Free Unit 5

Unit-5.
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Anónimo
Fonética y fonología del inglés I
3º Grado en Estudios Ingleses
Facultad de Filosofía y Letras

Universidad de Granada
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Unit 5
Suprasegmentals

Unit 5
Suprasegmentals
1. Introduction
2. Stress

3. Rhythm
4. Intonation
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Unit 5
Suprasegmentals

Set reading
Gómez González & Sánchez Roura (2016). Chapter 6

UNIT 5.
Suprasegmentals
Suprasegmental features
• Segments: single speech sounds (vowels

1. Introduction and consonants)
2. Stress
3. Rhythm • Suprasegmental / prosodic features:

4. Intonation
they involve more than a single sound/
segment, e.g. a syllable, a word, a phrase
or a sentence.
– Stress
– Rhythm
– Intonation

UNIT 5.
Suprasegmentals
Stress

• Word stress: stress in isolated words
1.
2.
Introduction
Stress /wɪðˈaʊt/
3. Rhythm
4. Intonation • Sentence stress: stress in connected
speech
a shirt without pockets
UNIT 5.
Suprasegmentals Stress
• Stress is the greater prominence that a syllable is given
when pronouncing it. Prominence is the perceptual factor
that allows us to consider a segment of a spoken unit as
more prominent than others.
1. Introduction • Stress is made up of four different features:
2. Stress
3. Rhythm 1. Loudness/Intensity (forceful articulation)

4. Intonation
2. Pitch
3. Vowel quality
4. Vowel duration

UNIT 5.
1. Loudness
• Articulation: greater breath effort; greater muscular energy.
• Perception: is perceived as an extra level of prominence applied to a
given segment.
1. Introduction
2. Pitch
2. Stress • Higher pitch --> greater prominence / stress;
3. Rhythm

• Lower pitch --> less prominence / stress
4. Intonation
3. Vowel quality
• Weak vowels ə, ɪ, ʊ, (often) unstressed syllables
<present> = (adj/noun) /'pre.zənt/ (/prezn̩t/)
<present> = (verb): /prɪ.'zent/
• Strong vowels (and ɪ, ʊ) occur in stressed syllables
• The process whereby a strong vowel of a stressed syllable is replaced by

another phoneme in the weak-vowel system /ə/, /ɪ/ or /ʊ/, or by a syllabic
consonant when the syllable becomes unstressed is called vowel reduction.
• This is one of the most characteristic features of English.
• This is one conflict area for foreign learners of English.

UNIT 5.
1. Loudness
2. Pitch
3. Vowel quality
1. Introduction
4. Duration is the amount of time taken up by a speech sound.
2. Stress
3. Rhythm

4. Intonation – The vowels in stressed syllables tend to be longer than those
in unstressed syllables.
– Vowels tend to be compressed in unstressed positions.

UNIT 5.
Suprasegmentals Word stress
Types of stress
• Syllables can receive Primary stress Secondary stress, No

stress (unstressed)
• Marking conventions: /̩kæ.tə.'gɒ.rɪ.kl̩/
1. Introduction
2. Stress ! primary stress: vertical mark above the line and before the
3. Rhythm
4. Intonation syllable: (')
! secondary stress: vertical mark below the line and before the
syllable: (̩)
! unstressed syllables: not marked ( )
" erroneous stress placement is one of the major areas that cause
intelligibility problems.
UNIT 5.
Suprasegmentals Primary stress in English
Front principle: English words tend to be stressed towards the
beginning, although the number of syllables and the internal
structure of words condition stress position. General
tendencies:
1. Introduction • 2- or 3-syllable words: first syllable (front principle)
2. Stress
3. Rhythm – <culture, hesitant, motivate>

4. Intonation
• 4-syllable and longer words: antepenultimate
– <credibility, communicate, methodological>
• Pairs of words with variable stress (see p. 267 for wordlist):

- Nouns/adjectives
<present, insert, excerpt, conduct, update, abstract>
- Verbs
<present, insert, excerpt, conduct, update, abstract>

Word type Where is the stress? Examples
center
Nouns on the first syllable object
Two flower
syllables release
Verbs on the last syllable admit
arrange

desktop
Nouns
pencil case
(N + N) on the first base
bookshelf
(Adj. + N)
greenhouse
well-meant
Compounds Adjectives
hard-headed
(Adj. + ed2) on the last part (the verb part) old-fashioned
(usually a secondary stress on the first
base) understand
Verbs
overlook
(prep. + verb)
outperform
See pages 271-273 from your textbook for further info on stress and compounds

-able, -age, -al, -cy, -dom,
soften, typist,
-en, -er, -ful, -fy, -hood, -
neutral suffixes:
ing, -ise/ize, -ish, -ist, -like, appointment,
no change in the -less, -let, -ling, -ly, -ment, loudness, actor,
stress of the base -ness, -or, -ous, -ship, -ure,
-wise, -y. clockwise,
-ade, -ain, -atic, -ation, - esplanade,
stressed carrying ee, -eer, -ental, -ential,
-esce, -ese, -esque, -
graduation,
suffixes:

Derivatives ette, -etic, -iety, -ique, - employee,
Stressed is carried ition, -oon, -self, - mountaineer,
by the ending selves, -ution. picturesque
-ative, -cient, -ciency, -
stress-shifting eous, -graphy, -ial, -ian, -ic,
confidential,
suffixes: -ical, -inal, -ion, -ious, -ital, economic,
suffix attracts -itous, -itude, -itive, -ity, - Canadian,
ive, -ual, -ular, -uous, -
stress wards acidity
See pages 2016: 268-270 for further info on stress and derivational suffixes

UNIT 5.
Suprasegmentals Secondary stress in English
A secondary stress is often found towards the
beginning (first or second syllable) of the words carrying
the stress either on the third syllable or later.

1. Introduction
2. Stress
3. Rhythm Three syllables ̩Under'stand
4. Intonation
Four syllables ̩Under'statement
Five syllables ̩Underem'ployment
Six syllables ̩Under'capitalize
Seven syllables ̩Underrepresen'tation
UNIT 5.
Suprasegmentals
Prosodic Stress
• Connected speech has features of stress
comparable to those in polysyllabic words.
1. Introduction
2. Stress – Some parts stand out from their environment, i.e. from
3. Rhythm

4. Intonation the neighbouring syllables.
– Word stresses are often lost in function words in
connected speech.
– Unstressed words in connected speech have less
duration (compressed).

UNIT 5.
Suprasegmentals
Prosodic Stress
• The difference between the stress of individual words in
isolation and that of connected speech is that prosodic
1. Introduction
stress is determined by the meaning of what is
2. Stress uttered:
3. Rhythm

4. Intonation – Content or lexical words (noun, main verbs,
adjectives and most adverbs), with high information
weight (lexical meaning), are normally stressed.
– Function words, which give grammatical information,
so they tend to lose stress.

UNIT 5.
Suprasegmentals Prosodic Stress
Function words, which give little information, tend to lose stress.
Still, words which are usually unstressed may be stressed, for

example:
1. Introduction • Wh-interrogative pronouns tend to be stressed.
2. Stress
3. Rhythm ‘What are you ‘doing?

4. Intonation
• Lexical verb be is stressed in final position / before a pause.
‘Oh, that’s where it ‘was.
The reason ‘is they never showed up.
• Some function words may be stressed for contrasted purposes
(see unit 4 for more cases).
I don’t ‘live ‘in ‘Granada, I ‘live ‘near ‘Granada.

UNIT 5.
Suprasegmentals Prosodic Stress
Rhythmical variations: word stress may be adjusted to comply with the
common beat pattern of English (2 or +2 consecutive stressed syllables is
unusual). As a result, usually stressed words may become unstressed and,

conversely, unusually stressed (parts of) words may become stressed.
1. Introduction
2. Stress For example:
3. Rhythm In three content word sequences, the middle one tends to be
4. Intonation
unstressed, specially if it isn’t longer than 3 syllables:
A ˈcheap old ˈblanket
Phrasal verbs:
Transitive ˈtake off your ˈcoat – ˈtake your ˈcoat off – ˈtake it ˈoff
Intransitive ˈsit ˈdown! – ˈsit down ˈhere – ˈdon’t sit ˈdown
Compounds with a stress on the second base: syntactic position The ˈquilt
is hand-ˈmade – a ˈhand-made ˈquilt
Derivatives with final stress: syntactic position
The ˈbank is Japaˈnese – It’s a ˈJapanese ˈbank
UNIT 5.
Suprasegmentals Rhythmical variations:
3. Underline the syllable that takes the main stress in the words or
phrases in italics.
1. I always like working outdoors. I’m really lucky to have found an

outdoor job.
1. Introduction 2. Put the TV on. We’ll be just in time for the ten o’clock news.
2. Stress 3. As a novelist I’d say he is first-rate. But he’s really a second-rate
3. Rhythm
poet.

4. Intonation
4. My friend’s Chinese – she plays in a Chinese orchestra.
5. I live in Piccadilly, near Piccadilly Circus.
6. I really love over-cooked vegetables.
7. They always wear really up-to-date clothes.
8. Haven’t you heard of her? She’s a really well-known writer.
She can’t be that well-known if I haven’t heard of her.
9. He’s a good-looking guy, but not as good-looking as he thinks he is.
10. Really low-paid workers find it difficult to buy new clothes.
11. I’ll only ever eat farm-fresh eggs but I must admit that I often buy
oven-ready chips.

UNIT 5.
Suprasegmentals Prosodic stress and rhythm
Rhythm is the perceptual pattern produced in speech by the
occurrence of prominent elements at regular intervals.
1. Introduction • In English, stresses or stressed syllables normally fall
2. Stress
3. Rhythm at more or less regular intervals of time because the

4. Intonation
unstressed syllables between stresses are compressed
if there are many, and expanded if there are few.
• English, like other Germanic languages, is a stress-timed
language.
+ - - + - - + - - - + -
Susan had bought her the apples in the market

UNIT 5.
Suprasegmentals Rhythm
Example: (lines above the highlighted syllables give an approx. indication of
vowel length)
_____
- + + - +
The ban’s back in place. /bænz/"
1. Introduction
2. Stress ___
3. Rhythm

- + - + - +
4. Intonation
The banner’s back in place. /'bæn.əz/"
"
__
- + -- + - +
The banister’s back in place. /'bæn.ɪs.təz/"
• The duration of the same syllable tends to be longer in monosyllables

than in polysyllables
• Shortening of vowels in polysyllabic words and compression of
unstressed syllables.

UNIT 5.
Spanish (and French) is a syllable-timed language: all
syllables, (stressed or unstressed) tend to occur at

regular time-intervals, and the time between stressed
1. Introduction
syllables will be shorter or longer in proportion to the
2.
3.
Stress
Rhythm
number of unstressed syllables.
4. Intonation
Me voy a tomar un café cuando acabe esta clase

- - - - + - -+ - - - + - - - + -
------------
(Track 25)
Je voudrais descendre au prochain arrêt s’il vous plaît
- - + - + - - - + - + - - +
UNIT 5.
Foot (unit of rhythm): sequence of syllables starting in a stressed
syllable and finishing in the syllable before the next stressed syllable.
1. Introduction In English feet have the same duration. It is a stressed-timed
2. Stress
3. Rhythm language.

4. Intonation
They couldn’t have chosen a better time for their holiday

- + - - + - - + - + - - +- -
1 2 3 4 5
NB: any unstressed syllables before the first stressed syllable in an
utterance do not make a foot (“They” in the example above;
“anacrusis”)

4. Divide the following sentences up into feet, using a ver8cal line as a
boundary symbol.

UNIT 5.
Suprasegmentals Intonation: Pitch
Intonation can be defined as the melody of spoken language and is very
closely related to stress and pitch.
Pitch is both a perceptual and an articulatory feature. Hence, it is related to

1. Introduction the following organs:
2. Stress
3. Rhythm • the ear " perception by the listener of sounds as high or low.

4. Intonation • the vocal cords " frequency of vibrations produced by the vocal folds
(articulation); the higher frequency, the higher pitch is.
Types of pitch (static, no movement)

• low pitch, associated with weaker stress and lower frequency.
• high pitch, associated with stronger stress, and higher frequency.
Additionally, two more levels of pitch may be distinguished:

• mid pitch, between low and high
• extra-high pitch, above high

UNIT 5.
Suprasegmentals
Pitch movement
• We all change pitch as we speak. As a result

there is speech movement, which creates what is
1. Introduction
2. Stress called speech melody.
3. Rhythm
4. Intonation
• Types or pitch movement (recognising pitch)
Rise Level Fall
UNIT 5.
Suprasegmentals Pitch movement
Pitch movement functions. Pitch may have a variety of linguistic
functions, which are often language-specific (i.e. they are different
across languages). The functions may operate at word and at
prosodic level.
1. Introduction
2. Stress A word level" Lexical tone " variations in pitch cause lexical
3. Rhythm differences. Grammatical tone " grammatical differences, e.g.

4. Intonation
aspect distinctions. Tone languages are Chinese and many African
languages.
e.g. (Track 28) Tone in Mandarin Chinese:
han
‘foolish’ high tone
‘rare’ high, low and high " falling and rising
‘cold’ low to high" rising
‘perspiration’ high to low " falling
At prosodic level " Intonation, which operates over an extent

greater than a single word, i.e. the pitch patterns of speech. It is
characteristic of intonation languages, like English.

UNIT 5.
Suprasegmentals
Intonation
In most European languages pitch variation is confined to
intonation and use of different pitch for lexical words
doesn’t entail a different in dictionary meaning, e.g. Hello
1. Introduction
2. Stress
3. Rhythm

4. Intonation Even if intonation patterns can be described, for example,
for different types of grammatical constructions, in most
cases, they are often determined by situational, not
always strictly linguistic factors, therefore touching upon
the area of pragmatics.
This is one of the most difficult aspects for English language

learners.

UNIT 5.
Suprasegmentals An intonation unit (intonation group, tone unit) is the basic unit of speech melody.
It consists of a group of words forming a complete intonation pattern.
• Tonality: dividing a spoken chain into intonation units.

• Tone boundaries are indicated by single bars (close relation) or double bars
(major break)
1. Introduction
2. Stress
3. Rhythm An intonation unit roughly coincides with a clause with possible variations, and

4. Intonation normally corresponds to pauses (commas, dashes, stops) (see 2016: 280-281
for variations).
Neutral tonality (1 clause, 1 intonation unit)

|| I met my brother yesterday ||
Marked tonality (more than one intonation unit in the same clause).
|| I met my brother | who arrived by train || (non-restrictive)
|| Unfortunately | waves crashed over the harbour in Edinburgh || (peripheral
adverbials)

UNIT 5.
Suprasegmentals Marked tonality (more than one intonation unit in the same clause). Boundaries
are often set by pauses which may be orthographically marked or not.
• Long constituents:

|| Wet and windy weather in the area | will continue until the end of February||
• Lists:
1. Introduction
2. Stress || I bought broccoli | bananas | and tomatos ||
3. Rhythm • Vocatives:
4. Intonation
|| Anne | can I talk to you later ||
• Parenthetical material
|| My brother | who arrived by train |couldn’t make it to the dinner ||
• Sentence adverbials or adverb phrases at the beginning of the clause
|| Unfortunately | waves crashed over the harbour in Edinburgh || (peripheral
adverbials)
|| After all his heavy rain | many parts of town became flooded ||
• Pseudo-cleft sentences (what-)
|| What I saw | was a big friendly smile ||
UNIT 5.
Suprasegmentals Intonation unit
An intonation unit consists of the following elements:
1. Introduction
2. Stress Intonation unit
3. Rhythm

4. Intonation
(pre-head) (head) nucleus (tail)

UNIT 5.
Suprasegmentals
Intonation unit
Nucleus: the most prominent syllable, the one which stands out from its
neighbours (both stressed and unstressed syllables). This nucleus is often
1. Introduction
2. Stress the stressed syllable of the last content word of the intonation unit.
3. Rhythm

4. Intonation
― . . ― . .
. .
an Englishman’s home is his castle
This syllable marks a change of pitch direction: falling, rising or a

combination of both.
Nucleus = Nuclear tone, i.e., the pitch pattern associated with the nucleus.
This is the pattern of neutral tonicity. Marked tonicity (nucleus falls on a

different syllable) is also possible, e.g. in contexts of contrast (see 2016:
282-283 for more examples).

UNIT 5.
Suprasegmentals
Intonation unit
• Nucleus, is often the stressed syllable of the last content
word of the intonation unit.
• Head, syllables from the first stressed syllable to the
nucleus; often high-pitched.
1. Introduction Onset: first stressed syllable in the head.
2. Stress
3. Rhythm • Pre-head, unstressed syllables before the first stressed

4. Intonation
syllable in the head.
• Tail, syllables to the right of the nucleus.
Intonation unit
an ‘Englishman’s ‘home is his ‘castle

UNIT 5.
Suprasegmentals
Intonation unit
Recapitulation:
This nucleus is often the stressed syllable of the last content word of the

intonation unit. This is the pattern of neutral tonicity.
1. Introduction
2. Stress Intonation unit
3. Rhythm
4. Intonation
an ‘Englishman’s ‘home is his ‘castle
Marked tonicity (nucleus falls on a different syllable) is also possible,

e.g. in contexts of contrast (see 2016: 282-283 for more examples).
See exercise 5 in worksheet
Intona8on
5. Underline the nucleus in the following sentences. Then listen
and repeat.
Track from worksheet audios

Pitch variation
UNIT 5.
Suprasegmentals
Variations in pitch is what is perceived as intonation, i.e. the
melody of spoken language.
Intonation patterns (or tones) are marked by little symbols

1. Introduction
2. Stress before the syllable. The marks indicate the direction of the
3. Rhythm pitch (rising or falling) and their position indicate the point of

4. Intonation
departure of the pitch (low or high):
– falls (\) high fall: ˋJohn

low fall: ˎJohn
– rises (/) low rise: ˏJohn
high rise: ˊJohn
– complex pitch fall rise: ˥˩John
rise fall: ˩˥John

UNIT 5.
Suprasegmentals
Pitch variation
Nucleus: nuclear tone
• falling (high fall and low fall) most frequent tone
1.
2.
Introduction
Stress
• rising (high rise and low rise) less frequent
3. Rhythm
• complex patterns (fall rise and rise fall)

4. Intonation
Head: usually associated with high pitch
― . . ―. .
.
He worked in the office for hours

UNIT 5.
Suprasegmentals Pitch variation
Falling patterns ( \ ): 70% of all patterns in RP English. The tail has
low pitch.
• Function: statements, wh-questions and commands.

• A falling tone is associated with “finality”.
1. Introduction • The pitch of the tone may change from a high position (high fall)
2. Stress or from a low position (low fall), often associated with some
3. Rhythm
4. Intonation pragmatic distinctions:
Track 30
High fall (ˋ): lively and positive interest
ˋlove ˋlovely ˋlovingly ˋbit ˋbitter ˋbitterly
ˋsum ˋsummer ˋsummary ˋwart ˋwater ˋwatery
Low fall (ˎ): distance, deliberation, coolness
ˎlove ˎlovely ˎlovingly ˎbit ˎbitter ˎbitterly
ˎsum ˎsummer ˎsummary ˎwart ˎwater ˎwatery
UNIT 5.
Rising patterns ( / ): less common.
• Functions: expression of non-finality (parenthetical information and lists) is
usually pronounced with a rising tone. Encouragement (encouraging rise) is
also conveyed by means of a rise.
|| It’s so hard to deal with | if you see what I /mean | that I often consider giving up ||
1. Introduction
2. Stress || Pack your /tent /pegs a /mallet a /torch a /sleeping bag and your \boots ||
3. Rhythm

|| Come on / | it won’t /hurt ||
4. Intonation
• Low rise (ˏ) (most frequent): pitch movement from low to mid.
Function: yes/no questions, expression of moderate or little interest.
• High rise (ˊ): movement from mid position towards a higher pitch.
Function: echo questions, expression of great interest.
Track 32. Guess what we are having for dinner!

Low rise:
ˏLamb? ˏSoup? ˏStew? ˏFish? ˏSalmon? ˏChicken? ˏCurry? ˏPizza? ˏHamburgers?
High rise:
ˊLamb? ˊSoup? ˊStew? ˊFish? ˊSalmon? ˊChicken? ˊCurry? ˊPizza? ˊHamburgers?

UNIT 5.
Complex pitch patterns: not typically associated with any major
grammatical or pragmatic categorisations.
• Fall-rise (˥˩): high-low-mid, tail follows mid pitch. It conveys
doubt, reservations, correction, appealing for reconsideration,
1. Introduction surprise, etc.
2. Stress
3. Rhythm Track 33. Jack speaks fluent French

4. Intonation
˥˩Russian ˥˩Swedish ˥˩Danish ˥˩German ˥˩Polish ˥˩Swahili
• Rise-fall (˩˥): (the least common nuclear-tone): mid-high-low. It

conveys strong feelings, like surprise, being impressed, arrogant,
confident, self-satisfied, mocking, patronising, etc.
Track 34. Was the wine any good?

˩˥Great ˩˥Fine ˩˥Super ˩˥Lovely ˩˥Fantastic ˩˥Astonishing ˩˥Unbelievable
˩˥Quite amazing ˩˥Out of this world

UNIT 5.
Functions of intonation:
Intonation has a number of linguistic functions, in particular in

the areas of discourse, pragmatics and grammar. In some
1. Introduction
2. Stress cases, it accompanies other linguistic devices in performing a
3. Rhythm particular function. In some other cases, it may act as the only

4. Intonation
linguistic device performing a linguistic function.
– Focus function
– Discourse function
– Attitudinal function
– Grammatical function
– Illocutionary function

UNIT 5. Focusing function: intonation helps to produce the effect of prominence on
Suprasegmentals syllables that need to be perceived as stressed because they provide
significant information; stressed syllable = nucleus of the intonation group.
The nuclear tone may be displaced from its usual position to achieve a focusing
function.

Neutral tonicity (broad focus):
― ― . . ― .― .
1. Introduction
2. Stress
3. Rhythm .
4. Intonation John lives in a lovely house near Glasgow
Marked tonicity (narrow focus):
―. . ― .
― . ― .
John lives in a lovely house near Glasgow (not David)
Focusing is often associated with:

- contrast: (Does Mike live in Glasgow? John lives…)
- introduction of new information: (Who is living in Glasgow? John lives….)
UNIT
UNIT 5.4.
Suprasegmentals
Connected
speech
Discourse function: information is presented depending on their
relevance in discourse which, in turn, is also often associated with
tonicity (nuclear tone placement) and the actual tone assigned(pitch
movement).

1. Introduction - Indication of new vs. old information: neutral vs. marked tonicity:
1.
2. PStress
hone8c
condi8oning
3. Rhythm ǁ She is studying in Manchester ǁ (new info = Manchester; neutral)

1.1.
4. Intonation ǁ She is studying in Manchester ǁ (new info = She; marked)
Assimila8on
1.2. Elision
1.3. Linking - Indication of broad or narrow focus: sometimes also by means of
2. Prosodic
features a combination of a syntactic construction type and tonicity.
2.1. Stress ǁ Who arrived first? ǁ Ann I think (fronting) ǁ
2.2. Rhythm
2.3. Intona8on ǁ It was Ann who arrived first (it-cleft) ǁ

- Indication of finality or non-finality (more information is to come
or possible):
ǁ We have va /nilla or \cream ǁ (non-finality and finality)
ǁ We have va /nilla or /cream ǁ (non-finality and non-finality)


UNIT 5.
Suprasegmentals Attitudinal function: intonation enables us to express emotions and
attitudes.
– Falls: distance, coldness, authority, etc.
– Rises: engagement, friendliness, etc.

1. Introduction
2. Stress
3. Rhythm – Fall-Rises: doubt, correction, appealing for reconsideration, surprise, etc.

4. Intonation
Track 33. Jack speaks fluent French

˥˩Russian ˥˩Swedish ˥˩Danish ˥˩German ˥˩Polish ˥˩Swahili
– Rise-Falls: impressed, arrogant, confident, self-satisfied, mocking, etc.
Track 34. Was the wine any good?

˩˥Great ˩˥Fine ˩˥Super ˩˥Lovely ˩˥Fantastic ˩˥Astonishing ˩˥Unbelievable ˩˥Quite
amazing ˩˥Out of this world

UNIT 5.
Suprasegmentals Grammatical function: intonation and, in particular, tonality (chunking
spoken sequences into intonation groups), defines the nature of grammatical
constructions and their internal organisation.
Hence, intonation stands as a disambiguation device for constructions
which may look vey similar orthographically, but are grammatically
different. Some examples (see also textbook pp. 292-298 for further
grammatical contexts):
1. Introduction
2. Stress - Attachment of adverbials / clause boundaries
3. Rhythm

4. Intonation ǁ If you sell /quickly ∣ you’ll make a \profit ǁ
ǁ If you /sell ∣ quickly you’ll make a \profit ǁ
- Defining and non-defining relative clauses
ǁ My friends who live in /Lancaster ∣ arrived \yesterday ǁ
ǁ My /friends ∣who live in /Lancaster ∣arrived \yesterday ǁ
- Parentheticals and complement clauses
ǁ Their su/ggestion ∣ to go by /plane ∣ was re\jected ǁ
ǁ Their suggestion to go by /plane ∣ was re\jected ǁ
- Monotransitive (appositions) and ditransitive constructions
ǁ They called /John ∣ a \doctor ǁ (complex-transitive)
ǁ They called John a \doctor ǁ (ditransitive)

UNIT
UNIT 5.4. Illocutionary function: the tone system often gives indications of the
Suprasegmentals
Connected illocutionary force (speaker’s intention) of an utterance.
speech
Default tones (recap):
- Falling tones


• Statements: ǁ She repeated the same \story ǁ
• Commands: ǁ Speak \louder ǁ
1. Introduction • Wh-Questions: ǁ When are you \flying ǁ
1.
2. PStress
hone8c
condi8oning
3. Rhythm • Exclamations: ǁ How \lovely ǁ
1.1.
4. Intonation
Assimila8on • Tag questions: ǁ She’s coming | \is she ǁ (rhetorical question)
1.2. Elision - Rising tones
1.3. Linking
2. Prosodic • Yes/No-questions: ǁ Are you enjoying the /novel ǁ
features • Declarative questions: ǁ You are /coming ǁ
2.1. Stress
2.2. Rhythm • Tag questions: ǁ She’s coming, /is she ǁ (true question)
2.3. Intona8on • Echo questions: A: ǁ I’m coming tomorrow ǁ B: ǁ coming to/morrow ǁ

UNIT
UNIT 5.4. Illocutionary function: the tone system often gives indications of the illocutionary
Suprasegmentals
Connected force (speaker’s intention) of an utterance.
speech
The use of a tone different from the default may change the force of the
utterance (intention), e.g. (for more on variations from the default, see 303-310)

• Rising tone for commands: ǁ Speak /louder ǁ " soft command/reminder
• Rising tone for Wh-questions: ǁ When are you /coming ǁ " encouraging
1. Introduction
1.
2. PStress
hone8c • Rising tone for statements (uptalk, high rising terminal): common in
condi8oning
3. Rhythm

1.1.
4. Intonation informal contexts https://www.youtube.com/watch?v=pPZMy_JWsOU
Assimila8on
1.2. Elision (PRADO)
1.3. Linking
2. Prosodic • Falling tone for yes/no questions: ǁ Are you \coming ǁ" aggressive/formal
features
2.1. Stress • Fall-rise tone for statements: ǁ I saw him the other \/ day ǁ " reservations,
2.2. Rhythm
2.3. Intona8on suggestive
• Fall-rise tone for yes/no questions: ǁ Can you \/ lend it to me ǁ "

persuasive request

6. You’ll hear the following sentences. In each of them: ⏏

a) Iden>fy the nucleus and underline it.
b) Iden>fy the nuclear tone (either fall or rise), and place the appropriate
tone mark before the nucleus.
c) Iden>fy any stressed syllables preceding the nucleus and place a stress
mark before each.
d) Explain why the nucleus falls on the syllable you’ve marked, and why

rise or fall tones have been used with the nucleus.

1. What >me will they come
2. A day return to London
3. The North Pole would be warmer
4. Have you decided to buy it
5. I recorded them on casseQe



b) Iden>fy the nuclear tone (in these items the tones used are fall and
rise), and place the appropriate tone mark before the nucleus.
mark before each.


1. ˈWhat ˈ>me will they /come " Neutral tonicity; Rising tone: Wh-‐
ques>on but encouraging rise (more friendly than neutral fall)
2. A day return to London
5. I recorded them on casseRe




mark before each.

1. ˈWhat ˈ>me will they /come
2. A ˈday reˈturn to \London " Neutral tonicity; Falling tone: neutral
statement or a command.


mark before each.


2. A ˈday reˈturn to \London
3. The ˈNorth \Pole would be warmer " Marked tonicity; Falling tone:
neutral statement



mark before each.


3. The ˈNorth \Pole would be warmer
4. ˈHave you deˈcided to /buy it " Neutral tonicity; rising tone: neutral
yes/no ques>on.



mark before each.


3. The ˈNorth \Pole would be warmer
4. ˈHave you deˈcided to /buy it
5. I reˈcorded them on ca\sseRe Neutral tonicity; Falling tone: neutral
statement


7. In the following sentences and bits of dialogue, each underlined
syllable must be given an appropriate tone mark. Write a tone mark
right in front of the syllable.


1. This train is for Leeds, York, and Hull.
2. Can you give me a liS?
Possibly. Where to?
3. No! Certainly not! Go away!
4. Did you know he’d been convicted of drunken driving?
No!
5. If I give him money he goes and spends it.
If I lend him the bike he loses it.
He’s completely unreliable.

7. In the following exercises and bits of dialogue, each underlined

1. This train is for /Leeds, /York, and \Hull.

(closed list)

2. Can you give me a li\?
Possibly. Where to?
No!



2. Can you give me a /li\?

(Yes/no ques>on)

3. Possibly. Where to?
No!



3. bPossibly. Where \to?

(a) Expressing reserva>on, doubt; b) Wh-‐ques>on)

No!




bPossibly. Where \to?
3. \No! Certainly \not! Go a\way!

(a) statement; b) command)

No!


b Possibly. Where \to?

4. Did you know he’d been convicted of drunken /driving?
cNo!
(a) Yes/no ques>on; b) strong feeling of surprise)



7. In the following exercises and bits of dialogue, each underlined syllable
must be given an appropriate tone mark. Write a tone mark right in front of
the syllable.

b Possibly. Where \to?

4. Did you know he’d been convicted of drunken /driving?
cNo!

5. If I give him /money he goes and \spends it. (a) non-‐ﬁnality, b) statement)

If I lend him the /bike he \loses it. (a) non-‐ﬁnality, b) statement)
He’s completely unre\liable. (statement, cri>cism)


End of unit 5
Suprasegmentals


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Unit-5.

Fonética y fonología del inglés I

3º Grado en Estudios Ingleses

Facultad de Filosofía y Letras

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Gómez González & Sánchez Roura (2016). Chapter 6

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• Segments: single speech sounds (vowels

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• The process whereby a strong vowel of a stressed syllable is replaced by

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• Pairs of words with variable stress (see p. 267 for wordlist):

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Still, words which are usually unstressed may be stressed, for

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1. I always like working outdoors. I’m really lucky to have found an

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• The duration of the same syllable tends to be longer in monosyllables

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Me voy a tomar un café cuando acabe esta clase

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They couldn’t have chosen a better time for their holiday

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Pitch is both a perceptual and an articulatory feature. Hence, it is related to

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Types of pitch (static, no movement)

Additionally, two more levels of pitch may be distinguished:

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• Types or pitch movement (recognising pitch)

Rise Level Fall

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At prosodic level " Intonation, which operates over an extent