stress

Not all utterances are short one. These are when we utter long sentences . In normal
speech, intonation is heard not only at the end of these short sentences (final intonation), but
also in the sentence itself especially if it is a long one. This intonation hear within the sentence
is called no-final intonation.
Although non-final intonation may vary according to the speaker with a very little cor-
responding change in meaning, it is beat to analyze the following example in terms of the
types of intonation they represent.

1. He has a lot of pocketbooks.

They say that jar cost a thousand of pesos.

The voice rises on the stresses content word or specially stressed function word
(demonstrative or interrogative ) to call attention to a particular idea other than the word at
the end of the sentence.

2. Roxanne can read faster than I can.

She is as regal as a queen.

In contrast comparisons, the idea contrasted or compared requires a rise in pitch to

show emphasis. Some sentences are divided by pauses into two or more thought units, each
having its own intonation pattern.

3. Let’s paly monopoly; it’s easy

Let’s go; it’s late.

Note that the first unit ends with a rising-falling intonation, This is usually done be-
fore a long pause which marked by a colon or semi-colon. The second unit follows the rule of
final intonation.

4. If you hurry, we’ll catch the plane.

Should you go to the city , call me.

The rising pattern emphasized the conditional note in the first unit and creates a feel-
ing of suspense . This pattern is usually observed before a short pause marked by a comma.

5. Carlo owns an expensive watch, but he doesn’t wear it.

The guild lacks resources, but is performing well.

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In general, however, it appears that most speakers tends to end the first unit with a rise in
pitch , then a return to normal (2-3-2). This would serve to show that what follows is con-
nected with what was just said.

6. I bought a pen, an eraser , and a pencil case.

I came, I saw, I conquered.

The above example gives a series with and. Here, the rising intonation is used on all members
in the series except the last.

7. Will you take up a summer job or will you go home for the summer vacation?

Do you go out on weekends or do stay home and watch television?

Take it or leave it.

Note the rising intonation used at the end of the first alternative.

8. Good morning, Mrs Reyes.

Thank you, Sir.

Hello, guys!

Note that the rising intonation is used for nominative of address.

9. They went on a world tour, didn’t they?

It’s raining, isn’t it?

Reiterative formulas, such as didn’t they , use a rising intonation when stated as a real ques-
tion, meaning to say that a speaker is asking for a yes– no reply.

10. You know how strong how to sing, don’t you?

They’re coming, aren't they?

Note how the reiterative formula, this time, is said with a rising-falling intonation to
show that the utterance is not a question but a statement of fact that does not require a
yes—no answer.
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Conversation Drill
Observe non-final intonation in the following in the following activity. Do not confuse into-
nation patterns for a special questions with those answerable by yes or no.
Cyril: I have to go to school now, but I can’t find my cell phone. Have you seen it?
Marianne: No, I haven't. Whn and where did you use it last?
Cyril: I don’t know, but I’m sure I brought it home. Let me see. I was doing my assignment in
my room when Mom called me to the kitchen.
Marianne: It’s not here. Where did you go next?
Cyril: To the library. But is is not there either.
Marianne: Where did you go after?
Cyril: I went to the dining room. I took some snacks.
Marianne: We’ll let’s go look. And there is your cellular phone right the table.
Cyril: Well, how do you like that? Thank you, Marianne. Hmm. How do you suppose it got
there?
Marianne: I don’t know, but I can make a guess.
Cyril: Oh well. Maybe absent-mindedness is a good sign. After all , I’m another year older.
Marianne: That sounds reasonable. All set? Goodbye, brother .
Cyril: Hmm. Goodbye, sister. See you this evening.
Guide Questions:
1. What is the different between final ad non-final intonation?
2. What two intonation patterns can be used for tag endings? When is each type best used?

2.3 References
Pangilinan, Estelita C. and Dilig, Myrna J. (2005) Speech and Drama. Metro Manila. National Bookstore.
(Module: Units 1-7) *This is the most recent edition of the book with the same title and author.
Dela Cruz, Edna. (2009) Advanced Speech Communication. Manila, Q.C. Rex Bookstore. (Module: Unit
2) *This is the most recent edition of the book with the same title and author.
Nguyen, Q. (2020, September). 8 English Word Stress Rules to Promote Clear Communication. FluentU
English Language and Culture Blogs. https://www.fluentu.com/blog/english/english-word-stress/

2.4 Acknowledgment
The images, tables, figures and information contained in this module were
taken from the references cited above.
Let’s check!
In an essay form, answer the following questions concisely. Please provide a paper as your Answer
Sheet to the Unit 4 Assessment.

UNIT 4 Assessment (In answering the questions, please refer to the rubrics provided in Assessment 3)
1. Go back to the guide questions in pages 15 and 18. Then consolidate your learnings based on the an
swers you have on the said questions. You may expound and share new learnings you have in this lesson.
(15 points)
2. Please expound the statement below. Support your answer with examples (15 points)
“When we pronounce stressed and unstressed syllables in words, we hear the rhythm of English, and
when our voice rise and fall in a sentence, we hear the music of language.”

Learning Packet 2 (Units 3 & 4) Project

Write down a typical conversation you have at home with lines generally uses “stress” and
“intonation”. Write it on a bond or yellow paper and practice delivering the lines with a partner from a
family member at home. The conversation should not exceed 2 minutes. Have it recorded and send as au-
dio together with the photo of the written conversation via fb messenger or email it to
joan.baclay@ssu.edu.ph.