Elements of Pronunciation

Intensive practice for intermediate

and more advanced students

This book provides intensive and enioyabk: pratute

Elements of
features of English pronunciation that intermediate and
more advanced students usually find difficult.
The clever and convincing dialogues concentrate on
Pronunciation
stress timing, weak forms, contractions, linking and
consonant clusters, as well as providing valuable
intonation practice.
Intensive practice for
The dialogues are recorded:in the following form:
a listen-and-repeat' section, then a recording of the
intermediate and more
dialogue at natural speed, and then a version with pauses
to allow intensive practice.
advancedstudents
The material can be used in the classroom, in the
language laboratory and by a student working alone with
acassette recorder.
This book is accompanied by a set of four cassettes. Colin Mortimer
This is a very good, clearly written book on
pronunciation divided into live crucially important
sections F a c t ) section contains an introduction and a
delight fid practice section.'
Perspectives

ISBN 0 - 5 2 1 - 2 1 . 9 3 8 - 5

CAMBRIDGE
U N I V E R S I T Y PRESS
0I
CAMBRIDGE
9 269384 U N I V E R S I T Y PRESS
Elements of
Pronunciation
Intensive practice for
intermediate and more
advanced students

Cohn Mortimer

CAMBRIDGE
U N I V E R S I T Y PRESS
P U B L I S H E D B Y T H E PRESS S Y N D I C AT E O F T H E U N I V E R S I T Y O F C A M B R I D G E

The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom Contents
C A M B R I D G E U N I V E R S I T Y PRESS

The Edinburgh Building, Cambridge CB2 2RU, United Kingdom

40 West 20th Street, New York, NY 10011-4211, USA
10 Stamford Road, Oakleigh, Melbourne 3166, Australia

0 Cambridge University Press 1985

Key to phonetic symbols i v
This book is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements, To the student
no reproduction of any part may take place without
the written permission of Cambridge University Press.
To the teacher 2
First published 1985
Twelfth printing 1997
Weak Forms
Introduction 4
Printed in the United Kingdom by Athen2eum Press, Gateshead, Tyne & Wear Practice 5

ISBN 0 521 26938 5 Book Clusters

ISBN 0 521 26334 4 Set of 4 cassettes Introduction 2 6
Practice 2 7

Publisher's note: This book has been compiled from a selection of the Link-up
dialogues previously published as five separate booklets by Colin Introduction 4 5
Mortimer: Stress Time, Weak Forms, Clusters, Link-up and
Contractions. The original recordings have been edited and paused to Practice 4 7
make for easier use.
Contractions
Drawings by Dania Gan (Weak Forms, Clusters, Link-up and
Contractions) and Peter Kneebone (Stress Time). Introduction 6 1
Practice 6 2

Stress Time
Introduction 7 6
Practice 8 0

Detailed list of contents 9 6

 Key to phonetic symbols To the student

Vo w e l s and diphthongs
Elements of Pronunciation can be used in class with a teacher, in a
I: a s in s e e isii/ 3: a s in f u r /f3:(r)/ language laboratory with or without a teacher, or by a student •
as in s i t /sit/ 3 a s in a g o ip'gau/ working alone with a cassette recorder. I f you are working alone
o a s in t e n /ten/ er a s in p a g e /peid3/ either in a language laboratory or with a cassette recorder, you
• a s in
as in h a t ihwt/ au a s in h o m e /haum/ may like to follow this suggested procedure.
a: a s in a r m /a:m/ pi a s in f i v e / t a w / 1. Play or read the complete dialogue and make sure you
• a s in
o a s in g o t / g o t ! au a s in n o w /nau/ understand it. Some of the more difficult words are explained
•a: aa ss inin s a w /S3:/
oi a s in j o i n td3oin/ below the dialogue.
o a s in p u t / p u t ! la a s in n e a r inia(r)/ 2. Play the recording, which is divided into three sections:
u: a s in t o o /UK/ ea a s in h a i r ihea(r)/ - Phrases are picked out from the dialogue. Yo u listen and
A a s in c u p /kAp/ ua a s in p u r e /pjue(r)/ repeat these until you feel confident about the particular
pronunciation point which is being practised. The heading
Consonants to the dialogue tells you what this is.
- T h e dialogue is recorded without pauses. Yo u may like to
pen /pen/ as in s o /sou/ play this before you begin the pronunciation practice (see
as in bad /bwd/ as in z o o l z w l point I above). Listen now to the complete dialogue. Yo u
as in tea i t i : / as in she /li:/ should make sure you understand it and can pick out the
did /did/ 3 a s in vision /v13n/ pronunciation point which is being practised. Play it as
aS cat / k t / as in h o w /hau/ many times as you need.
get /get/ m a s in m a n /mwn/ - T h e dialogue is then recorded with pauses so that you can
tJ a s in chin /qui/ n a s in n o /nap/ repeat it in sections. Play it as many times as you need,
d3 a s in June /O3um/ rj a s in s i n g / s i r ) ! repeating after the bleeps. Concentrate on the particular
as in fall /(0:1/ as in l e g / l e g ! pronunciation point being practised, but make sure also
as in voice /vpis/ as in r e d /red/ that the overall pronunciation sounds natural.
0 a s in thin /ern/ as in y e s /jes/ 3. Read the dialogue aloud without the recording. Yo u may like
o a s in then /Oen/ w a s in w e t /wet/ to do this with a friend so that you can take a part each.
Whether you work alone or with someone else, it is a good
idea to record yourself and play it back.

iv

To the teacher
Elements o f Pronunciation combines the well-known
pronunciation practice books — Weak Forms, Clusters, Link-up,
Contractions and Stress Time—into one volume. The book is
divided into five sections which correspond to the five original
publications. Dialogues have been carefully selected so that the
material can be used with students from intermediate level
upwards, and, by selection, much of the material can be used at a
lower level.
The recordings have been re-edited to make them easier to use.
For each dialogue, the recording on the cassette now consists of:
I. A 'listen and repeat' section which picks out and drills the
particular pronunciation point practised in the dialogue. -
2. The dialogue is recorded straight through at natural speed.
3. A paused version of the dialogue with bleeps to indicate where
students should repeat. The pauses usually occur at the end of
each utterance, except where one speaker's part is
exceptionally long and is therefore divided into smaller
sections for repetition.
The recordings are slightly different for Stress Time. There is no
initial 'listen and repeat' section, and the dialogues are recorded
twice—the first time straight through with a tap in the
background to indicate the stress, the second time with no tap but
with pauses and bleeps to allow students to repeat. See the
Introduction to the section on Stress Time for ways of using these
dialogues.
Elements of Pronunciation can be used in class with a teacher,
in a language laboratory with or without a teacher, or by a
student working alone at home with the use of a cassette
recorder.
Suggestions for use
Here is a suggested procedure which you may like to follow or
adapt:
I. Before concentrating on the particular pronunciation point,
use the dialogue for listening comprehension—it is important
for students to get a sense of the meaning and pronunciation
2
To the teacher
of the whole. Students listen to the complete unpaused version
of the dialogue and answer comprehension questions to ensure
that they have understood the situation, the relationship
between the speakers, what has just happened, what is likely to
happen, etc. For many of the dialogues there will be no right
answers as much is implied, so students should be encouraged
to put forward and discuss various points of view.
2. Students practise the initial 'listen and repeat' section, using
the recording. You may like to extend this and pick out other
items yourself. It is useful to start with one phrase and slowly
extend the repetition to the whole utterance, e.g. 'with Alan',
'going with Alan', 'are you going with Alan', 'are you going to
the party with Alan' etc.
3. Students listen again to the complete unpaused version of the
dialogue, this time concentrating on the pronunciation as well
as on the meaning.
4. Students use the paused version of the dialogue for repetition.
They work alone.
5. Students work in pairs, taking one part each and repeating the
dialogue after the recording, using the paused version.
6. Students read the dialogue in pairs without the recording.
Their version could be recorded so they can then listen to
themselves. (You may want them to memorise and perform
some of the shorter dialogues.)
7. You may now like to ask students some questions about the
dialogue which encourage them to use the particular
pronunciation point in their answers, e.g. Dialogue 114:
Q. What do the speakers say will happen to all the lady's
anxieties and problems?
A. They'll disappear.
 Weak Forms

Weak Forms

Introduction
A good practical grasp of the weak forms of English is essential
to good pronunciation and listening comprehension. This section
contains dialogues in which some of the more important weak
forms are contextual ised. The items selected are all weak forms
containing the 'neutral' vowel. The first group of dialogues
features individual weak forms. The remaining dialogues are
devoted to a selection of sequences of two or three of the items
that have first been treated individually. The pronunciation of
each weak form is indicated in phonetic transcription, in the
heading.
Featured items are ident!fied in the text in a lighter typeface.
There may, however, be words not in light type which need to be
pronounced weakly if the dialogue is to be spoken properly. Most 1a
of such items are featured specifically elsewhere in the book, and
their incidental occurrence in other dialogues can be treated as A S o what went wrong?
useful revision or as a foretaste. But primary attention should be B W e l l , you said all I needed was a pencil, a ruler, a piece of wood,
given to the weak forms actually specified in the heading. a saw, a hammer and a couple of nails.
An asterisk after a word indicates that it should be pronounced in A I said you needed a pencil, a ruler, a piece of wood, a saw, a
its strong form. It is not possible in such a short book to give hammer, a couple of nails, and a bit of common sense:t
explanations of the circumstances in which weak and strong
BAh.
forms are appropriate:
t Words in italics should be given extra emphasis.
e.g. the — boa! only before consonant sounds.
from — strong in final position.
that — all demonstratives strong. 2 a n font
Phonetics handbooks will readily provide the relevant basic
information, and should be consulted.
A I need an immediate answer.
B Y o u shall have an answer. In an hour or so.
A I must have an answer now.
B I t ' s not an easy decision to make. But if you insist on an
immediate answer, it must be an extremely reluctant 'no'.
A Oh.
B S o r r y.
A W e l l , I suppose if you do need an extra hour or so
B B u t I don't, now, do!? An extra drink, yes. Have one?
Before you go?

4
 Weak Forms Weak Forms

4 some
A M i n ! Delicious, John! Can I have some more?
How d'you make it, by the way?
• O h , you need some lean meat, some vegetables, some butter,
flour, salt. Chillies. Some garlic, if you've got some*. Lots of
things.
• O h , some* woman I know.
A W h o gave you the recipe?

A
• W
Seo l lis, she!
it really
Now,is you
some*
did dish!
say you wanted some more, darling?

A Well i f I'm to have some pudding, perhaps not.

• G o3
o dt. h e /6a/t

A N o w the* exercise - the drill.

•• TThhLeIeS Tend.
E N : The pear, the peach, the pineapple.
* pear, the peach, the pineapple.
The* apple, the* orange, the* apricot.
R E P E A T.
• T h e * apple. The pear.
• Th e father,
The* apple,the
the*mother.
orange,The*
the*uncle, the* aunt.
apricot.
A T h e father, the mother. The uncle, the* aunt.

A REVISION: Apple. Pear.

A G o o d . N E W W O R D: End.
5 a n d /an(d)/
A Good.
A A whisky and soda. A whisky and water. A brandy and soda.
t Only before consonant sounds.
Three gin and tonics with ice and lemon, and two gin and
• Indicates a strong form. tonics without ice and lemon. And another whisky and soda.
And a glass of water for me.
A whisky and soda. A whisky and water. A brandy and soda.
Three gin and tonics with ice and lemon, and two gin and
tonics without ice and lemon. And another whisky and soda.
And a glass of water for you, sir. Right, sir.
A N o , wait a minute. Let me change that. Let's have

6
 Weak Forms Weak Forms

6 b u t /bat/
• B u t you must.
A B u t I can't I ' m sorry, but I can't.

A I ' d like to. But I can't.

• B u t I'm depending on you. We're all depending on you.

•A B
I ' ul l t do
noanything but that.
one else could do it as well as you!
• B u t she's too busy.
A W h y not ask Dalia? She could do it even better.

7 o f /ov/

A T h e r e you are, Betty — a bottle of milk. Three boxes of matches.

A can of beans. Two bags of sugar. A packet of biscuits. A jar of
jam. A bottle of lemon squash. And two tins of peaches.
That's the lot, I think. OK?
it T h a n k s , dear. How much was it? Ugh! What's this in the bottom
of the bag?
A O h , y es. And half a dozen eggs.

8 f r o m /from/
• A t my sister's.
A I had a call from Bill.
• A 9t one
a t o'clock?
/ a t / At n”. mother's.
•B F
H reo m
must be Who's
Bill? special.Bill?
A H e ' s very special. He telephones me from overseas. Every day.
A W h e r e were you at one o'clock?
a W h e r e from*?
A O h — from wherever he happens to be: Africa, America, Asia
A A t two o'clock?
From Australia, this time.
• A t one thirty, Officer? A t a point approximately half way
• O f course, George sometimes rings me from the factory.
A A n d at one thirty ?
A H e hates to be away from me.
• O n l y for five minutes, at the most. Why?
between my mother's and my sister's.
The trouble is, he always reverses the charges!
A A t Sam's Bar, in fact?
A O h , Bill reverses the charges, of course.

8 9
 Weak Forms Weak Forms

10 t h e m / o o m / 13 a s / a z /
•A W
I hsaw
e r ethem together.
did you see them? A A s John couldn't come, he asked me to come as a substitute.
But you're not Julie
• W
A I nh ethe
n town.
did you see them?
B N o . As Julie couldn't come, she sent me - as a substitute.
A Y o u know, it looks to me as if John and Julie
• T
A D hi d
i s you say anything to them?
morning. B I t does, doesn't it?
A I disapprove of such tricks, as a rule.
•A W
I htold
i c hthem
you've now done.
I should Thank you.
tell you. B S o do 1. As a rule.
A H o w e v e r,
••A A
LNri o
e
kn ' to
t you
eneed. going
I've
join to send
already
us? for them?
invited them for dinner. BWell?

A T h e m * ? Both of them? Together?

• H 11 u s let/ us
e won't a sgo.
/
• C o u r s e he can.

A L e t ' s ask him to let us go.

A H e can't keep us forever.

• D o n ' t be greedy.
A L e t ' s escape.
n H e ' d catch us. Anyway, I like it here. He treats us well. Gives
us lovely clothes. Lovely food - everything.
A H e must give us our freedom!

12 t h a t /Oat/

A W e all know that we face problems. We know that we face • A s good as.*
difficulties. We are all aware that the difficulties that we face are • C u14 ags? I'm
nnin a ass innocent
/ a z as
a azchild!
/
not difficulties that will be overcome immediately, or that will be
overcome easily. We all recognise that the problems that A Y o u ' r e as cunning as a fox.
confront us are not problems that will be solved overnight. But
• T hI sometimes
a t that* was the clock
wonder if westriking
realise two,
i f Frank! Go sufficiently
we realise to sleep!
• I t ' s a lovely speech, Frank. A A n d as slippery as a snake!
that it A n y w a y , believe me, this necklace is unique! And old! Old as
the hills!
A S o r r y , dear. Didn't know it was so late. M y big day, tomorrow, A A n d gold?
you know. Ah, well. Goodnight.
• P r o b a b l y strong in this final p o s i t i o n . b u t i n , e r y f a m i l i a r speech
rould be weak.

10 II
 Weak Forms Weak Forms

15 t h a n / o a n / 19 w a s / w a z /
A C a r o l ' s more sensible than Jenny, prettier than Jenny, A The man was kind.
cleverer than Jenny, and richer than Jenny. So why do I like He was generous.
• A Jenny
n d why more than
does Carol?
Jenny like me more than you? A He was*. Extremely generous.
He was popular.
A Oh, he was very very popular.
So when we heard he was
16 t h e r e /Oa(r)/ A Yes.
I was
A T h e r e ought to be someone here. A We all were.
B T h e r e ought to be. But there isn't, I don't think.
A T h e r e ' s a light in that room
B L e t ' s take a look. 20 h a s / a z / t
A O h , my God! • W h i c h has gone? The Sixty ?
B M M . It looks as if there's someone here after all, poor chap. A T h e bus has gone already, Janet.
There's a phone over there*. Better ring the police.
• TI h
A t emust have
Sixty Sixgone early,asunless
has gone well. my watch has stopped. Look —

17 a m / a m / t Madge has missed it too. And Rose has missed it. No use
running, Rose!
A W h y am I leaving? Where am I going? Who am !going with? A G o s h R o s e has put on a pound or two since she last ran for a
bus! Oops! No use running, Rose! It's gone!
• N Where am I stay
o w , darling. ing?
How amWhen am I coming back? Am* I coming
I looking?
back? These are questions you'll probably wish to ask me. t 'He's', *Jack's', e t c . - see Dialogue 105
Barbara, but

t ' I ' m ' s e e Dialogue 104.

18 a r e / e ( r ) / t

•A T h e ys 'er eare theold-fashioned,

a bit best. perhaps.
B T h e s e are nice, too.
A M m . But these are more suitable, don't you think?
• T h e y are*, yes. Anyway, there are no more in the shop. And we
A A n d they're a bit flashy, I suppose.

• Wmust
e l l , give themand
Freddie their present
Paulette today.
are both a bit old-fashioned, you know.
A S o what are we going to do?

A Y e s . But in a flashy sort of way.

t ' Yo u ' r e ' , 'we're' etc. - see Dialogues 108 and 109.

12 13
 Weak Forms Weak Forms

21 h a v e / e v i t 23 d o e s i d e z /

A T ho ew wheels have dropped
• H many times have youoff! Theit?
flown wings have broken! It's useless!
A O n l y Once! I wouldn't have bought it if I'd known!
• A n d I suppose if they hadn't known, they wouldn't have reduced
it to half price. Anyway, we all have* to learn, eh? Oh, by the
way, I've bought you this. Got it from Walker's. Like it?
A O h , it's marvellous, Dad. Thanks. They had one in Gray's sale,
but I couldn't afford it. Thanks, Dad.
t 'I've', 'you've', etc. - see Dialogues 116 and 117
A H e doe? sound nice. But I hope you won't mind if I ask him a
few questions, Millicent, such as where does he
• W h e r e does he live? What sort of family does become from?
Who W h o m does he know that we know? What does he do
for a living? How much money does he make? That sort of
thing, you mean, mother?
• W h a t does he see in me?
A Y e s , dear. And also what does
A A p a r t from your money, dear, yes.

24 c a n / k a n /
A S h e can play the flute.
She can paint pictures.
• Y o u can fight.
She can write poems.
She can grow plants.
She can do most things.
What can /do? I can't do any of the things she cant!

,--,.9..... „
. g1f ..4....'.
i ' fr:efir 4. NUSS,1 by" .
A Y e s , but who want a girl who can fight?
a !do.
s7--..-....%•.: - - . . , -
, '''....:-_, • , . . -

, ' i l i t h m e m o m
=,s..--
rethTICATfdr.....41/2 -71111111111% I l i M a r t l i
r,,,4/
M ,villifirtkrior-of
L t , •=0.0.1,
• y i jewels
* . „ - ihad a o , L o ii l l !EMI
r agone. _ A M
22 h a d i e d i t
• T h e passports had gone.

A A l l our money had gone.

• E v e r y t h i n g had been taken.
•A H
O oupr eclothes had
you like it. gone.
• E x c e p t the present we'd bought you.
A T h e air tickets had gone.

A E v e r y t h i n g we had*. It'd all gone.

A T h e y hadn't taken that, fortunately.

t 'We'd', 'you'd', etc. -see Dialogues 122, 123 and 124.

14 15
 Weak Forms Weak Forms

25 m u s t imas(t)/ Selected combinations of

A T e l l me what I must do.
• Y o u must go to them. And you must confess. Tell them it was two weak formst
you.
A I suppose I must*.
• Y o u must trust them. They'll be lenient t , I'm sure. 26 / a y +a, an, Oa, as, oam/
• W
A Y eesl .l , Yes,
perhaps not quite
I suppose every
I must tellthing.
them everything.
A
• Y
N oo u. But
hateI all o f them.
dislike one of them. Roger, I think his name is.
•A O
N ho ?need to mention me, for instance.
A
• BNeoc a. uBecause
s e of the
ofway he dresses,!
a word he used insuppose.
front of an old lady.
t lenient: not severe, tolerant
A Oohm, eyes.
• S * ofI us
heard.
are, But she's soAnd
I suppose. old-fashioned!
anyway, it's hardly a new word

is it?

27 R e +Oa, oem/
A A l l those friends of yours overseas—why not write to them? Or
• Y egos somewhere.
, I t h i n k ! will
Gowrite
to thetocinema.
them. Or to the beach. Or to the
tennis club. You can't sit brooding: about that girl all the time.
• S h e usually goes to the Post Office about five.
AGood.

:brood: to think about (troubles etc.) for a long time

28 / a t +a, an, Oa, Oam/

A ' S t o p screeching', did you say ? Don't you know !once sang at a
• I concert?
will lookAtatan international
them, concert?
darling. But! haveAt theatbiggest
to be theatre
a meeting at ain
town? You must look at my press cuttings!

quarter past seven. A n d ! would like a bath. Do hurry up.

Please!

Where single weak forms from the selected pairs occur, these are also
identified in the text.

16
17
 Weak Forms Weak Forms

29 / f a (r) +a, oa, sarn/ 31 / a ( r ) +a, an, Oa, semi

A H o w long have I come for*? For a month. Why have I come?
Oh f o r some sunshine. For the sea. For some good food.
For the wine. For a bit of excitement, I suppose. Why did you
• F come?
o r the money. I work here.
A T h e s e are a new type. And those are the type you had before.
Oh-here are some more. These are the very latest. And the
best. Just arrived.
• Y e s , I can see those are an entirely different model. Where are

the handles, by the way?

A N o t all the time, I hope. A O h , er. M o d e r n design, you see. No handles. No handles
• Mneeded,
m . Ah! you see. are the plastic things in the bottom of the box?
What

A P l a s O h , yes. Optional extras, you see.

iiii' 4III tII IIJ, 7•„ 32 / w a z + a, an, oa, semi

,11'INilltlitMPIA A T h a t was a poor meal.
414oti101J,Nii41111 , •B TI th ewas
meat was the toughest
an extremely ever.
poor meal.
A T h e soup was a disgrace.
• W h e r e was the special sauce?
A A l l we got for pudding was some tinned fruit.
• N o t h i n g was the same as last 3, ear.
A W h e r e was the special dessert?
• A n d that was a bit bigger, actually.
A E x c e p t the bill.

33 / w a ( r ) +a, an, oa/

A Y o u were a star. You were the greatest actress of your

•• A ndu you
still were
Y generation.
o are, an incorrigible
thank God. liar. Rupert.
You were the most beautiful woman of our time.
You were an inspiration to us all.
30 / h a m +a, an, oa, sam, Oam/
ABeatrice!
•A I got it from aanfriend.
old friend, who got
A mutual it from a friend, who got it
friend.
from some friends, who borrowed it from the Browns. Where
did you get the idea it was stolen from them?

18
19
 Weak Forms Weak Forms

34 /15o(r) + 6 ( 0 , wo(r) Selected combinations of

A There were five. three weak formst
There were four.
A There were five. At least five.
There were only four.
A Well, anyway, one thing's certain.
35 / o n (d), bat + ay -Fe, an, Oa, sem/
o What?
A There are Only four now.
A The Company Chairman reminded every body of the problems
we face.
There are Only three, in fact.
And of the difficulties before us.
A And of the hard road that lies ahead.
o And of an ever increasing need to make sacrifices.
A And of a need to increase our efforts.
He spoke not only of the problems.
A But of the new opportunities.
And of the new challenges.
A And of some recent plans.
And of a bright future.
A And of a bright, though distant future.
t Where pairs from the selected threes occur, these are also identified In the text.

(tErTer11,..W.lifirFAIATC.TTOTOrl
::FA
WI a l )
ff• i 0
*1 ' 0 3
!tra; ' E 3
W•i•
W .

P•
'et

A 0
1.
C . 3

N
EMI t W

a t I i

20 21
 Weak Forms Weak Forms

36 / a n ( d ) , bat-Fat-Fa, Oa/ 38 /or-Fat-Fa, Oa/

A G e o r g e wasn't at the meeting, but at a party. A wild one.
• N o t at the meeting? And at a wild parts? How disgraceful!
Where?
A I n town. And at the house of a friend of yours Josephine. You
really must speak to George.
• I shall certainly do that. But at the moment, she's the one I must
speak to! At Josephine's you say ? And at a wild party / wasn't
invited to?
A My parents are at a meeting and my sisters are at the cinema.
I'm all alone. Like to join me?
Sorry, but my parents are at the theatre, and my little sisters are
at the moment expecting me to bath them and put them to bed.
A Oh.
Like to read them a story?
39 / w a z a t + a, an, Oa/
A Last year it was at a restaurant. The year before, it was at an
expensive hotel, and the year before that, it was at the factory
itself i n the canteen. And that was the best party, I thought.
Yes. But that was at the time when your wife was in charge of
the canteen!

40 / w a r + at + a, Oa/
A H o w terrible! Just imagine, we were at a concert, enjoying
ourselves, while you, poor thing, were at the hospital, with a
broken leg!
it A n d a couple of very nice nurses!
37 / a n (d), bat+ta(r) +a, Oa, sam/
A I know why you came - you came for a drink, and for some food,
• I swear I came here not for a drink and for the various other
and for a talk with the boys, and for the television.

things you mention, but for the chance to see your pretty,
• S smiling
o bringface again!
the food and drink, and switch on the television, and tell
A O h , Victor!

me where the boy s are, mj darling - there's a good girl.

22 23
 Weak Forms Weak Forms

41 / a d - f r o m +a, Oa/ 43 / a y + as, Oem 0 ( r ) , we (r), ken, mast/

A S t e v e n and Mark are from the Ministry. Robert and Sam are
from the Local Government Offices. And the others are from a
variety of interested organisations. We're here to discuss
co-ordination. Who are you?
• S i m o n and I are from the Ministry. The other members of our
committee are coming soon. We're here to discuss co-operation.
And this is our room.
A O n l y three of us are on the short-list, and he's the favourite.
• S u r e l y none of them can know about his private life? Or they
wouldn't consider promoting him! One of us must do our duty!
A I f all of us were perfect, Martin. I'd agree with you. But I must*
confess
n Y e s , James? Needless to say, you can trust me! Absolutely!
A I ' m glad to hear it. But perhaps more important, in this case:
You can trust me - I ' m sorry to say.

44 / 6 o ( r ) +a, we, waz a , en, sem/

A
• T
A hneyr ething
wereforsome
me? telephone calls. I said you'd ring back. There

are some letters. Oh, y es - and there was an inquiry. Someone

asking about something called Weak Forms. Have we got any?

42 / w a z +from e , 60/
A T hn ids look
• A was from theThe
at this! garden! That
best of all !was
Thisfrom the garden!
was from And this
the garden, too,
was from the garden! Our own garden A r e n ' t they superb?

• N was
o , no,
it? no. I meant that. That's the one! meant - not that.
A T h a t was from a shop.

A Good.

24 25
,ter
 Clusters

Part One: C O /
Clusters
45 p l 131 p r b r

A Please go, Brian.

Introduction
This section aims to help students who can pronounce individual
English consonants, as in sat, cat or rat, but experience difficulty
when these occur in clusters, as in scream, and even greater
difficulty when words containing clusters occur in connected
speech. It consists of dialogues in which most of the clusters
encountered in English are featured in context. Each dialogue
concentrates on a specified cluster or group of clusters, indicated
in phonemic transcription in the headings and in italics in the
text. There are four parts:
—Two consonant clusters in word initial position, e.g. speak.
—Three consonant clusters in word initial position, e.g. strong.
—Two consonant clusters in word final position, e.g. looks.
—Three consonant clusters in word final position, e.g. gasps
I bring you a beautiful present, and you tell me to go!
A Brian, I appreciate the present, but
Would you prefer a Mulct one ?
A Brown suits me perfectly, but
Or a blue one?
A But if your brother finds you here...
My brother? But surely Brett's gone to...
A Probably that's him now.
n Blast ! Blast!
A Oh. Perhaps it's only the bread man.
Good.
A No. No, it is Brett. Brett, darling...
Brett, you probably won't believe this, but, er
t Words in bold type should be given extra emphasis.

26 27
 Clusters Clusters

46 t r d r t w
A
• H
B oy wtrain.
are you
The travelling, Trevor?
twelve twenty.

A S h a l l I drive you to the station?

• I n all this dreadful traffic ? Oh, no—I'll try to get a taxi.
A I t 'hs, no
• O trouble.
I trust yourOf course,
driving, allifright.
you don't trust my driving...

A F i n e . Twelve
• Thanks. at yourthe
But Tricia, flat,trip
then?
really is tremendously important and...
A MeMl l ,?the train really does leave at twelve twenty.
• W

47 I d g l k r g r k w
A Yo u ' r e back quickly. Didn't you go to the cricket club ?
B Ye s , I went.
A W a s it crowded ?
B Q u i t e crowded.
A W a s Greg there?
B G r e g was there, yes. And Quentin. • R a t t e r you, florrie?
A B u t surely Quentin hates cricket. 48 f l f r
B T h a t ' s why they had a slight disagreement today.
A T h e y quarrelled ? • Frankfiatters everybody.
A f l a t t e r me, Fred.
B G r e g threw a glass of beer at Quentin. • A f l a m e in his heart ?
A O h dear. A Frankflatters me, Fred.
B H e missed, however.
A M M . Shall I take your clothes to the cleaners? •• F
A Y
H roeyusays
drive mefrantic
I create too,
aflame in florrie.
his heart!
the fish, norrie.

A A furiousliame ! He says I drive himfrantic !

A O h , Fred! You oldfi'atterer!

49 O r
A O n l y threepence ?
B O n l y threepence a thrill.
A I ' l l have three, please.

28 29
 Clusters Clusters

50 s p s t sk 51 s m sn st s w

A L a d i e s and gentlemen... A I s Snowy at home? Snowy Smith?

B S p e a k up, Stanley ! B H e ' s sleeping. Go away.
A I stand before you... A Sleeping? Where?
B S p e a k up, Stanley! B I n there. Why do you smile?
A O n this School Speech Day... A Perhaps Snowy is in there. But he isn't asleep.
B D o speak up! B I swear he's sleeping.
A O N THIS SCHOOL SPEECH D AY A W h e n Snowy sleeps, Snowy snores. And when he snores, he
B S t o p shouting, Stanley! snores! Hey, Snowy! Snowy! Snowy, it's Slim!
A A n d I speak for both my wife and myself, when I say B Y o u see n o snoring, Slim.
B S p e a k up, Stanley! A I t ' s the first time. Hey, Snowy!
A S P E A K UP STANLEY!! B D o e s n ' t he look sweet?
A S n o w y ! Wake up! Wake up, Snowy SNOWY!
B A n d now there's one slight snag/.
A A snag?
B T h e small problem of what to do with you, Slim.
: snag: unexpected difficulty

52 J r
A I shall shriek!
B Shriek?
AShriek!
B W h y shriek ?
A S h r i e k with terror!
B T h e y ' r e only shrimps. A shrimp isn't anything to shriek about.
I f there were a shark, of course
A Oh!!
B A h , well, shrimpies b a c k into the water.
A Good.
B W h a t else is there for tea?

30 31
 Clusters Clusters

55 s k r s k w
Part Two: CCCV
• NI of i syou
A e s like
in the night
noises
• Squeaks,
A Squeals, for
forexample
example
53 s p l spr
•• Splendid!
A sptendid day! A Scratching and scraping
n Squelching and squawking
A W h a t a splendid Spring day! • A n d if you like screeches
A T h e n this is the place for you
A W e ' l l spread our towels! • O h , if you like screams
A Screeches and screams
••• Sp/endid!
S
Wper' al w
l sl pin
r i nthe
t ? sun! Splendid!
• D o you like noises?
A W e ' l l sprawl in the sun!
A Y o u ' l l love it here
A W e ' l l sprint along the beach!

A I ' l l sprint.

Part Three: VCC

• Stripped of everything!
• A 56 P t we
n d when b dstopped.
ps bz
A W e were robbed!

A
•• T
Ahhneedyy said
jumpedout into'shut
the road
• A l l the Strongs are strong. T tied ifuswe didn't
with ropes.. our traps: '
54 s t r A T h e y grabbed me and thumped me in the ribs.

A H o w strong you are, Mr Strong! A W e ' d be stabbed.

• H o w strange you are, Miss Strange! suppose all the Stranges • F i n a l l y they dropped us at the bottom of these steps...
A B u t you're the strongest! A A n d dumped us in the back of a van.
•• A
Ocht u, ayes
l l y—he
hewas
saidrather
he wascharming!
sorry we'd been 'disturbed'!
are strange. A A n d the polite one I described to you...
A Ye s ?
BOuch! A A n d hoped the ropes weren't too tight!
A A n d strong!
: traps: mouths (siang)

32 33
 Clusters Clusters

57 t s dz 59 n t nd
• THhea tjust
A ' s all he does.
sits. A H e went. And he never returned.
B H e went when ?
• Occasionally
A he reads.
A l l day—sits and sits. A O h , about the end of September.
B W e l l , 1 warned you.
• A
A Bun td he eats very little.
eats. A D o n ' t remind me.
• H e needs friends. B Y o u can't say you weren't warned.
A W e tell him he needs fresh air. A A n y w a y, he sent the rent.
• L o a d s of friends. B H a v e you found a new tenant?
A H e used to have lots of friends. A Y e s —a friend. Peg Bond. There won't be any problems.
B I hope there won't.
• B
A A
Nunotdregrets.
he won't
now even
he Mm.
just sitsspeak to his kids.
and broods. A Y o u don't know Peg, of course?
B W e l l . . . 1 once lent her a pound!
A H e still says he has no regrets, of course.

A A h , well. What's the film at the Ritz?

58 t i t d3d
• W e pitched our tents by the river.
A W e marched all day.
• I n the morning, we bridged the river.
A
• S
T ohm
e ebattle
of usraged
slept. for
Sometwowatched.
nights.
A A onm
• S d emarched again untilto
o f us managed wesurvive.
reached the battlefield.

A S o m e of us dodged the shells.

A T h e privileged ones ?

60 n e ns nz
A B y e , Florence. See you in a month. Oh—if Vince phones
B V i n c e who ?
A V i n c e Burns.
B V i n c e Burns? Not the Vince Burns?
A Ye s . If he phones, tell him...
B Y o u know Vince Burns?
A Course. And if he phones...
B I have a chance to talk to Vince Burns?
A S a y I'll be back on the tenth, probably.
B ' S h e ' l l be back on the tenth, Mr Burns...'
A A n d if I'm not...
B ' A n d if she's not, Mr Burns, my name is Florence.'

34 35
 Clusters Clusters

61 n t j nd3 64 s p St sk zd

A To m o r r o w we launch our new sales campaign. I'm giving a lunch

at our city branch. In the staff lounge. Do come.
• D ' y o u know, Blanche, your last lunch added an inch to my
waistline. A
A
• L o see
I o k .noI have
change.
a paunch! I'm going on a diet! 1st JUNE
Ocean Hotel. First class breakfast.
• Immediately
A Oh. after your lunch. Toast beautifully crisp.
Went for a brisk walk.
Lazed by the pool.
Splendid lunch. Roast chicken.
62 f t v d if) f s vz Braised celery.
Gazed at the sea. Dozed happily
A
• H
N eo' shurry.
not onErthe fourthisfloor
...how now, he's been moved— to the fifth.
he, Nurse? till dusk
Use the lift. I'll ring to say you've arrived. Dressed for dinner.
• A n d he behaves all right, does he ? At dinner, met a most charming
A I think he's improved. Still coughs a lot, of course. woman!

•A O
Hh
O he ., loves
Sorry.
pretty
yes. We havenurses,
plentyGrandad does!
of laughs! It'smiss
We'll a family weakness!
him when he leaves!

•• F
I 'uBy
mnn sorry
the ! heSoft,
y way,
name, wanted
isn'tme
it?to bring him this gift. For his special
favourite—a nurse called Soft.
A H o w lovely!

A Ye s . But I've got used to it. ilt_41111

Mita 1R! .
A W e l l , I'll ring to say you've arrived.
1111 i l l IMPRittc:
W INVIUV-)•;!)/
112_,Rut,i:341•1-t:1,,_;) illiii.--V
63
• Sh O t me.
e baths OdShe's
es always
a z bathed me.
A Whheoclothes
baths 11111 W W I I M E
• S
She's alwaysyou?
me. She'sme!
loathed always clothed me.

A W h o clothes you?

A A n d yet she loathes you?

36 37
 Clusters Clusters

Part Four V C C C 66 m p t mps m f t nrifs

A H i s prompt action ultimately led to their arrest. Good triumphs
over evil in the end, you know, Mrs Smith a s I've always said.
65 k t s ks0 kst • M m . Of course, he got those lumps on his head when they
jumped on him and dumped him down that well. And he still
A H e ' s one of our most important contacts. But difficult. How did limps.
• O you do mixed
h , he it, Samantha?
me a drink. We relaxed. And I coaxed him into A
•AYe
n ys w
, yes.
a y, I'm glad to know that good triumphed in the end.
agreeing to look at our products. I've fixed an appointment for A
• Indeed.
W h a t punishment will they get, by the way?
the sixth. And if he reacts favourably...
• Excellent.
A H e ' s sweet, by the way - as I've always said.

• W
A H eml l ,! That
Johnconflicts
always contradicts
with John'smy opinions.
view of him! 67 n O s nst
A A n d , of course, you differ in certain other important respects! A I f only they could've waited! Even six months!
B O r a couple of months, anyway.
A W e ' v e nothing against him, of course.
B N o t h i n g at all.
A T h e y ' r e so young and inexperienced!
B Ye s . But how experienced were we?
A W e courted for years before our engagement was announced!
B Ye a r s , dear?
A W e l l , if you're sure they'll be happy...
Bconvinced.

68 n t f t nd3d

A H e lunged: at me with a knife. I punched him. He dropped it.

• THe
h cringed : in the corner,
e n I lunched teethastightly
with Jenny, clenched, eyes filled with
arranged.
hatred.
• Ne "I'll be revenged!"
a r l y finished he snarled. I punched him again.
your chapter?
Harder.'

A O h , hello!

I lunge: make a sudden forward movement

:cringe: move back or down in fear

38 39
 Clusters Clusters

69 o k t oks
A Y o u see, as the exchange rate sinks, the value of your savings
shrinks. But if you banked your money, instead of keeping it
• N o , thanks.
wherever you keep it i t could earn interest, to some extent
linked to the cost of living.
A W h e r e do you keep it, by the way?
71 I m d I m z
A O n e of your most famous fi/ms was about an enormous monster
that overwheims a city. You played the monster, didn't you ?
• T h a t ' s right. It was filmed in the studio, of course. And the city
I overwhelmed was only a small, plaster-board model. Even so,
I managed to break my toe in rehearsal!
A I ' l l never forget the bit where you kicked the Marine Hotel
• Wintoi t hthe
mysea!
left foot, you'd notice!

70 I p t Ikt Ips Its R s

A S h e sulks.
B S h e always has sulked.
A A n d you should hear the insults!
B S h e insults him all the time.
A S h e never helps him.
B N e v e r has helped.
A W e l l , we warned him.
B O h , we warned him.
A W e forecast the results.
B W e did.
A F i n i s h your ice-cream, Harold —before i t melts.

40 41
 Clusters Clusters

72 l O s 1st
A I was alone. Missing you.
• S o whilst I was away, you opened my last bottle of champagne!
• F r o m two glasses ?
A I drank your health, darling!

A A n d my health, darling! I drank both our healths!

73 s p s sts spt skt sks

A
• T
A hs eusual,
hotel they
caters mainly
gasped in for tourists.
terror as we whisked away: the bedclothes.
•• E
A A vnsedn
A hosts
as we. whisked
though. these tasks
awaywere performed
the pillows, nicely.
there were more gasps . .

A N o n e of the guests ever requests a second night in the haunted

room.
• W e find this so disappointing.
A Resident ghosts...

: whisk away: take quickly and suddenly

74 f t s Kis
• S i x fifths, Mr Tofts?
A W e have now completed our customer survey, Sir. Of the total
numbers going up to the Arts and Crafts, and Gifts Departments,
three fifths used the escalator, two fifths used the lifts, and one fifth
used the steps, Sir.

42 43
 Clusters

75 C o n c l u s i o n
A N o w you've practised lots of clusters.
Link-up
• Ye s , but only with two and three consonants.
• E
Aal sl y. Four
right, twe/...
then—say 'Four twelfths make two sixths.'

Introduction

This section consists o f dialogues designed to encourage students

to link words together smoothly and naturally, in connected
speech, in the way that native speakers normally do. I t aims to
help especially those learners who tend to pronounce each word
as though it were isolated, or to make excessive use of the glottal
stop before words beginning with vowels.
Intensive, contextualised practice is provided in linking:
I W o r d s ending in a consonant sound to words beginning with a
vowel sound:
e.g. r e a d it b r u s h up s i n g it

2. Wo r d s ending in a vowel sound to words beginning with a

vowel sound:

e.g. y o u are I ought a f t e r all

Each dialogue features a particular link or combination of links,

the basis of organisation and selection being place and manner of
articulation. So, for example, Dialogue 76 is devoted to linking p
and b to words beginning with a vowel; Dialogue 88 focusses on
t, d, n and I, which have first been practised individually in
separate dialogues.
Words printed in italics should be given extra emphasis.

Linking final consonant sounds to initial vowel

sounds
One practice technique which many students find helpful is to
treat the final consonant sound of a word as though it were
transferred to the next word:

e.g. Practise put it off

as though it were pu-ti-toff
Used with care, this device helps to promote good linking. It
should be noted, however, that though linked to words beginning
with vowel sounds, final consonant sounds are not usually in fact

44
45
Link-up Link-up

fully transferred in English. Thus, for example, in the phrase

'stop anywhere', the p at the end of 'stop' is not strongly
76 p b
aspirated as it would be if 'any' became 'penny'. Though linked, A N o w , the psychological test. Ready? Quickly say the first verb each
'stop' and 'anywhere' retain their identity.
noun brings to your mind. Don't stop and think. Is that clear? Don't
stop and think.
Linking
n I hope it's clear, yes.
When a word ending with a letter 'r' precedes a word beginning A R i g h t . The first noun ' H a n d b a g . '
with a vowel sound, the 'r' is usually pronounced, and this
linkage is indicated in the text: B G r a b . Grab a handbag.
A ' Bank. '
e.g. a f t e r all
B R o b a bank.
AMan.'
Linking final vowel sounds to initial vowel sounds a S t a b a man.
To help students to link vowel sounds to vowel sounds, a small w A S t a b a man. Mm e r
or I is included with the linker: B D o n ' t stop and think, Doctor! Don't stop and think
e.g. d o it h e ate some

77 t d
Here again, used judiciously, this device will help to promote
natural linking. Care should be taken, however, not to exaggerate A I'm called 'Pat', and! don't like my name.
the link to a full, strong w or j, resulting in
It isn't attractive.
—
do-wit h e - y e t But 'Pat' isn't as bad as some names. What—about 'Dot'?
Dot—isn't attractive.
A Oh, no. Dot isn't at all nice, no E v e n
—
Pat isn't as bad as Dot . W h a t are you called, by the way?
••••-•••

You've guessed it!

46 47
 Link-up Link-up

78 k g 80 f v

A I ' d like a walk – I think t a k e the dog out, Betty. A I give all my parties from five until seven
• FI i' nd elike
. a drink – I think I'll go to the 'Duke of York' and drink a • S iArrive
r? at five–of
five exactly, please.
• A r r i v e at course, Sir.
cool lager.
A L e a v e at seven, punctually.
A Y o u ' d like a drink, Betty? You'd like a drink ? Oh, well
n L e a v e at seven, Sir. Yes, Sir.
Let's both take the dog out, then!
A T h e n move off and have a really good time. Right?

A N o , dammit. Let's leave the dog at home!

A W e l l , my parties do have a r e p u t a t i o n , don't they?
Mm ?

81 0
A A r e you going to the party with Alan ?
n I can't go with Alan.
A O r with Eric?
•n Y
WIohucan't
y' r e go
notwith
don't you Eric.
go with both of them?
going?
AOh.

A T o tell you the truth, I can't go with either.

79 t f d3 A I ' m going with Alec.

• GYeoour g know
A e , it'swhere my crutch
not possible! is, Bertha.
Your leg! You can't judge a beauty n• W
T hi teh boss
Alec? Both of us?
is out.
contest today.

A O f course, dear. But George, I really think you should

82 s z
B F e t c h it! A I se ' the
• H boss in ?soon. He's at lunch.
s expected
• H e ' s always in time for tea.
A T h e boss is always—out.

A I t ' s almost four!

48 49
 Link-up Link-up

83 85 n
A Y o u r whisky, Sir. With the usual splash of soda. A D i d you win anything ?
• T h a n k you. Now which dish is good today ? • I won an apple. Did you win anything?
• F r e s h , I hope?
A T h e fish is good. A
• JIo hwon
n won
an orange.
an air ticket.

• A n d to finish off
A F r e s h , of course, Sir. A A n air ticket to where?
• T o London, I think. But he doesn't think he can afford the time to
— —
A
• T
B hu et with
usual, Sir? squash, I think. Not soda.
lemon go. He hopes he can exchange the prize for something different.
A A n orange, perhaps ?

84 m 86 0
• A n y particular ring, Edwina ?
A C o m e into this room – it's warm in here. A B r i n g a ring and that lovely string of pearls.
B T h a n k you.
A Yo u ' v e come about Jim,! suppose. • Y
A B er isn. gThey'll be putting
a diamond everything
ring, Alfred. in the window
Something today.
a bit special.
B J i m isn't doing well. • Something appropriate, my love.
-
A I ' m afraid that's true. A A r e you taking anything along, Alfred ?
• I ' m taking a brick, dear.
B J i m oughtn't to be bottom of the class.
A B u t next term I think we'll see him improving. I ' m optimistic. A N o t h i n g obtrusive, Alfred ?
B L a s t time! camel remember you said.•
A I ' m optimistic', yes. But this time I'm especially so. Now.•
Tea? Jam? Plum or strawberry?

lab
KV
14 S
1I t i n t ,I• 1 'k
11111751141Itanuakinammonesmo\,k)

50 51
 Link-up Link-up

87 I 88 t d n I
• Sh!
A N e x t we'll interview Miss Val Underhill, I think. A What in the hell is that, Enid Evans?
— — — —
a U n d e r h i l l ? V a l Underhill? Erm D i d she fill- in the form ? I bought it in a sale, Eddie.
—
A S h e did fill in the form. A Well,
—it–isn't
— ideal, to say
—the least, Enid.
• M M . Well it seems we didn't file it, then.
It isn't ideal, Eddie, no.
—
A W e l l , if we've lost the form we'll obviously have to A In fact, I'd incline to call it
—
Well don't Eddie. Not unless you want your meal elsewhere.
A A h , good morning. Miss Underhill, I presume? A Sorry.
Now, naturally we have your full application here Thank you.
B A l l appropriate personal and professional- information A Enid, in fact now that I've looked at it again,1
A Nevertheless, we'd be grateful i f you'd tell us Isn't it awful, Eddie?
B I t would be useful if you'd tell us something
A A l l about yourself, please.
89 t d n I s z
• Y e s , of course, i f you ride it carefully.
A C a n I ride it, please, uncle?
• Y e s , i f you go carefully.

A C a n I go fast on it ?

A
• PI e rcan't
h a p sride
it might
it outside,
be best
I suppose,
if you practised
uncle ? in the garden a bit first.

• W e l l , s e e . Perhaps your dad wouldn't agree.

A T h e n can! ride it in the road ?

A B u t I know dad would agree. Definitely.

B W e l l , I'll ask.
A D o n ' t ask.

52 53
 Link-up Link-up

90 t f d3 I s z 92 p b td kg t l d3 tv 06 sz I nnnr)

A W h e n will you finish it? A O n e cup only, Mrs Lobb,I think . 1 diet, actually.
B F i n i s h it? Finish it? It's finished! No bread, of course . 0 h , that beautiful cake, if you like.

A Wa l l a c e , as I always admit Not very big, I beg you . 0 h , too much,I assure you. Well,
B Ye s ? that's not too large, 1 suppose I t ' —
l l have to have a double portion
please make the second slice small. Cream? On both – oh dear!
A I ' m no judge of sculpture.
BNo. With even more cream ? Really, this is excessive... I wish I
• N
A N oo . judge
You're
of no judge,
such Anna.
artistic could persuade you not to
B S o m e jam on it?
A B u t Wallace, I wonder. A N o t h i n g else.
—
B Ye s ? a A l t
A W h i c h is the front, Wallace? A T h e jam will indeed be the climax!

BHah!

93 r
• M o t h e r, at twenty-four a girl's rather old.
A A f t e r all, you're only twenty-four, Ann.

• B u t mother, I don't suppose father even notices.

A A t f i f t y - f o u r a girl's rather older, isn't she?

•• Yo
F our' raeshampoo ? Where are you going, by the way?
always nice.
A F a t h e r appreciates your mother 'as nature intended'!

A T o my regular appointment with the hairdresser, if you want to

know.

A I have some grey hair, at the roots – which nature never intended!

91 t v 86 sz I t j d3
A I f I pay five each to both of you
B F i v e each?
A S i X if I can.
a S i x isn't much, is it?
A I might manage a bit more.
B B u t this is a 'hush hush' assignment!
A Ssshhh!

55
54
 Link-up Link-up

94 96 r
• Y
A D oou I ought
have totodo
try.every question? A T h a t tree ought to go. We can't see anything for it.
• S u r e l y you don't want to destroy our ancient tree?

A
• H
Woewgive
much
youtime dotwo
about I have?
hours. A W e can't see in here, and yet the sun's shining.
-
B A n y w a y , ! adore it.
A
• TT hwoos ehours
who?are quick can go early. A
• AI nonly saytree
d that it spoils
alwaysthereminds
view. me of mother.

• A
A T hnedy those
can gowho
early too,!
can't suppose.
dolt? A I t ' s the tree I'm discussing. Don't bring your mother into it!

AGood.
97
• N o , ! don't know Ian Green.
A I expect you know Ian Green.
95
-
A M y thigh and my arm still hurt. I expect to be up tomorrow, A O h , I thought you would.
• Thanks. Tea, I think. -
though.
• W h y !, don't.
B N o ,
- I wonder ? Is he influential ?
Tea or coffee or something? The coffee isn't very good. A I rather expected you would.

• W h y all the hurry ? -

A R o o m Service? Could we have tea in Room Twenty, please? A H i s father is. Very influential : Magnus Green.
• l am sorry about the accident. We all miss you. -
For two, please. B I know thefather, of course.
A I advise you to get to know the son.
A H M . I ought to learn to ski—a bit better.
— -
B M e r e l y to see a bit better, Dick. A M u m m y always knows best, dear.
• I f you can't see a tree, I think you should wear them.
A I don't like to ski in glasses.

56 57
 Link-up
Link-up

99 r f y BO sz I
A I wish I knew if you are or aren't coming with us.
• I wish I knew myself if lam.

A S u r e l y the business isn't going to collapse if one of you goes out

for a day, is it?
• O f course it's not. But not both of us. If Igo out, then Willy must

stain.
A W h y all the fuss about Willy? Willy's always out.
• W i l l y ' s out now, actually. So it all depends on whether or not he

• U98
p at ther club. p i a td kg t f d3 returns, I'm sorry to say. I don't need to say any more, I suppose?
• Y e s , Ada.
Where are you off to?
A Yo u ' r e already a bit late. Where are you, anyway ? A I know where Willy is, I imagine. Though he may not know it,
— —
he's about to return in five minutes or less, is Willy. So be
A
• TUhpe yathad
theaclub all this
match, time?No point in rushing back, is there?
actually. ready in five minutes.

I'll get a snack in the bar and stay on here with the boys for a bit.
Celebrate our victory.
• T
A V ihcak it eVickie
? Who's Vickie?
isn't There's
in the bar, no one here except the boys.
is she?
• I am my age, darling.
Oh,! see! Behind the bar! Mm, she is rather dishy, isn't she ?
-
A D i s h y, indeed! Be your age, Edwin!

• B y e love A n y w a y , what about you and that new milkman?

A W a t c h it! Or I'll be over there in no time! Bye dear.

100 R e v i s i o n

A T h i s dialogue appears again in almost identical form on the next

page. But on the next page I've taken out all the links. What you
• I are supposed
ought toado
to have try,is Itosuppose.
practise a time or two from this page, and
then turn over and dolt without any help at all. Like to have a
try at it ?

59
58
 Link-up

[ 1 0 0 ] Contractions
A T h i s dialogue appears again in almost identical form on the
previous page. But on this page I've taken out all the links. What
you are supposed to do is to practise a time or two from that
page, and then turn over and do it without any help at all. Like to
have a try at it ?
Introduction
I've tried.
A H o w did you do ? Most students are aware that 'contractions' such as they're, we've
and he'd represent, in writing or print, the usual spoken form of
they are, we have and he had (or he would). Many students,
101 C o n c l u s i o n however, are not sure how such contractions should be
pronounced, or lack experience in pronouncing them. This
A W e l l , anyway, I hope you'll continue to work on this section provides opportunity for the intensive practice of the
— main contracted forms encountered in written texts. It consists of
very important aspect of the pronunciation of English, and that
short dialogues in which particular contractions are featured
you've enjoyed the book. See you again, I hope. individually, in pairs, and in groups. The pronunciation of each
(Say anything you like here as long as you contraction is indicated in phonemic transcription in the
headings to the dialogues.
L I N K I T UP appropriately!)

Linking contracted forms with following words

Particular care should be taken to link contracted forms
smoothly and correctly with the word that immediately follows
them. One pitfall to be avoided is that of 'over articulating', or
exaggerating the pronunciation of a contraction at the junction
with the next word. So, for example, some students tend to
pronounce the 'din he'd come so deliberately that either a gap
occurs between he'd and come, or the neutral vowel intrudes,
resulting in heeder come ihi:da

61
60
 Contractions
Contractions

AM 104 I ' m / a i m /
DO 1 0 2 D ' y o u /clju:/
• I 'i mn lazy.
A love with you.
A W e l l , now, what exactly d'you have in mind?
• W h a t do I have in mind? Oh, yes. Yes. Well, d'you remember
• II '' m
A m in love with you.
untidy.
Partington?
A P a r t i n g t o n P a r t i n g t o n O h , Partingtont! D'you mean the • IB' umt extremely
A I'm in lovebad
withtempered.
you!
• Oh.
chap who H m ! A dangerous man, Partington! Nasty man!
• D Shocking!
' y o u think he could do the job for us? A A n d I'm in love with Michael.

A P e r f e c t l y. D'you want me to get him?

tWords in italics should be given extra emphasis. IS 105 H e ' s / h i : z / J o h n ' s /d3onz/
Jack's / d 3 k s /
DO 1 0 3 D o n ' t /daunt/ A J o h n ' s in, is he?
•• D
A on nd ' tthis?
do what? a H e ' s out, actually.
A D o n ' t open that, please. A O h . When's he expected back?
B N o idea. Jack's in, though.
A A n d please don't do that. A W h o ' s Jack?
B T h e boss.
A T h a t . I f you don't mind. A S u r e l y , John's the boss. A t least, he always says he's the boss -
and, anyway, he's the man I want to see. But you say he's Out?
• D
A Doon
n '' tt ,, please.
don't, don't! Don't you ever say 'do'? Well, I don't want
B H e is out.
• W h o ' s late?
to stay here any longer! I shall leave!
ADo. IS 106 I t ' s / I t s / W h o ' s ? / h u : z /
• O h , it's only half past. Plenty of time.
A I t ' s time! It's time to go!

A L o o k , it's awful being late every time!

A I t ' s always the same! Late for everything! Late, late, late! It's
ill-mannered ! Discourteous!
B Relax.
A I t ' s embarrassing!
B Relax!
A A n d they think it's me!!

63
62
 Contractions Contractions

IS 1 0 7 I s n ' t '/Iznt/ I t ' s /Its/ not

He's / h i : z / n o t
A
• W
Mi lrf r Brown?
e d , isn'tHere?
that M r Brown?
Surely it's not M r Brown.

A H ee l lisn't
• W alone,
, that's either!not
certainly Look!
Mrs Brown, is it?
• G o o d afternoon, M r Brown.
A I s n ' t it Miss Middleton? Well, well!

A I s n ' t it a lovely day?

• T h a n k you.

ARE 1 • 0A n8d Yo uSimon's

you're ' r e / jfather.
3:(r)it
A S o you're Jane. Welcome.

A S lod eyou're
• O r thantoyou
be my daughter-in-law. Well, I must say you're
expected?
extremely attractive. Beautiful, in fact.

• Y
A B eust . I And
haveI to
must confess
confess thatjust
you're wa e little
l l bit w e l l

A N o , no, no, no. Er d i d you meet my wife, by the way?

A S i m o n ' s mother died, you know. I married again.

t Linking •r• before a vowel. See Dialogue 93.

64 65
 Contractions
Contractions

ARE 1 0 9 We ' r e /wra(r)/

WILL 1 1 2 He'll ihi:I/ She'll 5:1/
A T e l l him we're here, will you?
B W e ' r e here. We're in here. • S
A H he e' l' l l open
say thank you.for her.
the gate
• Sh!
A L o u d e r.
B W e ' r e in here, M r Bagshaw! Please come along now! We're ready A H hee' l' ll l walk
• S wait up
for the
himpath behind
to open the her.
door.
for you!
A
• WI ne l there,
l , we're not going
I think. I f youtosee
wait all day.
what! Where is he?
mean. A H he e' l' ll l look
• S sniff for
smile. his roses
at the key. till he finds it.

A H e ' l l say, 'Ah! Got it!'

ARE 110 A r e n ' t i a m t / —'re not A H e r e they come.

A
• Y
Oonul 'yr emynot
legs,
feeling
love. tired,
Theyare
aren't
you,asdear?
young as they were!

•• W
Oe e
h 'l,rl e not doing
yes, anything tonight, are we?
A W , weofaren't
course.
far from the hotel now.
• S p l e n d i d , yes.
A A r e n ' t we playing cards, dear? With the Potters?
?T-111,1
A T h e y ' r e a splendid old couple, aren't they?

A C h a r m i n g . And so dignified.
a E v e n so, we're not using their pack of cards again tonight, /can
L010,000
tell you

WILL • I 111 I ' stop,

f you'll l l / cI'llustop,
l / Yoyes.u ' l l /ju:1/
r2 • 11
--tt.
• Psr o
A t boapb l yif you'll
you'll lose
stop.your cough. '
• Y
I 'ol ul 'stop immediately,
much betterI think.
A l l feel if you stop. • DL
Io (110•1111'
n ' t• go. I ) I ! T ! . 6 6 "
• O r perhaps h a v e just one more.
A A n d c e r t a i n l y save money.

A M e too. I'll never have another. •• T

A hn edn Pete'll be here.
the fun'll begin, honestly.
WILL 113 I t ' l l / a l /

A I t ' l l improve soon. The others'll be coming.

A
• JI to' hl ln be
' l l no
be fun
bringing his you.
without guitar.

A I t ' l l warm up soon, honestly.

A P l e a s e stay.

A I t ' l l be hopeless without girls.

66
67
 Contractions
Contractions

HAVE 1 1 6 I ' v e / m y / Yo u ' v e / j u : v /

A I ' v e got something for you.
B Y o u ' v e got something for me?
A W e l l , open it.
a A birthday present for me? Now what can it be?
A L i k e it?
a T h a n k you, darling. Just what I've always wanted H o w did you
guess?
A D a r l i n g , I've been thinking.
BMM?
A Y o u ' v e got so many pipes now. How about a change next year?

H AV E 117 T h e y ' v e / a e l v / W e ' v e / w i : v /

• W e ' v e failed? Both of us?
A W e ' v e failed.
WILL 114 W e ' l l /wi:1/ Yo u ' l l / j u : I / They'll /Oell/ • T h e y ' v e passed? All of them?
A T h e y ' v e passed.
A I f you'll sign here, please
B W e ' l l do the rest. • B u t if they've passed, how have we failed?
A T h e y ' v e all passed except us.
A W e ' l l arrange everything. • B u t we've planned a celebration!
a W e ' l l handle all the details.
A
• W
Wee 'l vl ,ewe have. all
bought I'vethose
seen bottles!
the list.
A Y o u ' l l have nothing more to worry about.
B Y o u ' l l have no need to concern yourself any further.
A F o r g e t it.
A A n d those problems
a T h o s e anxieties
A W e l l , get them out, then.
A T h e y ' l l all disappear - dear Mrs Parker.
a I f you'll kindly sign here, please.
A Y e s , here. • H a v e n ' t you? How pretty it is!
H A VE 118 H a v e n ' t i ' h y r i t / — ' v e not
A I haven't always lived in this cottage, you know.
WILL 115 W o n ' t / w o u n t /
• I haven't, no. Only a month, in fact. But it's a very nice village.
A Y o u ' v e not been here long, of course.
A H e won't help us.
• O h , it's magnificent! A beautiful house!
B H e won't do anything.
I've grown to love it already.
A H e won't cooperate.
A Y o u haven't seen Eerringly House, yet, I suppose?
a W h y won't he help'? • W e l l , I haven't seen it closely, o f course, Mrs, er.
A W h y won't he help us?
A B u t the new people haven't looked after it properly, you know.
a W e l l , if he won't help us
A I f he won't, he won't.
A F e r r i n g l y. Madeleine Eerringly.
a Right.
A B u t we won't forget, will we?
B W e won't.

69
68
 Contractions Contractions

HAVE 1 1 9 H e ' s /hi:z/ S h e ' s /fi:z/ I t ' s /Its/ HAD 1 2 2 H e ' d / h i : d / Yo u ' d /jux1/
• Oh.
A
• JHi em' 'ss left,
left, too,
of course.
has he? A
• HI ewish
' d already gone when
you'd spoken I got there.
to him.

A A n d Jean. A Y o u really think he'd have helped ?

• Y e s , she's gone to work at Fletcher's, they tell me. • I think he'd have tried. I wish you'd seen him.
A O h , it's changed a lot since you were here. It's become much more A A n y w a y , he'd left, as I say. He'd left early, actually.
• A efficient,
n d whatofabout
course.
ourBut
oldit's lost the
friend personal touch, I'm afraid.
Martin?
• A n d become more efficient? A P e r h a p s he'd been told I was coming!
A O h , Martin's stayed on.

A H e ' s had to. A t avoiding work, that is.

H AV E 120 H a s n ' t P h w z n t /
A H a s n ' t the doctor come yet?
B N o . The doctor hasn't been called.
A B u t this is urgent!
B G r a n d f a t h e r hasn't seen a doctor for sixty years.
He's stubborn.
A W e l l tell him he must. He hasn't any choice.
B A l l right. But
A A n d tell him Dr Fenton's a very good-looking young woman.

ISand HAS 1 2 1 — ' s /s/ or / z /

A I t ' s gone. It's not here.
B I t ' s not there? Ask Vic where he's put it!
A V i c ' s gone.
B H e ' s gone? Where's he gone?
A N o b o d y knows where he's gone. HAD 1 2 3 I t ' d ilted/
B W e l l , get Sheila.
• I t ' d bitten
been inthrough
the kitchen
one o f the bars and squeezed through the
A Hm! A T h e n we realised it'd escaped.
B S h e i l a too? But that's incredible!
A I S it? • B rgoakpe. .n. a dish, smashed a plate
A A n d before it ran away.

• A n y w a y , thank you for bringing it back.

A
• IAt n' dd knocked everything
we missed over.
it, terribly!

A A n d it'd eaten my supper

A W e were afraid it'd been killed.

70 71
 Contractions Contractions

HAD 124 — ' d / d / H a d n ' t P h d n t / WOULD 1 2 6 I t ' d /dad/

• B
A H ue t hadn't
when he'd drunk
got time forita drink, he said A I t ' d be difficult to tell him, of course.
B I t ' d obviously come as a shock.
• B
A H ue t said
whenhehe'd eaten
hadn't 2otittime for a meal A I t ' d seem a bit harsh, I suppose.
B Y e s , I suppose it would.
•• A
A Hn
A ne d when
dsaid he he'd
another. stayed
hadn't comea to
week
stay the night A A n d in a way, it'd be lonely without him.
B O h , it'd be quieter, no doubt.
A H e stayed another. A B u t it'd be best to tell him.
B Ye s .
•• A
A Ho
S na .ddas
a Igood
hoped -day?
say he hadn't
we'd outstayed
hoped hishave
to let you welcome.
the spare room A I t ' d be best if you told him.

A I f he hadn't come, and if o h e r hullo!

WOULD 1 2 7 Wo u l d n ' t Pwudnt/
A Well?
WOULD 1 2 5 I ' d / a i d ! Y o u ' d / j u : d / S h e ' d / I I : d / B W e l l , they said they wouldn't paint it.
• S h e ' d like a car, if you'd like to know. A W o u l d n ' t they put in new windows?
A
• SI hf eyou'd like some
' d adore to know what I'd like, I'd like a car.
diamonds! B T h e y wouldn't. Or repair the roof.
A O r build a garage? Or modernise the kitchen?
A
• IO' h
d , adore
she'dsome
love adiamonds!
mink coat! BNo.
A A n d the price?
•• M a k e it three.
S h e ' d like a hamburger.
A A n d I'd love a mink coat! B T h e y wouldn't lower it at all.
A S o you told them we wouldn't be interested, o f course.
A B u t if that's too expensive B I told them we'd think about it.
A M t n . Oh, dear. It's a lovely house, isn't it?
A O h , all right. I'll pay. One hamburger. please. B M n , . It wouldn't be a bargain, of course. But

H A D and • Y o128 — I' had

u knew d /come?
d / Or I would come?
WOULD
• W e l l , how did you know I'd come?
A I knew you'd come.

A O h - had come, sorry. I was sure you would come, some time.
• N o , sorry - I mean how did you know I wouidcome?
A I knew you'd come because I saw your car.

A W e l l , it's obvious, isn't it? I'd told you Betty'd be here!

 Contractions Contractions

131 C o n c l u s i o n
A W e l l , that's the end of 'Contractions'.
BMM. t
A H o p e you've enjoyed it.
BMM.
A H o p e its helped you.
B MM.
A H o p e we'll meet again some time.
BMM.

t On the tape. Speaker B's part is not recorded. Students should supply their own
intonation on 'Mm' according to which of the many possible meanings they wish
to convey.

H A D and 129 H a d n ' t i ' h d n t / W o u l d n ' t t w o d n t /

WOULD • W e l l , you wouldn't, would you?
• YI ohadn't
A u wouldn't, I suppose.
expected a promotion.

A I really hadn't expected it.

• O h , he checked it, certainly - because / gave it to him.

A I certainly wouldn't have got it if he'd checked my file.
• I f he'd seen it, he wouldn't, no.
A B u t surely, i f he'd seen that old letter, he wouldn't have promoted
me.

A N a u g h t y girl.

MODALS •1 H3m0! He
C should've
ould've apologised
r k o d etovme
i etc.
H AV E
A B u t , darling, if only you could've apologised!

A
• BI usuppose
t he's older than you.
I could've saidYou could've
I was. said
But that you were
would've sorry,
been telling a lie.
surely.
• O h , all right. Yo u win. Where is the old devil?
A B u t only a little one. You could've said it, just to keep the
peace. For my sake!

75
74
 Stress Time

This silent stress may sometimes be followed by some unstressed

Stress Time syllables:

• • • A •
Yes, Peter, A he was at home

The silent stress can also come at the beginning of an utterance:

• •
Introduction AHe was at home, Peter
This section consists of dialogues in which the main rhythmical
patterns of spoken English are presented first individually, then
After the basic unit of rhythm of the syllable comes the larger unit
in pairs, then in larger combinations.
of thefoot. A foot always begins with the stress pulse, in bold
type, and takes in everything that comes after it up to the next
The rhythm of English stress. The foot boundary is indicated by an oblique stroke:
/Yes, /Peter, / A he was at / home
English is a ' stress-timed ' language. That is to say the beats or Foot Foot 2 F o o t 3 F o o t 4
stress pulses in connected speech follow each other at roughly
equal intervals of time:
Presentation
One T w o Three F o u r
Though variety in presentation is important, the following is a
sequence of steps that has worked well as a standard procedure:
This means that if there are any unstressed syllables between
stresses, these have to be fitted in without delaying the regular I Students should listen to the recorded dialogue once or twice
beat of the stress pulses (printed in bold type throughout): first.

Three Four 2. Students should then answer comprehension questions and

One Two
and and Four possibly re-tell the story to show that they understand it.
One and Two Three
One and a Two and a Three and a Four 3. A f t e r this, students should listen again once or twice, and
One and then a Two and then a Three and then a Four gently beat out the stresses—including silent stresses either
by tapping, or by beating the index finger on the open palm of
The more unstressed syllables there are after a stress, the quicker the other hand.
they must be said in order to 'catch' the next pulse: 4. They can next say and beat only the stressed syllables in the
• first line, keeping these at equal intervals:
• • •
Yes, that was probably necessary, J o h n e.g. / Ye s , / that / p r o , /John

Sometimes a stress pulse is silent (indicated by A)

• • A •
Yes Yes A Yes

76 77
Stress Time Stress Time

5. Next, they can practise each foot separately, and then Rhythmical patterns and combinations
progressively in combination: The contents list for this section (pages 99-100) specifies what
/Yes foot pattern or patterns are featured in each dialogue. These
/that was patterns are also shown above each dialogue in the text. A large,
heavy dot represents a stressed syllable and a small dot represents
/Yes, / that was a non-stressed syllable. Dialogue 136, for instance, is devoted to
/probably the single foot pattern* which means that it consists entirely of
/Yes, / that was! probably feet with a stressed syllable followed by two non-stressed
syllables, e.g. / furniture. Dialogue 143, on the other hand,
/necessary features three foot types, namely /o, / A and /fa... This means that
/Yes, / that was / probably / necessary this dialogue is exclusively devoted to feet containing:
/John either a single stressed syllable only
/Yes, / that was / probably / necessary, / John or silent stress
or a stressed syllable followed by three non-stressed
6. Listen and repeat after the bleeps, beating time, using the syllables, e.g. I permanently
paused version on the recording.
It should be noted that the rhythmical specification for each
7. Say the whole dialogue tapping the beat, then without
dialogue indicates the types of feet used in that dialogue; it does
tapping, but with the teacher conducting the beat.
not necessarily indicate the order in which they appear. Thus, for
8. Perform the dialogue possibly memorise it—aiming for example, Dialogue 150 is devoted to the three foot types /o, /o..
perfection. and /o. w h i c h can appear in any combination and in any order.
9. Old dialogues should be regularly revised.

Silent stress needs to be thought of and ' felt ' as a beat. Students
sometimes find it helpful to blow out their breath in a quick puff
on the silent strns beat, or to make a sound such as M m ' wher-
ever silent stress occurs:
/ A he was at / home
(blow)
(Mm)

These devices help to maintain the beat. They also use up some
breath and thereby perhaps assist the speaker to make any re-
maining syllables in the foot quick and light (students often find
it hard not to put too much emphasis on unstressed syllables
coming at the beginning of an utterance, after silent stress).
Where there is a sequence of silent stresses it is probably best to
count these out either aloud or in a whisper.

78 79
 Stress Time Stress Time

134 / . .
132 t •
• / N o / N o / No/No. • / J e n n y ! /Jenny!
A / J i m m y ! /Jimmy!
A
• // YNeos // No.
Yes / Yes / Yes.
• // M
A M ii ss ss e
edd you,
you, //JJenny!
immy!
A / G o ! /Go!
• / N o / N o /No/No. • / L o v e you, /Jenny!
A / L i k e me, /Jimmy?
A / Y e s ! / Yes! / Yes! / Yes!

A/Oh.
135 / . .
• / W h a t ' s f o r ! dinner?
A / D i n n e r ' s / ready. / Come and! get it.
• / S o m e t h i n g / special ?
A / S o m e t h i n g / special.

• / Y e s , I / love it. / What's f o r ! pudding?

A / C h i c k e n / curry. / Don't you! like it?

A / W a i t and! see.
• / Te r r i b l e .

• / I s n ' t it / terrible?
136 / • . .
A / T h i s is the / furniture.
• / A / Yo u .
A / Te r r i b l e ?
• 1 S h e doesn't / need it and! neither do / we.
• / A / N O W / A / N O W. A / T h i s is A u n t / Agatha's / furniture, / Margery!

•• //TAh/ eA r/eA // There

Y O U ./ There / There.
133 / . / A
A / W h e r e ? / Where? / Where? / Where?

A / W h e n ? / A / When?

A / A / M 4 1 0 ?

A / A / N k ?

81
80
 Stress Time Stress Time

137 / . . . / A 140 / • / • . .
A / W h e n are you
• /Saturday, / bringing it?
/ probably. A Wi ne el l,, // Valerie.
• /F Anthony, / how was the / trip ?
/ Fine.

A A
• //Valerie,
G o o d . / when did you / buy that new—
• /Saturday.
/ A / Probably. / A / When can you / pay for it ?
•• /A/A/A/NhM
/ A/A/ Saturday. A Hh
• /W o ewr edodid
youyou
/ like it, itmy
/ buy my/ love ?
/ love?
A /Saturday.

A I A I Probably. • /A
A Wnht haot ndid
y. /itThat's
/ cost me,
whatmyI //wanted
sweet ? to / tell you a/bout.

• /Irritating?
138 / . .
• /Necessary?

A /Jonathan's an / irritating / fellow, but he's! necessary.

A /Irritating.

• /Necessary.
A /Certainly he's / useful, but I / wonder if he's / necessary?
• / Ye s ?

• / O n e / single / where?
• /Where's
139 / /. home?
/ . .
A / O n e / single, / please.

• // Tw
A e n /t ysingle
/ pounds, / please.
• /O Onnel y / once. // home.
Why?
A / W h e r e the / train / stops.
• / Ye s , Uncle!
141 / . / AWilly,
/ . . off
. course.
A / Tw e n t y / pounds! / Does it/only / stop / once?
A / N o w , / Julia. / Listen to / me!
A / O h , / nothing.
A / A /Julia —
• / W h y should you / want to dis/cuss it at / all ?
A / O h ! / This is a / difficult / thing to dis/cuss!
• / Ye s . / A / Why don't you / buy me a / whisky in/stead ?
A/Why ?

82 83
 Stress Time Stress Time

142 / i / • . . .
• /No.
• / /VNe goe /t avegetables,
A bles?
144 / . . / A / . . .
/ please. A T hhiast 'iss athe
• /W / question for? / Doctor / Carrington.
/ question

A / N o / vegetables. A / A / Here's the / question. / A / A / Let's i/magine th a t/yo u are the

• / J u s t / chicken and a / little of the / pudding over / there.
• / /only / person / left
A / Splendid.! in the! world
A / Interesting ex/cept for/one other / person.
/ question.
• // S
A Neapt u
a rr a
a tl e
l y.
l y.
A
• // W
A /hAo / would
A / A / you / choose,
Is my Doctor
/ wife in / Carrington ?
the / audience?
A / P u d d i n g with the / meat ?

A / C e r t a i n l y, Ma/dame.

• /Hah!
143 / . / A / . . . .
• / C o m i n g in a / minute if he / can!
A / P e n d i e b u r y ' s / coming in a t minute if he / can.

• / /T eAl /l Pendlebury
A / Pendlebury, (A / tell
/ seems him
to be from his / boss, / A / tell him that
en/gaged.

• / Phe's
e r m/afired!
n e n t l y, / definitely, / positively / fired!
A /Permanently?

A / P o o r / Pendlebury.
145 / • . / • . . .
•• /// W
A H oho m
C
ewr eabout
' s your / new a/partment
e and! to/morrow
? / Is it in * o t h e r / district?
? / new a/partment.
see us at our

A / N o , it's , very / close to the a/partment that I / used to / live in.

/Come and / see us.

A
• // JRoohunn,dyou
about / seven/ ?actually
/ haven't We're at / home
/ told me by / seven.
/ yet who / /'us'
Comeis! and
have some / dinner with us,! Janet.

84 85
 Stress Time
Stress Time

148 / . . . / A / • . . .
A / C e r t a i n l y. / A / Definitely. / A / A / Definitely. / A / A / Ready by
/January, / definitely. / A / A / Terribly / sorry a/hout the de/lay, but
I / promise de/livery in / January. / A / A / Thank you f o r ! waiting
so/patiently.
• / A / A / A / W h y did you / tell him you'll de/liver in /January?

/ A / Probably it /won't be com/pleted by /February.

A / P r o b a b l y it / won't be com/pleted at / all.

149 / • / A / • . / . . .
• /
146
A /
/../A/.... A
• / /O n
A e/ .Thirteen,
/ two, / three, / four/ /fifteen,
/ fourteen, men. / sixteen / women.
• / N o , it's / February.
• / A / Four / women to / one / man.
A I So ,it it's
• /N / A // January?
Tuesday. A / A / One / man to / four / women.
• / A / Hm! / A / Terrible!
A / A / IS it / A / Monday? A / A / Splendid i/dea!

• /N
A I So ,it the
/ A // morning?
middle of the / after/noon, and it'll / soon be / time for an
• / G i v e it to Y/vonne.
im/portant / visitor to / come and! see you - your! wife is / coming. 150 / * / • . . / • . . .
A / A / A / Betty. / A / A / That's her / name - it's / Betty.
A / M i k e , / how shall I / send it to you?
• / P e r f e c t l y re/liable - she'll / give it to me.
A u s she re/liable?
147 / • . . / • . . .
• / P r o b a b l y he / wanted you to / notice him. A / A f t e r she's! read it I sup/pose!
A / W h y was he / trying to em/barrass me?
• / P r o b a b l y he's / planning t o / m a r r y you.
• / W h y are you / letting him ?
A / W h y was he / rude to me?

A / W h y is he / talking to that / stupid little / Alison?

87
86
 Stress Time Stress Time

151 / • / A / • . . / e . . . 153 / . / A / . . / . . . / . . . .

A / Y e s . / A / Certainly. / A / Definitely. A / O h ! / A / Martin! / A / Marvellous ! / A / Give it to me!

• / A / A / A / Ben... / A / Isn't it a / fact that you / say, / 'Certainly', • / A / Isn't it a / lovely / animal ? / A / Careful, it'll / bite!

/ A / Definitely' / A leach time you / talk to a / customer ? A Neos, , itit // won't

• /Y seems/ to
bite me,you.
/ like it / knows I / love it al/ready.
• / D e f i n i t e l y, / dear.
A / A / A / P O S S i b i y, / d e a r.
A / D o e s it / like y o u ?
• / A / Possibly. / A / Certainly it / likes my /fingers!

A /A/A/A/A/Ouch!

154 / A . / .
A
• // A Heillo ? / A It's / Mike / A I'm / back / A / A / A Is / Sam
A Y/vonne

/there?
• / A / A I / don't / trust / Sam. / A 0./K.?
A / N o , / Mike. / A / A There's / just / me

A / AO./K. / A Good/bye, / Mike. / A / A / A / A / Sam! / A / Sam,

/A/ A / A It's/Mikel/A/A/AHe's/back,

THERE'S
• / W i l l to/morrow / do? JU5T
152 / . / . . / . . . / . . . . ME

• // W
A Weh lel n, /do I / get my
Sammy, / money?
/ when will you! do it for me?

• // Y
A Heosw, to/morrow
do I / knowwill
I'll be
/ get it?
/ admirable.

A / W h e n you've / done it, / Sammy.

A
• /H
M oMw. /will
Yes.I // know
Yes, Iyou've / done
sup/pose it ?!/ You
there's and / I must / trust each
no al/ternative.
/other, / Sammy.

88 89
 Stress Time Stress Time

1 5 8 / A . . . / • .
1 5 5 / A . . / .

•
A / A IS
I S i t / twhheer er e? ? A
• // AA IYou
washad
at / aJonah's.
/ party. / A We had a / party.

• / A On the / chair? A / A I t was / lovely. / A It was a / lovely! party. / A There was a

A A On the / chair.
/lovely / crowd of / people. / A It w as a f lovely / party. / A But l i n
• / A By the / door ? a / little! late for —
A / A By the / door.
B / A It's in the / oven. / A It was ex/tremely / nice at / seven i P i i t
• / A On the / floor ?
A / A On the / floor. at e/leven —
A A It'll be / lovely. / dailing. / A It'll be / lovely.
• / A / A / A 0 1 1 your / head !
A / A On the / bed.

1 5 6 / A . / • .

• // AA/ It's!
A A The / winner!
winning! / A// AAThe
It's / winner!!!
winning!! / A
A/A
It'sTertrffic!!!
/ winning, / Willy!

A / A / A / A / A / A / A / A l e S / W O B me - / A / A / It'S / WWI m e -
•• // AA It'S
1 I d/i dwon
n ' t . me - / A / A a /thousand dollars!
/ A / A / A It's / won me - / A a / hundred / dollars!

A / A A / thousand ? / A But / didn't you / bet the! same a/mount as

/me?

A / A / Oh. 1 5 9 / A . / . . .

• / A He's / knocking a/gain, Mrs / Wellington. / A / open the

• / A But I'm / busy. A I A I t s / probably / someone for / Dorothy.
1 5 7 / A . . / . .
• / A But I'm / busy! /curtains and / see who it - / A Po/lice! The po/lice ! Mrs / Welling-
A / A There's a / woman. IA In my / office. / A And she / says she ton ! / A We / haven't done / anything / wrong, Mrs / Wellington.
• / A Is she / pretty?
/wants to / see you. / A They've / probably / made a mis/take, and we fought to
in/form them that - / A / / A Well,/ where have you/gone, Mrs
A I A Well she/says she / wants to / see you. /Wellington',

A / A But she's! sure you'll! want to / see her.

• / 1A6 He
0 was
/ A a. //gentleman.
. marvellous
. / • . . / treasurer.
• / A i n a / sort of / way, I ' m / busy. / A But per/haps I / ought t o . . .
A / A In a / sort of / way she's / pretty. / A But you're / busy.
A / A He was a / wonderful / treasurer.

A / A He was con/siderate.
• / A He was a / comical / fellow, and / none of us/ever sus/pected
A / A And he was / humorous.

that! something pe/culiar was / happening.

A / A And that the/joke was on / us!

90 91
 Stress Time Stress Time

161 / A . . / . . . .
A
• // AA Is
Yothere / sugar
u pre/fer it in it? / sugar in it.
with
• / A Are you
A / A Yes, I / usually / do, but it's / recently been / making me a / bit
/sick.

A
• / /RA
e a Do
s o nyou
a b l y.
/ think it'll be / born on the eileventh, as you! said?

A / A He'll be / born on the e/leventh at elleven, as I / said. / A /

Punctually!

164 / A . / • / A . . / • / • •
• / A A / small / cabbage. / A And the / eggs?
162 / A . / • / A . R .
A / A Some / eggs, / A and a / small! cabbage.
A / A Yo u / d i d '
/AA/dozen?
13 / A i / d i d n ' t ! • / A Are they / fresh? / A / A O f f course they're / fresh.
• // A
A Did they
A Are you // buy them / here?
fresh?
A / AYo u /did!
B / A / didn't!
A / A Yo u i d i d ! / A You /did! A / A The / last / eggs I / bought, / A / A they were/ bad.
• / A / A / T a k e / h a / f a / d o z e n , / then.
B / N o , / didn't!
A / A / °Oa! A YOUthiiMe!
A / A I / don't re/member. / A/ A Per/haps I / did. / A / A Per/haps I
/didn't.
B I A / A i /did!
• / A i / think he's / ugly.

163
• / A He / /knows
A . /it!• / • .
• / A He's / vain. / A Con/ceited.
A / A He's / quite / handsome.

A
• // A
A / He's
A He/ rather
/ didn't/ /clever.
say that.

A / A He's / rich.

A / A /A / A He/thinks you're / pretty.

A / A / A H e / did.

92 93
 Stress Time Stress Time

165 / A . / • . / A . . / • . . / . 168 / A . . / • . . / A . . . / • . . .

A / A On / Monday, / A you were / going to / mend it. A

• I/ AA Well,
And you're / fond of
I'm in/love him?
with him.
• / A I / couldn't, / Al was / busy on / Monday.
A A / A You were in / love with the /architect. / A And the so/licitor.
• I/ AWhy
Well,
? / Peter, IA will you/do it this / evening?
• / A I'm / sorry, / A but I'm / off to a / meeting. / Al/promise you,
• / /A
A But
And /the!
this fellow with the
is / different, / wife
I can and theyou.
/ promise in/numerable! children.
/ A r e / p a i r it to/morrow.! Where are you / going?
A / A For the / tools. A
• / A And
He's they
the / were
regional
/ hopeless
/ champion.
at / golf, I re/member.

A / A For/get it. / A / A I'll re/pair it my/self. A / A / A You see you! never have a! sense of pro/portion, I Marilyn.

166 / A . / • . / A . . / o . . / • • • •
A / A The / smell of it! / A It's the / smell of it, / Gladys!
n / A But it's / nice if you! taste it.
• I/ AA It's the
A / marvellous.
/ smell of /it!A It's a / wonderful / flavour.

• //A
A /I A
sup/pose
It was /I rather
can / eat it.
ex/pensive, / Charlie.
A / A You can / eat it / for me, / can't you?

A I A Well en/joy it. / A And / meet you out/side.

• / A And my wife?

167 / A . . / • / A . . . / • •
• / A Can I / see her ?
A / A It's a / boy. / A And it's a / big one.

A / A She was a / marvel. / A And she's! fine.

• / A Well, I'm ex/tremely / grateful, / Sister. / A And I'll / see you
A / A You can / see them! both at about / Six.

/later. / A/A /A /A I'm a / father! / A And it's a boy! / A I must

/do some /shopping / quickly. / A I must! buy some / flowers.
/ A / A And a / train.

94 95
 Detailed list of contents

Detailed list of contents page 18 3 0

19 3 1
/ t r a m +a, en, Oa, sam, oam/
/ a ( r ) +a, en, 69, semi
32 / w o z + e , an, Oa, sem/
33 / w a ( r ) + a, an, Oa/
20 3 4 / 6 e ( r ) +a(r), wo(r)/

Selected combinations of three weak forms

21 3 5 / e n ( d ) , bat + + a, an, Oa, semi
page i v K e y to phonetic symbols 22 3 6 / a n ( d ) , bat + at +a, Oa/
37 / e n ( d ) , bet + fe(r) +e, Oa, sem/
1Introduction 23 3 8 / a r + at+ e, Oa/
39 / w a z + at + a, an, Oa/
Weak Forms 40 / w a r + at + a, Oat
4 Introduction 24 4 1 / a +from + a, Oa/
42 / w e z +tram +a, Oa/
5 1 a/o! 25 4 3 / a v +es, oem +e(r), wa(r), ken, mast/
2 an/an! 44 / o a ( r ) +e, we, waz + a, an, sem/
6 3 t h e foal
7 4 s o m e /sem/
5 a n d /on(d)/ Clusters
8 6 b u t /bat/
26 I n t r o d u c t i o n
7 o f /ev/
8 f r o m /from/ Part One: CCV
9 9 at/at!
10 t h e m /45am/ 27 4 5 p i 131 pr br
28 4 6 t r dr t w
11 u s / a s !
47 I d g l kr gr k w
12 t h a t /Oat/
10 1 3 a s /az/ 29 4 8 f l fr
14 a s a s /az a z / 49 Or
30 5 0 s p st sk
12 1 5 t h a n /Oen/
16 t h e r e /oe(r)/ 31 5 1 s m sn si s w
17 am/ern! 52 Jr
18 a r e /e(r)/ Part Two: CCCV
13 1 9 w a s /waz/
32 5 3 s p i spr
20 h a s /az/
14 2 1 have/ay/ 54 s i r
33 5 5 s k r skw
22 h a d /ad/
15 2 3 d o e s /doz/ Part Three: VCC
24 c a n /ken/
16 2 5 must Imes(01 56 p t bd ps bz
34 5 7 t s dz
Selected combinations of two weak forms 58 t j t d3d
17 2 6 / o v + a, en. Oa, as, Oam/ 35 5 9 n t nd
60 n e ns nz
27 / t o + oe, Oem/
28 / a t + a, en, Oa, Oam/ 36 6 1 n t I nd3
62 ftvdt8fsvz
18 2 9 / W O +a, Oa, sam/

97
96
 Detailed list of contents
Detailed list of contents

page 36 6 3 O t od Os eiz Contractions

37 6 4 s p st sk zd page 61 Introduction
Part Four: VCCC 62 1 0 2 D O D ' y o u
38 6 5 k t s kse kst
103 D o n ' t
39 6 6 m p t mps mIt infs 63 1 0 4 A M I ' m
67 n e s nst 105 I S H e ' s , John's, Jack's
68 n t l t nd3d 106 I t ' s , Who's
40 6 9 o k t oks 64 1 0 7 I s n ' t , It's not, He's not
70 I n t Ikt has Its lks 65 1 0 8 A R E Yo u ' r e
41 7 1 I m d Imz 66 1 0 9 W e ' r e
42 7 2 l e s 1st 110 A r e n ' t , —'re not
73 s p s sts spt skt sks 111 W I L L I ' l l , You'll
43 7 4 I t s fes
67 1 1 2 H e ' l l , She'll
44 7 5 C o n c l u s i o n
113 I t ' l l
68 1 1 4 W e ' l l , You'll, They'll
115 W o n ' t
Link-up 69 1 1 6 H A V E I ' v e , You've
45 Introduction 117 T h e y ' v e , We've
118 H a v e n ' t , —'ve not
47 7 6 p b 70 1 1 9 H e ' s , She's, It's
77 t d 120 H a s n ' t
48 7 8 kg 121 I S and HAS — ' s
49 7 9 t f d3 71 1 2 2 H A D H e ' d , You'd
80 Iv 123 I t ' d
81 0 el 72 1 2 4 — ' d , Hadn't
82 s z 125 W O U L D I ' d , You'd, She'd
50 8 3 j 73 1 2 6 I t ' d
84 127 W o u l d n ' t
51 8 5 128 H A D and WOULD — ' d
86 74 1 2 9 H a d n ' t , Wouldn't
52 8 7 130 M O D A L S + HAVE Could've, etc.
53 8 8 tdnI 75 1 3 1 Conclusion
.89 t d n i s z
54 9 0 t l d3 s z
91 I v 06 sz t f d3
Stress Time
55 9 2 p b td k g t f d3 tv 06 sz J rting I 76 Introduction
93 r 80 1 3 2 I .
56 9 4 1 3 3 /111/ A
95 Y 81 1 3 4 /..
57 9 6 r j 135 /..
97 ;
136
58 9 8 %-", r p b td kg t f d3
82 1 3 7 164 A
59 9 9 r I v BO sz I
138 /....
100 R e v i s i o n
139 /oho.
60 1 0 1 C o n c l u s i o n
99
98
 Detailed list o f contents

page 83 1 4 0 /oh" .
141 / o / A /0
84 1 4 2 /oh)
143 / o / A /40
85 1 4 4 / o . / A/o..
145 /o./o
86 1 4 6 / t y . / A PP
147 I . . Is...
87 1 4 8 / 4 ) . 1 A /0
149 / o / A / * ./o
150 / o / o ../o...
88 1 5 1 / o / A if/
152 / * / * ./o . . / o . . .
89 1 5 3 / o / A /0 111 . 1 0
154 / A ./o
90 1 5 5 / A.10
156 / A ./..
157 / A / o .
91 1 5 8 / A . . . / o .
159 / A ./...
160 / A
92 161 / A ../0
162 I A /0/ A ./..
163 / A ./0/0 .
93 1 6 4 / A ././ A .10/0
94 1 6 5 / A ./40 / A . 1 0
166 / A . / A . 1 0 . 1 0 _
167 / A .40/ A
95 1 6 8 / A . / 11 . / A

100