In Wales

Born

Are lower

Temperatures

Advised

Doctor

On left

Drive

No children

b) In Britain the driver sits on the right.

c) Since he gave up smoking he's been much better.

d) In the mountains there could be snow.

e) Richard Burton died in Switzerland.

º 4.4 First listen to this conversation between Mark and Sue. Below are extra phrases, which they could have fitted in as Low Key information. Working with a partner, first decide where suitable pieces of this information could fit. Try to think of some pieces yourself.

Mike: Sue, there you are. Have you got time for a little chat?

Sue: Of course. What is it, Mike? Is something wrong?'

Mike: No, not really. But I'd like your advice.

Sue: I’ll help if I can.

Mike: Well, you remember Miguel - who stayed with us last summer?

Sue: No, but I remember you telling me about him. He was very keen on sightseeing, wasn't he?

Mike: That's right. Well, I got a letter from him this morning and he's invited me to spend a holiday with his family this year. They've got a villa on Ibiza and they've got a boat. You know how crazy I am about boats.

Sue: Mike, that's marvelous. What a wonderful opportunity for you,

Mike: Yes, but its not that simple.

Sue: What the problem?

Mike: If Celia. You know we've both been saving like mad to go on a trip together this year.

Sue: Ah, 1 see. You don't want to disappoint her, of course.

Mike: Thai's right. She'd be so upset. She's been doing all sorts of job in her free time. She really deserves this holiday. It seems so unfair.

Sue: Look, Mike. First, you must tell Celia about your invitation. She'll appreciate your problem. But why don't you tell Miguel about the plans you had already made with Celia. He might even suggested...

Low Key Information

I don't evening and weekends

you know that every penny we could

you look serious she's very understanding

by going alone I love them

very good news wanted to go everywhere

I'm not busy I thought you would be

Naturally

DIALOGUE PRACTICE

Practice reading the dialogue above. Record yourselves and check how well you managed the Low Key parts with the help of the Uniton.

There is a recording of the dialogue containing Low Key information, but remember that this is only a possible version. Yours may be quite different - particularly if you were able to think of your own Low Key pieces.

COMMUNICATION ACTIVITIES

Work with a partner. You are going to tell each other a story. It can be the plot of a film, play or novel that you remember well, or something that has really happened in your life.

Make a list of the main events in your story.

Think of some Low Key pieces of information that you can include.

Record your stories.

Listen to the recording together and try to identify the Low Key pieces in your partners story.

Work with 'Uniton'. Analyse the diagrams of the Low Key pieces in your speech, see how well you pronounce Low Key parts.

READING ACTIVITIES

º Listen and read

º Listen to the extract from the story "Things we never said" by Fiona Goble.

Are the following statements true (V) or false (X)? Correct the false ones.

a Peter and Amanda used to be in love.

b They are now both 33years old.

c They both still look exactly the same.

d His mother is distraught over his father's death.

e Amanda's sister is twelve years old.

f Amanda hasn't had another boyfriend since peter.

g Only peter has had the career that he planned.

h They both live alone now.

i Peter was broken-hearted when Amanda left him.

j Amanda is on the verge of tears because peter seems so cold and dispassionate.

k He still loves her, but she doesn't love him any more.

Read the complete story. Compare your ideas with what you learn in the story.

Do you feel sorry for Peter and Amanda, or angry with them? Why? What is tragic about them?

He saw her from behind and recognized her immediately. He walked faster until he was just ahead of her, then turned round, wondering whether to smile. It didn't seem like fifteen years. She didn't see him at first. She was looking in a shop window. He touched the sleeve of her jacket.

'Hello, Amanda,' he said gently. He knew he hadn't made a mistake. Not this time. For years he kept thinking he'd seen her - at bus stops, in pubs, at parties.

'Peter!' As she said his name, her heart quickened. She remembered their first summer together. They'd lain together by the river at Cliveden. They were both 18 and he'd rested his head on her stomach, twisting grass in his fingers, and told her that he couldn't live without her.

'I'm surprised you recognize me, ' he said, burying his hands in the pockets of his coat.

'Really?' She smiled. In fact she'd been thinking about him a lot recently. 'You haven't moved back here, have you?' Surely not, she thought. She knew he loathed the place. Even at 18, he couldn't wait to leave and travel the world.

'Good heavens no,' he said. 'I'm still in London.'

She looked at him. He looked the same. He hadn't begun to go bald like so many of the men she knew, but his shoulders were broader and his face slightly rounder.

'I came back for the funeral,' he continued. 'My father's. A heart attack. It happened very suddenly.'

'I'm sorry,' she said, though she wasn't really. She remembered him telling her about how his father used to beat him regularly until he was 16 and grew too tall.

'Thank you,' he said to her, though he felt nothing for his dead father, just relief for his mother. She'd be happier without him. She'd been trying to pluck up courage to leave him for years. 'And I take it that you're not living back here either? '

'I'm in London, too,' she said. She pushed her hair behind her ears in a gesture that he hadn't forgotten. 'Just back for my sister's wedding tomorrow.'

'That's nice,' he said, though his only memory of Amanda's sister was as a rather plump, boring 12-year-old.

'Yes,' she agreed, feeling that her baby sister's wedding only served to spotlight her own series of failed relationships.

'And your parents?' he asked. 'They're well?'

'Fine.' She remembered how he'd always envied her middle-class parents, who ate foreign food and took exotic holidays.

'Are you rushing off somewhere?' he asked.

'No, I'm just killing time, really.'

'Then I suggest we kill it together. Let's grab a coffee.'

They walked towards Gaby's, a small cafe just off the high street.

They had spent hours there when they had first met, laughing and holding hands under the table, and discussing their plans for the future over cups of coffee. They sat opposite each other. He ordered the coffee.

'And so, Peter, did you become a foreign correspondent?' she asked, remembering the places they dreamed of visiting together - India, Morocco, and Australia.

'Not exactly,' he said. 'I'm a lawyer, believe it or not.' She looked at his clothes, and she could believe it. They were a far cry from the second-hand shirts and jeans he'd worn as a student.

'You enjoy it?' she asked.

'Yes,' he lied. 'And you? Are you a world famous artist? ' He'd always loved her pictures. He remembered the portrait of herself which she'd painted for him for his twentieth birthday. He still had it.

'Well,... no.' She tried to laugh. She wondered if he still had her self-portrait. She'd stopped painting years ago. He looked at her hair, cascading in dark unruly waves over her

shoulders. He could see a few white hairs now, but she was still very beautiful.

'So,' he said. 'What are you up to? '

'Nothing much,' she said. 'I've tried a few things.' She didn't want to tell him about the succession of temporary jobs that she'd hoped might lead to something more permanent but never had.

'So you're not painting at all?'

'Only doors and walls,' she joked, and he laughed so politely. She remembered the evenings they'd spent in the small bedsit that they rented together in their last term at college. He'd sit for hours just watching her paint. She filled sketch book after sketch book. 'So where are you in London?' she asked.

'North,' he said. It was a three-bedroom flat in Hampstead. Nice in an empty kind of way. He thought about all the evenings he wished he had someone to come home to. And you?' he asked, after a pause.

'South. It's okay, I rent a room.' She thought of the small room with the damp walls which she rented in an unfashionable part of Clapham. 'But I'm thinking of buying somewhere. It's one of the reasons I came home. I want to sort things out a bit, ' she sighed, thinking about the letters from him that she'd found in her old bedroom. She'd been reading them only yesterday. 'Oh, Peter, I don't know why I left that day,' she said at last. He looked up at her.

'It's all right,' he said, remembering the evening she hadn't come back to the bedsit. 'We were young. Young people do things like that all the time, ' he added, knowing that this wasn't true, knowing that he hadn't deserved such treatment. He thought of all the letters he'd sent to her parents' home. He'd written every day at first, begging her to return or at least to ring him. He'd known even then that he would never meet anyone like her again.

'I suppose you're right. ' She swallowed hard, trying to hide her disappointment and hurt that he seemed to have no regrets. 'Well, I ought to be going,' she said.

'Already? I thought you had time to kill.'

'I did,' she said, blinking to hold back the tears. 'But I ought to get back now to help my mother with the wedding.'

'I understand, ' he said, though he didn't. Surely her parents would understand?

'Shall I give you my phone number. Perhaps we could meet up?'

'Perhaps,' she said.

He wrote his telephone number on the back of the bill and she tucked it into the zipped compartment of her handbag.

'Thanks. Goodbye, Peter.'

'Goodbye, Amanda.'

Years later, every so often, she still checked that compartment to make sure his number was there.

Listen to the text and analyse it from the phonetic point of view:

1. Divide the text into intonation groups, determine their structure in each case.

2. Watch the Nucleus in each of them and the tone used.

3. Analyse the head in each intonation group: type, number of rhythm groups.

Practise its reading. Make the recording of your reading on a tape.

Work with “Uniton”. Compare the diagrams of your reading with the model one.

THEORY SECTION

EXPRESSIVE MEANS OF ENGLISH INTONATION (2)

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