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They are going to see the intonation is moving. In |
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2 |
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English, |
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3 |
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We have the intonation system which has different |
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4 |
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functions. It is the difference in the shape of |
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5 |
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the pitch, either high or rise or fall. We have |
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6 |
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according to Konar, we have only two types of |
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7 |
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intonation, rising intonation and falling |
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intonation. |
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Harma and Hajjaj just introduced six types of |
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10 |
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intonation in English. At the same time, you have |
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11 |
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three intonations in Arabic. The systems of both |
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12 |
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English and Arabic intonations are completely |
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different. So we have our students move the pitch |
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system of Arabic into English, okay? speaking |
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English in a heavy accent. So we need to touch the |
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intonation system of English to avoid these |
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mistakes as much as we can. Okay? Now, we have the |
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function of the intonation system. Intonation is a |
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grammatical function. So to distinguish between |
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the declarative sentences and questions, |
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21 |
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imperatives, we need For the declarative |
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22 |
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sentences, they are always pronounced or mostly |
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23 |
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pronounced in falling intonation at the end of the |
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sentence. Okay? |
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25 |
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Rise, fall. However, in misnomer questions, for |
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example, we have |
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We have four pitches in English, this is the low |
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28 |
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one High pitch, rising pitch. And we refer to them |
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as number one, low pitch, number two, medium, |
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number three, high pitch, number four, rise. So we |
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31 |
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have the rising pitch number four. Now for the W |
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32 |
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questions, they are, if we just refer to them by |
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33 |
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numbers, they are two, three, one. Mid, high, low. |
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34 |
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The reluctant questions are also 2, 3, 1. Mid, |
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high, low. The degenerative sentences are 2, 3, 1. |
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2, 3, 1. Okay? Mid, high, low. The yes-no |
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questions |
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38 |
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Unless you emphasize a sentence. Unless you |
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emphasize a sentence or any word in a sentence, |
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then you have it in high pitch. So it becomes two, |
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three, one. This is for the yes, no questions. We |
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42 |
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have the two question. It is also two, three, one. |
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43 |
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So we need to touch all these areas of Indonesian |
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44 |
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and see how can we pronounce English very |
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45 |
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naturally and smoothly. |
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46 |
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Now we let you see the native speakers of English |
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47 |
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and how intonation is pronounced. |
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48 |
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So listen to this lesson about intonation. |
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49 |
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English Pronunciation Lesson 10 Topic Intonation |
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50 |
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I'm going to try one of the most popular ones. |
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51 |
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English Pronunciation, Lesson 10. Topic, |
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52 |
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Intonation. Part 4. |
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53 |
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Exercise 5. |
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54 |
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00:05:57,940 --> 00:06:01,660 |
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Listening Task. Listen to a few of the questions |
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55 |
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you heard in the interview. Can you identify which |
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56 |
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questions use falling intonation and which ones |
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57 |
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use rising intonation? Interview questions. One, |
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58 |
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what do you do? Two, how long have you been |
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59 |
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building flutes? Three, can I see one of your |
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60 |
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flutes? Four, is this your flute? Did I read all |
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61 |
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four questions with the same intonation pattern? |
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62 |
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No. And that's because most yes-no questions use |
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63 |
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rising intonation. Information questions, meaning |
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64 |
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00:06:42,190 --> 00:06:45,410 |
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questions that begin with what, who, why, where, |
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65 |
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00:06:45,670 --> 00:06:50,510 |
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when, how, etc. use falling intonation. If you |
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66 |
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00:06:50,510 --> 00:06:53,490 |
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need to, go back and listen to how I read those |
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67 |
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00:06:53,490 --> 00:06:58,390 |
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four questions. Now it's your turn to practice |
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68 |
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00:06:58,390 --> 00:07:01,710 |
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intonation patterns in questions. Listen and |
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69 |
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00:07:01,710 --> 00:07:09,820 |
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repeat. Number one. What do you do? Two. How long |
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70 |
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have you been building flutes? Three. How long |
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71 |
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does it take you to make a flute? Four. Can I see |
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72 |
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one of your flutes? Five. Is this your flute? Six. |
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73 |
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Can you play the flute? |
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74 |
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Seven. What was that? Eight. Do you play any other |
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75 |
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instruments? |
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76 |
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Nine. How did you learn to play all these |
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77 |
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instruments? |
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78 |
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00:07:53,190 --> 00:07:57,330 |
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Exercise six. Read the question. Decide if falling |
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79 |
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00:07:57,330 --> 00:08:01,430 |
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or rising intonation is needed. Finally, choose an |
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80 |
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answer and read it with the correct intonation. |
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81 |
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00:08:06,530 --> 00:08:09,070 |
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Example. I'll give you a moment to read the |
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82 |
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00:08:09,070 --> 00:08:11,770 |
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question on your own, and then I'll read it to |
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83 |
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00:08:11,770 --> 00:08:12,570 |
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provide a model. |
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84 |
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00:08:15,590 --> 00:08:20,870 |
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Do you play an instrument? You can answer choosing |
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85 |
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00:08:20,870 --> 00:08:24,210 |
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A or B. Both will be read with following |
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86 |
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00:08:24,210 --> 00:08:28,570 |
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intonation. You can say, no, I don't. I wish I |
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87 |
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00:08:28,570 --> 00:08:34,530 |
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did. Or, yes, I do. And tell me what you play. I |
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88 |
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00:08:34,530 --> 00:08:38,350 |
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play the piano. Now you always use following |
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89 |
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00:08:38,350 --> 00:08:41,630 |
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intonation in your answers unless you list items. |
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90 |
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00:08:42,110 --> 00:08:44,030 |
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If you list items, use RASMUS. |
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91 |
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00:08:55,250 --> 00:09:00,450 |
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English Pronunciation, Lesson 10. Topic, |
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92 |
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00:09:00,750 --> 00:09:04,570 |
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Intonation. Now we have an intonation system, as |
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93 |
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00:09:04,570 --> 00:09:09,710 |
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you see. The declarative sentences are always |
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94 |
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00:09:09,710 --> 00:09:14,630 |
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ending with foreign information. The priority |
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95 |
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00:09:14,630 --> 00:09:19,810 |
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questions, when, why, where, how, are also ending |
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96 |
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00:09:19,810 --> 00:09:25,250 |
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with foreign information. The answer questions are |
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97 |
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00:09:25,250 --> 00:09:31,890 |
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all high information. So high which at the end of |
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98 |
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00:09:31,890 --> 00:09:35,210 |
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a word or mean the public word at the end of the |
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99 |
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00:09:35,210 --> 00:09:35,610 |
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question. |
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100 |
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00:09:39,990 --> 00:09:43,630 |
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Who prepared the lesson? Who prepared the lesson? |
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101 |
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00:09:44,310 --> 00:09:50,270 |
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Okay. This is two, three, one. Because this is a |
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102 |
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00:09:50,270 --> 00:09:55,030 |
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huge question. Okay. Did you attend the class? Did |
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103 |
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00:09:55,030 --> 00:09:59,590 |
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you attend the class? The class is three, three. |
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104 |
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00:10:00,330 --> 00:10:04,330 |
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High pitch, high pitch. Okay. The two question. |
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105 |
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00:10:05,270 --> 00:10:10,850 |
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You attended the class. Okay? Again, class is |
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106 |
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00:10:10,850 --> 00:10:17,510 |
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three-three. It is high pitch, high pitch. Okay? |
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107 |
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00:10:18,310 --> 00:10:28,210 |
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The imperative is also two-three-three. Okay? So, |
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108 |
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00:10:29,750 --> 00:10:34,990 |
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English intonation is of two types. It is mainly |
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109 |
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00:10:34,990 --> 00:10:42,520 |
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of two types. The rising, rise, fall. Okay? Or |
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110 |
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00:10:42,520 --> 00:10:49,600 |
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rise, rise. Okay? So, here we have in our lesson, |
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111 |
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00:10:50,220 --> 00:10:54,140 |
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we have only two types spoken about. The |
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112 |
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00:10:54,140 --> 00:10:58,800 |
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declarative and WH questions are of two, three, |
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113 |
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00:10:58,920 --> 00:11:03,460 |
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one. The yes, no questions, the two questions are |
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114 |
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00:11:03,460 --> 00:11:08,600 |
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two, We need to notice this and try to follow up |
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115 |
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00:11:08,600 --> 00:11:15,300 |
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with the class about intonation recorded here. |
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116 |
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00:11:20,760 --> 00:11:29,180 |
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English Pronunciation Lesson 10 Topic Intonation |
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117 |
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00:11:29,180 --> 00:11:31,800 |
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Part 4 |
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118 |
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00:11:37,850 --> 00:11:39,290 |
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Exercise five. |
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119 |
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00:11:41,670 --> 00:11:45,430 |
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Listening task. Listen to a few of the questions |
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120 |
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00:11:45,430 --> 00:11:48,970 |
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you heard in the interview. Can you identify which |
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121 |
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00:11:48,970 --> 00:11:53,170 |
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questions use following it? Topic, intonation. |
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122 |
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00:11:55,090 --> 00:12:01,790 |
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Part four. Do you play an instrument? You can |
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123 |
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00:12:01,790 --> 00:12:06,010 |
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answer choosing A or B. Both will be read with |
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124 |
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00:12:06,010 --> 00:12:10,290 |
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falling intonation. You can say, no, I don't. I |
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125 |
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00:12:10,290 --> 00:12:15,210 |
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wish I did. Or, yes, I do. And tell me what you |
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126 |
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00:12:15,210 --> 00:12:20,130 |
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play. I play the piano. Now, you'll always use |
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127 |
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00:12:20,130 --> 00:12:23,150 |
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falling intonation in your answers unless you list |
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128 |
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00:12:23,150 --> 00:12:26,810 |
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items. If you list items, use rising intonation |
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129 |
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00:12:26,810 --> 00:12:30,530 |
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until you get to the last item in your list. For |
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130 |
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00:12:30,530 --> 00:12:34,350 |
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example, yes, I do. I play the flute, clarinet, |
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131 |
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00:12:34,590 --> 00:12:35,510 |
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and saxophone. |
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132 |
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00:12:38,230 --> 00:12:42,170 |
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Study tip. Do you have a study partner? If so, |
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133 |
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00:12:42,350 --> 00:12:47,270 |
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take turns asking the questions. Let's begin. |
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134 |
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00:12:47,830 --> 00:12:50,970 |
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Question one. Again, I'll pause to give you a |
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135 |
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00:12:50,970 --> 00:12:52,810 |
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chance to read the question on your own. |
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136 |
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00:12:55,810 --> 00:12:59,610 |
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What kind of music do you like? You could repeat |
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137 |
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00:12:59,610 --> 00:13:04,580 |
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it, please. You could repeat it for me. okay could |
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138 |
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00:13:04,580 --> 00:13:11,880 |
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you what kind of music do you like what |
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139 |
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00:13:11,880 --> 00:13:18,420 |
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kind of music do you like okay the stress or the |
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140 |
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00:13:18,420 --> 00:13:24,660 |
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high pitch is on like okay so this is like it's |
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141 |
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00:13:24,660 --> 00:13:28,700 |
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three one high four okay |
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142 |
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00:13:35,060 --> 00:13:42,040 |
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Music is three, three, okay? Can you read music? |
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143 |
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00:13:42,540 --> 00:13:46,300 |
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This is three, three. Can you read music? Can you |
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144 |
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00:13:46,300 --> 00:13:51,200 |
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read music? You is three, then one, okay? This is |
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145 |
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00:13:51,200 --> 00:13:56,000 |
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called emphatic pitch, okay? Emphatic pitch. You |
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146 |
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00:13:56,000 --> 00:14:00,580 |
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focus on the word you need to emphasize on. Can |
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147 |
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00:14:00,580 --> 00:14:03,340 |
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you read music? Okay. |
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148 |
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00:14:08,570 --> 00:14:09,610 |
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Question three. |
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149 |
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00:14:13,290 --> 00:14:15,230 |
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Have you ever been to the opera? |
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150 |
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00:14:18,550 --> 00:14:23,230 |
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The focus is on the opera, okay? Have you ever |
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151 |
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00:14:23,230 --> 00:14:28,350 |
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been to the opera? Opera, okay? Have you ever been |
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152 |
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00:14:28,350 --> 00:14:33,110 |
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to the opera? Have you? Okay, so the stress is on |
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153 |
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00:14:33,110 --> 00:14:38,680 |
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you. So, Here, the intonation expresses your |
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154 |
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00:14:38,680 --> 00:14:42,420 |
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feelings. We have the grammatical function, as I |
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155 |
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00:14:42,420 --> 00:14:45,280 |
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mentioned. They distinguish between the statement |
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156 |
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00:14:45,280 --> 00:14:49,840 |
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sentence and the question, the imperative, etc. |
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157 |
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00:14:50,220 --> 00:14:54,980 |
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Also, it reflects the speaker's attitude. So, you |
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158 |
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00:14:54,980 --> 00:14:59,240 |
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express by intonation your surprise, your |
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159 |
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00:14:59,240 --> 00:15:04,140 |
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admiration, your excitement. Okay? So, it refers |
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160 |
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00:15:04,140 --> 00:15:08,840 |
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to... It expresses anger. It expresses, as you |
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161 |
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00:15:08,840 --> 00:15:13,380 |
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see, surprise, astonishment, admiration. Your |
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162 |
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feeling can be translated on the intonation |
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system. Okay? Also, emphasis is translated by the |
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164 |
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intonation system. The high pitch on whatever word |
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165 |
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you need to stress on. |
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166 |
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Question four. |
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167 |
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How often do you listen to live music? |
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168 |
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Okay. Question four. Who could read it for me? |
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169 |
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Salha. How often do you like... How often do you |
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170 |
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listen to live music? How often do you listen to |
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171 |
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live music? How often do you listen to live music? |
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172 |
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Live music is of high, fall. High, fall. Okay? |
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173 |
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Every chance I get. Every chance I get. Okay? Get |
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is three, one. It is two, you start with medium, |
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175 |
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then high, then fall. Okay? |
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176 |
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Not as often as I'd like. Okay? Not as often as |
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I'd like. So, it is again two, three, one. The |
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three one is on the verb like. Yes. Sir, the high |
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and fall in live music, is it on something? No, |
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180 |
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no, just the high and fall is on music itself, |
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live music. Okay? Yes. The last word, it is the |
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182 |
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topic one. However, the rest of the question is of |
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medium pitch. So it is true. How often do you |
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184 |
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listen to live music? Live music, you raise your |
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185 |
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voice, then you fall, you have a falling |
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intonation. |
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187 |
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At this point, I'd like to share some helpful tips |
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188 |
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for more natural intonation. Here are some do's |
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189 |
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and don'ts. Go up a little before a fall. So for |
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good falling intonation, your voice needs to come |
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191 |
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down from a higher note. Also, go down a little |
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before a rise. So for good rising intonation, your |
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voice needs to come up from a lower note. Finally, |
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194 |
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start a statement at mid-pitch. Don't start too |
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high or low. Let me demonstrate all of this |
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through an example. I know several of my |
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neighbors. Eric is the only musician among them. |
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Are there any musicians in your neighborhood? The |
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199 |
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first sentence can be read as one thought group. |
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200 |
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Let's mark that. |
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201 |
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We're giving factual information, making a |
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202 |
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statement. So we use following intonation. Our |
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203 |
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final content word is neighbors. Stress on the |
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204 |
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first syllable. Now our voice must go up before it |
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205 |
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goes down. So we'll rise on the stressed syllable |
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and then step down to a lower pitch. Neighbors. |
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207 |
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Now in this sentence, we can't start too low or |
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else you won't hear the following intonation. If I |
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209 |
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start too low, it sounds like this. I know several |
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210 |
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of my neighbors. And now with that kind of |
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211 |
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intonation, not only can you not really hear |
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212 |
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following intonation, it actually sounds like I'm |
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213 |
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bored. And if I start too high, it sounds |
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214 |
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unnatural. I'm with several of my neighbors. So |
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you see that we actually have to begin our |
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216 |
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sentence at a mid-pitch. I'm with several of my |
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217 |
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neighbors. Understand? The second sentence, we'll |
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218 |
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also read as one thought group. |
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219 |
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What's the final content word giving new |
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220 |
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information? Musician, with stress on the middle |
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221 |
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syllable. Again, our voice must go up before it |
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goes down, so we'll rise on the stressed syllable |
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223 |
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and then step down. There are more unstressed |
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224 |
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words following, so our voice will either continue |
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225 |
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to go down or at least stay at that low pitch |
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226 |
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until we end up the statement. Eric is the only |
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227 |
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musician among them. Now, at the end of our |
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228 |
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example, we have a question. Okay. We're asking a |
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229 |
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yes or no question, so we'll use rising |
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230 |
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intonation. And what is the final content word? |
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231 |
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It's neighborhood. But is that the word that |
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232 |
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receives primary stress? I'd argue no, because |
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233 |
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we're going to contrast your neighborhood and my |
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234 |
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neighborhood. At first, I'm talking about my |
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235 |
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neighbors. Now I want to know about your |
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236 |
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neighbors. So stress is on your. |
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237 |
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|
So if this is the point where our voice rises, |
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238 |
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there must first be a fall, a drop in your voice. |
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239 |
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Without that drop, the rise is too sharp. Listen. |
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240 |
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|
Are there any musicians in your neighborhood? It |
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241 |
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|
sounds unnatural. So at first, there's a little |
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242 |
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|
bit of a drop. We go up and lower. And because we |
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243 |
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|
have more unstressed syllables following, our |
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244 |
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|
voice will continue to go up. So there's a bit of |
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245 |
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|
a drop. And then we continue to go up, up, up, up |
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246 |
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|
until the end of the question. Are there any |
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247 |
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|
musicians in your neighborhood? Listen to the |
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248 |
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00:21:17,510 --> 00:21:21,410 |
|
entire example now. I know several of my |
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249 |
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00:21:21,410 --> 00:21:24,410 |
|
neighbors. Eric is the only musician among them. |
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250 |
|
00:21:25,000 --> 00:21:26,920 |
|
Are there any musicians in your neighborhood? |
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251 |
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|
Exercise seven. Listen closely to the statement. |
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252 |
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00:21:36,780 --> 00:21:42,140 |
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What does the intonation tell you? Examples. One. |
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253 |
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|
This is jazz. Following intonation tells you the |
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254 |
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|
speaker is certain. Now listen to example two. |
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255 |
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|
This is jazz. |
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256 |
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So, what about the speaker? Is he certain or |
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257 |
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uncertain? Uncertain. Because this is question. |
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258 |
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00:22:02,830 --> 00:22:06,370 |
|
So, this is jazz. This is called tune question. |
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259 |
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So, it must be two, three, three. Okay? Two, mid, |
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260 |
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|
high, high. This is jazz. Rising intonation tells |
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261 |
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00:22:21,630 --> 00:22:23,210 |
|
you that the speaker is uncertain. |
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262 |
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|
Let's begin. Number one, Alice Fitzgerald was a |
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263 |
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|
singer? |
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264 |
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00:22:37,440 --> 00:22:44,340 |
|
Yes. This is a question. It is tune question. Is |
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265 |
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|
it certain or uncertain? Uncertain. Uncertain. So, |
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266 |
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00:22:48,000 --> 00:22:53,400 |
|
the last word singer must be three, three. High, |
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267 |
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00:22:53,520 --> 00:23:02,720 |
|
high. Two, John Williams composes music. John |
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268 |
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00:23:02,720 --> 00:23:06,520 |
|
Williams composes music, so it is certain. It must |
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|
269 |
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00:23:06,520 --> 00:23:09,820 |
|
be two, three, one. Two, three, one. |
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270 |
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00:23:13,000 --> 00:23:17,940 |
|
Three, I like soft rock, folk music, jazz, |
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271 |
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|
classical. |
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272 |
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00:23:22,260 --> 00:23:26,900 |
|
Is it certain or uncertain? She speaks about |
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273 |
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00:23:26,900 --> 00:23:30,620 |
|
herself, her favorite music. This is certain, |
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274 |
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00:23:31,160 --> 00:23:37,760 |
|
okay? The last item is pronounced with rise-fall |
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275 |
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00:23:37,760 --> 00:23:41,260 |
|
intonation because this is called listing. |
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276 |
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00:23:44,240 --> 00:23:48,020 |
|
Four. Turn up the radio. I like the song. |
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277 |
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00:23:52,240 --> 00:23:58,240 |
|
Turn on the radio. I like the song. Certain. Okay? |
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278 |
|
00:23:59,360 --> 00:24:04,120 |
|
Turn on the radio. This is two, three, one. Okay? |
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279 |
|
00:24:04,240 --> 00:24:07,860 |
|
I like the song. Now we have turn on the radio, I |
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280 |
|
00:24:07,860 --> 00:24:10,860 |
|
like the song. So this means that you have to |
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|
281 |
|
00:24:10,860 --> 00:24:14,620 |
|
pronounce it in two, three, two, three, one. If |
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|
282 |
|
00:24:14,620 --> 00:24:18,400 |
|
you have two sentences joined together, then the |
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283 |
|
00:24:18,400 --> 00:24:24,520 |
|
pronunciation comes by mid, high, mid, high, low. |
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|
284 |
|
00:24:25,960 --> 00:24:31,180 |
|
Turn on the radio. I like this music. Okay? Turn |
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|
285 |
|
00:24:31,180 --> 00:24:35,120 |
|
on the radio. I like this music. Okay? |
|
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|
286 |
|
00:24:49,360 --> 00:24:54,500 |
|
Exercise eight. Listening task. Watch the final |
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|
287 |
|
00:24:54,500 --> 00:24:57,750 |
|
video clip. Observe the use of falling and rising |
|
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|
288 |
|
00:24:57,750 --> 00:24:58,590 |
|
intonation. |
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|
289 |
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00:25:03,570 --> 00:25:08,070 |
|
Do you perform? I do. I perform on flute mostly |
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|
290 |
|
00:25:08,070 --> 00:25:11,330 |
|
these days. Who do you perform for or who do you |
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|
291 |
|
00:25:11,330 --> 00:25:16,510 |
|
perform with? I play with a group. What did you |
|
|
|
292 |
|
00:25:16,510 --> 00:25:21,430 |
|
see? This means that you need him to repeat. Okay? |
|
|
|
293 |
|
00:25:22,410 --> 00:25:32,340 |
|
C is here we have 3, 1. 3, 1 at C. Okay? |
|
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|
294 |
|
00:25:38,120 --> 00:25:44,880 |
|
Also for making... I say, once you need to ask |
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|
295 |
|
00:25:44,880 --> 00:25:47,720 |
|
about a question, you need some explanation, more |
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|
296 |
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00:25:47,720 --> 00:25:52,620 |
|
explanation. I studied in London. I studied my PhD |
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|
297 |
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00:25:52,620 --> 00:25:56,710 |
|
in London. You say, London? London, this means |
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|
298 |
|
00:25:56,710 --> 00:25:59,950 |
|
that you don't know about London and you need more |
|
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|
299 |
|
00:25:59,950 --> 00:26:05,590 |
|
explanation, okay? Yesterday, our teacher |
|
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|
300 |
|
00:26:05,590 --> 00:26:12,550 |
|
explained the geography of Papua New Guinea. Papua |
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|
301 |
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00:26:12,550 --> 00:26:15,690 |
|
New Guinea, this means that you don't understand |
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|
302 |
|
00:26:15,690 --> 00:26:18,650 |
|
anything about this state, so you need more |
|
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|
303 |
|
00:26:18,650 --> 00:26:20,730 |
|
explanation, okay? |
|
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|
304 |
|
00:26:25,250 --> 00:26:28,990 |
|
Once you express agreement, this is an intact |
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|
305 |
|
00:26:28,990 --> 00:26:34,210 |
|
question. You know him, do you? You know him, do |
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|
306 |
|
00:26:34,210 --> 00:26:39,590 |
|
you? When I say high rise, this means that it is |
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|
307 |
|
00:26:39,590 --> 00:26:46,550 |
|
two, three, three. You know him, do you? So, do |
|
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|
308 |
|
00:26:46,550 --> 00:26:50,850 |
|
you is two, you, three, three. You know him, do |
|
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|
309 |
|
00:26:50,850 --> 00:26:53,510 |
|
you? Okay. |
|
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|
310 |
|
00:26:56,470 --> 00:27:01,650 |
|
We have number three, the low fall. The low fall |
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|
311 |
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00:27:01,650 --> 00:27:05,170 |
|
intonation, where the voice starts at a medium |
|
|
|
312 |
|
00:27:05,170 --> 00:27:10,130 |
|
pitch and falls to the low pitch. This is to |
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|
313 |
|
00:27:10,130 --> 00:27:13,030 |
|
express cold and reserved speech. |
|
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|
314 |
|
00:27:15,570 --> 00:27:17,030 |
|
When I say, for example, |
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|
315 |
|
00:27:19,830 --> 00:27:24,930 |
|
I have taken my timetable and I found that Dr. |
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|
316 |
|
00:27:25,010 --> 00:27:27,550 |
|
Amir is going to teach us comparative linguistics. |
|
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|
317 |
|
00:27:28,610 --> 00:27:36,250 |
|
Who? Who? This is reserved reaction. Okay. Who? |
|
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|
318 |
|
00:27:36,650 --> 00:27:39,850 |
|
Okay. I went yesterday for making shopping with my |
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|
319 |
|
00:27:39,850 --> 00:27:44,450 |
|
daughter and bought here a very nice Islamic |
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|
320 |
|
00:27:44,450 --> 00:27:50,510 |
|
uniform. You say good. Good. This means that you |
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|
|
321 |
|
00:27:50,510 --> 00:27:56,230 |
|
don't mind. Okay? Good. Okay? So, this is called |
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|
322 |
|
00:27:56,230 --> 00:27:59,810 |
|
reserved speech pronounced in the lawful |
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|
|
323 |
|
00:27:59,810 --> 00:28:04,330 |
|
intonation. Also, once you describe or you show |
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|
324 |
|
00:28:04,330 --> 00:28:13,470 |
|
someone how you guide someone, to a certain place, |
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|
|
325 |
|
00:28:13,510 --> 00:28:16,410 |
|
for example. You describe the way for him. Go down |
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|
|
326 |
|
00:28:16,410 --> 00:28:22,110 |
|
the street, turn left, turn right, leave the first |
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|
327 |
|
00:28:22,110 --> 00:28:26,670 |
|
three exits, then turn left. Okay? Go for about |
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328 |
|
00:28:26,670 --> 00:28:29,550 |
|
ten minutes until reaching the first traffic |
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|
329 |
|
00:28:29,550 --> 00:28:34,130 |
|
light, then turn left again. Turn left again. |
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|
|
330 |
|
00:28:34,890 --> 00:28:42,340 |
|
Okay? So, we have lots of types here we have six |
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331 |
|
00:28:42,340 --> 00:28:45,900 |
|
types we only explained three and now we run out |
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|
332 |
|
00:28:45,900 --> 00:28:48,540 |
|
of time so next time we are going to continue |
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|
|
333 |
|
00:28:48,540 --> 00:28:50,540 |
|
thank you for listening |
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