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INTRODUCTION

Communication and Language

How many among you can let a day pass without talking to anybody? Can you stand
being uncommunicative for sometime? Why can't we help but talk? What is there in
communication that we cannot live without?
You must now be well aware that ours is an extremely verbal world. In this world,
verbal personal contact cannot be avoided. Much more so is the opportunity for a two-way flow
of information, which is vital to one's success. That is why college students, like you, need
many of these skills to be proficient and globally competitive. Two of these obvious skills are
writing and speaking, such verbal communication skills, especially speaking which is the focus
of concentration in this course, have to be learned and developed. Otherwise, you limit your
career possibilities.
But what is communication? It is the dual or two-way process of transmitting messages
from one person to another. It is the symbolic interaction between two or more people that
influences each other's behavior. With it, not only does one make his/her own self understood,
s/he also gets to understand others.
How important communication is to us cannot be over-emphasized. We simply cannot
not communicate. In the words of Daniel Webster, "if all my possessions were to be taken from
me with one exception, I would choose to keep the power of communication, for by it I would
regain all the others."
Language, on the other hand, is our most effective medium of communication. It has
but one purpose: to serve as the code for the transmission o messages between and among
people. By virtue of convention or social agreement, language thus exists as a tool used in
expressing ideas and feelings to achieve understanding. It is a part of, in fact, the greatest
achievement of culture and is adequate for the communication needs of the people who use it.

Language has the following properties or characteristics:

1. It is systematic.
Language is a highly organized system in which each unit plays an important part, which
is related to other parts, and which when put together constitute a whole.
2. It is arbitrary.
There is no necessary connection between the sounds people use and the objects to which
these sounds refer. The relationship between meaning and the symbols employed is a
matter of convention.
3. It is rule-governed.
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While the relationship between meaning and the symbols used is an arbitrary one, the
arrangement of the symbols in relation to one another in an utterance is not arbitrary. This
feature of language demonstrates that there are underlying rules or patterns that occur
frequently. These rules that govern the use of a language are embodied in what is called
the grammar of the language.
4. It has a dual structure.
Language is a system consisting of two subsystems: the subsystem of sound and the
subsystem of meaning.
5. It is generative.
This refers to the speaker's ability to understand and produce any number of
sentences/utterances in the native tongue by recursion or by relativisation. That makes
language creative and productive.
6. It is a socially learned behavior.
It is a skill acquired as one grows up in society. It is culturally transmitted. A speaker learns
the language to which he is exposed.
7. It is a social interactive tool.
Language cannot be considered without communication because it is the very reason for
its existence. It is a shared code that enables its users to transmit feelings, ideas, and desires
to one another because they want to communicate.

RELATIONSHIPS OF SPEECH, LANGUAGE AND COMMUNICATION

To fully appreciate the tasks involved in learning to speak a language, you need to be
familiar with the relationships of three commonly used but often confused terms: speech,
language and communication. These terms are not identical. They denote different aspects of
the same process.
Communication is the broad term for the two-way dynamic process of message
transmission. It embraces both the verbal and the nonverbal aspects. The verbal includes the
modes, which are signing, reading and writing, and speaking and listening. The nonverbal
comprises the extralinguistic elements, such as the paralinguistic, metalinguistic and
nonlinguistic. These elements enhance the meaning of what words say.
Speech and language are only a portion of the larger process of communication.
Language is the medium or vehicle through which messages are sent and received while speech
is one of its modes. It is the verbal means of communicating or conveying meaning. More
specifically, speech is the process of shaping into words the sound of the voice and the energy
of the breath, by means of the speech organs.
Figure 1, in the next page, illustrates the relationships of speech, language and
communication. It shows how communication is accomplished through a linguistic code and
many means of transmission, such as speech, intonation, tempo, gestures, vocalics and
language.
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Drills:
Short essays
1. Which is broader, speech or communication? What makes it so?

ANSWER:___________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________

2. What is the role of language in communication?

ANSWER:___________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
3. What is meant by “we cannot not communicate”?

ANSWER:___________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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COMMUNICATION AND YOU

ASPECTS OF COMMUNICATION
Communication can be better understood by considering its two aspects, namely:
1. The Verbal or Linguistic Aspect
This is the aspect that makes use of words. It may be oral or written, formal or informal.
2. The Nonverbal or Extralinguistic Aspect
This aspect does not make use of words but may enhance or change the linguistic code.
It has the following three elements:
a. Nonlinguistic elements
These are the devices used in conveying messages without entirely relying on
speech or language. These non-speech elements fall under seven categories. They are
as follows:
1. Kinesics- language of the body
2. Proxemics- language of space
3. Chronemics- language of time
4. Haptics- language of touch
5. Olfactics- language of smell
6. Artefactual- language of objects, and
7. Physical appearance
b. Paralinguis tic elements
These include the following attributes of voice that accompany the words we say.
1. Vocal quality
2. Pitch
3. Tempo
4. Volume
5. Juncture
These factors can change the form and meaning of a sentence by acting across
elements or segments of an utterance. These are treated in detail in the chapter on
voice under voice variety.
c. Metalinguistic element
This is the abstract element that takes place in the mind of communicators ⁠—
their awareness of the component units of language ⁠— sound, words, phrases and
sentences. This enables the language user to think about language independently of
his/her comprehension and production abilities, talk about it, analyze it and judge it as
to correctness or appropriateness. This linguistic intuition makes him her decide about
the grammatical acceptability of the language s/he produces and receives.
Based on the foregoing discussion the fact that communication is not all words
is made clear. Communication experts attribute general meaning to 93 percent
nonverbal and only 7 percent verbal. The exact breakdown includes 7 percent words,
38 percent tone and inflection and 55 percent facial expression, body position and
gesture. The human body, for all we know, particularly the face, speaks by every
feature, not only by the mouth; we know how something is meant because we see the
other's face. Hence, nonverbally, we convey our thoughts and feelings more accurately
than we do with words. This is because our real language is behavior.
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This implies that we have to be careful with our behavior because it

considerably speaks louder than the words we utter. Better still, we have to observe
consistency in what we say and in what we do or miscommunication will ensue.
TYPES OF COMMUNICATION
As to form, communication has five basic types:
1. Intrapersonal - is communication within oneself. It involves thinking, remembering
and feeling..... all things we do internally.
2. Interpersonal – is communication among a relatively small number of people.
Much of our communication takes place at this level. It may be:
a. Dyadic - This is communication between two people. It may be face to face
such as ordinary conversations, dialogs, or interviews. Telephone conversation is also
dyadic.
b. Tryadic - This communication is participated in by three people.
c. Small Group - Here, more than three people communicate. This is the
enlarged type of communication usually done to solve problems. The committee, panel,
symposium, brainstorming and small business meetings are good examples of small
group communication.
3. Public Communication - This involves communication between one and several
other people. This is the large group type of communication. A public speech is an
example. Primarily, it is a monologue one engages in rather than a dialog.
4. Mass Communication - This covers other forms of public communication. These
are the printed form, radio, television, and the movies. The tools/materials used are
called mass media.
5. Organizational Communication - is communication in the organization. It may be
horizontal or vertical. The latter one may be upward or downward.
It is in these different situations that we usually find ourselves engrossed in to
make possible the art of communication and the transfer of meaning from one person
to another.
ELEMENTS OF COMMUNICATION
For communication to take place, there must be five factors involved; the
sender, the message, the channel, the receiver and feedback.
The SENDER - is the speaker or the communicator who has his/her own
purpose, knowledge, interests, attitudes, skills and credibility.
The MESSAGE - is the idea being transmitted by the sender to the listener. It
includes the three aspects of content, structure, and style.
The CHANNEL - is the medium or vehicle through which the message is sent.
It may be verbal or visual. The latter is often supplemented with the pictorial and aural
channels.
The RECEIVER - is the target of the communication. S/he is the destination
of the message, the listener, with his/her own purposes, knowledge and interest levels,
attitudes and listening skills.
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FEEDBACK - is the reaction given by the listener to the sender of the message.
It is what completes the communication process.
All five elements must be present in any communication situation. Without any
one element, no communication takes place.

Drills:

A. Identify the type of communication that each of the following is.

1. Memo 2. Interview
3. Panel Discussion 4. Movies
5. Panel Discussion

B. When does communication take place? (Short essay)

ANSWER:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

THE COMMUNICATION PROCESS

Essential in establishing a communication are five elements: a sender, a message, a
channel, a receiver and feedback.
The communication process is initiated by a sender, who in response to a stimulus or
according to a need, purpose or desire, formulates a thought or an idea from his/her vast
reservoir of accumulated information. This message which may be influenced by his/her
expectation or approximation of the receiver's field of experience is encoded into a series of
symbols that can be understood by the receiver. The information is then transmitted through a
chosen appropriate channel or medium linking both participants. The mode may be formal or
informal, verbal or non-verbal, or mediated. The receiver for his part, also with his own field
of experience as well as expectation or approximation of the sender's field of experience, has
to be ready to receive the message so that it can be converted into thought and interpreted. To
facilitate communication, he/she gives off a feedback indicating his/her reaction to the
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message. The kind of reaction generated depends on how the message is interpreted by the
receiver. Completing the communication process is the understanding that must be in the
mind of both the sender and the receiver.
Stages of the Communication Process
The communication process can be broken down into the following eight steps or
stages:
1. Stimulus/Stimuli
This is the triggering event of the communication process. It may be in the form
of events, conditions, situations, feelings or emotions, which urge the message
sender to communicate and start the ideas to be verbalized.
2. Ideation
Based on the idea fed by the stimulus, an idea or several ideas are formulated
and organized to answer a need to communicate.
3. Encoding
The ideas, which have been organized in the ideation stage, are put into code
to make transmission possible. To represent these ideas, symbols in the form of
sounds or words are made use of.
4. Transmission
The encoded message is sent through a chosen appropriate channel or medium.
The choice hinges on the sender's purpose in sending the message. He sees to it that
it is free from barriers or interference to insure a good reception of the message.
5. Reception
The message, which has been sent through a medium selected by the sender,
reaches the receiver.
6. Decoding
The codes or symbols used to transmit messages are converted into ideas or
mental images to be interpreted by the receiver.
7. Understanding
The message, which has been transformed into thought or mental images,
having been interpreted now becomes clear to the receiver. S/he understands the
message as intended by the sender. If she does not, because of certain barriers,
miscommunication sets in.
8. Action
This is the last stage of the communication process. The receiver responds to
the message received by sending feedback. This completes the dynamic process of
communication. It may not end there, however. The feedback sent in turn, serves as
stimulus that may trigger the communication cycle to go on. As communication
continues, so do the taking of turns and switching of roles between the speaker and
the listener.
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The Speech Chain

Speech communications consist of a chain of events linking the speaker's brain with the
listener's brain.
It begins when the speaker arranges his/her thoughts, decides what he/she wants to say,
and puts what he/she wants to say in linguistic form, by selecting the right words and phrases
to express its meaning, and by placing these words in the correct order required by the
grammatical rules of the language. All these take place in the brain. After which, appropriate
instructions in the form of impulses along the motor nerves are sent to the muscles of the vocal
organs, the tongue, the lips, and the vocal cords.
The nerve impulses set the vocal muscles into movement, which in tum. produces
minute pressure changes in the surrounding air. These pressure changes are called sound waves.
The movements of the vocal organs generate a speech sound wave that travels through
the air between the speaker and the listener Pressure changes at the car activate the listener's
hearing mechanism and produce nerve impulses that travel along the acoustic nerve to the
listener's brain.
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At the listener's brain, a considerable amount of nerve activity is already taking place
and this activity is modified by the nerve impulses arriving from the ear. This modification of
brain activity brings about recognition of the speaker's message.
Figure 4. illustrates these three levels of the speech chain. On the speaker's side, it
begins with the linguistic level, the selection of suitable words and sentences. The speech event
continues on the physiological level, with neural and muscular activity and ends with the
generation and transmission of a sound wave, the acoustic level of the speech chain.
At the listener's end of the chain, the process is reversed. It starts with the acoustic level,
when the incoming sound waves activate the hearing mechanism. It continues on the
physiological level with neural activity in the hearing and perceptual mechanisms. It is
completed on the linguistic level when the listener recognizes the words and sentences

transmitted by the speaker.

The speech chain, therefore, involves activity on three different levels, The speech chain, the
linguistic, physiological, and acoustic, first on the speaker’s side and then at listener's end.
These serve as the links that connect the speaker with the listener.
Barriers of Communication
Behind the communication process are several factors that inevitably spur bottlenecks in the
way of efficient message sending and receiving. Commonly referred to as "barriers", these
obstacles concerning language use, the people involved, the environment and those of the
immediate situation can obstruct flow of meaning and cause communication breakdown.
The elements of communication themselves cannot be spared. They, too, become
barriers. The speaker, for instance, from his/her physical appearance voice, sounds, style
including his/her idiosyncrasies and mannerisms and all other nonverbal aspects, can affect the
listener.
The message also, when it does not meet the requirements of clarity, conciseness,
concreteness, completeness, correctness, and coherence, will suffer from delay or a halt in the
communication process.
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The choice of the channel, likewise, needs attention. How urgent is the message? Who
is to receive it and when? Appropriateness must be considered. The channel used must suit the
message and time requirement the message calls for.
The listener, most especially, makes a difference between effective and ineffective
communication. S/he may not be in the position to listen. Worst yet, he may not be the right
person to receive the message. He/she may even have the bad habits of listening. These will be
discussed in the chapter on listening.
Feedback, whether solicited or unsolicited, may also be another roadblock if the sender
does not know how to send feedback or the listener does not know how to receive feedback
either.
Such barriers, which may be classified as personal, interpersonal, perceptual,
environmental, physical, organizational, temporal, semantic, channel or media-related or
geographical in nature, may lurk in any step of communication way. That is why the
communicator must be aware of these obstructions so that she may know what to avoid, control,
eliminate or minimize. Although communication specialists say that "there is no zero-defect
communication" still it is everyone's duty to make his/her communication work. It must be
remembered, time and again, that effective communication is the responsibility not only of the
sender but also of the receiver.
Here are several ways that can help improve communication:
1. Plan your communication. Consult with others where appropriate.
2. Seek to clarify ideas before communicating.
3. Examine the true purpose of each communication. Language, tone and total
approach must be adapted to serve the specific objective.
4. Consider the total physical and human setting when communicating. Observe
proper timing, the circumstances, and the social climate that pervades the
communication situation.
5. Be mindful of the overtones as
6. well as the basic content of the message.
7. Consider the receiver's frame of reference.
8. Make your message simple, clear, concise, concrete, complete, correct, and
consistent.
9. Show interest in your listener.
10. Do not do most of the talking.
11. Be polite; do not interrupt the speaker.
12. Be a good listener. Give the speaker your undivided attention.
13. Ask questions when necessary. Use repetition to reinforce key ideas.
14. Take the opportunity, when it arises, to convey something of help or value to the
receiver.
15. Follow up communication by soliciting feedback. Encourage and induce feedback.
16. Communicate for tomorrow as well as for today.
17. Be sure actions support communication.
18. Seek not only to be understood but to understand.
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Drills:
Short Essay
1. When does the language become a barrier?
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. What happens in a communication breakdown?
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
3. How can miscommunication or communication failure be avoided?
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
LISTENING IN COMMUNICATION
At the end of the communication line, is an indispensable element- listener, the active
participation of whom either makes or unmakes communication How good at listening this
element is, spells a big difference in the communication process. At this point, it must be
understood that effective communication, in part, comes through a constant awareness and
study of how listeners respond. This is especially so if we consider the axiom that meaning is
altogether in the mind of the listener.

What is Listening?

Listening is the active intellectual process of decoding, interpreting, understanding and

evaluating messages. It is a mode of communication just as important as the other modes like
speaking, reading and writing. It is sad to note, however, that this mode has been observed to
be the most neglected area in teaching English towards communicative competence. This is
lamentable considering that we spend most of our waking hours communicating, the greatest
portion of which is spent in listening.
In school, you do a lot of listening, but how good a listener are you? If you expect to
go through college to earn a degree and be a successful professional someday, much of this
skill will be required of you. Learning to cultivate this skill is, therefore, a must for you. A
comment from a student says, "I like my teacher, she is approachable, I can talk to her, she
listens." This shows you how vital the listening skill is.
In today's world, which is fast turning into a global village and where communication
is highly developed, the demand to sharpen our listening power is high.
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THE BEST KIND OF LISTENING

According to Mcburney and Wrage, the best kind of listening has the following
characteristics:
1. Voluntary
Good listening begins with a willingness to participate completely in a
communicative situation.
2. Purposeful
You choose to listen because of some very good reason/ reasons.
3. Motivated
When you have good reasons for listening, you are all keyed up for the activity and
nothing can stop you.
4. Cooperative
You keep quiet and give your wholehearted cooperation when you listen because
you hope for nothing but only the best from the speaker.
5. Critical
You follow the speaker's ideas carefully and get things clear so that in the end you
may be able to make intellectual judgements when you evaluate his ideas before
responding.
Why Listen?
The following are the things good listening does for you in a speaking situation:
1. It stimulates better communication between the parties involved. An attentive
listener encourages the speaker to say more. It builds respect and loyalty and makes
people feel important.
2. It contributes to and promotes better responses among the members of the group. It
facilitates the meeting of minds.
3. It makes you appreciate and enjoy what you hear. It increases and expands the range
of one's enjoyment of life. It gives pleasure and even comfort.
4. It assists you in understanding what is being said. With a listener's full attention,
understanding can be achieved in no time. Hence, it saves you time as well as effort.
5. It helps you make better decisions. It provides inputs as bases for decision-making
6. It enables you to react to what is said. You are able to agree or disagree, to add
something, if not ask questions about what is being said.
7. It enlarges one's experience. Listening broadens and enriches the mind.
8. It enables you to correct your own problems of vocalization. Listening to your voice
gives you the opportunity to realize your faults and defects which in time offers you
chances to improve.
9. It decreases the tensions of life.
Requisite to good listening is a purpose. You listen for a purpose or for several
purposes. It may be any or all of the following:
1. To obtain information and gain knowledge. You listen to learn and benefit from the
experience of others. Understanding and retention are the primary goals.
2. Appreciate and enjoy what is said. You are pleased with what you hear.
3. To be clarified and make intellectual judgments, fair criticisms and to D. evaluate
ideas.
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4. To draw inspiration.
5. To improve oneself
There is not one definite purpose, though. All may be there in one listening
situation. But a good listener must choose to listen because of at least, one definite
purpose in mind.
The Listening Process
The process of listening is made up of four stages. They are as follows:
1. The Physical or Attention Stage
Listening begins with the ability to hear or to catch sounds with the use
of the auditory system. A person must, therefore, be in the position or right
mood to listen. He must be ready to listen. He must be free from distractions.
The setting must, likewise, be conducive to listening. Then, can mental
concentration be expected.
2. The Logical or Auditory Discrimination Stage
Sounds caught by the hearing mechanism are transmitted to the brain to
be sorted out, interpreted and given meaning, This second stage involves the
listener's ability to recognize, categorize and discriminate sounds analyzing
them on the basis of the attributes of voice quality, pitch, volume and rate. It
also includes his grasp of vocabulary.
3. The Semantic or Comprehension Stage
This is the process of translating and interrelating sounds into thought
symbols. This involves the listener’s ability to understand and give meaning to
what he hears at the denotative and connotative levels and to respond to the
messages received. This has also something to do with the affective context of
language. The listener's feelings and emotions will affect his reaction and
interaction with others.
4. The Retention stage
This refers to the listener's ability to retain/remember the ideas
conveyed and later to use these ideas in reacting with others in a definite
speech setting.
Drills:
1. Listen to interviews on the radio and television. You can get cues from them
and adopt some when attending lectures and talks.
2. Everyday find time to sit still in a quiet room. Close your eyes and do nothing.
Just listen for sounds, recognize and identify them. This will help you become
a keen listener and make you forget yourself once in a while and mind the
outside world.
Types of Listening
The communication situations we engage in every now and then vary. Each type of
situation calls for a different level of listening. According to authorities, the following are the
different types of listening.
1. Active listening as contrasted to passive listening.
The former which is a skill requires effort on the part of the listener while
the other which is a natural process does not.
2. Serious listening requires concentration of thought. It may be divided into:
a) Critical or discriminative listening. It has four levels, to wit:
a. attentive listening– is characterized with concentration of thought
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b) retentive listening - retains knowledge

c) reflective listening-reflects on ideas heard
d) reactive listening -with a readiness to react

b) Social listening. This may also be classified into the following:

1) appreciative listening -listening for pleasure

2) conversational listening- listening to maintain good relationships
3) courteous listening -means more than just being silent.

It becomes, therefore, the task of a good listener to determine and decide which
type of listening is applicable to any given situation.
Levels of Listening
In listening, likewise, there are six levels a listener may go through or prefer to settle
with. They are as follows:
1. Ignoring- the speaker is communicating but the receiver, who may be preoccupied
with many other concerns, completely denies or ignores him.
2. Pretending- the speaker is communicating while the other party stares at him
blankly. This is listening on the eye level for the sake of courtesy.
3. Selective listening - the speaker is communicating but the other party chooses
whatever s/he wants to listen to. It may be a joke, an anecdote or a story in the middle
of a speech. This is listening on the eye and ear level.
4. Attentive listening - the listener looks at the speaker, hears his/her voice, and follows
his/her thoughts with his/her mind. S/He concentrates on what s/he hears. This is
listening with the eyes, the ears and the mind.
5. Sympathetic listening- aside from seeing, hearing and understanding the message,
the affection or emotion is involved. This is listening at the levels of the eyes, the ears,
the mind and the heart.
6. Emphatic listening- this is the highest level of listening. It involves the eyes, the
ears, the mind, the heart, and the action or the listener's active response or solution. It
is not just on the pity level, but on being in the actual situation of the speaker. Emphasis
is in listening.
Drills:
The teacher reads an article. Students listen to be ready to answer questions that will be
asked after the reading.
Roadblocks to Listening
The following are some bad habits in listening that should be avoided:
1. Hostility to the speaker
This unfriendly attitude which may spring from biases or prejudices makes a
listener disinterested and sends him or her a- criticizing the speaker and his/her delivery.
2. Daydreaming
As an internal barrier to the listener, this happens when the listener gets bored
after long listening or when she is preoccupied with other things more interesting than
the speaker and what s/he is saying. The listener in this instance enjoys distracting,
pleasant thoughts or dreamlike fantasies. S/he tends to be a casual listener who tunes in
when something said catches his/her fancy and whose mind wanders off afterwards.
3. Prejudging
Some listeners are given to making judgments even before listening. Things like
the subject is uninteresting, the subject is not new or l know it already dampen one's
 P a g e | 15

flair for listening. This jumping to a conclusion results in the wrong interpretation of
the message and the belief that one listened effectively.
4. Selective Listening
A selective listener chooses channels. S/he turns on and off whenever and
wherever she pleases. Usually, s/he selects subjects that have something to do with
him/her, those that she likes because they interest him/her and shuts off to those that do
not affect him/her. She may also be evading a difficult subject.
5. Close-mindedness
This occurs when the listener is over-confident, finds a dislike for the speaker
or feels s/he knows better than the speaker. S/he believes in him/herself very much that
she becomes non-receptive to the opinions and views of others or s/he could be just
plain lazy to concentrate and absorb new ideas.
6. Listener's background
His culture, beliefs, mores, biases and prejudices can serve as obstructions to
effective listening.
7. Distractions
These may come in varied forms like personal, interpersonal, physical,
environmental, temporal, geographical, perceptual or semantic. Noise, unfavorable
setting and mannerisms, unpleasant voice, physical appearance and language of the
speaker are a few of the many things that may come in the way of message sending and
receiving.
It is advised that these bad habits be broken and changed to develop the skill of listening.

How to be a Good Listener

Listening is a communication skill. Like all other skills, it can be learned and improved
with painstaking effort through correct practice. To do this requires the following basics as
recommended by experts;
1. Set your mind for listening. Adapt a relaxed stillness and be ready to listen. Relax and let
go. Wear comfortable clothes.
2. Avoid distractions and overcome listening fatigue.
3. Avoid doing most of the talking yourself.
4. Don't interrupt.
5. Be generous. Concentrate on the speaker. Think less about yourself by giving him/her the
courtesy of your undivided attention. Maintain eye Contact.
6. Establish motivation. Have a purpose. Listen with the aim of understanding so that you will
comprehend the message.
7. Establish empathy for the speaker's position. Put yourself in his/her shoes. Imagine how s/he
is feeling and understand his/her emotions.
8. Establish questions in your mind about the nature of the subject. This will guide you in
listening for the answers.
9. Look for the main topic. Recognize central ideas. You don't have to remember everything
that the speaker says.
10. Focus on the structure of the message. Listen for the structure or outline of the message for
better understanding.
11. Develop an efficient note-taking system. Learn to take notes. You do not have to write
down every word said by the speaker. Write only the important ideas.
12. Don't let your background and your personal biases cloud or interfere with your point of
view about the content of the message.
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13. Control your emotional responses to language. Don't lose your temper or show signs of
being upset. Be polite. In responding, make the right noises and use appropriate facial
expressions. 13. 14. Evaluate the message critically. Find out the speaker's motives.
15. Be alert to what lies behind a speaker's words. Often, some messages are left unsaid. Be
ready to deduce them. Use your eyes as well as your cars. Good listening involves reaching
into the thoughts behind the speaker's Words
16. Summarize or repeat what you think someone has said. This is to have misunderstandings
corrected.
Observance of these basic recommendations, in effect, will earn for both the speaker
and the listener not only a rewarding and lasting relationship, but a richer and more fulfilled
life as well.

Drills:
ESSAY:

1. What makes listening an active intellectual process? How does it differ from
hearing?
ANSWER:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
___________.
2. Explain why listening and speaking are inseparable?
ANSWER:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
___________.
3. Are you a good listener? How do you become one?
ANSWER:
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
___________.

THE MECHANICS OF SPEECH

THE ORGANS OF SPEECH
Endowed with the gift of speech, man has been made special by his/her Creator. Unlike
the lower form of animals, s/he alone has been given the mechanism that makes possible his/her
capacity for articulated speech.
Have you stopped to think and wonder how this built-in voice machine works? Are you
familiar with its physical parts?
In this section, you will locate these parts, find out the functions of each and figure
their relationships with one another. The following are the parts of the speech apparatus
classified according to their use:
 P a g e | 17

1. The Respiratory or Breathing Parts

a) the lungs
b) the trachea
c) the diaphragm
d) the abdominal and rib muscles
2. The Phonating or Vocalizing Parts
a) The larynx
b) The vocal cords
c) The laryngeal muscles
3. The Resonating Parts
a) The mouth
b) The jaw
c) The uvula
d) The nasal cavity
4. The Articulatory Parts
1. The articulator
a) The tongue
b) The lower lip
c) The jap
2. The points of articulation
a) The upper lip
b) The upper teeth
c) The alveolar ridge or teethridge
d) The palate ( hard and soft )
e) The uvula
Where these parts are located in the speech mechanism is shown in Fig. 5.
 P a g e | 18

FUNCTIONS OF THE SPEECH ORGANS

The Respiratory Parts

Breathing involves two process: inhalation and exhalation. When we inhale, we breathe in
air to fill our lungs. This is the first organ necessary for speech. When we exhale, we expel
air no longer needed by the body. Playing an important role in inhalation is the diaphragm,
the muscle that separates the ribs from the abdomen. During the inhalation process, the
diaphragm contracts and exerts a pull. In exhalation, the diaphragm relaxes and expands. It
pressures the lungs and forces air up through the windpipe, a tube that is called the trachea.
Whether breathing to live or breathing to speak the same process takes place. The only
difference is that for speech, inhalations are shorter occurring at pauses or in-between
utterances while exhalations are made longer with the abdominal muscles in full control.
These respiratory muscles serve as the motor that starts the voice machine to work.

Vocalizing Parts

The air forced out from the lungs by the pressure of muscles in the abdomen finds its
way through the windpipe, or trachea and into the larynx which houses the voice box. This
sets the vocal cords, the second important speech organ, at the tip of the larynx, to vibration
sending upward sound waves, which produce rather unpleasant muffled sounds.
Resonating Parts
Weak sounds issuing from the vocal cords are altered, amplified and made fuller and
richer by the three cavities which are the oral cavity, the nasal cavity, and the pharyngeal
cavity. Different kinds of sound can be produced in these sounding boards by the
modification of the size and shape of the mouth. Thus, tones from the vocal folds and the
glottis, which at first were hardly audible become louder when modified into specific sounds,
syllables and words.
Articulatory Parts
In the mouth, the articulators or its lower parts in conjunction with the fixed points of
articulation, which are the upper parts, make the sounds precise and distinct. With these organs
coming into play, speech sounds are made understandable.
The chief articulators are the tongue, the lower lip, and the jaw. The points of
articulation are the upper lip, the upper teeth, the alveolar ridge, the hard palate, the velum or
the soft palate and the uvula.
The tongue, a flexible organ consisting of muscles, glands and connective tissues is
the most versatile of all the articulators. It has three sections: the tip or apex, the blade and the
root. The blade has three parts: front, center and back. It is the most flexible because it can
move in any direction in the mouth.
How these parts of the speech mechanism work will be treated further in the sounds of
English.
 P a g e | 19

Exercise/Drills:
1. Using a mirror locate the organs of speech in your mouth.
2. Differentiate between the articulators and the points of articulation.
PRODUCTION OF SPEECH SOUNDS
The sounds of speech are produce by the air or breath as it is forced out from the lungs
and then modified by the vocal organs. Briefly, this covers the four stages of sound
production.
RESPIRATION
The first stage is the physiological process of respiration. It involves inhalation, the
taking in of fresh air and exhalation, the expulsion of used air. This process we unconsciously
do when we breathe in order to live is the same process we have to do consciously in order to
speak. Talking necessitates conscious breath control to make exhalation longer than inhalation.
One salient point here is that the air we exhale provides the raw material for speech.
Another is, when we speak, we store up air in our lungs and exhalation is forced as the
abdominal muscles contract to support the diaphragm, which controls the flow of air. Below
the rib cage, this diaphragm serves as the important breathing muscle that gives pressure to the
breath stream. It forces out from the lungs enough air that will sustain the length of the thought
we are producing.
PHONATION
This out-going air sends the breath stream through the windpipe called the trachea and
proceeds through the larynx just behind the Adam's apple in the neck. It is in this sound
production room where phonation takes place. The surge of air sets the vocal cords to vibration
sending sound waves upward transforming air into vocal sounds.
RESONATION
The vocal sounds produced through phonation are weak. They get modified and
amplified in the resonating chambers: the pharynx, the nose, and the mouth. These cavities act
like sound boxes or sounding boards of musical instruments. They change the sound and make
it richer, fuller and louder. This process is called resonation.
ARTICULATION
With the use of articulators coming in contact with the fixed points of articulation, vocal
sounds are changed into speech sounds, syllables and words. It is in this articulation stage
where speech is made recognizable and intelligible.
Drills:
1. In what three areas of the body are the organs of speech contained?
_________________________________________________________________
_________________________________________________________________
2. How are the sounds of speech produced?
_________________________________________________________________
_________________________________________________________________
 P a g e | 20

_________________________________________________________________
_________________________________________________________________
3. Which of the respiratory processes should be made longer for speech? Why?
_________________________________________________________________
_________________________________________________________________
_________________________________________________________________
AN EFFECTIVE SPEAKING VOICE
Our voice, a God-given gift, is an important instrument in conveying meaning and
feeling. It plays a very significant role in communicating thought. This oral representation of
words is the expression of the speaker's mental and emotional states, together with his/her
attitudes at the time of speaking. Such production of sound is also the chief indicator of the
age, sex, and personality of the speaker. Simply put, this is what enhances a speaker's
effectiveness. Hence, you should understand its aspects and try to develop, improve and use it
to the fullest.
THE DESIRABLE SPEAKING VOICE
Voice is the raw sound produced when the surging air from the lungs vibrates the vocal
cords in the throat. It can exist without speech, but speech cannot exist without it.
Improving the voice is accompanied first and foremost by being conscious of it and one
of the best means to do so is taping your voice. Identifying your strengths and weaknesses in
speaking is the first step toward the development of an effective speaking voice. It, therefore,
pays to know the five most desirable characteristics of voice. They are as follows:
1. Audibility
The voice should be loud enough to hear.
2. Pleasantness
It should be pleasing to the ears. It is your natural voice, which is low, well-
modulated, resonant and mellow.
3. Clarity
It is clear and distinct enough to be understood.
4. Flexibility
It has ready capability for modification or change. This readiness in making
adjustments makes it versatile enough to carry the greatest possible amount of
meaning.
5. Fluency
It is articulate and effortless. Like fluid, it flows smoothly and easily.

FACTORS THAT AID VOICE PRODUCTION

A pleasing voice is determined by three factors, namely: ease, posture, and breath
control.

EASE
Learn to relax. Why should you be so tense, anyway? Be comfortable with your voice.
A relaxed throat and jaw make for effortless smooth speech. Relaxation fosters calmer spirit,
improves voice, and augurs better thinking. When you are in a relaxed state, good tones result.
 P a g e | 21

Fear, fatigue and undue strain are to be avoided; they affect the voice. If you are tense, your
breathing will be inhibited. Tension in the throat impedes the easy flow of sound. It may tire
your throat or make your voice hoarse.
To work at relaxation, do the following exercises:
1. Open your mouth wide. Yawn and stretch. Then, shake rag-doll fashion in your
chair.
2. Roll your head slowly in a wide lazy circle. Left to right, then right to left. Slowly.
This lessens tightened neck muscles. Shrug your shoulders till they feel at ease.
3. Take a deep breath. Inhale through the nose, exhale through the mouth.
4. Stretch your lips, articulate and warm up on vowel sounds.
5. Kick your feet, touch your toes, wiggle your arms, move your hands like an octopus,
gyrate to relax your body.
6. Observe correct posture.
POSTURE
Also considered important for voice production is posture. Bad posture, in the
first place, is an uncomfortable sight to the listeners. In the second place, it interferes
with voice placement. Like tension, it inhibits proper breath control. This happens when
you make your spine sway in at the center and thrust your neck forward to keep your
balance. This tightens the muscles of your throat. Your posture should therefore, be free
from all peculiarities or mannerisms like putting the head to one side, swinging the
arms, twisting the fingers or jiggling the legs. These affect your voice.
Good posture is the arrangement of the bones and muscles which puts the body
in perfect alignment so that the various parts of the body fall naturally into place. This
is manifested primarily by an alert, comfortable, and erect but relaxed carriage. It is not
slouchy or stiff.
If maintained, good posture gives five advantages. They are as follows:
1. It suggests health.
2. It makes you look great.
3. It conditions a pleasing voice.
4. It is one of the finest exercises you can do.
5. It eases fatigue and tension.

THE RIGHT WAY TO STAND

Take a look at yourself in a long mirror and face the truth. This is what you should
see:
 Head high, chin parallel to the floor
 Shoulders relaxed to make your neck look as long as possible
 Tummy tucked in, midriff lifted up into the rib cage.
 Front foot pointed straight forward,
Back foot at an angle of around 45 degrees behind it.
 P a g e | 22

Your body is in perfect line when the tip of your ear, shoulder joint and hip joint, middle
of knee-cap and the ankle of the foot are in one straight line. Fig. 6 demonstrates this.

Activity/Drills:

Test yourself for a straight back. Try these:

1. Stand against a wall with heels, back of knees, shoulders and head against the
wall.
2. Walk with a book on your head.
3. Imagine someone pulling up your hair at the crown of your head and pulling
yourself upward as if you were a puppet on a string.

BREATH CONTROL
Breath control is another essential in voice production. The principal muscle involved
in breathing is the diaphragm. It controls the power and steadiness of vocal tones. Therefore,
the first step in vocal training is to develop diaphragmatic abdominal breathing. Breath control
activity must be centered in this region for four good reasons:
1. ease in voice production
2. increased vocal energy
 P a g e | 23

3. proper voice projection, and

4. sustained tones for speech

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

Exercises/Drills:

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

1. Stand erect. Locate the diaphragm by placing your hands on your waist. Cough and
feel its movement. Breathe in and feel the contraction of the muscles. Breathe out
with a one, two, three and four and feel the expansion of the diaphragm. It is when
you exhale that vocal tones are produced.
2. Inhale deeply and easily. Count to ten as you exhale with the throat remaining
relaxed. Do not let air escape between numbers. Never raise the shoulders in
breathing.
3. Put your hands on your stomach. Panting vigorously through your mouth saying yuh,
yuh, yuh several times will help you develop the habit of breathing from the top of
your diaphragm.
Of course, not all of us can have beauty and wealth at the same time, but we can have
a pleasant voice if we choose to because the capacity is there. Through study and painstaking
effort, developing an impressive voice is not impossible.
In summary, here are some pointers that will help make your voice an asset:
1. Relax. Only with total freedom from tension can your voice be full and pleasing.
2. Develop good breathing habits.
3. Watch your posture.
4. Train your ears.
5. Use enough volume to be effective.
6. Develop resonance in your voice.
7. Work fora pleasant quality.
8. Don't talk through your nose.
9. Keep your speaking voice pleasingly low.
10. Don't speak in a deadly monotone.
 P a g e | 24

VOICE PROJECTION
The power of a voice comes from projection rather than mere volume. Often, voice
projection is mistakenly identified with loudness. Projection may be related to loudness but it
is not all loudness. It is not exclusively dependent upon the force with which the air from the
lungs strikes the vocal bonds. It depends on three things: the force of your breath, clarity of
articulation and the muscular energy with which you form your words.
Aside from these physical factors, psychological factors also play a part. Some people
have under-powered voices because of lack of confidence and commitment. At times, poor
projection derives from nervousness or in attentiveness as when you do not look at your
audience and you do not know how far you should project your voice.
Voice projection, in other words, is the process of directing the voice to a specific target
using it creatively and adequately by adapting the attributes of voice and the concomitants of
speech to the communication situation.
To project your voice, you have to define your message and identify its target or focus.
That is the particular direction you are aiming to address and reach. It may be the person in
front of you, another person farther away from you or a big audience. This requires voice focus
which takes into consideration the purpose and nature of the message. For better understanding,
voice volume has to be adjusted to meet projection needs. Hence, there would be a big
difference between calling someone at a distance and talking to somebody seated beside you.
Your intention and message determine the loudness and focus of the voice.
For effective voice projection, the following factors may be done in combination:
1. Direct your voice with controlled vocal force through proper breath management.
Proper breathing gives vocal energy.
2. Make your voice sound as if you are sincerely alert of your thoughts and feelings.
Show your genuine desire and interest to communicate with your listener. It is not merely
speaking for the heck of it. Speaking because you simply have to say something is different
from speaking because there is something you have to say.
3. Use your body, especially your face to show this interest in communicating with your
listener. Facial expressions, meaningful gestures and movements, an alert posture, and eye-to-
eye contact, are extremely useful even in projecting the thoughts and feelings of your speech.
4. Develop greater precision, sharpness and clarity of articulation through an active use
of your articulators in conjunction with the points of articulation.
5. Expand fully the stressed vowel sounds of your speech by using the three elements
of stress: intensity, pitch and duration.
6. Take care not to fall into the tendency to push up the pitch of your voice when you
want to increase its volume.

EXERCISES ON PROJECTION:

1. Count aloud from one to ten, starting at a low volume and getting progressively
louder. Don't raise your pitch. Make sure your pitch always remains even and
unchanging.
2. Say "'ah" softly. Prolong the sound at normal pitch level. Gradually increase the
loudness in a monotone as long as the breath lasts. Imagine your target is walking
 P a g e | 25

farther away. Reach him with your voice until a distance of about twenty feet is
spanned. Then, decrease the loudness slowly as if the person is getting nearer.
3. Say "hey"
a. to someone beside you
b. to someone seven feet away from you
c. to someone at a disco
d. to someone across a narrow street

VOICE VARIETY
When speaking, can you hold the interest of your listeners for long? Does your voice command
attention? Is it flexible and expressive? If the answer to these questions is no, maybe, you are
in the habit of doing the following faults:
1. You use the sane pitch with only a slight variation of one or two notes.
2. You employ the same tempo or note from beginning to end.
3. You use a uniform degree of force or volume regardless of the different meanings your
message conveys.
4. You utilize only one voice quality to express all shades of meaning and mood.
If you do these repeatedly with your voice not reflecting changes in meaning you are a
potential bore and you need the best weapon to fight off monotony in your speech. You
need voice variety. To develop this, training begins not with the vocal mechanism but with
the mind and the emotion. Deemed helpful for this training are the following approaches:
1. Change your attitude. Overcome and banish all thoughts of inferiority and shyness.
Wake up. Be sensitive to stimuli. Respond. Emotional expression due to a general
timidity of character makes your speech and personality dull, lifeless and
expressionless.
2. Think and feel with keenness and discrimination. Communicate the real meaning of
your utterances. If your response to stimuli is genuine, your tone will have color. Say
what you mean and mean what you say.
3. Develop your vocal mechanism. Have control of your voice. Make it express varied
moods and feelings. This can best be achieved through rigid drills and exercises.
Then, can you be ready to achieve voice variety or flexibility in speech with the use of
the attributes of the speaking voice. These paralinguistic elements of communication that
should be developed in your voice include vocal quality, pitch, tempo, voice intensity and
junctures or pauses.
VOCAL QUALITY
This refers to the predominant timbre or tone color of your voice. It is the instinctive
characteristic of the tone of the voice that makes it pleasant or unpleasant and by which your
friends identify you. It is brought about by the complexity of vibrations generated by breathing,
phonation, and resonance. Changes in your vocal quality reflect your emotional condition.
If you are tense or irritated, it shows in your voice. If you feel what you are saying, your
voice quality changes on its own to suit the feeling. Since it is an indicator of one's mood, a
speaker must select the quality that matches his/her mood.
 P a g e | 26

Nature has determined our individual voice quality, but we can change or improve it
through the correct use of our speech organs.
PITCH
Pitch is the relative position of a tone in a scale. It refers to the highness or lowness of
the voice when you speak. An effective voice makes use of a wide range of pitches. In English,
your pitch may range from low, normal, high and extra high. You rely on these pitch changes
to make thoughts emphatic and to Suggest emotional attitudes.
Pitch is determined by the length and thickness of the vocal cords. It depends on the
frequency at which your vocal cords vibrate. When these are stretched, they vibrate with a
higher frequency and the voice becomes shriller. When they contract, they vibrate with a lower
frequency, and the voice goes deeper.
Every voice has a certain pitch at which it operates most comfortably. By keeping
around this pitch, your speaking voice will sound natural and you avoid straining it. Some
speakers, however, tend to stretch their voice beyond its natural limits. The result is a forced
and an unattractive sound. Others, on the contrary, do not stretch their voices, so they tend to
drone in a monotone when speaking. Wittingly or unwittingly, still others overdo this by over-
coloring their speech with too many pitch changes that often go out of step with the meaning
of the words. This gives the voice an artificial, insincere quality.
To improve your own use of pitch, you have first to find it, identify it, and adapt it.
Finding it may be done with the use of the piano or by intoning. Your natural pitch is that low
comfortable note from which you can move four or five notes up and down the scale. Take
note, a moderate lilt makes an interesting voice.
Here are exercises to correct your pitch range:
1. Practice changing pitch.
Say and do the following:
I can make my voice go higher and higher.
I can make my voice go lower and lower.
2. Practice changing pitch up and down within the space of a few words. Try saying
the following in four different ways by raising the pitch on each of the four words
each time. The word made bold in each of the following sentences has a raised
pitch.
I will help you.
I will help you.
I will help you.
I will help you.
3. Read a newspaper aloud, Change your pitch as you start a new point or a new
paragraph.
4. Sing and hum as much as you can. This will make you aware of and familiar with
different pitches and their uses.
5. Practice using pitch to reflect the emotional content of your speech. Say the
following utterances with feeling.
Happy Birthday!
 P a g e | 27

Congratulations! You deserve the promotion!

Oh, I'm sorry. I didn't mean to do it.
Please don't go away.
I will not talk to you again. Never!
That's all right. I don't mind your smoking.
Shut up! That's nonsense!
Oh, no! That battery again!
Let's go. Hurry up!
Will you help me, please.
6. Listen carefully to yourself as you say the sentences above. Draw a pitch line above
each statement showing how your pitch changes.
TEMPO
Tempo is the rate by which we speak. It refers to the number of words uttered within a
given time. This is another indicator of the speaker's mood. This may also depend on the
thought being expressed. Serious ideas would be said slowly while exciting stories would
be told in a faster rate.
A person who is enthusiastic, for example, would speak more rapidly than one who is
not. Conversely, one who tackles a delicate subject would opt for a slower rate.
There are three persistent errors in vocal tempo that stand to be corrected. They are as
follows:
1. You speak too fast to be understood. There is no reason for racing. Nobody is
running after you.
2. You continue speaking until the breath is exhausted causing the speaker to break
the phrases or the thought units in the middle to gasp for air. Pause only in the right
places, where there are commas or at the end of thought units.
3. You rush to get to the end of a long sentence on a single breath. Don't try to cover
more than you can. Otherwise you will gasp for breath.
No one needs to be a slave to poor speaking habits. These can be broken and it is worth
the effort. Explore the natural potential of your voice. Free it from tension and develop the
muscularity and responsiveness of the speech organs. This way you improve your speech and
boost your confidence. Likewise, you sharpen the impression you make on others and
communicate more effectively.
VOICE INTENSITY
Intensity refers to the volume of the voice or the loudness with which we speak. This
tone amplification is done not by the constriction or tightening of the throat but by the force of
the expiratory air stream and the efficient use of the resonators.
Varying degrees of vocal force are necessary to convey changing thoughts and
feelings. Differences in vocal force enables the listeners to recognize differences in meaning,
thus making them interpret and understand better the speaker's message.
To develop vocal control, the following exercises will be helpful.
Say the following louder, louder and louder until you can shout it without raising your pitch.
I'm going with you.
That's not true.
 P a g e | 28

I made it.
Come and get it.
I hate you.
JUNCTURES OR PAUSES
Junctures are pauses in the flow of speech while pauses are intervals of silence between
or within words, phrases or sentences. This silence is an effective communicative tool if used
sparingly. In speech, such pauses express feelings and convey meaning more forcefully than
do words.
A pause helps create suspense, puts emphasis on the word or words that follow, gives
a listener time to absorb what has been said for dramatic effect, and best of all, it enables the
speaker to catch up with his breath.
At times, however, fillers like "uh", "er and the like are used to fill in gaps while the
speaker is still thinking of what to say next or while groping for words. If at all, these should
be kept to a minimum or should not become a habit. These intrusions are annoyances that reveal
lack of confidence, hesitancy or uncertainty, and insincerity. In effect, these detract from what
one is saying and eventually bore listeners.
For better effect, pausing to breathe must be done at natural breaks in the sentences
where commas and full stops would be in written prose. This provides a further benefit since
relaxed breathing regulates the oxygen supply to the brain and aids clear thinking.
Activity
Read the following pairs. Tell the difference in meaning between each pair.
1. The president, said the secretary, is busy.
The president said, the secretary is busy.
2. Who is calling, Jinky?
Who is calling Jinky?
3. Are you leaving my child?
Are you leaving, my child?
As a teacher, you will need a variety of tones to express a wider range of feelings.
Increase your “tonal vocabulary" through these exercises.
1. Imagine yourself in each of these situations:

Say "what's the matter" using changes in pitch, tempo, force, pauses and voice
quality.
a. A friend is found crying
b. There is commotion in the classroom.
c. A colleague stubbornly insists on a proposal you strongly dislike.
d. Somebody finds faults with you.
2. Say “yes” to mean the following:
a. You’re happy about it.
b. You’re excited about it.
c. You’re not sure of it.
d. You’re forced into it.
 P a g e | 29

e. You’re afraid of it.

f. You’re angry at it.
3. Read this selection with feeling.
THE TONE OF THE VOICE
It's not so much what you say, as the manner
in which you say it;
It's not so much the language you use, as the tone
in which you convey it;
"Come here! “I sharply said, and the child
cowered and wept.
"Come here!" I said softly, he looked and smiled
And straight to my lap he crept
Words may be mild and fair and the tone may
pierce like a dart;
Words may be soft as the summer air but the tone
may break a heart;
For words come from the mind grow by study
and art;
But tone leaps from the inner self revealing the
state of the art.
Whether you know it or not,
Whether you mean or care,
Gentleness, kindness, love and hate, envy, anger
are there.
Then, would you quarrels avoid, and peace and
love rejoice?
Keep anger not only out of your words,
Keep it out of your voice.

CARE OF THE VOICE

How can you take a good care of your voice? Here are some practical tips to help you keep
your voice in peak condition:
1. Give your voice regular opportunities to rest. When speaking for hours without break,
at least try to keep your vocal energy by means of careful breath control and extra
movement in articulation. Above all, avoid all tension in the throat.
2. Avoid strain. Don't compete with noise nor drown out others' voices with your own
shouting. Get attention by other means, such as gesturing, tapping the table, then
speaking with quiet emphasis.
3. Keep clear of smoke or alcohol. It makes the voice husky and you often need to clear
it repeatedly. If you have to smoke or drink, do so with moderation.
4. If you have a cold, rest your voice. The strain may result in hoarseness.
5. Don't force yourself to clear your throat. Remove the phlegm by panting. Keep your
voice animated. Make it pulsate with life.
 P a g e | 30

6. Avoid eating dairy products before an important speaking occasion. It roughens the
voice.
7. Avoid eating a heavy meal late at night before sleeping. Acid from the stomach lying
on your vocal cords all night affect the way you sound in the morning.
8. Avoid hot, dry rooms if you can. A dry atmosphere dries out the throat before long.
9. Practice a few quiet exercise after a long speech to prepare the muscles for rest and
restoration.
Try reading this selection to discover your weak and strong points. Your teacher will
help you. Be ready to accent your weaknesses. Build on your strong points and work on your
faults. There is always room for improvement.

FOOTPRINTS IN THE SAND

One night a man had a dream. He dreamed he was walking along the beach with the
Lord. Across the sky flashed scenes from his life. For each scene, he noticed two sets of
footprints in the sand; one belonging to him and the other to the Lord.
When the last scene of his life flashed before him, he looked back at the footprints in
the sand. He noticed that many times along the path of his e there was only one set of footprints.
He also noticed that it happened at the very lowest and saddest times in his life.
This really bothered him and he questioned the Lord about it. "Lord, you said that once
I decided to follow you, you'd walk with me all the way, but I have noticed that during the most
troublesome times in my life, there is only one set of footprints. I don't understand why when
I needed you the most, you would leave me."
The Lord replied, "my precious, precious child, I love you and I would never leave you.
During your times of trial and suffering, when you see only one set of footprints, it was then
that I carried you.
Drills:
1. Are voice and speech one and the same thing? Support your answer.
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. Analyze you own voice and speech. What distinctive qualities make the way you speak
unique to you?
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
 P a g e | 31

3. Improving your speech lies largely within your own power. Do you agree? What does
this imply?
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
4. Work out a plan to improve your speech. How will you go about it?
ANSWER:____________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
The Sounds of English
The sounds of General American English are classified into three namely:
1. Vowels
2. Diphthongs, and
3. Consonants
There are eleven English vowels, three diphthongs and twenty-five consonants.
The English Vowels
A vowel is a permanent element in a syllable. It is formed by allowing the passage of air from
the lungs through the mouth acting as a resonator without any obstruction. This passing air
causes the opening of the vocal bands, called the glottis, to vibrate. Vowels are, therefore, those
sounds which are produced with the vibration of air in the oral cavity. All vowel sounds, then,
are voiced oral sounds.
 P a g e | 32

The relationship of the vowels to one another is shown by the device known as the
Vietor Triangle. The purpose of this vowel triangle is to show the differences among the vowel
sounds in English and their relative positions on the tongue.
The phonetic system of transcription used here is that of the Philippine aster for
Language Study (PCLS) which is based on the Trager-Smith system. Because of its simplicity
and similarity of symbolization to Filipino and English spelling, leaning English pronunciation
for the Filipino student is made easy.
VOWEL SOUND PRODUCTION
How well do your know the vowel sounds of English? A satisfactory description of
vowel sounds must take into consideration five characteristics in which differences may be
observed. These are the same factors that determine the formation of a vowel sound. They are:
1. Tongue position or advancement
This refers to the part of the tongue that is most active in the production of the
vowel. The tongue is very flexible. When we talk, there is a hump in the tongue that
moves up and down as well as backward and forward in the mouth. Vowels are
described in relation to the highest point of the hump formed. To determine the
highest point, two axes are fixed. The horizontal axis is from front to back of the
mouth and the vertical axis is from the floor to the roof of the mouth. Along the
horizontal axis are the three points, front, center and back which describe tongue
position or advancement as shown in the vowel triangle.
2. Tongue and jaw height
This refers to the degree of closeness of the lower jaw to the upper or the tongue
to the palate. This is the vertical axis along also see in the three points; high, mid
and low as you can also see in the triangle.
3. Lip position
The third dimension refers to the amount of rounding or spreading of the lips.the
shape of the lips may be rounded when their corners are brought forward or
unrounded (spread), when the corners are pulled back. [ɔ], [ow], [u], [a ] and [uw]
are rounded while [iy], [i] ,[ey], [e], [æ], [ə],are unrounded.
4. Tension
This refers to the degree to which the muscles of the speech tract are tense or
lax during sound production. [iy], for example, is tense while [i] is lax.
5. Length
This last characteristic refers to the duration the vowel is held in a certain
position. It may be long or short. [ey] is a long vowel in contrast to [ɛ] which is a
short one.

These five characteristics facilitate your understanding of the vowel sounds as well as
your production of the same sounds.
Let us take an example. Using these characteristics, the [iy] sound would be described
as a high, front, unrounded, tense and long vowel. It is high, because the jaw is raised; front,
 P a g e | 33

because the front part of the tongue is most active in its production; unrounded, because the
lips are spread in a smiling position; tense, because the muscles of the tongue and the lips
are tense; and long, because the sound is prolonged.

Figure 8 illustrates further these differences among the vowel sounds and their relative
positions on the tongue.
Activity
1. Read the following words observing the correct formation of the vowel sounds
indicated in brackets.

2. Classify the vowel sounds according to the five factors that determine their
information.
 P a g e | 34

Diphthongs
Diphthongs are those sounds which combine two vowel sounds and which blend them
into one within a syllable. The vowel sound in light, for instance, is a diphthong. It starts from
the [a] position and moves smoothly on to the [i] position within one syllable. This is done by
the tongue and the lips moving quickly from one vowel position to a higher vowel position.
Aside from those vowel sounds in the Vowel Triangle which have a diphthongal
quality, there are three other English diphthongs: [ai], [əi],and [au]
Examples:
[ai] [ɔi] [au] [ai] [ɔi] [au]

time point now pie voice out

might oil brown prize ploy proud
height soil sound dye hoist foul
rhyme coin blouse fly joy howl
pint join mouth climb spoil browse
guide moist bought quite broil ouch
aisle poise plow sight annoy slouch
sigh noise crown
fried boil cloud
fire buoy town
buy toy count

Diphthongs are tend to be long because of the time needed to glide forward to another position.
The English Consonants
A consonant is a speech sound used with a vowel or diphthong to constitute a syllable.
Consonant sounds are those sounds which are produced with the partial or complete obstruction
of the air column by some parts of the speech apparatus.
In the production of these sounds, there are three dimensions of variation to be
considered, to wit:
A. Voicing
Consonants may be voiced or voiceless. Voiced sounds are those sounds which are
pronounced with the vibration of the vocal cords. Voiceless sounds are those sounds which are
pronounced without the vibration of the vocal cords. If you will place your fingers on your
larynx or Adam's apple as you pronounce voiced consonants, you will feel the vocal cords
vibrating. If you pronounce voiceless consonants, there will be no vibration.
 P a g e | 35

The following are the consonant sounds of English. They are classified according to
voicing:

Voiceless Voiced
p- pen b- ben n-neck
t- ten d- den ng- bring
k- cod g- God l- let
f- fine v- vine r- right
th- thigh dh- thy y- you
s- sue z- zoo w- water
sh- mission zh- vision hw- what
ch-chew j- jew
h- hot m- men

B. Nature of Obstruction or Manner of Articulation

According to their manner of articulation, consonants may also be classified
into the following:
1. Stops -are consonant sounds produced by stopping the passage of the breath
stream with a build up of pressure behind the closure before releasing the breath.
vl vd
Bilabial - [p] & [b]
Alveolar - [t] & [d]
Velar - [k] & [g]
2. Fricatives- are continuants produced when air stream is not completely stopped
but passes through with friction or a hissing sound.
vl vd
Labiodental fricatives -[f] & [v]
Dental fricatives -[θ] & [ð]
Alveolar fricatives -[s] & [z]
Post alveolar fricatives -[r]
Palatal fricatives -[ʃ] & [dz]
Glottal fricatives -[h]
3. Affricatives- are produced when a stop combines with a fricative. Like the
fricatives, they are also continuants. They may be prolonged as long as the
speaker wishes.
Alveolar affricates - [t ʃ] & [dz]
4. Nasal- are produced with the air stream passing through the nose rather than the
mouth.
Bilabial nasal - [m]
Alveolar nasal - [n]
Velar nasal - [ŋ]
5. Lateral – is produced when the air stream is stopped in the center by the tip of
the tongue against the alveolar ridge, while the air passes along one or both sides
of the tongue.
Alveolar lateral- [l]
 P a g e | 36

6. Semi- vowels- in their production, there is lack of friction and the sounds are
vowel-like in their voicing but they function as consonants. The semi-vowels are:
Bilabial- [w] as in wear, win
[wh] as in why
Palatal- [y] as in new, view
C. Point of Articulation
This refers to the upper parts of the mouth which the lower parts,
called the articulators, come in contact with in the production of the consonant
sound. As regards their point of articulation, consonants may be:

Bilabial- when the lower lip touches the upper lip to produce the consonant
sound. [p],[b],[m], & [w] are bilabials
Labio-dental – when the lower lip comes in contract with the upper front teeth.
[f] & [v] are labio-dentals.
Dental- when the lower teeth approach the upper teeth [θ] & [ð] are dentals.
Alveolar- when the tip of the tongue is raised close to the toothridge or the back
of the upper front teeth.[t] and[d] are examples of alveolars.
Post- alveolar- when the tip of the tongue is articulated against the back part of
the alveolar ridge as in [r].
Palatal- when the tongue is arched towards the hard palate like the consonant
[ʃ].
Velars- when the back of the tongue closes against the velum or soft palate as
when we say [k].
Glottal- when friction is produced by the air passing through the glottis as in
[h].
THE ENGLISH CONSONANT CHART
As discussed earlier, consonants may be best described and understood by considering
the three factors that determine their production.
According to VOICING, consonants may be:
Voiced - when produced with vibration of the vocal cords, or
Voiceless- when produced without the vibration of the vocal cords.
According to the obstruction made or the MANNER OF ARTICULATION,
consonants may be called:
Stop- when produced with complete obstruction of the air passage,
Fricatives- when produced with partial obstruction,
Affricatives - when a stop and a fricative combine,
Nasals- when vibrated through the nose,
Lateral - when air passes along the sides of the tongue in its production, and
Semi- vowels- when there is lack of friction and are vowel-like in voicing.
As to the POINT OFARTICULATION or that part of the mouth that is approached by
the articulator, consonants may be:
Bilabial- (upper and lower lips),
Labio-dental- (upper teeth and lower lip),
Dental- (upper and lower teeth with tongue between),
Alveolar- (alveolar ridge and tip of tongue),
 P a g e | 37

Post-alveolar - (tip of tongue and palate),

Palatal - (tongue and palate),
Velar- (back of tongue and velum), or
Glottal- (glottis)

The chart in figure 9 clearly illustrates these classifications.

Activity:
Read the following words observing the correct articulation of the consonant sounds indicate
in brackets:
Stops
[p] power, prayer, priest, pen, pearl, paint, please
[t] tank, teacher, time, tree, table, talent, true
[k] key, cat, king, cause, cup, care, kind
[b] bread, bank, bridge, bright, but, bike, brother
[d] day, dance, drama, dew, dawn, drum, dream
[g] gun, grace, go, gold, gas, guide, grow
Nasals
[m] mind, music, merry, moon, milk, mirror, mother
[n] nice, name, neighbor, night, nun, new, known
[ng] rank, ring, sink, prank, bring, blink, drink
Fricatives
[f] friend, farm, free, fruit, phone, leaf, graph
[v] vow, vine, view, vein, drive, vowel, victory
[θ] think, tank, thought, through, mouth, truth, month
[O] there, that, though, them, they, thine, then
[s] soul, sea, sound, sun, song, silver, service
 P a g e | 38

[z] zip, zeal, zest, zoom, zero, size

[ʃ] shine, ocean, fish, nation, sugar, mission, machine
[zh] Asia, pleasure, leisure, measure, treasure, vision, azure
[h] hat, high, heart, heaven, hope, who, hello
[r] right, rule, rose, ray, round, rice, rhythm
Africates

[t] church, chime, chief, peach, rich, beach

[dz] judge, college, wage, age, pledge, page, courage
Lateral

[l] love, learn, labor, light, look, leaves, language

Semi-vowels

[hw] why, what, when, where, whip, wheel, whether, white

[w] water, web, wine, word, wing, won, world
[y] yes, you, year, yen, yam, hue, unit

QUESTIONS:

1. Differentiate the vowels from the consonants in so far as sound production is concerned.
2. Which English diphthongs is often mispronounced? Why? Give examples.
3. Which of the vowel and consonant sounds in English are not found in the sound system
of the Filipino language?
4. What advantage can a speech student derive from the Vowel triangle?
5. How does the consonant chart help the speech student?

THE RHYTHM OF ENGLISH

LESSON ONE
Word Stress /’/
The rhythm of English is brought about by the recurrence of stressed and unstressed
syllables in a word. Stress is that mark or sound we put on or give a word or syllable to make
it stand out in the group.
The elements of stress are:
a. Force or intensity (loudness)
b. Pitch (tune)
c. Duration (length of the vowel sound)
It is important, however, that you come to know when and where to put the
stress or stresses in a word even without the guidance of the teacher by learning how to
consult the dictionary every time you doubt the stress of a word. Rather than rely on
hunches, it is best to develop this study habit.
At other times, the following generalizations about stress in certain words
should be remembered:
 P a g e | 39

a. Most words with two syllables are stressed on the first syllable: lesson,
always, holy, better, river, service.
b. Some words have definite rules of stress:
1. Compound nouns have primary stress on the first component and a
secondary stress on the second; peacock, sunflower floodlight,
blackboard, lighthouse, armchair, lampshade, milkfish, raindrop,
doorknob.
2. Compound verbs have a primary stress on the second component and a
secondary stress on the first component (the adverb). Understand, outdo,
overflow, undergo, interact, overdose.
3. Intensive-reflexive pronouns receive a stronger stress on the second
syllable such as yourself, myself, ourselves, itself, herself, themselves.
4. Numbers ending in -teen show a rhythmic shift in stress from the first
syllable to the last to distinguish clearly between;
thirty- thirteen seventy - seventeen
forty- fourteen eighty - eighteen
fifty- fifteen ninety- nineteen
sixty - sixteen
5. Many words show a functional shift in stress to indicate their use either
as a noun or as a verb. As nouns, they are stressed on the first syllable;
as verbs, they are stressed on the second syllable.
Examples:
present- present record- record
permit-permit rebel-rebel
subject-subject address-address
6. Generally, when a suffix is added to a word, the new from retains the
stress on the same syllable as the word from which it was derived.
happy- happiness cloudy- cloudiness
assign-assignment careless-carelessness
merry-merriment teach-teacher
interest-interesting honest-honestly

7. Words ending in –tion, -sion , -ic, -ical, and –ity always have primary
stress on the syllable preceding the ending.
Examples: logical, examination, extension, historic, economic,
simplicity , perfection, dedication, possibility.

Some words have two stresses: Primary (`), and secondary (` `).

elementary organization understand

primary observation administrative
secondary education communicative

Observe the morphemic shift in stress in the following pairs of words:

celebrate- celebration biology- biological

 P a g e | 40

contribute- contribution electric- electricity

negotiate- negotiation economy- economic
method- methodical national- nationality
material- materialistic continue- continuity
system- systematic progress- progression
permit- permission communicate- communication
magic-magician experiment-experimental

The following words are often mispronounced. Practice saying them with the
stresses in the right places.
A. Words accented on the first syllable
1. comfortable 16. intimacy 31. dysentery 46. interesting
2. orchestra 17. pedestal 32. literature 47. decade
3. ceremony 18. practicable 33. beefsteak 48. inventory
4. applicable 19. operator 34. laboratory 49. cucumber
5. Catholic 20. characteristic 35. lamentable 50. seminar
6. ancestor 21. admirable 36. hospitable
7. honorable 22. charitable 37.certainly
8. melancholy 23.circumstances 38.heroism
9. preferable 24. cemetery 39. eligible
10. Protestant 25. miserable 40. kilometer
11. Impious 26. theatre 41. testimony
12. category 27. monastery 42. participle
13. vegetable 28. naval 43. maintenance
14. orator 29. senator 44. temperament
15. intimacy 30. delicacy 45. legislature

B. Words accented on the second syllable:

1. adventure 11. innumerable 21. incomparable
2. committee 12. Napoleon 22. administrative
3. investable 13. appreciate 23. condolence
4. appropriate 14. inhospitable 24. development
5. utensil 15. admonish 25. irrevocable
6. abbreviate 16. contribute 26. irreparable
7. lieutenant 17. ancestral 27. illiteracy
8. opponent 18. professor 28. incognito
9. semester 19. establish 29. inestimable
10. associate 20. incorrigible 30. commander
C. Words accented on the third syllable:
1. antecedent 9. inadmissible 17. indefatigable
2. satisfactory 10. inaccessible 18. indistinguishable
3. convalescent 11. ambiguity 19. ingenuity
4. adolescent 12. contradictory 20. indescribable
5. inappropriate 13. continuity 21. interference
6. cafeteria 14. cigarette 22. jamboree
7. operation 15. supplementary 23. Reproduction
 P a g e | 41

8. contributing 16. comprehensive 24. Opportunity

D. Words accented on the fourth syllable:
1. realization 5. representation 9. pronunciation
2. appreciation 6. assimilation 10. fortification
3. interpretation 7. fertilization 11. enthronization
4. extemporaneous 8. materialistic 12. Communication
E. Stress is phonemic in the following words:
Nouns Verbs
accent addict accent addict
address annex address annex
combat compound combat compound
conduct conflict conduct conflict
consent content consent content
contest contract contest contract
contrast control contrast control
converse convert converse convert
convict desert convict desert
digest escort digest escort
graduate incense graduate incense
increase insult increase insult
object permit object permit
present project present project

Guide questions:

1. How would you illustrate the relationship of stress and rhythm?

2. What happens when a syllable or word is stressed?
3. What is meant by “stress is phonemic”?

LESSON TWO

The Unstressed Vowel

Listen carefully and observe which syllable are not stressed in the following words.
Take note of how they are pronounced:

present opera separate confidence

vowel society beautiful government
about family citizen history
around opinion successful responsible
abolish memory decision grammatical

The sound heard in the unstressed vowel is weak and indefinite. It is called the
SCHWA. It is never found in accented syllables. All vowel sounds in unaccented or unstressed
syllables tend to this vowel enunciation. It is made with the tongue relaxed and at rest with the
tip of the tongue behind the lower teeth. It is one of the most important elements in securing
 P a g e | 42

correct rhythm and appropriate rate. In speaking or reading, the use of this weak vowel helps
to make main points more prominent by putting unaccented syllables and certain small
connecting words in the background. This is constant and marked in the connected discourse
of native speakers.
Generally, the use of this neutral or weak vowel is unknown to Filipino. It has no
counterpart in the Philippine vernaculars. The habit of giving full value to every word and
every syllable is what is characteristic of Philippine native vernaculars. When carried over into
English, this habit destroys characteristic English rhythm and obscures meaning.
Listen and repeat the following using the weak vowel sound of the SCHWA in the
unstressed syllables.
A. Monday January August Spring
Tuesday February September Summer
Wednesday March October Winter
Thursday April November Autumn
Friday May December
Saturday June
Sunday July
B. nation salmon religious municipal
college major principal community
occur general enterprise enthusiasm
social musical systematic development
drama language performance interesting
region business university celebration
Manila different subtraction ordinary

Conversation Drill

Use the schwa in the unstressed syllables.

Kathy: We don’t have much time, do we? We’re still dropping by at Rita’s place.
Jill: I’m hungry as fast as I can, can’t you see?
Kathy: Try to hurry a little bit more, will you? I don’t want to be late.
Jill: Oh, we won’t be late. You know how these affairs are. They never start on time, do
they?
Kathy: Maybe so, but I always like to get there on time ahead of our guests.
Jill: Oh, your such a fuddy duddy, sister. Don’t worry, I’ll get you there with enough time
to spare.
Kathy: Is that a promise I can rely on?
Jill: It’s a promise. Now leave me alone so I can finish getting ready, okay?
Kathy: How long will it take you?
Jill: Give me just ten more minutes, will you?
Guide Questions:
1. When is the SCHWA used?
2. Does the SCHWA have an equivalent in Filipino or in our vernaculars?
 P a g e | 43

3. Why are we often unable to catch up with the native speaker’s connected speech in
English?
LESSON THREE
Sentence Stress
The term sentence stress refers to the stress that falls on certain words in a sentence.
The problem of sentence stress may be divided into two parts:
1. Knowing where the stress falls in a word, and
2. Knowing which words in the sentence should be stressed.
Which word should be stressed in a sentence?
Words are of two classes:
1. Content words, and
2. Function words
Those words which have meaning in themselves as words are the content Words.
They are also referred to as thought or idea words.
Those that have little or no meaning in themselves as words but perform a
grammatical function in relation to other words in the sentence are function words.
Generally, content words are stressed and function words are not stressed unless the
speaker wants to give special emphasis to them.
Content words include:
a. Nouns
b. Verbs (except those listed as function words)
c. Demonstratives: This, that, these, those.
d. Interrogatives: who, when, where, why, what
e. Adjectives
f. Adverbs
Function words include:
a. Articles Prepositions
b. Prepositions
c. Personal pronouns
d. Possessive adjectives: my, his, your, etc.
e. Relative pronouns: who, what, which, etc.
f. Common conjunctions: and, but, as, if, etc.
g. The word one when used as a noun substitute: the new one.
h. The auxiliary verbs and linking verbs: be, have, do, will, must, etc. except:
1. When they occur at the end of the sentence such as:
You know what time it is,
Tell us who you are.
I didn't know where you were?
Yes, I am.
2. When they are used in reiterative formulas:
didn't they?
are you?
isn't it?
 P a g e | 44

Can't also is slightly stressed in order to distinguish its meaning from the positive can
which is unstressed.
Can he swim?
No, he can't.
The first of two nouns used together generally receives primary stress such as:
college student cocktail party practice teacher
term paper major general training ground
picture frame guest room flower vase
desk fan water color table cloth
In two-word verbs, which are composed of a verb and an adverb, the second component
receives the primary stress while the first component receives the secondary stress.
Examples:
come in stand up shut up put on
get off pick out speak up take off
bring about turn around worn out warm up
sit down put away think over stop over
carry out sail on tune in operated on
This general rule of sentence stress does not apply when:
1. The speaker wants to call attention to a word which normally is unstressed:
You'll find the book on the desk. (not under)
2. Because of a succession of stressed syllables the speaker tends to unstress an
intervening stress:
That's Ryan's best composition.
The following illustrates a significant characteristic of English pronunciation. Stress
tends to recur at regular intervals.
Listen and notice which words are stressed:
1. Sister reads novels.
My sister reads novels.
My sister reads some novels.
My sister will read some novels.
My sister has been reading some novels.
2. The farmer raises ducks.
The farmer is planting rice.
The farmer is harvesting vegetables.
The farmer is marketing some vegetables.
3. The professor teaches well.
The professor teaches very well.
The professor is teaching very well.
The professor has been teaching very well.
Note that the second sentence in the series contains more unstressed syllables than the
first, the third more than the second, and so on; but the number of stresses remains the same.
 P a g e | 45

Using your pencil, tap on your tables in groups of three; 1,2,3, 1-2-3. Then tap out the above
series of sentences as you repeat after the model.
See to it that you take the same time to say the last sentence in the series as you do the
first. Do not slow down the rhythm.
Drill
Make your voice louder on the stressed words.
1. I am glad to see you.
2. How are you?
3. I'm fine, thank you.
4. He is an agriculturist.
5. Saturday is market day.
6. Love thy neighbor as thyself.
7. The rainy season begins in June.
8. The grocery opens at five o’clock.
9. We’re planning have a field trip.
10. Was Bella present at the meeting? Yes, she was.
Guide Questions:
1. How would you characterize the rhythm of English in contrast to that of Filipino?
2. Differentiate between word stress and sentences stress.
THE INTONATION OF ENGLISH
LESSON ONE
Intonation, the Music of Language
Pitch –is the musical tone with which we pronounce the stressed syllable. It is an
element of stress. The combination of these musical tones with which we pronounce the
utterance or Sentence results in a tune or melody of speech. The technical term for this tune is
intonation.
The way our voice goes up and down at the end of a sentence constitutes a meaning
signal. When our voice goes up and then down at the end of a sentence, we signal statements
of fact, command, or special questions not answerable by year or no. When our voice goes up
at the end ofa sentence, we signal questions answerable by yes or no. The first way is called
rising-falling intonation; the second, rising intonation.
Rising-Falling Intonation
The intonation is rising -falling when the tone moves from pitch2 (normal) to pitch 3
(high) on the stressed syllable, and them moves to pitch 1 (low). These numbers of pitch are
taken from the basic tones of English. There are four of them;
1- low
2- normal
3- high
4- extra high
 P a g e | 46

Tones 1, 2 and 3 are the most commonly used ones.

Tone 4 is used in expressing strong feeling and emotion.

The final rising-falling intonation is of two types:

1. The drop or shift.

The voice rises on the stressed syllable and falls on the unstressed syllable. The drop is
used when the stressed syllable is followed by an unstressed syllable.
2. The slide or inflection.

The voice rises on the stressed syllable and goes down gradually on the same syllable.
It is when the stressed syllable is the final or last syllable in the sentence that the slide is
used.

Rising Intonation
The intonation is rising when the tone moves from pitch 2 (normal) to pitch 3 (high).

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

Exercises:
Practice saying the following utterances with correct intonation.
Rising-Falling Intonation
Simple statements of fact:
This is my school.
I'd like some water.
She's coming.
That's a problem.
 P a g e | 47

Commands:

Come in.
Close the door.
Look here.
Call the doctor.
Take your seat.
Special questions:
What can l do for you?
How did you like it?
Where are you going?
What's the matter?
Why are you sad?

Rising Intonation
Are you all right?
May I help you?
Will you join us?
Is it time for class?
Is Quezon City the capital of Manila?

In the dialog below, make the voice rise and fall on the right places. Use rising
intonation in asking questions answerable by yes or no.
Conversation Drill
Kristine: Would you care for some juice?
Marlo: Yes, please. Thank you. Are you going out today?
Kristine: Yes, I'm attending a reunion.
Marlo: You're going to a class reunion?

Kristine: I’m meeting my classmates at the Peninsula tonight, remember?

Marlo: Great! That would be wonderful! Are you joining us? I'd love to, but I have a
conference to attend to late this afternoon.

Kristine: Are you going to join us?

Marlo: I’d love to, but I have a conference to attend to late this afternoon.

Kristine: Will it last till seven?

Marlo: I’m afraid so and I don’t think I’d be free until eight o’clock

Kristine: I still wish you could be with us.

Marlo: Don’t worry. I’ll find time to catch up with you, anyway.

Kristine: That would be very kind of you. Will I give you a call when it’s time to leave?
Marlo: By all means. See you later.
 P a g e | 48

Exercises
The following sentences will be said twice. Write a falling arrow (↓) opposite each number on
your paper if the sentence ends on a low pitch. Write a rising arrow (↑) if it ends on a high
pitch.
1. I go to school everyday.
2. You can call her up by phone.
3. We harvest our rice during summer.
4. Did you send for a plumber?
5. Kuratsa is the most popular dance in Northern Samar.
6. What's your name?
7. Where do you live?
8. Rica gets up at five o' clock in the morning.
9. May I ask you a favor?
10. Do you eat out on Sunday evenings?
Mark the intonation of the last word or words in the following sentences. Write a drop
or a slide to indicate the movement of the voice. Draw your pitch lines above or below each
syllable.
1. How are you? 6. What's the matter?
2. I beg your pardon. 7. We're students.
3. Happy birthday. 8. He's at the canteen
4. I'm sorry. 9. Where are you from?
5. I'm glad to meet you. 10. It is nine o' clock.

11. Dinner is ready. 16. Come with me.

12. How do you do? 17. It's raining.
13. I'd like some ice cream. 18. What are you doing?
14. Let's go. 19. Drink it slowly.
15. He's studying. 20. Speak clearly.

Guide Questions:
1. Differentiate between the 2-3-1 and the 2-3-3 intonation patterns and the 2-4-1 and
the 2-4-4 patterns.
2. When are the drop and the slide used?
LESSON TWO
Intonation and Stress
Not all of our utterances are short ones. There are times when we utter long sentences.
In normal speech, intonation is heard not only at the end of these short sentences (final
intonation), but also in the sentence itself especially if it is long one. This intonation heard
within the sentences is called non-final intonation.
Although non-final intonation may vary according to the speaker with very little
corresponding change in meaning, it is best to analyze the following examples in terms of the
types of intonation they represent.
 P a g e | 49

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

In contrast and comparisons, the idea contrasted or compared requires a rise in pitch to show
emphasis.
Some sentences are divided by pauses into two or more thought units, each having its
own intonation pattern.

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

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

In general, however, it appears that most speakers tend to end the first unit with a rise in pitch,
then a return to normal (2-3-2). This would serve to show that what follows is connected with
what was just said.
 P a g e | 50

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

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

Note that rising intonation is used for nominative of address.

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

Note how the reiterative formula, this time, is said with a rising-falling intonation to
show that the utterance is not a question but a statement of fact that does not require a yes-no
answer.
Conversation Drill:
Observe non-final intonation in the following activity. Do not confuse intonation patterns for
special questions with those answerable by yes or no. pa
Cyril: I have to go to school now, but I can't find my cell phone. Have you seen it?
Marianne: No, I haven't. When and where did you use it last?
Cyril: I don't know, but I'm sure I brought it home. Let me see. I was doing my assignment in
my room when Mom called me to the kitchen.
 P a g e | 51

Marianne: It's not here. Where did you go next?

Cyril: To the library. But it is not there either.
Marianne: Where did you go after that?
Cyril: I went to the dining room. I took some snacks.
Marianne: Well, let's go look. And there is your cellular phone right on the table.
Cyril: Well, how do you like that? Thank you, Marianne. Hmm, How do you suppose it got
there? Marianne: I don't know, but I can make a guess.
Cyril: Oh well, maybe absent-mindedness is a good sign. After all, I'm another year older.
Marianne: That sounds reasonable. All set? Goodbye, brother.
Cyril: Hmm, goodbye, sister. See you this evening.

Guide Questions:
1. What is the difference between final and non-final intonation?
2. What two intonation patterns can be used for tag endings?
3. When is each type best used?
LESSON THREE
Phrasing
Utterances may be broken down into phrases or thought units. Each unit contains words that
belong together because they are closely related and are set off from the rest by a pause. Words
and syllables in such phrases are blended into one another. This blending usually takes place
when a word that ends with a consonant or vowel is followed by one that begins with a vowel.
This may be done for three purposes:
1. to catch one's breath
2. to make meaning clear, and
3. to emphasize and grace an idea not only
Once learned, proper phrasing improves one's rhythm of speech. Observe how words and
syllables are blended into one another within the following groups of words.
Listen and repeat after me.
has its own music cup of tea to acquire it result in unfortunate
and if an adult think it over in and out drill and practice
it is as if work it out look alike it is almost impossible
not as well trial and error read it loud take it away
The following practice selection is marked with single and double diagonal lines to
indicate pauses. The rhythm pause (/) is a short pause. The thought pause (//) is a longer
pause marking the end of a thought unit.
 P a g e | 52

Practice Selection:
Listen and repeat the following phrase by phrase:
Each language/ has its own music/ with characteristic cadence/ rhythm/ and inflection//
and if an adult is to learn to speak a new language correctly/ he must give full value to these
peculiar qualities.// it is as if he were learning to play/ a musical instrument.//
English is a formidable language/filled with tongue-twisting combinations of vowels
and consonants/ that may be pronounced quite differently/ as they occur in a various words/
that look alike.
Foreigners,//well-educated in their own language/ and sensitive to its beauty and
grace,/have a natural desire to speak the language of their adopted country/not only with
grammatical correctness and precision/ but also with proper pronunciation, /accent/ and
intonation.// Others not so well-educated/ need to know how to speak clearly/ for their own
protection and comfort.// Too often/ embarrassing mistakes in pronunciation/ result in
unfortunate misunderstandingsand setbacks.//
It is almost impossible/to acquire this skill from books alone.// It is difficult to acquire
it from listening to casual conversation.// It must be gained by painstaking effort through
continuous drill and practice.//
-Reade, Improve Your Accent
Conversation Drill
Observe correct phrasing and blending in the following dialog.
Tine: Hello, Fring!
Fring: Hi, Tine! How’s everything?
Tine: Are you referring to our world of our or my small world?
Fring: Your tiny self! How's life going?
Tine: All sorts!
Fring: What do you mean'?
Tine: You know how it feels to prepare for a board exam.
Fring: Sure, I do. But that's not a problem, is it?
Tine: Seems like it's not, but my apprehensions are.
Fring: Look! You're a young fresh graduate in the pink of health. There's no reason why you
wouldn't get the most of your review.
Tine: Well, I guess, I'm making some progress, but everyday brings me new creeps.
Fring: That's quite normal. No problem, really.
Tine: I hope so.
Fring: You have all my best wishes. Who knows? You might be the topnotcher!
Tine: And you'll be my angel!

Guide Questions:
1. When and how does blending take place?
2. When and where do the rhythm pause and the thought pause occur?
 P a g e | 53

LESSON FOUR
Special Stresses
The English language is characterized timed by what is referred to as a stress — timed
rhythm in contrast to the Philippine languages or dialects which are generally characterized by
a syllable — timed rhythm. Hocket says, "It takes about the same or time to get from one
primary stressed syllable to the next, in speaking at a given over-all tempo, whether there
are no syllables between them or many. If there are if there none, we slow down our rate
slightly; if there are many, we squeeze them in fast."
Sometimes, however, when the speaker wants to call attention to certain ideas of
comparison and contrast, he stresses some function words. Stress the underlined words in the
drill that follows:
Conversation Drill:
Jessa: Where were you at the acquaintance ball?
Rose: I was there, but you were too busy serving to notice me.
Jessa: Well, indeed I was. Why weren't you dancing?
Rose: I got so self-conscious. Other people dance so much better than do. I can’t do the new
steps and l can't seem to find anything to
talk to the boys about.
Jessa: Just that?
Rose: Well, watching others for me is fun enough.
Jessa: Isn't there anything else you can do?
Rose: Nothing, I guess.
Jessa: Oh, come on. Don't tell me you're that desperate. Look at me.
Rose: Say, do you think I could learn to do some of the new steps teach you can do so well?
That is — if you could teach me.
Jessa: Why not? How about Saturday afternoon? I'll see you at my place or do you prefer
yours?
Rose: You're place will be fine. I'll be there at four.
Jessa: See you at four on Saturday, then. That's the bell. We’d better go in for the Speech
class.
Let's read the following poem with special attention to regular beat or rhythm in each
line. Remember that whether there are fewer or more unstressed syllables to a line, the rhythm
remains the same. In this poem, there are three strong stresses in each line. You may tap on
your chair at every beat.
 P a g e | 54

Break, Break, Break

Break, break, break
On thy cold grey stones, O sea!
And I would that my tongue could utter
The thoughts that arise in me.
O well for the fisherman's boy,
That he shouts with his sister at play!
O well for the sailor lad,
That he sings in his boat on the bay.
And the stately ships go on
To their haven under the hill,
But O for the touch of a vanished hand,
And the sound of a voice that is still.
Break, break, break,
At the foot of thy crags,0 Sea!
But the tender grace of a day that is dead,
Will never come back to me.
-Alfed Lord Tennyson-
Guide Questions:
1. How would you characterize the rhythm of the following:
a) The English Language
b) The Philippine Languages

THE VARIANTS THAT AFFECT SPEECH

LESSON ONE
The Aspiration of Initial/ p/, /t/, /k/
Aspiration-refers to an explosive sound of breath brought about by the sudden release of air
after the contact of parts of the speech mechanism. This puff of air accompanies the
utterances of a sound.
Observe how /p/, /t/, /k/are aspirated when they are found in initial position as in the
following examples. Don't forget /p/ is bilabial, /t/ is alveolar, and /k/ is a velar.
till till the end of time pick pick up the pieces power people
power
keep keep the change tree tea tree top table table tennis
pool pool of water cool cool morning car car key

/p/,/t,/k/ are not aspirated when found in medial or in final position within the stream
of speech. Observe the following:
 P a g e | 55

Medial
apart City uncle
opal party cycle
open testing broker
apple writing banker
puppet meter handkerchief
paper center market
company water basket
operator matter bakery Guide
Final
dip it in salt the top of the mountain help the poor
tilt your head stop the car take it away
look behind you ask a question pink of health
They are not aspirated in words such as: spill, skill, still. Neither are /b/,/d/,/g/, the
voice counterparts of/ p/,/t/,/k/, aspirated.
tick-dick peak-beak post-boast
palm- balm rope-robe take-drake
come -gun route-rude kitten- gotten
trip -drip tuck-duck call-gall
The /t/or /d/in English is made by striking the tip of the tongue on the upper
teethridge. Do not put the tongue between the teeth as you do in the vernacular. Let's practice.
tell the teacher do a dance step spill the plate of beans
trick or treat grade his work get-together party
take a test plan a picnic pick up the pieces
tour the country tick tack toe good old days
Tongue Twister
Good, better, best
never let it rest
Till your good is better
and your better best
Guide Questions:
1. What makes one's speech unnatural?
2. How can artificiality in speech be avoided?

LESSON TWO
The Syllabic Consonants
Syllabic Consonants are those consonants, which are pronounced without a vowel in
an unstressed syllable. They occur only when the stressed syllable ends in /t, /d, or n/ and is
followed by /1/ or /n/ in the unstressed syllable. Listen carefully to the way in which the final
syllable in the following words are pronounced. Note that the interviewing vowel sound is
absent.
 P a g e | 56

cotton sudden needle student gentle didn't

little final accident hospital forgotten hadn't
riddle captain curtain sentence sit and wait couldn't
certain written gotten mountain read and write shouldn't
bitten kernel medal Britain bread and butter wouldn't
bottle capital bridal crystal bright and early colonel

Drill:
1. The student was rushed to the hospital.
2. He had met an accident while climbing a mountain.
3. Certain people said that he shouldn't have tried to do it.
4. Several sentences were written by the student on the board.
5. It was bright and early when the captain finally found the cotton field.
6. The model hadn't forgotten to write a bread and butter letter.
7. The colonel didn't have a sit and wait for the final curtain.
Guide Questions:
1. When and where do syllabic consonants occur?
2. What's the difference between syllabic consonants and the obscure vowel?
3. Do we have syllabic consonants in the Filipino language? Justify your answer.

Lesson Three
Vowel Length
The length of a vowel sound is the length of time needed to pronounce a vowel
sound. Thus, the term vowel length refers to the quality or duration of sound, not the quality
or difference in vowel sounds.
Vowel length or the duration of time it takes to pronounce the vowel is altered by:
1. Stress and
2. Syllable structure
Stress accompanies to the length of a vowel sound.
Example:
Can't he swim?
No, he can't.
Note that the vowel in the stressed word can't in the second sentence is longer than the
vowel in the unstressed word can't in the first. Since the syllable structures of the two words
are the same, then the length here is due to stress.
Although stress lengthens a vowel sound, syllable structure may shorten a stressed
syllable. Listen to the length of the stressed vowel in the following:
The seat /dh siyt/ the heap /dh hiyp/
The seed /dh siyd/ the meal /dh miyl
 P a g e | 57

The vowel in seed is longer because the word ends in a voiced consonant while that in
seat is shorter because the word ends in a voiceless consonant. The same is true with the second
pair. The vowel in heap is shorter because the word ends in a voiceless consonant while that
in meal is longer because the word ends in a voiced consonant. This is what is meant by syllable
structure.
In the following dialog, practice on the non-phonemic variants that affect the
intelligibility and naturalness of speech.
Conversation Drill:
Carlo: How was your vacation, Kathleen?
Kathleen: Wonderful! It's nice to be them in the province once in a while and even nicer to be
with relatives after sometime.
Carlo: Did you have much fun?
Kathleen: Lots of! Eating delicacies, swimming, dancing, meeting people, picture taking and
many more. Oh, the beaches are beautiful!
Carlo: So I thought.
Kathleen: You should have waited for us.
Carlo: I wanted to very much, but time just wasn’t enough for us to enjoy. We had to leave
earlier. You know the pressures of office work.
Kathleen: I know, but maybe later we can find time together. Can’t we?
Carlo: Sure! How about next summer?
Kathleen: That would be just about right. I’ll look forward to that. Mom and Dad will surely
be glad to hear about it.
Carlo: So will everybody in the family.
Guide Questions:
1. Have you understood, internalized and applied all the lessons in your day-to-day
interaction with others?
2. Are you ready and confident enough to march into the global village of world
understanding?
The DRILLSAND EXERCISES
ON THE ENGLISH VOWELS
LESSON 1
Mastering the Vowel [iy] and [I] Sounds
A. Mode of Pronunciation
To make the sound of [iy], take a smile position with the lips, keeping them slightly
apart Point the while tongue forward towards the upper from teeth. The muscles of the lips and
tongue are tense. The jaw is almost closed.
To change the sound of [iy] to [i], relax the lips and the tongue slightly.
 P a g e | 58

B. Pronunciation Exercises
[iy]
Initial Medial Final
even easy mean seed knee see
equal evil leave bead free key
eastern evening season least tea bee
eatery eagle people reason me agree
[i]
in did him six lid quick
it give will fill sit Jill
live big wind ring chip list
C. Contrasting the [iy | and i] sounds
eat-it least- list leave-live
seat-sit bead-bid meal-mill
beat-bit keen-kin eel-ill
D. The target sounds in phrasal units and sentences
heat the meat deep sleep sheep on the ship
treaty of peace easy quiz a drink of milk
speech teacher cheese sandwich pick the list
he and she read about it hit and miss
1. Heat the lean meat and eat it.
2. Our east room is clean and neat.
3. She is a speech teacher.
4. A treaty of peace will please us al.
He can at least show me the list.
6. The dog beat the man who bit him
7. My kid sister gets ill at the sight of an eel.
8. I will dip my hand into the deep water.
9. Shall we have a drink of milk?
10. The mountain climber left his pick at the peak.
E. Practice Selection
1. Quotations are keys to wit and wisdom.
2. When you can't win, you can at least grin.
3. Beware of little expenses; small leak sink
4. An optimist can a great ship.
5. He can at least show me the list
6. The dog beat the man who bit him.
7. My kid sister gets ill at the sight of an eel.
8. I will dip my hand into the deep water.
9. Shall we have a drink of milk?
10. The mountain climber left his pick at the peak.
E. Practice Selection
1. Quotation are keys to wit and wisdom.
 P a g e | 59

2. When you can’t win, you can at least grin.

3. Beware of little expenses; a small leak can sink a great ship.
4. An optimist sees an opportunity in every calamity; a pessimist sees a calamity in every
opportunity.
F. Conversation practice with the target sounds.
Precy: Are you going to eat your dinner here, Peter?
Peter: Sure, Precy. Shall we have fish or meat tonight?
Precy: I'l see if we still have fish or meat in the freezer.
Peter: Perhaps, we may have fried shrimps and vegetable salad too.
Precy: Would you wish to have broiled fish or roast beef this evening
Peter: I guess I want both the fish and the roast beef together with the fried shrimps and
vegetable salad tonight.
Precy: All right, Peter. You shall have your wish.
Peter: Will we eat our dinner soon?
Precy: Yes, we'll eat between six and six thirty.
Peter: Oh, Precy, I want boiled string beans with potatoes and lettuce for the salad. Also, please
make some iced tea.
Precy: Within fifty minutes, Peter Dinner will be served already.

LESSON2
Distinction Between [ey] and [e]
A. Mode of Production
[ey] is a mid- front tense vowel that is produced by phrasing the tongue blade in a high
front position and, in so doing, the lips become unround. The tip of the tongue is near the
cutting edge of the lower middle front teeth. This change in the position of the tongue, from
the high front to the mid-front, causes the vowel to be diphthongized as the tongue moves from
the [e] and the [i] to produce the [ey] sound.
[e] is mid-front lax unround vowel that is produced by putting say the tongue blade
lower in position than the [ey] sound. The tongue is flatter farther back and lower than the
[ey] or [i] sounds.
B. Pronunciation Drills
[ey]
Initial Medial Final
aim aid shame face may today
airy able wave mate bay ray
age ace paper chain day away
amiable ache bake name say weight
eight angel hate baby hay lay
[e]
end bet met get let head
egg red yes led shed tell
well pen wed debt den send
 P a g e | 60

C. Contrasting [ey] and [ɛ]

mate-met late-let tale-tell
raid- red bait-bet gate-get
wade-wed sail-sell hail-hell
bail-bell pain-pen main-men
wave-web lace-less raised-rest
D. Practice Drills in Phrasal Units and Sentences
bake a cake send a message angel face
set the table great heavens take it away
say a prayer second semester get some rest
take the test well-bred person breast-fed baby
paper and pencil lest you forget better late than never

1.The rain in Spain stays mainly on the plain.

2. Kate learned to bake a cake.
3. Daisy Grace is eight years of age
4. A plate of bacon, bread, and eggs is on the table.
5. Eddie, Mary and Emily are best friends.
Daily mail is usually carried by train or by plane.
7. You should be able to find a seat for me even if it is late.
8. My favorite teacher came in April, I very well remember.
9. Many men and women are not ready to maintain a big family.
10. What a day may bring, a day may take away.
E. Practice Selections
1. If l can stop one heart from breaking
I shall not live in vain.
If l can ease one life from achin8
Or cool one pain, or help one fainting robin
Unto his nest again
I shall not live in vain.
2. Fame is what you have taken
Character is what you give
When from this truth you waken
Then, you begin to live.
F. Conversation Practice
Dave: It's a wonderful day for sailing, Jack.
Jack: Shall we sail across the bay, Dave?
Dave: No, I have a better plan. Let's sail out to the reef and go fishing.
Jack: Okay, the trade winds are light and the waves near the reef seem calm.
Dave: Shall we take out fins and go skin diving too?
Jack: That sounds wonderful! Let's get going.
 P a g e | 61

LESSON 3
PRONUNCIATION of /ae/ and /a/
A. Mode of Production
/ae/ is a low front usually lax unround vowel. This vowels sound is pronounced with the
tongue in a lower position than for /e/. The tongue tip is close to the lower middle front teeth
and the lips are unrounded when the sound is produced.
/a/ is a low back vowel. The tongue lies low with the back slightly raised and the lips are
slightly rounded when producing the sound.
B. Pronunciation Drills
/ae/
Initial Medial
add asset band happy
answer aspirin black banner
apple actually thank matter
accent annual family bamboo
anger animal hammer passive
after and example imagine
/a/
on other clock dollar
odd olive clock knowledge
orange often rock follow
C. Contrasting /ae/ and /e
pat-pet mass-mess hand-lend lag-leg
am-em bag-beg tan-ten pan-pen
bad- bed past-pest rack-wreck sat-set
bat-bet mat-met capped-kept sand-send

D. Contrasting /ae/ and /a

cab-cob an-on tap-top cast-cost
pat-pot add-odd sack-sock cat-cot
lack-lock band-bond last-lost tan-ton
sang-song knack-knock black-block wan-won
E. Practice drills of target sounds in phrasal units and sentence forms.
bad habit pat the cat sang happily
trash can traffic cop plastic wrapper
valid answer gravel and sand scotch on the rocks
an odd pair of socks worn by Sam
a pot of tea near the pot of the blonde
a loud knock on our locked door
 P a g e | 62

1. Pat the black cat at the back.

2. Sam and Max are lanky and tan.
3. The mad man sat on the mat.
4. The accident happened shortly after her arrival.
5. The magician made the hat vanish into the air.
6. The venue was lighted by a series of old-fashioned lamps.
7. Men prefer coffee to chocolate.
8. Horror stories about dogs are often shocking to children.
9. The caps of the traffic cops attracted the motorists' attention.
10. John did a lot of odds when he was stationed at the factory.
F. Conversation Practice
Customer: Give me a loaf of bread, a half dozen of eggs, three bags of sausages and some
strawberry jam.
Clerk: Yes, Ma am. Do you need any fresh fruit or vegetables? We have some delicious
apples, seedless grapes from Cebu, fresh lettuce, Chinese peas, oranges, carrots, and
mangoes.
Customer: How much are these apples, tangerines, lettuce, grapes, and carrots? Are you sure
the lettuce and the peas are fresh?
Clerk: Yes, they’re very fresh. The lettuce is only five pesos per head and the peas is thirty-
five pesos per kilo.
Customer: I’ll take this lettuce head, a kilo each of mangoes and grapes and two carrots.
Clerk: May I help you with anything else?
Customer: I don't think so. How much would that be?
Clerk: Five hundred pesos and fifty centavos, please.
Customer: Here you are.
Clerk: Thank you very much and come again.
G. Tongue twister
1. A canner exceedingly canny one day remarked to his granny:
"A canner can anything that he can,
But a canner can't can a can, can he?
2. How many cans can a canner can if a canner can can cans?
A canner can can as many cans as a canner can, if a canner can can cans.
 P a g e | 63

LESSSON 4
Pronunciation of [ow] and [ɔ]
A. Mode of Production
[ow] is mid-back vowel. To produce this sound, the tongue is raised to the high back
position, the lips are rounded and protruded and the muscles are tense. Make a long voiced
sound with the lips coming together to a point.
[ɔ] or the half 0) is a low-back vowel which is a combination of the sounds of [o] and
[a]. The lips are less rounded and protruded than for [ow].
B. Production Drills
[ow]
Initial Medial Final
owe open roses pony hello blow
oak opal home holy Joe toe
own oval photo bowl go radio
only ocean broken choke hoe potato
over opera known diploma grow tomato
[ɔ]
all altar ball strong law flaw

ought author warm because saw straw

always awful water applause raw claw
almost audience war dawning jaw draw
C. Contrasting the target sounds
[ɔ]and [a]
caught - cot taught – tot wrought - rot
sought – sot naught - not brought - broth

[ow] and [a]

pope - pop cloak – clock cope - cop ode - odd
goat - got node – nod soul-sol bloat - blot
[ow] and [ɔ]
low- law Joe - jaw soul Saul
coal- call hole-hall boat- brought
goal-gall flow-flaw cold-called
tote- taught woke-walk wrote-wrought
pose- pause loan-lawn choke-chalk
 P a g e | 64

D. Drills on Contrasting Sounds in Phrasal Units and Sentence Forms

go home cool morning what he saw rolling ball
so slow broken jaw wrong call bowl of water
hold close flowed over walk and talk roller coaster
1. The hopeful coach smoked and choked.
2. She soaked all her clothes in cold soapy water.
3. She always opens and closes the door with her toes.
4. The athlete went home with a broken jaw.
5. Do you know how to bowl with a large ball?
6. He wrote a letter and walked away.
7. I don't know what he saw there that made him turn so pale.
8. "Betty Botta bought a bit of butter," said an author I cannot recall.
9. He thought he needed some kind of sauce for that sort of food.
10. Yawning is good exercise for the jaw, but it's awful to yawn openly at the ball.
E. Tongue Twisters
The cost of the sauce is higher at the coast, because the source of the sauce is scarce at the
coast.
G. Conversation Drill
Paul: What can you say, Joe?
Joe: I beg your pardon?
Paul: How do you sum up the general situation, I mean, everything.
Joe: Are you referring to the whole world, to this country, or just to poor little me.
Paul: Yourself. How are you getting along?
Joe: I'm getting along fine, thank you.
Paul: Have you changed any of your ideas about spoken English?
Joe: Well, that's what you should know, Paul. I'm beginning to see that thoughtful practice
with the intention to improve makes perfection.
Paul: What do you think of these phonetic drills?
Joe: I'd say that intelligent repetition insures mastery.

LESSON 5
Mastering the Sounds of [uw] and [u]
A. Mode of Production
[uw]or is often confused with [u] or . [uw] is a high back tense vowel. It is
produced by arching the back of the tongue as close as possible to the soft palate. In
pronouncing the vowel, the lips are rounded and the muscles of the tongue and throat are
tense.
On the other hand, in pronouncing the vowel [u], the tongue position is high back; the
lips are slightly rounded and the muscles are relaxed. In [uw], the arch of the tongue is flatter
and somewhat lower than [u].
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B. Pronunciation Drills
[uw]
Medial Final
move Luke soup prove do slew bamboo
pool boot room brood too true accrue
boon hoot doom goose moo glue tattoo
cool noon moon stool woo crew menu
moor suit rule school blue flew igloo
soon tool shooed stewed new brew waterloo
tomb root fruit group through you kangaroo
[u]
Cook nook good wool sure woman
book rook hood foot bull sugar
look crook would push poor bullet
hook brook could wood wolf butcher
took shook should put bush bouquet
C. Contrasting the Sounds of [uw] and [u]
pool - pull fool - full Luke - look suit - soot
cooed - could wooed - wood shooed - should stewed – stood
D. Contrasting Drill of Target Sounds in Phrases and Sentences
[uw] [u]
fruit juice took one look at the book in the nook
through the cool room put the wood near the bushes
moved the troops too soon the butcher who reads good books
a group of fools in school pull the bullet off the bull's leg
blue bamboo bookcase
do good in school
footsteps in the bushes
cookies and fruit juice for breakfast
1. Luke walked through the cool room.
2. I pulled him out of the swimming pool.
3. There is a good recipe for noodle soup and broiled goose in the cookbook.
4. Should the wolf pull the wool over your eyes, look out!
5. Shall we put the blue flowers in the bamboo bookcase in our school room?
6. In the loose pile of wood were found the silver spoons that the crook had taken.
7. The police found June's footprints by the bushes near the brook at around noontime.
8. He wooed her and wooed her, she cooed and she cooed. He would not propose and she
could not. Poor dear.
9. A sack of sugar, a package of prunes, several cookies and a plate of pudding were found
near the zoo area.
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10. I had the blues because I had no shoes, until upon the street, I met a man who had no
feet.
E. Tongue Twister
How much wood would a woodchuck chuck
If a woodchuck would chuck wood?
He would chuck wood as much as he could
And chuck as much wood as a woodchuck would
If a woodchuck would chuck wood.
F. Practice Selection
There comes a time in the life of every student/ when he becomes fed up with school.//
From early morning until noon,/ and from noon until night he studies nothing but rules and
moods.// He becomes moody and broods./ disapproves of everything.//paces his room which
has taken on the cheerfulness of a tomb.// What a fool I am!// What a goose!// Wasting my life
away foolishly/ booming away such grammatical booze as/"I loose, you loose, he looses // This
nonsense cannot end too soon.// This is what I presume to do and that right soon.// I'll buy a
canoe,/ big enough for two,/ stock it with food, not forgetting to include prunes/, spoons/,
anything I can loot.// People will hoot at me, but I won't care.// Let them do it.// I will paddle
away towards the setting sun,/crooning the while/ "Give me my boots and my saddle."//
G. Conversation Drill
Kuh: I was assigned by our school editor to write about Makati, Sir. Do you mind if I ask you
a few questions?
Lou: Not at all. But I don't know if I can answer them.
Kuh: What would you say are the chief characteristics of this city?
Lou: I think it's the skyscrapers here and there and speed. Everything moves fast here.
Kuh: Do you approve of this speed, Sir
Lou: Does it matter?
Kuh: I just want your personal opinion, Sir.
Lou: Well, I don't think I approve of it. But don't be offended. In the province where I come
from, there are no high-rise buildings and things don't move fast enough.

LESSON 6

The SCHWA or Weak Vowel [ə]

A. Mode of Production
[ə] is a mid-central lax vowel. To make the sound of [ə], open your lips without
lowering the jaw. Rest the middle of the tongue low in the mouth and make a voiced sound.
The lips, tongue, and cheeks are relaxed. This is the same sound which is heard in the unstressed
syllable. It is represented by the same symbol.
B. Pronunciation Drills
love us shut young cousin become
none up cup other trouble blood
tough luck nut under courage flourish
done cut gull enough butter puppy
touch gut must ugly country double
C. Contrasting the sounds of [a] and [ə]
lock - luck shot - hut not - nut cop - cup won - one
 P a g e | 67

shot - shut doll - dull dock-duck bot - but sock - suck

fond – fund calm - come psalm - some wander - wonder Don -done
D. Drills on the Target Sounds in Phrasal form
much fun some cots hundred nuts none but one
hot dog shut up flower shop come and gone
wonder cop must come humble John young blood
E. Drills on the SCHWA in the Unaccented Syllable
he was the boy about it get it for me
from here you and I into the room be on time
to learn yes or no call the roll take it away
at home to and fro cup of tea small but terrible
F. Drills on (ə) in Sentence Form
1. The boy came into the room.
2. He and I came about the same time.
3. The cinema is about a mile from here.
4. Take it or leave it.
5. Do you want to hear about it?
6. I want to go to school on time.
7. The cot in the nipa hut was locked in the closet.
8. What has Don done with the cup of hot codfish?
9. The hungry chums ate the food to the last crumb.
10. When the sun is not up; dusk comes with a gush of wind.
G. Tongue Twister
Better never trouble trouble until trouble troubles you for you only make your trouble double
trouble when you do.
H. Practice Selection
One hot summer day,/ a fox was strolling through an orchard/ till he came to a bunch
of grapes just ripening on a vine high above his head. //
"Just the thing to quench my thirst," said the fox to himself. // Drawing back a few
paces,/he took a run and a jump and just missed the grapes.// Turning around again with a one,
two, three,/ he jumped up but with no greater success. // Again and again he tried to reach the
tempting morsel/but at last had to give up.//
"I'm sure they must be sour"/ he said as he walked away with his nose in the air,/" I wouldn't
eat them anyhow."//
1. Conversation Drill
Malou: How's your boardmate?
Jessie: You mean Stephen?
Malou: Yes, Stephen Cordero, our mutual friend.
Jessie: Oh, he's fine, just fine.
Malou: Do you go out together all the time?
Jessie: Not at all times, but very often.
Malou: What do you think about him?
Jessie: What do you mean?
Malou: Do you find him kind, helpful, cheerful, you know.
Jessie: Oh yes. He's a good mixer and he has a terrific sense of humor?
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Malou: Does he ever joke with you?

Jessie: Mind you, that's what he's fond of.
Malou: But he looks serious, doesn't he?
Jessie: He may have a straight face, but he's always joking.
Malou: Any special one yet?
Jessie: Hmmm.... He's very much single and available.

XII
DRILLS AND EXERCISES ON THE ENGLISH CONSONANTS
LESSON 1
Distinction between (th) and [dh], and (t) and (d)
A. Mode of Production
To make the sound of [th], place the tip of the tongue between the upper and the lower teeth
and blow. Make [dh] in the same way, but add a voice.
To make the sound of (t), strike the tip of the tongue against the upper teeth-ridge. [t] is
aspirated only at the beginning of a stressed syllable. Make [d] in the same way. Add a voice,
but do not aspirate.
B. Pronunciation Drills
[th] [t] [dh] [d]
Target sounds in initial position
theme team they day
thought taught there dare
thin tin those dose
thank tank though doe
three tree thine dine
thrust trust then den
through true thy die
Target sounds in final position
Ruth root seethe seed
tooth toot breath bread
booth boot breathe breed
sooth soot wreath read
Target sounds in medial position
brother strengthen together lather ladder
either weather another breather breeder
C. Pronunciation of target sounds in phrases
those days deep breath birthday party
thank them even though tall tree
 P a g e | 69

think twice theme writing through thick and thin

dining table three times gather some twigs
D. Pronunciation of target sounds in sentences
1. I want to thank you for your thoughtfulness.
2. Thanksgiving always falls on a Thursday.
3. Mother, do you think they'll get here soon?
4. My brother wrote three themes for his English class.
5. In those days, there were a few who would dare enter that cave.
6. Tell them the truth and nothing but the truth.
7. True friends are with us through thick and thin.
8. Tommy thinks of throwing a party for his father.
9. Martha's birthday is on the thirteenth of this month.
10. That health is wealth is something worth thinking about.
LESSON 2
Distinction Between [f] and [p], and [v] and [b]
A. Mode of Production
To make the sound of [f], place the upper teeth on the lower lip and blow. Make [v]n the
same way, but add a voice.
To make the sound of [p], press the lips together and then release the air in your mouth. Make
[b] in the same way, but add a voice. [P]aspirated only at the beginning of a stressed syllable.
B. Pronunciation Drills
[f] [p] [v] [b]
feel peel vase base
fit pit vote boat
face pace very bury
few pew covered cupboard
file pile veil bail
faint paint vie buy
fail pail voile boil
fond pond vigor bigger
C. Pronunciation of Target Sounds in Phrases and Sentences
feel fine free press few faces please repeat
flower vase first pew pass or fail peel a potato
very busy volleyball vote buying forget the past

1. Fe felt faint after painting Felipe's picture.

2. Place the flower pot on a pedestal on the platform.
3. The farmer plows the field before applying fertilizer.
4. Please prepare food and pink pills for four poor pale people.
5. Forty firemen were confined on the fifth floor.
6. The top cop has a tough cough.
7. When you finish, pass your projects forward to the professor and keep your rough draft in
your files.
8. Are you planning to pay your fees in full or partial?
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9. Feel free and please find our friends at the party.

10. People are prohibited from picking flowers at the Freedom Park.
D. Tongue Twister
Peter Piper picked a peck of pickled pepper.
If Peter Piper picked a peck of pickled pepper,
Where's the peck of pickled pepper Peter Piper picked?
E. Conversation Drill
Fe: I'm having a lot of trouble with spoken English.
Vic: In what way?
Fe: In many ways. It's so hard to remember the rules and because often
I'm not sure of myself, I do not talk much. And when I talk, I hesitate with certain words and
sounds.
Vic: I think I know what's the cause of all this.
Fe: You do? Please tell me. Really, I'd appreciate it very much if you will.
Vic: Well, I think you're putting all the emphasis on the wrong thing.
Fe: What thing?
Vic: Those rules.
Fe: Aren't you supposed to learn them well so you'll know how to say things and how not to
say things?
Vic: I have no quarrel with you on that point, but you can't be thinking of what's in the hand-
out all the time every time you speak. You keep remembering what you've seen there.
Fe: Those rules must be followed!
Vic: Yes, but you have to speak in order to learn to speak. You have to acquire the habit of
using the language of real life. You have to learn those whole phrases and sentences as used in
actual spoken English.
And I repeat, you have to speak in order to learn to speak.
Fe: I think I see what you mean.
LESSON 3
The Sibilants: [s], [z], [sh], and [zh]
A. Mode of Production
To make the sound of [s], bring the teeth edges together, spread the lips to keep the teeth
edges free and blow the air out to make a hissing sound. Make [z] in the same way, but add a
voice. This is the buzzing sound.
B. Pronunciation Drills
[s] [z]
sip hiss niece zip his knees
sink seal rice zink zeal rise
sue ice place zoo eyes plays
Target sounds in phrases
lazy niece icy place his eyes use reason
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easy result zero quizzes raised funds piece of zinc

place cards zephyr breeze zip the zipper seasons greetings
sounds nice wise ideas asking price please rise
praise others class size graces before meals
Target sounds in sentences
1. We always say our graces before meals.
2. Please rise for the opening prayers.
3. Your wise ideas sound nice.
4. His lazy niece forgot to mend her zipper.
5. The zoo is an icy place.
6. Although the quiz program was easy, the results were not satisfactory.
7. Suzy looked exceedingly surprised.
8. It is always easy to criticize the work of others.
C. Mode of Pronunciation: [sh] and [zh]
To make the sound of [sh], bring your teeth close together. Keep the, tip of the tongue
close to the teethridge and the middle of the tongue close to the roof of the mouth. Push the
lips outward and blow. Make [zh] in the same way, but add a voice.
D. Drills on Target Sounds
[sh] [zh]
Initial Medial Final Medial Final
sheep ocean fish Asian leisure beige
ship nation wash usual treasure roque
show decision crush azure measure corsage
shine mission flesh vision pleasure garage
shake machine fresh closure pressure mirage
sugar pension cash allusion derision entourage
shore session trash glazier lingerie camouflage
shout crucial blush illusion bourgeois espionage
E. Mode of Production: [ch] and [j]
To make the sound of [ch], follow the same directions for [sh], but instead of blowing
out the sound, strike the tip of the tongue against the toothridge to make an explosive sound.
Make[ j] in the same manner, but add a voice.
F. Pronunciation Drills
[ch] [j]
cheep chain cheer jeep Jane jeer
chin choke chew gin Joke Jew
chest H catch jest age cadge
chunk chump batch junk jump badge
Target sounds in phrases
same bus shave close hissing snakes
shift action save the city whistling arrows
sift flour buzzing bees mashed potatoes
Jones Bridge same scene zooming airplanes
shameful action Chinese store insurance officials
Target sounds in sentences
 P a g e | 72

1. Ciasha spends her leisure hours wisely.

2. The sheep on the ship are in bad shape.
3. Marsha sells seashells by the seashore.
4. Please pass me the rice.
5. We saw the judge in church last Sunday.
6. The treasure lies at the bottom of the ocean.
7. Shrimp salad and mashed potatoes were on the same table.
8. He paid the usual garage charges with derision.
9. I have no wish to make an issue of that shameful action.
10. The teacher purchased a box of chalk from the Chinese store.
11. George told the judge his challenging story.
12. The new preacher spoke with unusual charm.
13. Seeing you back so soon is a pleasure.
G. Tongue Twister
Swim, Sam, Swim
Show them you're a swimmer
Six sharp sharks seek small snack
So swim, Sam, Swim.
LESSON 4
[s] as [s], [z] and the Prothetic [s ]
There are three ways of pronouncing [s]
1. in relation to the sound preceding it;
2. as the plural form of nouns and the singular form of verbs: and
3. as the prothetic [s].
Prothesis is the addition of a letter at the beginning of a word.
Listen carefully to the pronunciation of [s] in the following words:
[s] [z]
cups plates coughs spoons bowls herbs
suits books nights shoes pencils gives
sleeps walks wants snores rides toys
bakes writes locks fries reads blouse
chiefs booths crops logs times room
The (s) in the first three columns is voiceless because it follows a voiceless sound,
either [p], [t], [k], [f], or [th].The [s] in the last three columns becomes voiced [z] because it
follows a voiced sound.
The following nouns form their plurals by adding a separate syllable which is
pronounced [z]. This occurs after [b], [d], [g], [v], [m], [n], [ng], [r] and after vowel sounds.
The following are examples:
can - cans club - clubs paper - papers
name - names pie - pies teacher - teachers
meal - meals pen - pens table - tables
bag - bags word - words professor - professors
song - songs nerve - nerves friend - friends
 P a g e | 73

The difference lies not in the voicing of [s], but also in the length of vowel before it.
[s] [z] [s] [z] [s] [z]
ice eyes place plays lace lays
peace peas race raise trace trays
loss laws advice advise grace greys
The ending [es] takes the [iz] sound after [s], [z], [sh], [zh], and [dz].
class - classes close - closes phrase - phrases
dance - dances bridge - bridges cause - causes
rose - roses bench - benches judge - judges
ooze - oozes page - pages excuse - excuses
use - uses dress - dresses garage - garages
The combination of [s] plus another consonant at the beginning of a word is also a
difficulty for Filipino learners of English. Do not add an extra syllable before initial clusters
of [sp], [sk], [st], [sl], [sm], and [sn].
school small spoil United States
sky spit scold loud snore
stay spoon star short street
story spelling scatter sky scrapers
sleep smart standard start schooling
H. Practice Drills
1. Strong reasons make strong actions.
2. I saw a ship sailing across the sea.
3. The decision was criticized without reservation.
4. It sometimes, but not always, pays to be positive.
5. A wise loser always tries to discern the cause for his failure.
6. His vast possessions resembled that of the millionaires of Brazil.
7. Sheila was supposed to present a revised edition of the book on cosmetics.
8. She sells short shirts and shells in the shop by the seashore.
9. He did not wish to push the issue to a finish.
10. George almost fell from the Jones Bridge as he rushed to deliver a package.
11. As the farmers stretched before the fire that evening, each talked as chickens just beyond
the orchard, which in each case were let unmolested
I. Practice Selection
1. For all the heartaches and the tears
For gloomy days and fruitless years
I do give thanks for now I know
These were the things that helped me grow.
2. Errors, like straws, upon the surface flow
He who would search for pearls must dive below.
LESSON 5
The Retroflex [r]
A. Mode of Production
To make the sound of [r], turn the tip of the tongue towards the toothridge, but without
touching the roof of the mouth. The lips should be slightly rounded.
 P a g e | 74

B. Mimicry
three father merry terrible arrival
pray mother nerve paper paragraph
rain nurse fern murderer explorer
read neighbor treat embarrass interior
real visitor seminar corridor furniture

In the following examples observe carefully the insertion of a [ə] between a front vowel
and [l] or [r].
care- key ər hear- hiy ər pale- pey əl
hair- hey ər seal- siy əl milk- mi əlk
fear- fiy ər sill- si əl paint- pey ənt

C. Pronunciation Drills
1. Would you care to listen to the tape recorder?
2. I ordered the waiter to bring me a piece of roast and a plate of fried rice.
3. Perhaps your inaccurate formation of the speech sounds is only due to carelessness.
4. The hardware dealer expected lower retail prices this year.
5 Rest assured of your safe arrival in the province early morning tomorrow.
6. The governor was guest-of-honor in yesterday's ceremonies
7. The officers will see her off at the airport later.
8. Better late than never, but better never late.
9. The writer and the director at the theatre are father and daughter
10. Mr. Gardener is the former manager of the Farmer's Training Center.
11. The pop singer's concert started earlier this afternoon.

SPEAKING SITUATIONS
THE ART OF CONVERSATION
Do you love talking? How much talking do you indulge in everyday? When people
meet, what would they usually do? Yes, talking is something most people do everyday at home,
in school, in the streets, in parties, in church, at table while eating. Practically everywhere many
of our pleasant hours are spent in friendly conversations with our fellowmen. So ordinary is
the activity that we often take it for granted. How many among you, for instance, have given it
some thought even just for once?
For all we do not know, conversation is an art, and like all other arts, it must be practiced
intelligently to be mastered. It is not just words. It is a complex interplay between people, an
informal spoken exchange of thoughts and feelings involving many other signals, seen and
implied. To master the art of conversation, there are requirements.
BASIS OF GOOD CONVERSATION
A. SINCERE INTEREST IN PEOPLE AND THINGS ABOUT US.
Show interest in others be a close observer. Learn to listen and be thoughtful of
others. Oftentimes, what triggers conversation is personal interest.
B. COURTESY
Conversation is a game of two persons. There is give and take. It is not a one-way ticket.
The game is played according to the following rules:
 P a g e | 75

1. Feel a personal responsibility for the success of the game of conversation. Do your part to
“keep the conversational ball rolling."
2. Try to be tactful. Rudeness has no place in a conversation.
Empathize. Be considerate of the feelings of others. "Loose lips may sink ships."
3. Try to bring to each person as much pleasure as possible.
Talk about pleasant things. Fair words cost nothing.
4. Speak in a soft, pleasant, sympathetic, well-modulated tone.
5. Avoid monopolizing the conversation. Do not be a star performer that overshadows the other
players. Talkativeness is one thing. Speaking well is another. In the words of Prier, “They never
taste who always drink; they always talk who never think."
6. Use your senses. Be keen. Be sensitive to the feelings of others.
C. Contribute You Share
Share with others your experiences and interesting things learned from your readings,
conversations, travels, and from life itself.
GOOD MANNERS IN CONVERSATION
Conversation, like any part of daily life, is an occasion for practicing good manners.
To show courtesy, do the following:
A. Be attentive. Listen.
B. Maintain eye contact.
C. Do not get off the subject.
D. Do not interrupt. If you must, do so politely.
E. Do not monopolize the conversation.
GETTING STARTED
A. Small Talk
Getting launched is the most difficult part of a conversation. Even with friends we
sometimes have difficulty in getting conversation started. It may be even more difficult when
we are with strangers.
One of the mainstays of conversation is the art of small talk. It is the stage in a
conversation when you and the other person seek common ground and establish a relationship.
If small talk works, the rewards can be great - it may well lead to a long and fascinating
discussion of important matters.
To launch into small talk, you need a gambit of good openers. They do not have to be
startlingly original. The more they are down-to-earth or worldly the more likely the other
person is to feel confident and able to respond.
The following are some well-tested and effective openers:
1. Comments on the weather
Example: It's warm today, isn't it?
2. Comments or questions on the surroundings of the event
Examples: This is a lovely house, don't you think?
The food looks magnificent!
It's getting quite crowded.
I'm afraid I don't know many people here.
3. Comments and questions on how you and the other person arrived
Examples: The traffic was terrible!
I thought I'd be late. The bus was delayed.
Did you find the place easily?
How was your trip?
4. Comments or questions on people who are central to the event.
 P a g e | 76

Example: It's Mary's 18th birthday. I can't believe it.

5. Comments on common news stories, or recent films, books or television programs
Example: Have you seen the latest play?
With this first move made, you have the ball in your court, and you must keep the
rally going.
HOW TO PROCEED
For conversation to flourish, be guided by the following tips:.
1. Ask plenty of questions.
2. Make some personal disclosures.
3. Venture opinion or information about yourself to help establish trust.
4. Keep a balance between the two lest small talk leads to interrogation. Too much
disclosure may also make the other person feel uncomfortable.
5. Avoid the risk of conflict. Steer clear of controversial topics
6. Watch how the other person responds.
To be able to go on with a conversation, two points have to be remembered:
1. The importance of a well-stocked mind.
2. Don't believe everything people tell you in small talk. In conversation, even the
sincerest of persons rarely say precisely what they mean.
3. In small talk, the seeds for a long and interesting conversation are sown.
MAKING INTRODUCTIONS
When presenting people to one another, you help them start up a conversation if, as
well as mentioning each person's name, you add a snippet of information that would get them
interested in each other. The following rules governing introductions aid considerably in
making one feel at ease in a group:
1.
Present a boy to a girl.
The boy does not extend his hand for a handshake unless the girl extends hers
first.
2. A boy always rises when introduced to anyone.
3. A younger person is presented to an older person
4. If both are of the same age, it does not matter.
JOINING A CONVERSATION
Going alone to social gatherings can be harrowing. Often, von know few people and
find yourself with no one to talk to. In this situation be bold. Go up to a group of people and
join in. In so doing, however use your common sense.
If two people are huddled together talking seriously, they are not likely to welcome
your intrusion. Before joining. Look for signs that a group is ready for a change-space between
people, random exchanges with gaps between comments and people looking around the room.
Approach boldly. Make steady your contact with the person who looks less involved,
smile and ask something like, "Do you mind if I join you?"
LEAVING A CONVERSATION
To end a conversation, do so quickly and decisively. This is more polite than to go on
exchanging listless comments with a person while your eyes travel the room looking for
someone else. At an appropriate moment, say, "It's been interesting talking to you" or "I'd better
go and mingle." Alternately, make an excuse to go to get some food or to find the comfort
room. If you are sitting, you can indicate that you wish your conversation to end by standing
up telling the other person at the same time how much you have enjoyed his/her company.
 P a g e | 77

KEEPING CONVERSATION FLOWING

Some conversations refuse to flow. Often, this is a result of a clash of the
conversational styles of the two people involve all enthusiasm and sympathy, the other may
be quieter and more private. As a result, the other backs off. Another problem is when
someone is interested enough in the other person.
A. Improving Your Style
Good conversation requires diplomacy and tact. It is give and take. Avoid the
following conversation killers:
1. Talking too much
2. Talking too little
3. Interrupting
4. Too much personal disclosure
5. Going into too much detail
6. Constantly bringing the conversation back to yourself. The conversation of most
people is all “I”, “myself” and “me”. Don't fall into this trap.
7. Trying to be funny all the time
8. Imitating the other person's accent
9. Being too critical
BEING TOO CRITICAL
Some people are hopeless perfectionists. The standards they demand of life are impossibly
high. As a result, most things fall short of their standard and friends stay away from them.
Little can be gained from being critical unless:
1. You are criticizing something that can actually be changed.
2. You offer an alternative to the thing you are criticizing.
3. You are specific and clear about what you are criticizing and why.
4. You let others know that what you are saying is only your opinion.
5. You balance your criticism with praise.
Remember that people can sense criticism even where it is not intended. Some people,
for instance, can perceive criticism of themselves when a speaker lavishes praise on another.
The following dialog shows this.
A. I saw Jenny yesterday.
B. Oh Jenny. She's an absolutely delightful person, so charming and generous, a wonderful
person to be with.
C. Yes, (Thinks and what does that make me.?)
Avoid sarcasm. A sarcastic person rejects involvement with what is being said and proposed.
Another conversation killer is complaining. Don't complain unless you are absolutely
certain that a complaint is in order. Someone who constantly complains lowers the mood of a
conversation, making it difficult for others to be positive and constructive. It becomes
difficult to maintain the necessary cooperative spirit in a conversation when one person keeps
complaining. Here is a good example:
A. This food is cold.
B. Oh dear, shall I call the waiter?
A. No, he looks too busy anyway.
B. Mmmm.
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A. I'm not very keen on the décor in here, are you?

Although the complaints are directed to the restaurant, B gets the impression that A
would rather not be there at all, and by implication, not be in his company. Finding things to
praise--no matter how difficult is more likely to lead to enjoyable conversation. But neither
should we, however, be excessively apologetic- except of course, when you really have said or
done something to offend another person.
HOW TO RECEIVE CRITICISM
Avoid criticism-but learn how to take it. Being criticized to your face can be
devastating. If you are criticized, here are some points to remember:
1. Listen and make sure that you have clearly understood exactly what the other person is
saying against you.
2. Ask other people if they think what has been said against you is valid.
3. Be scrupulously polite. If the criticism is constructive, thank the person criticizing you. He
may be concerned about you.
4. You are free to reject comments. If, however, you accept the criticism, be sure to do
something about it.
COMPLIMENTS
In conversation, one of the best ways of encouraging the other person to your
compliments and where you aim them. While some people take it as a sign of approval and
they will be warm to you accordingly, others find it highly intrusive and are embarrassed when
complimented early in a conversation. It might do well to take the following considerations:
1. Don't pay a compliment unless you really mean it. If you are worried about sounding
insincere, underplay it.
2. Don't forget that the most effective compliments confirm a person's own judgment of his or
her qualities and achievements. Otherwise, they will ring hollow.
3. Be ready to receive compliments. Don't brag. Don't diminish one by dismissing it."Oh, it's
nothing, nothing really expensive." It is ungracious to dismiss compliments. If at a loss for
words, give a nice smile and respond simply by saying: "Thank you very much for saying that."

OTHER CONVERSATION KILLERS

1. Avoiding or ducking issues.
Don't dismiss an issue. Help someone face up to it. Sometimes you are deep in
discussion with someone, when quite inadvertently you make a comment or reference that
triggers off an unexpected explosion of say, grief. You may have reminded one of a loss. Don't
ignore another's feelings. Say, “I'm sorry, you must miss your so badly. If an embarrassment
was done, say, “I'm sorry, I seem to have upset you."
2. Having all the answers.
The know-all is another spoiler of good conversation. So is falling into the imperative
mood without the use of grace notes such as; PLEASE, WHY DON'T YOU... or PERHAPS,
YOU MIGHT.... Also, avoid constant moralizing. Lecturing about the wrongness of a
person's behaviour may be offending. Do not underestimate their capacity to work out the
pros and cons of things for themselves.
USING THE RIGHT LANGUAGE
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To make good conversation, use language appropriately and effectively. Be careful with
words. “A word said is a shot fired.” No one means all he says; yet, few say all they mean.
"Words are slippery and thought is vicious”. Once a word has been allowed to escape, it can
never be recalled. Watch out for the following points:
1. Avoid too many fillers like "ums”, “ers”, "actually", "you know", and the like. Use them
sparingly. Excessive use of these can become an unbreakable habit that detracts from
what you are saying.
2. Watch out for jargon. They alienate the listener.
3. Watch your endearments. Too much use of my dear', 'love', “sweetheart' can appear
patronizing or over-familiar. Unless you are in a theatrical environment where such
effusions are part of the common currency of conversation.
4. Avoid offensive dogmatic expressions. Prefacing statements with "The fact is, the truth
is, or definitely...makes them seem to see their views as universal truths. 'In my opinion,
'my view is', 'I firmly believe that..' would be more tactful.
5. Use the word 'we' only when you mean we.
6. Don't overuse 'one'. It obscures meaning.
7. If someone uses a word you do not understand, ask for an explanation. Don't try to feign
understanding.
8. Do not point out mispronunciation or misuse of words. That's humiliating if done in
public.
9. Try to improve your own vocabulary. Read and be more adaptable in conversation and
able to talk to a wider range of people.
10. Don't worry if you cannot find the right word in conversation
11. Avoid slang and swearing particularly with people you do not know
well.
12. Be animated. Use nonverbal cues, vocalics and gestures.
HOW TO BE A GOOD LISTENER
Listening is as important in conversation as talking. It encourages people to say more.
The following pointers will be a great help:
1. Think less about yourself and more about the conversation.
2. You need mental concentration, generosity, and self-confidence.
3. Respond positively to initiatives in conversation. Be reassuring or supportive at times
4. Be alert to what lies behind a person’s words.
The following pointers will serve to encourage:
1. Maintain eye contact.
2. Make the right noises.
3. Use appropriate facial expressions.
4. Adopt a relaxed stillness.
A beautiful world beckons to you. Make many friends. Enjoy life. You will pass this
way but once. Be a good conversationalist. Talk. Listen Make sense and be counted. As Plato
said, “The more the pleasures of the body fade away, the greater is the pleasure and charm of
conversation."
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ACTIVITIES
I. What can we talk about?
Suggest topics of conversation which can be introduced when you are in the company
of the following:
1. Your classmates.
2. Your parents' friends.
3. A mixed group of various ages.
4. Your teachers.
5. A group of boys and girls together for the first time.
II. Talking it Over
Working in pairs, converse for three minutes on any one of the following topics;
1. a show that you have seen
2. an examination just taken
3. a news item read/heard
4. a TV program which both of you enjoy watching
5. a hobby which interests both of you
6. some hot issue of the day
III. Role-playing
Act out the following situations:
1. You are having a party. Your mother does not know your visitors.
2. At a party, your new friend wants to meet your other friends.
3. Your father wants to know your teacher
4. You want your grandmother to meet your best friend
5. You are in a bus bound for Manila. Beside you is a complete stranger.
6. It is your first day in college. You are in a classroom with new classmates.
IV. Answer the following questions briefly. These will help you find the faults of some
speakers in conversations
1. Is it important to be good both as a listener and as a speaker? Why?
2. How do you feel in conversations where only one is talking all the time?
3. Are there persons who never let you finish what you are saying? Do you like them?
4. Is it all right when a topic you are interested in is suddenly changed to a different one?
5. When a speaker looks past the listener, is he interested?
6. Are vocalics and body language needed in ordinary conversations? Why?
7. Do you enjoy conversing with persons who love talking about themselves most of the
time?
8. Are you a stutterer? Is your speaking voice desirable?
USING THE TELEPHONE
Making and receiving telephone calls is another art you have to master. Not only does
the telephone bridge gaps, but it also make communication quick and simple. More
importantly, it facilitates the building and maintenance of better relationships between friends
and business associates. To do that, the practice of good manners is also a must
Telephone etiquette is as important as manners in any other place or situation. Perhaps,
even more so since your voice is your sole means with which to make an impression on the
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other person. This, however, does not imply that body language and facial expressions are not
necessary. These, too, have to be watched for they affect the way you sound.
To be an effective telephone user, the following do's and don'ts have to be observed:
1. Answer phone calls promptly and pleasantly.
2. Don't answer the phone in a rush. For a relaxed effect, pause and take a deep breath
before picking up the receiver.
3. To keep a bright tone in your voice, smile when talking on the phone.
4. Project a friendly positive attitude.
5. If you know the person talking, use his/her name in your greeting during the
conversation and when parting.
6. Speak clearly. Pause at regular intervals.
7. Be familiar with telephone styles, social or business.
8. Don't judge people by what you hear immediately.
9. When making a difficult call, work out beforehand what you want to say.
10. Before dialling, listen for the dial tone to find out if the line is engaged. If your party
line is using the phone, don't eavesdrop.
11. Be polite. Don't forget to use grace notes like:
Hello!
May I know who's calling?
A moment, please. I'm sorry.
Thank you for calling.
12. Identify yourself. Don't play games over the phone like asking the called party to guess
your identity.
13. Have a telephone directory to avoid mistakes or doubts.
14. Have paper and pencil pen ready. Write down any message left by the caller clearly and
accurately.
15. Make your call as brief as possible. It is the caller that ends the call. If you must get off
the phone, curtail a call politely.
16. If you have nothing to do, don't do it on the phone. Others may have urgent use for it.
17. Avoid asking these questions on the phone:
Who's this?
What number is this?
Guess who I am?
Why are you calling?
18. When the caller is giving a lengthy explanation, indicate your presence on the line by
using appropriate sounds like; "hmmm", "of course”, that's right", "I see", "certainly",
"oh", go ahead”, “Yes, I understand, Ma'am/Sir".
19. When the person called is not around, do any of the following;
Ask the caller to call again at a definite time, or offer to take down the message.
In the second situation, the caller may do any of the following:
Leave the message, or leave his/her name for the called party to return the call.
20. If it is a wrong number, say,
"I'm sorry, you got the wrong number".
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Never bang the telephone nor yell at the caller.

21. If you are in any of the following situations, it might be better to visit your friend instead
of using the phone.
You have much to talk about.
The subject is delicate or confidential.
It seems hard to do it on the phone.
ROLE PLAYING ACTIVITIES
Demonstrate the use of telephone manners in the following situations:
1. Invite a friend to a party.
2. Answer a telephone prankster.
3. Call up an airline and make a reservation.
4. Report to the police an unusual disturbance in the neighbourhood.
5. Make an appointment with your dentist.
6. Greet your best friend on her birthday.
7. Inform your teacher about your absence from the class.

THE INTERVIEW
WHAT IT IS
One of the important kinds of interpersonal communication is the in It is a two-way
dynamic and interactive process consisting of an interchange or ideas and opinions through
questions and answers to achieve a purpose. Essentially, the interview is a conversation with
the following special features:
1. It has a specific preconceived purpose.
2. It follows a fairly structured pattern (time, place, length, participants and subject
matter which are established well in advance).
3. One group or participant controls the proceedings and contributes mainly questions while
the other contributes mainly answers.
By its very nature, the interview sets up an artificial and often daunting relationship
between people. The participants, the interviewer(s) and the interviewee, adopt roles and are
not equal partners, the former taking the lead role. The setting is unnatural rendering the
interviewee not to be completely at ease. That is why many are afraid of being interviewed.
But with practice and with the use of techniques and strategies, you can cope and still make a
good impression.
FORMS OF INTERVIEW
There are three forms of interview:
1. Panel interviews
2. Two interviewers
3. One-to-one interviews
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TYPES OF INTERVIEW
As there are many purposes for the interview, so also are there many types of
interview. They are as follows:
1. Informational Interview
This is the same as the press interview
2. Exploratory interview
This is the fact-finding interview.
3. Employment interview
This is an important type for new graduates.
4. Performance appraisal interview
This evaluates job performance.
5. Counseling interview
This aims to change behavior or improve relationships and performance.
6. Grievance interview
This remedies problem situations.
7. Correction interview
This identifies and substitutes undesirable behavior.
8. Sales interview
This makes a sale or accepts a solution.
9. Exit interview
This creates goodwill.
PARTS OF AN INTERVIEW
An interview falls naturally into three parts:
1. Welcoming the interviewee
Here, the interviewee is made to feel at ease.
2. Questioning the interviewee
The interviewer, prepared with a list of questions on topics beforehand, directs the course of
the discussion with marked flexibility.
3. Concluding the interview
The interviewee may ask questions.
The interviewer thanks him and says a few parting words without unfairly raising the
interviewee's hopes.
INTERVIEW TECHNIQUES
To get the desired information, interview techniques are useful. Here are some:
1. Questioning
Questioning plays a vital role in the interview as this is the main instrument used to elicit
information and communicate feelings and attitudes. Various types of questioning are also
available for specific purposes; to wit
a. the open-ended question
ex. Tell me more about yourself.
b. the direct question
ex. Did you enjoy your practice -teaching?
c. the mirror-type question
ex. What makes you feel you can be a good teacher?
d. the probing question
ex. What didn't you like in the laboratory school?
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e. the leading question

ex. What makes you think you will get the job?
f. the problem-solving question
ex. What solution would you suggest to solve the problem?

2. Listening and observing

Another helpful interview technique is listening attentively and being sensitive to each other's
behavior, gestures and non-verbal signals. These add more meaning to words said and/or to
words left unsaid. Throughout the discussion, the interviewee must be quick to recognize such
clues to perform well in an interview.
3.Evaluating and controlling
In the interchange of ideas and opinions and in the feedback each of the interview
participants is sending and receiving, a lot of evaluation and modification of original ideas
take place to give way to mutual understanding. Going on and off the beaten track once in a
while during the discussion, enables the interviewer also to draw more information from the
interviewee.
ROLE PLAYINGACTIVITY
Act out the following situations
1. A problem student seeking help from a guidance counselor
2. A police officer interviewing a fire victim
3. A principal interviewing an applicant for a teaching position
4. A teacher interviewing a transferee.
SMALL GROUP DISCUSSION
WHAT IT IS
Small group discussion is a planned conversation of a group of three or more people
who are tasked to find solutions to some problems. It is a reflective thinking process aimed at
securing mutual agreement on the solution/s of problems. This type of interpersonal
communication is important especially in organization, schools, government, and non-
government agencies, research foundations, business firms and the like for their functions to
be carried out.. It has a variety of forms known by different names. So, we hear of committees,
teams, panels, conferences conventions, forums, symposia, councils, boards, study groups, task
force and business meetings and assemblies. The use of such groups is so widespread that
people want to know how to make group processes more effective and more efficient. Their
main concern - how to facilitate group action, how to improve leadership, and how to make
people work together.
Because many of our activities take place in small groups, it is of great value for you to
understand these groups and how they interact.
CLASSIFICATIONS
Group interaction may be classified in three ways:
1. According to focus, it may be:
a. inner focus discussion, or
b. audience focus discussion
2. According to format, it may be:
a. Panel discussion,
b. Round Table discussion, or
c. Symposium
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3. According to purpose, it may be for:

a. Pleasure,
b. Learning/information sharing,
c. Decision-making or
d. Problem-solving
ELEMENTS
An effective group discussion has the following five essential elements:
1. an objective/ purpose
2. a topic for discussion
3. a responsible leader
4. a group of thoughtful and skilled participants, and
5. an outline for discussion
FRAMEWORK
The general framework for a satisfactory group discussion consists of the following
1. Introduction. This is the statement of the discussion question, its relevance or significance
and the agenda to be followed
2. The body. This is the analysis, investigation and presentation of possible solutions.
3. Conclusion. This is the summary of the points that have been taken up.
CONDUCTING THE SMALL GROUP DISCUSSION
Interaction is important in small group communication. The process is dynamic,
spontaneous and continuous with each participant playing active roles as speaker and listener.
The interchange of ideas and opinions establishes cohesiveness and leads to the realization of
the group's discussion objective.
How successful a group discussion may be, depends a great deal on the constitution of
the group itself and on the competence and efficiency of its leader or facilitator, often called
the chairman.
To guide the leader and the participants in the group discussion suggestive and flexible
outline, as follows:

OUTLINE
FRAMEWORK WHAT TO DO HOW TO DO IT
INTRODUCTION - Leader introduces the topic. - He shows sincere interest in
-Leader explains the topic. the topic.
-Leader gives significance of -He shows sense of purpose
the topic. and direction.
-Determine relevance of the -His opinions and ideas
topic for the group remain in the background.
-Limit the topic and -Leader and members direct
establishes scope attention to group purpose.
-Leader decides specific area Participants are encouraged
the group will explore to make suggestions
-Group keeps discussions
information- centered.
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BODY - Determine dimension from - Members contribute ideas

which topic will be in their areas of
discussed. competence.
- To clarify the discussion - Mmembers center
contribute personal attention on goals moving
experiences. forward and making
-Bring out casual ships changes as needed.
resulting from discussion of - Leader and members
personal experiences. maintain order and
-Determine inadequate or progression in the
contradictory information discussion
-Decide on facts that help - Leader maintains balance
accomplish the purpose of between pros and cons
the group. - Discussions are worked
through to reach an
agreement.

CONCLUSION -Leader restates importance - Group focuses on purpose

of topic under study of the discussion
- Leader sums up the most - Final agreement on the
important points essential points under each
- Leader provides feedback topic
to members who, in turn, - Provision for change and
compare results adjustment as required
-Relates information - Members are able to
obtained to topics and group accomplish their purpose.
purpose.
Activity:
1. Divide the class into small groups. Each group will be given the following
responsibilities.
a. Selecting their leader
b. Choosing a topic they can discuss freely
c. Deciding on the type of discussion, and
d. Presenting the discussion before the class.
PREPARING AN ORAL TALK
Preparing an oral talk is no easy task especially for beginners like you. To start with,
let's check on your feelings and attitudes.
How do you usually feel when a speaking job is given to you? Are you happy about it?
Do you welcome it readily? Or are there second thoughts that bog you down? What is the
predominant feeling?
FEAR, yes. Speaking before a group or in public ranks number one of the ten worst
fears, not only among us, Filipinos, but even among American professionals. According to an
author, it is worst than the fear of death. Why? WHY THE FEAR AT THE THOUGHT OF
SPEAKING IN PUBLIC?
The critical variable that makes public speaking dreadful for most neophytes is the word
"public". It is that psychological fear of the unknown, fear of an unreceptive audience, fear of
committing mistakes, of being laughed at, fear of a mental block- of losing your lines, your
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voice, your color or your face, fear of fear itself and its intensity-nine shaking of hands,
wobbling of knees, pounding heartbeat, profuse sweating, dry mouth, the feeling of running to
the restroom, and what have-you. It could be all sorts!
Misconceptions on the nature of public speaking are also contributory factors.
What, then, can we do about it? RUNAWAY? MAKE EXCUSES? Of course not!
FACE IT SQUARELY! There are no gains without pains. And there's no harm in trying. All
you need to do is be armed with the five P's of public speaking. They are; Perceptions, Positive
Attitude, Preparation, Practice, and Prayer. These are the five things you will have to
consider in preparing for an oral talk.
PERCEPTIONS
The first prerequisite is all in the mind. What you think about public speaking and what
you believe it to be may affect your feelings towards the activity. Knowing what it is not and
what it is, will therefore, be a great help.
Public speaking is not a unique form of speaking with grand display orally or
physically. It is not a parade of one's vocabulary. It is not making a mountain out of a molehill.
Neither is it an unnatural speech of inflated language. It is not all sound and fury. It may be a
display of electrifying styles of speaking, of vocal bombast and grandiose gestures, but
certainly, these are for the gifted and exceptional speakers.
Actually, public speaking is nothing more than speaking in public! It has the features
of ordinary speaking. In a sense, it is essentially communication, an enlarged type of
conversation, where there are more listeners and which requires louder speaking.
POSITIVE ATTITUDE
The second requirement is attitudinal. Bad thoughts and the negative feeling of being
afraid should be done away with. Break the chains of those bad thoughts. They will only scare
you all the more. Think positive. What is mentally possible can be physically possible. If you
think you can, you surely can! Live up to these thoughts and use the following reminders to
buoy your spirit up:
1. Stage fright is a human phenomenon. It is normal.
2. Capitalize on your tensions. Use them to your advantage. When the brain gets
messages of stress or excitement, your adrenalin emerges. It keeps you on your toes
and enables you to cope.
3. Have self-esteem. Believe in yourself and in what you can do. Learn to take risks.
Do away with wild imaginings like, “what if...", don't think I can...", or "I'm scared!"
Master the ten two-letter words: "If it is to be, it is up to me." Accentuate your
strengths and downplay your weaknesses.
4. Set your goal and be determined to become a good speaker. Good speech may not
happen overnight, but if you keep yourself motivated by this Chinese quotation, “A
journey of a thousand miles begins w a single step", you will find that the first step
is, after all, not hard make.
5. Be patient with your progress. Learn to labor and to wait. Take time to stumble and
rise again. Success is measured not by never falling but by rising every time you fall.
Remember that growing is going through life's up's and down's more like the
succession of sunrises and sunsets.
6. Cultivate other positive attitudes. Develop self-confidence, self-esteem,
determination, patience, sensitivity enthusiasm, integrity, friendship and love. It is
not bad to dream dreams, but be sure you wake up to make your dreams come true.
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PREPARATION
“The reason why there are so few talkers in public is that there are so few thinkers in
private," says an American author. Thinking things through before a speech spells the
difference between success and failure. Hence, preparation is important. How long and how
much time is needed, it depends.
How are you going to prepare? The following will serve as your guideposts in the
preparation:
1. KNOW WHAT IS EXPECTED
What do the organizers of the event expect of you? What do they want you to talk
about? Do you have a choice? If you do, what are your bases for your choice? Do you find it
interesting? Is it something you know a lot about? What is the occasion? Is there a theme?
What would be your purpose; to inform, to convince, to entertain or to persuade?
2. KNOW YOUR AUDIENCE
What is the demographic profile of your audience? Do you know their age range,
gender, occupation, educational background, culture, attitudes, needs and wants? How big will
your audience be?
3. KNOW WHERE YOUR VENUE IS
Where will you be speaking, indoors or outdoors? Would it be too warm or too cold in
it? Is the room small or big? What is the room layout? Would you be using devices?
4. GATHER YOUR MATERIALS
Do research work. Find plenty of facts and figures to help you. Dig out, as well, plenty
of anecdotes, jokes and quotations to add color and life to your talk and to lighten the load of
hard fact. Sometimes you have to talk about yourself. It is also a good idea to establish your
credentials. It also pays to advertise, but do not overdo. Finally, anticipate likely questions and
have your answers ready.
5. STRUCTURE YOUR SPEECH
Plan your ideas logically. Prepare an outline. It is easier for a speaker to remember
three, five or seven points. Three points are better than two. There are several ways of
structuring a speech. The following are a few examples:
a. Topic by topic
b. Geographically
c. Chronologically
d. Problem and solution structure
Once your structure is worked out, then you can start filling it in.
PARTS OF A SPEECH
Your speech will have three parts: the introduction, the body and the conclusion. Here
is how these three parts may be done.
A. THE INTRODUCTION
Consider the likely need of the audience when making an introduction. Here are some
opening devices to use:
1. Greet the audience and remind them why they are gathered together.
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2. Catch their attention and amuse them by saying something in character with the
occasion.
3. Invite direct involvement of the audience through questions and requests.
4. Surprise the audience and challenge their assumptions.
5. Thank the organizers for asking you to speak and say how pleased you are to be there.
For better effect, try delivering your lines from memory.
B. THE BODY
As a speaker, you are taking your audience on a journey, so you have to lead and show
them the way. If your speech is going to include a great deal of information, remember the old
maxim:
1. Tell them what you are about to tell them.
2. Tell them what you want to tell them, and
3. Tell them again what you have told them.
Begin by telling the audience the areas that you will cover. At various stages, remind
them of the points already established. Inject humor at intervals throughout the speech to revive
their attention. Surprise them with direct questions. Visual aids may help catch the eve. Get
your listeners to write things down. But be extra careful with criticism or controversy. In
persuasive speeches, use appeal to intellect, to social aspiration or group pride or to the instinct
to explore new ideas. But above all, your speech must have substance and don't forget to follow
the principles of good composition.
C. THE CONCLUSION
Since this is the last part, it needs to be memorable. Make a lasting impression by
serving the audience some food for the mind. Pack your remarks with something the audience
will long remember. Use quotations.
LENGTH OF A SPEECH
How long a speech should be hinges on the topic, the speaker, the audience and the
occasion. The introduction and the conclusion should not be longer than the body. A well-
proportioned speech would be:
15% - Introduction
75% - Body, and
10% - Conclusion
Generally, however, it is best to KISS your speech. KEEP IT SHORT AND SIMPLE.
PRACTICE FOR AN EFFECTIVE SPEECH DELIVERY
To make an impact on an audience, clear structure and well-judged content need to be
matched with effective delivery. How many well-thought-of or well-written speeches have
failed because of poor delivery. Success in public speaking depends on good preparation and
good presentation. So whatever is worth doing is worth doing well. There's no substitute for
painstaking practice. As is often said, constant practice makes perfect.

The following guidelines will be helpful:

1. Decide on the form or style of delivery. There are four types:
a. Reading method - is best for beginners
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b. Memorized method -is preferred by those with good memory

c. Impromptu method - is for accomplished speakers
This spur-of-the-moment speech leaves little time
for preparation, if at all.
d. Extemporaneous method - is for seasoned speakers. This, so far, is the best style of
delivery. It combines all forms.
All four types of speech delivery have their advantages and disadvantages. The choice
depends on the occasion, the speaker and his audience.
2. Allocate practice hours in your time budget. Two to three rehearsals would give best results.
Here is how to go about it.
a. First rehearsal - focus on the content of the speech.
b. Second rehearsal - focus on delivery, using the voice, the body and language
to the best advantage
c. Third rehearsal - do the final rehash on the verbal and non-verbals including
visual aids, if any.
3. Practice aloud. It warms up the body and the voice.
4. Check your posture.
5. Execute appropriate gestures.
6. Know how to use the microphone
7. Speak in public as often as you can. Welcome every speaking opportunity that comes
your way.
8. Practice at the venue or some familiar place.
9. Come to the venue early and warm up.
10 Practice with a coach or with a live audience. You can ask some friends for feed-
backing.
PRAYER
Man proposes, but it is God who disposes. This is why we need His support through
prayer. Prayer is man's strength and God's weakness. Let's, therefore, speak to Him in private
before we speak to our audience in public.
Here's how:
1. Pray for guidance. Don't expect miracles. God helps those who help
themselves. Prayer is not the last resort. It is the first recourse. Pray that your
objective be attained. Remember the four best words in prayer: “THY WILL
BE DONE'. So work hard, pray hard, and leave the rest to God.
2. Visualize Him and your loved ones before speaking. Prayer purifies. It keeps
our sincerity in check. Prayer also humbles. It reminds us of our audience as
our brothers and sisters.
3. Thank Him for everything after speaking.
Armed with these five ammunitions, you can confidently face the world to attain your
goals and objectives in time. As you go, I urge you FEAR NOT. Go far ahead.
In the words of Quintillian, "God has impressed man with no characteristic so proven
to distinguish him from the other animals as by the faculty of speech." "Gain this power for
yourself and you will have at your service the greatest force ever put in the hands of mankind.”
With this power at your command, you can revive some dreams you may have given
up on and you can fan your burning desires towards global competitiveness.
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ACTIVITIES
1. Make short introductions using the following devices:
a. An amusing incident
b. A relevant quotation
c. An anecdote
d. A surprising statement
e. A challenging note
2. Write brief speeches on the following situations:
a. As president of an organization, write a short welcome speech for a seminar
on social graces.
b. Prepare an opening remarks for a convocation ushering in the English Month
Celebration.
c. Select an official in your school for an interview. Be ready to introduce
him/her as guest speaker.
3. Conduct an impromptu speaking tilt in your class using the following topics:
a. A cherished dream
b. On texting and texters
c. The Information Superhighway
d. Beauty or Brains
e. A Friend indeed
f. The problems of the youth of today
g. Had I another life to live
h. My dearest neighbor
i. Experience is the best teacher
j. A rewarding Incident
k. Life on the farm
l. The hassles of city life
m. An influential person in my life
n. If I were a millionaire
o. The plight of domestic helpers.

4. Make a presentation of a project proposal to the class.

 P a g e | 92

References:

Diaz, R.H., (2005), Speech and Oral Communication for College Students. Mandaluyong:
National Bookstore

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communication/

http://courses.lumenlerning.com/wm-organizationalbehavior/chapter/the-process-of-
communication/

https://www.slideshare.net/mobile/jedina28/the-sounds-of-english

http://www.myenglishlanguage.com/linguistics-language-guide/english-phonology/rhythm-of-
english/?amp

http://www.indeed.com/career-advice/career-development/active-listening-skills

http://www.positivityblog.com/better-listener/

http://www.speechbuddy.com/blog/language-development/a-quick-primer-on-the-mechanics-of-
speech/

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http://englishbus.net/speaking/speaking_situations.html