1.

PHONETICS
(Introduction to the Sounds of English- Vowels, i!hthongs " Conson#nts$ Introduction% Phonetics is the scientific study of speech sounds. It is a fundamental branch of Linguistics and itself has three different aspects: &rticul#tor' Phonetics describes how vowels and consonants are produced or articulated in various parts of the mouth and throat; &coustic Phonetics a study of how speech sounds are transmitted: when sound travels through the air from the spea er!s mouth to the hearer!s ear it does so in the form of vibrations in the air; &uditor' Phonetics a study of how speech sounds are perceived: loo s at the way in which the hearer!s brain decodes the sound waves bac into the vowels and consonants originally intended by the spea er. "eceived Pronunciation #"P$ is a form of pronunciation of the %nglish language which has traditionally been the prestige &ritish accent. "P is a form of %nglish %nglish. The Sounds of English #nd Their (e!resent#tion% In %nglish' there is no one(to(one relation between the system of writing and the system of pronunciation. )he alphabet which we use to write %nglish has *+ letters but in %nglish there are appro,imately -- speech sounds. )o represent the basic sound of spo en languages linguists use a set of phonetic symbols called the International Phonetic .lphabet #IP.$. )he chart below contains all of the IP. symbols used to represent the sounds of the %nglish language. )his is the standard set of phonemic symbols for %nglish #"P$. /peech can be seen as controlled breathing. .n utterance begins with a breath. .s we e,hale' we modify the flow of air in a variety of ways to produce the various sounds of speech. CONSON&NTS %0e can )he
point of define a consonant by reference to three characteristics: articulation (where in the vocal tract it is made

)he type of articulation ( how we ma e it 0hether the sound is voiced or unvoiced

Plosi)es% 1ne way of ma ing a consonant is to bloc the flow of air so that pressure builds up' and then suddenly release it. 2onsonants formed in this way are referred to as plosives or stops. Voice d E*#+!le s ,at3!at dug3tug big3pic-

Voiceless P t

Point of #rticul#tion
)he two lips #bilabial$ )ongue tip and tooth(ridge #alveolar$ &ac of tongue and soft palate or velum #velar$ b d g

.ric#ti)es
/ome consonants are produced when air is forced through a narrow opening. )hese are nown as fricatives. Voice d Voiceless f 5 s E*#+!les )at3fat that3thin peas3peace

Point of #rticul#tion
Lip and teeth #labio(dental$ )ongue(tip and teeth #dental$ )ongue and tooth(ridge v 4 6

&ffric#tes
. plosive and a fricative are pronounced together. Voice d Voiceless t E*#+!les /udge3church

Point of #rticul#tion
Palate and tooth(ridge d

N#s#ls
)he air e,its through the nose rather than the mouth. .ll nasals are voiced. E*#+!le Point of #rticul#tion Voiceless s

Voice d
)he two lips m ( +ine

#bilabial$ )ongue tip and tooth ridge #alveolar$ )ongue and soft palate #velar$ 7 ( sing n ( nine

&!!ro*i+#nts: )he remaining four consonants of %nglish are less clear(cut. /ome may be realised in a number of ways. )here are several 8uite distinct 3l3 and 3r3 sounds. Voice d E*#+!le s

Voiceless

Point of #rticul#tion

)ooth(ridge

lot

l
#alveolar$ 9ard palate #palatal$ r ( rot

)wo consonants are similar to vowels in that there is no real contact between vocal organs. )hese two are nown as glides. Voice d E*#+!le s

Voiceless

Point of #rticul#tion
)he two lips #bilabial$ w ( win

)ongue and hard palate #palatal$

'ou

VO0E1S
Phoneticians also identify vowels by their point of articulation. ;owels are classified into three groups: short' long and diphthong. pit cot put #bou t

Short )owels

e <

pet p#t cut

The vowel in "pet" is sometimes represented by the symbol // but this is unnecessary unless you wish to compare English with another language. The vowel // represents the RP vowel in "pat". For some accents, the symbol /a/ would be more accurate. Finally, // is the vowel known as the schwa. lways unstressed, // is very !re"uent in English.

1ong )owels

i!hthongs

a file
Page #

i lean
le #r n

e a e

fail The colon$like symbol indicates length. The e%ample words are all intended to be pronounced in RP. foil

dipthong consists o! two vowels pronounced foal consecutively in one syllable. The mouth moves smoothly !rom one position to the other. foul poo r

l#r l#wn

pier

u loot
pair

II 2 ST(ESS " INTON&TION

/tress is defined as using more muscular energy while articulating the words. 0hen a word or a syllable in word is produced louder' lengthier' with higher pitch or with more 8uality' it will be perceived as stressed. )he prominence ma es some syllables be perceived as stressed. 0ords including long vowels and diphthongs or ending with more than = consonant are stronger' heavier and stressed. %nglish words have one or more syllables. . syllable is a complete sound unit. In words containing more than one syllable' one or sometimes two syllables prominent' that is ' they receive the stress or accent. )he more prominent of the syllable receives the primary accent and the other receives the secondary accent. 0hile the primary accent mar comes above the syllable the secondary accent mar comes below the syllable. )he accentual pattern of %nglish words does not rigidly conform to any set of rules and one should learn to spea with the right accent by being e,posed to the right models of speech. . few conventions for accent patterns are given below. )o have good pronunciation means =$ to pronounce correctly all the individual speech sounds in %nglish; *$ to pronounce correctly the speech sounds in their combinations in isolated words as well as in sentences; >$ to spea fluently with correct rhythm' including the correct placement of stresses and pauses and the transition of sounds according to the conte,t; and -$ to spea with appropriate intonation according to the conte,t. In words of more than one syllable' one of them will receive more stress than the others. /tressed syllables are those that are mar ed in the dictionary as stressed. /tressed syllables are usually longer' louder' and higher in pitch. In %nglish' stressed syllables are usually long syllables with clear vowel

sounds. )he word banana' for e,ample' has > syllables. /yllable = is not stressed and so is short. /yllable * is stressed and so is long with a clear vowel sound. /yllable > is not stressed and so is also short. /tressed syllables are strong syllables and unstressed syllables are wea syllables. /tressed syllables are usually long' have a pitch change and have full vowel sounds while unstressed syllables are short and often have a reduced vowel sound. In an %nglish utterance' stressed words give information to the listener and unstressed words :oin the information words together. 2orrect pronunciation of stressed and unstressed words is thus e,tremely important for effective communication in %nglish. Information words in a sentence are usually nouns' verbs' ad:ectives' and adverbs. )hey give information about who' what' when' where' why' and how. )hey e,press the main idea or content of the phrase or sentence. )hey carry the message and therefore usually stressed. ?nstressed words are usually function words li e articles' pronouns' possessives' prepositions' au,iliary verbs' and con:unctions. )hese words connect the information words to form grammatical sentences. If you stress all the words in an utterance' you may sound unpleasant or even cause misunderstanding because you are giving too much information' and %nglish spea ers usually stress all words only when they are impatient or angry. 0ords that are often /tressed 1. @ouns 2. Aain ;erbs 3. .d:ectives 4. Possessive Pronouns mine' yours' etc. 5. Bemonstative Pronouns this' that' these' thoseC 6. Interrogatives who' what' when' where 7. @ot 3 negative contractions can!t' isn!t' etc. 8. .dverbs always' very' almost' etc. 9. .dverbial particles

ta e off; do

away

with

0ords that are usually ?nstressed 1. .rticles a' an' the' etc. 2. .u,iliary #9elping$ ;erbs be' do' have' etc. 3. Personal Pronouns I' we' you' he' she' it' they. 4. Possessive ad:ectives my' your' his' her' its' etc. 5. Bemonstative ad:ectives this' that' these' those 6. Prepositions to' for' with' etc. 7. 2on:unctions and' or' but' etc. English inton#tion% structures, functions #nd use 0e call the melody of language intonation. Intonation refers to the total pattern of pitch changes' i.e.' the rising and falling of the voice when a person is spea ing' within an utterance. Intonation is another important element of spo en %nglish. It is the %nglish intonation which ma es %nglish sound really %nglish. Intonation ma es speech meaningful. %nglish intonation adds the meaning of an utterance in two ways: It shows the relationship of words within and between sentences; It tells something about the feeling of the spea er. In other words' different pitches may indicate different meanings for the same utterance. Bifferent pitches help us e,press our feelings: happiness' sadness' surprise' annoyance' anger' and so on. In listening to the meaning of an utterance' therefore' we listen to how spea ers tal as well as to what they say. )he 910 and 09.) together give us the meaning of an %nglish utterance. 0e now see the importance to use the appropriate intonation patterns when we spea . 1therwise' we may be sending messages using intonations that contradict what we want words to say. Intonation patterns that disagree with the content of the utterance may indicate doubt' sarcasm' or confusion. %nglish has two basic intonation patterns: rising and falling. 0hen they go together' they can ma e a falling(rising tone.

Intonation units are also called intonation(groups' tone groups or tone(units. .n intonation unit usually corresponds to a sense group #or word group$. .n intonation unit may contain several syllables' some of them stressed and some unstressed. )he last stressed syllable is usually a mar er of the highest importance and has the focus stress. 1n this syllable' there ta es place a change of pitch' either an upward or downward movement' or a combination of the two. . nucleus refers to the syllable in an intonation unit which carries ma,imal prominence. Dor e,ample' this is the normal way of saying the following sentence: I am 0"Iting a L%)ter to him @10. )here are ten syllables in this sentence among which three are stressed syllables. )he last stressed syllable is @10. /o we say that @10 has the focus stress' and is the tonic syllable and therefore is the nucleus of the intonation unit. )he nucleus is the essential part of the intonation unit. It is still present even if the unit consists of a single syllable' as is the case with many sentence words li e yes' no' why' etc. )ail' 9ead E Pre(head of an intonation unit: .ny syllable or syllables that may follow the nucleus in an intonation unit are called the tail. In the sentence I am 0"Iting a L%)ter to him' the nucleus of this intonation unit is on the tonic syllable L%). )here are three unstressed syllables after the nucleus. )hese syllables are called the tail of this intonation unit. )he part of an intonation unit that e,tends from the first stressed syllable up to the nucleus ia called the head of the intonation unit. In the sentence I am 0"Iting a L%)ter to him' the head of this intonation unit is made up of three syllables: writing a. .ny unstressed syllable or syllables that may precede the head' or the nucleus if there is no head' are called the pre( head. In the sentence I am 0"Iting a L%)ter to him' I am comprises the pre(head of this intonation unit. /o if you analy6e the following sentence' we will come up with the structure of an intonation unit li e this: I am 0"Iting a L%) ter to him. P 9 @ )

P F Pre(head

9 F 9ead @ F @ucleus ) F )ail Dollowing are the important functions of %nglish intonation: .. )he attitudinal function Intonation is used to convey our feelings and attitudes. Dor instance' the same sentence can be said in different ways' which might be labeled happy' grateful' angry' bored' and so on. ?sually' intonation units with high heads sound more lively' interesting than those with low heads. . few generali6ations are often made here: the falling intonation is said to be more often associated with completeness and definiteness; the rising intonation is more often associated with incompleteness and uncertainty or 8uestioning; )he falling( rising is said to have feelings of hesitation' contrast' reservation or doubt. &. )he accentual function )he location of the tonic syllable is of considerable linguistic importance. )he most common position for this is on the last information word of the intonation unit. Dor contrastive purpose' however' any word may bear the tonic syllable. 2. )he grammatical function /ome sentence may be ambiguous when written' but this can be removed by the use of intonation. .n often cited e,ample is the sentence )hose who sold 8uic ly made a profit. )his sentence can be said in at least two different ways: a. . profit was made by those who sold 8uic ly. b. . profit was 8uic ly made by those who sold. .nother e,ample is the use of rising tone in statements. )he sentence )hey!re going to have a picnic is usually said as a statement li e this: )he sentence serves as a 8uestion here. )he intonation used in 8uestion(tags can have a rising tone or a falling tone: 0hen it has a falling tone' as in #a$' the spea er is comparatively certain that the information is correct' and simply as ing for conformation' while the rising tone in #b$ is said to indicate a lesser degree of certainty' so the spea er is as ing for information. B. )he discourse function of intonation

In speech' people often use intonation to focus the listener!s attention on aspects of the message that are most important. /o the placement of nucleus or tonic stress depends on the information content: the more predictable a word!s occurrence is in a given conte,t' the lower its information content is. Dor e,ample' people would say: )he #telephone!s ringing. )he # ettle!s boiling. In speech' people often use the falling tone to indicate new information and rising tone #including falling(rising$ to indicate shared of given information. People also use intonation to indicate to others that they have finished spea ing and that another person is e,pected to spea . Placement of word accent: In a number of disyllabic words' the stress depends upon whether the word is used as a noun or ad:ective or a verb. )he accent is on the first syllable if the word is a noun or ad:ective and on the second syllable if it is a verb. Gabsent ab!sent Gaccent ac!cent Gcontrast con!trast Gcompress com!press Gdesert de!sert Gdictate dic!tate Gimpress im!press Gconduct con!duct Gcontract con!tract Gcontent con!tent

Gconvert con!vert Gabstract ab!stract Gcontact con!tact Gdefect Gconflict con!flict de!fect Gfre8uent Ge,port e,!port fre!8uent Gprogress Gob:ect pro!gress ob!:ect Gproduce pro!duce Gbo dy Gbegga r

Bisyllabice words .ccent on the first syllable Gagent Gartis Gable Garmy t Gbeauty

Gbutter Gany a!gr ee de!fen d Gagenc y

Gcolor

Bisyllabice words .ccent on the second syllable a!dmi a!bout t a!dvance a!go al!though pos!se re!cei be!tween con!firm de!ceive s ve )risyllabice words .ccent on the first syllable Gnobod Gbeautiful Gcustomer y )risyllabice words .ccent on the second syllable a!ppointme at!tentio .g!reement nt n )risyllabice words .ccent on the third syllable

be!gin

Gcompany

Garticle

con!nection

des!tructive

di!rector

.fter!noon

ciga!rette

decom!po se

repre!sent

under!stand

0ords having four syllables a!pologis de!velopme .!blilty e nt sim!plicity diplo!matic unim!portant 0ords having more than four syllables au!thoritativ .ffili!ation e 1bserve : GHanuary GDebruary 1c!tober @o!vember Be!cember identifi!cati on Aarc G.pri h l

Gpopularit y pho!tography circu!lation in!tentional e,ami!natio oppor!tun n y Aa Hun Hu!l y e y G.ugust

/ep!temb er

III. (O1E P1&3 (Situ#tion#l i#logues$ Introduction% "ole playing games' e,ercises and activities help build teams' develop employee motivation' improve communications and are ( for corporate organi6ations' groups of all sorts' and even children!s development. "ole playing games' e,ercises and activities improve training' learning development' and liven up conferences and wor shops. "ole playing games' e,ercises and activities can also enhance business pro:ects' giving specific business outputs and organi6ational benefits. "ole Play: "ole Play is a fast way to improve spea ing and listening for real life situations. "ole Play uses scripts that you read with your partner' li e actors in a movie. "ole Play gives you information about your role. Iou can then tal with your partner using this information. "ole Play to Practice %nglish: "ole Play helps you spea %nglish in full sentences. "ole Play ma es you thin about what you are saying' so you remember the language. "ole Play gives you many things to thin and tal about. )ypes of "ole Play =. /ituation "ole Plays /ituation "ole Plays give you practice spea ing %nglish with correct sentences and pronunciation. %,amples: .t the Aar ets' 2lothes /hopping' .irport 2hec ( in' Hob Interview *' P".2)I2%: Jot 2. /tory "ole Plays : In /tory "ole Plays' you and your partner are characters in a story. /hort Biscussions : /hort Biscussions give you practice in as ing and answering 8uestions about a topic. %,amples Introduction' )al about Dood' )al about .merica' @%0/K Jlobal 0arming -. Long Biscussions: Long Biscussions give you practice in as ing and answering 8uestions about a topic' as well as

discussing the opinions of other people. %,amples: %nvironment' Aovies. )he "ole Play /ituations: 1. )he parents of a student are called to the college to tal about his3her poor mar s. 2. Iou are in Lhammam 2ity bus and someone is playing a songs very loudly. Iou are in a big hurry and want the player turned off. 1ther passengers thin that it is freedom of speech to play songs. 3. Iou are strolling in a department store. 0al ing around' you see a person who seems familiar' but you!re not sure. 1n a whim' you decide to stop the person and find out of s3he nows you. It turns out' after some 8uestioning' that the two of you went to the same high school' but at the time the other person weighed *M ilos more. )hat!s why you couldn!t recogni6e him3her. 4. Interruptions. . couple are trying to watch a film on );' but are interrupted by a series of unwanted visitors: a tal ative friend' the gas man' a neighbour who!s lost his3her eys' a stranger who!s mysteriously convinced that this is his house N 5. 9otel reception: a rich foreign guest and his3her secretary are arguing with the receptionist about the bill. ;arious random guests approach the des and :oin in the argument' for instance: a bridegroom' a family with lots of small ids' a film star' photographers etc. 6. 1n the bus: %ach student gets on the bus as a different character until crash and they have to react appropriately. 7. )he salesperson: .ssign ridiculous ob:ects or concepts for them to sell 8. )he tour guide can be made a lot funnier if some students play the sites that s3he is describing. "ight &ody Language: =. %ye contact %ye contact is one of the most important aspects of dealing with others' especially people we!ve :ust met. Aaintaining good eye contact shows respect and interest in what they have to say. 0e tend to eep eye contact around +O(POQ of the time. #9owever' there are wide cultural differences' so be careful in other countries$ &y doing this you won!t ma e the other people feel self conscious. Instead' it will give them a

feeling of comfort and genuine warmth in your company' any more eye contact than this and you can be too intense' any less and you give off a signal that you are lac ing interest in them or their conversation. *. Posture Posture is the ne,t thing to master' get your posture right and you!ll automatically start feeling better' as it ma es you feel good almost instantly. @e,t time you notice you!re feeling a bit down' ta e a loo at how your standing or sitting. 2hances are you!ll be slouched over with your shoulders drooping down and inward. )his collapses the chest and inhibits good breathing' which in turn can help ma e you feel nervous or uncomfortable. >. 9ead 9ead position is a great one to play around with' with yourself and others. 0hen you want to feel confident and self assured eep your head level both hori6ontally and vertically. Iou can also use this straight head position when you want to be authoritative and what you!re saying to be ta en seriously. 2onversely' when you want to be friendly and in the listening' receptive mode' tilt your head :ust a little to one side or other. Iou can shift the tilt from left to right at different points in the conversation. -. .rms .rms give away the clues as to how open and receptive we are to everyone we meet and interact with' so eep your arms out to the side of your body or behind your bac . )his shows you are not scared to ta e on whatever comes your way and you meet things full frontal. In general terms the more outgoing you are as a person' the more you tend to use your arms with big movements. )he 8uieter you are the less you move your arms away from your body. /o' try to stri e a natural balance and eep your arm movements midway. 0hen you want to come across in the best possible light' crossing the arms is a no' no in front of others. 1bviously if someone says something that gets your goat' then by all means show your disapproval by crossing them K M. Legs Legs are the furthest point away from the brain; conse8uently they!re the hardest bits of our bodies to consciously control. )hey tend move around a lot more than normal when we are nervous' stressed or being deceptive. /o best to eep them as

still as possible in most situations' especially at interviews or wor meetings. &e careful too in the way you cross your legs. Bo you cross at the nees' an les or bring your leg up to rest on the nee of the otherR )his is more a 8uestion of comfort than anything else. Hust be aware that the last position mentioned is nown as the Digure Dour and is generally perceived as the most defensive leg cross' especially if it happens as someone tells a you something that might be of a slightly dubious nature' or moments after. #.s always' loo for a se8uence$ +. .ngle of the &ody .ngle of the body in relation to others gives an indication of our attitudes and feelings towards them. 0e angle toward people we find attractive' friendly and interesting and angle ourselves away from those we don!t' it!s that simpleK .ngles includes leaning in or away from people' as we often :ust tilt from the pelvis and lean sideways to someone to share a bit of conversation. Dor e,ample' we are not in complete control of our angle at the cinema because of the seating nor at a concert when we stand shoulder to shoulder and are pac ed in li e sardines. In these situations we tend to lean over towards the other person. P. 9and Jestures 9and gestures are so numerous it!s hard to give a brief guide but here goes. Palms slightly up and outward is seen as open and friendly. Palm down gestures are generally seen as dominant' emphasi6ing and possibly aggressive' especially when there is no movement or bending between the wrist and the forearm. )his palm up' palm down is very important when it comes to handsha ing and where appropriate we suggest you always offer a handsha e upright and vertical' which should convey e8uality. S. Bistance from others Bistance from others is crucial if you want to give off the right signals. /tand too close and you!ll be mar ed as Pushy or In your face. /tand or sit too far away and you!ll be Leeping your distance or /tand offish. @either are what we want' so observe if in a group situation how close are all the other people to each other. .lso notice if you move closer to someone and they bac away' you!re probably :ust a tiny bit too much in their personal space' their comfort 6one. Iou!ve overstepped the mar and should pull bac a little. T. %ars

%ars' yes your ears play a vital role in communication with others' even though general terms most people can!t move them much' if at all. 9owever' you!ve got two ears and only one mouth' so try to use them in that order. If you listen twice as much as you tal you come across as a good communicator who nows how to stri e up a balanced a conversation without being me' me' me or the wallflower. =O. Aouth Aouth movements can give away all sorts of clues. 0e purse our lips and sometimes twist them to the side when we!re thin ing. .nother occasion we might use this movement is to hold bac an angry comment we don!t wish to reveal. @evertheless' it will probably be spotted by other people and although they may not now the comment' they will get a feeling you were not to pleased. )here are also different types of smiles and each gives off a corresponding feeling to its recipient. Bialogues for Practice: Bialogue = - 9ello. Ay name!s Prince /undar. 0hat!s yoursR - /ona - @ice name. I li e it very much. - )han you. Iou name!s good' too. - It was nice meeting you. - )han s. It was nice meeting you. Bialogue * - 0hat!s the date today' I wonderR - /unday' the Sth of Aarch. - 0hat is it famous forR - Bon!t you nowR It!s International 0omen!s Bay. Bialogue > - .re lessons overR - Ies' they are. - 0here!re you goingR 9omeR - @o' to the pictures. Ay friend!s waiting for me there. - Jood luc ' then. Jood bye. - 0ell' I!m off. /ee you later. Bialogue - 9ave you got any hobbiesR I have. I li e %nglish. - /o do I.

- Bo you read muchR - Ies' because I want to now %nglish well. - 1h' let!s tal %nglish for a bit. - @o ob:ections to it. Bialogue M - 1h' dear' hurry upK - I!m trying to. - 0ell' come on. It!s your first day at school. - Bo you want to be lateR - I!m ready now. - 1ff we goK Bialogue + - I don!t thin %nglish is easy. - 0hy do you thin soR - &ecause I have to wor hard learning a lot by heart. Bialogue P - I!m going to be an %nglish language teacher. - 0hyR - Dor a number of reasons. - 0hat reasons' I wonderR - )he main one is I li e %nglish. Bialogue S - 0hat do you thin the best sort of :ob isR - %ngineering' I thin . - I li e medicine. - )o my mind the best one is the one you li e the most. Bialogue T - I say' where!re you goingR - )o school' as you see. - 0hy so early' I wonderR It!s only =* o!cloc now. - )hat!s right' but I!m on duty' you now. - I see. - 0here!re you goingR - )o a friend of mine to play chess. &ye(bye. - &ye(bye. Bialogue =O - Please give me that boo . 0hat forR - )o have a loo at it. - 9ere you are.

- )han you. - @ot at all. Bialogue == - 9ave you had a good day at schoolR - 0onderfulK I!ve got three really good mar sK - Holly good. 2ongratulationsK - )han you. Bialogue =* - Iou!re far too la6y. Loo at your %nglish. Is this the best you can doR - Iou now I!m no good at %nglish. - .nd what about PhysicsR - I!m ashamed of myself. - Iou could easily come top of the class. - I!ll wor harder' I promise. Bialogue => - 0ell' hurry up. - I!m trying to. &ut loo ' isn!t there half an hour before school startsR - Is that the right timeR - I!m sure it is. Bialogue =- /chool!s almost over. - Ies' I now. - 9ow many more daysR - /i,. - 0hen do the holidays startR - @e,t wee . Bialogue =M - 9ow did you en:oy your summer holidaysR - 1h' yes' very much. I spent them at a youth camp. - 1n the south coast as usual with your elder sisterR Ies' but this time I was alone. - 9ow luc y you wereK - )hat!s right. Bialogue =+ - Loo here' this has got to stop. Iou!ve come bottom in nearly every sub:ect. - %,cept Jeography. - Ies' indeed. Iou came second to bottom in that. - It wasn!t really my fault. I was ill for some time' wasn!t IR - )hat!s no e,cuse.

- I!ll improve. - I doubt it. Bialogue =P - Ay bag' please. - 0hich one is itR - It!s one of those' there. - )his oneR - @o' not that one. - 0hat colourR - It!s brownN Ies. )hat!s it. )han you. - @ot at all. Bialogue =S - /o you!ve passed your e,ams. - It wasn!t all that difficult. - It!s because you wor ed hard' I thin . - 0ell' I was all right in 9istory' but I didn!t do so well in Literature. - .nd how about your %nglishR - @ot so good' only so(so. Bialogue =T - 9ello' glad to see youK - 9ello' so am I. - )oday!s your birthday' isn!t itR - )hat!s right. It!s ind of you to remember. - 0ell' many happy returns of the day. 9ere!s a present for you. - 1h' than you. 0hat beautiful flowersK I don!t now how to than you. - Bialogue *O - Is painting your hobbyR - 0hy do you thin soR - &ecause there!re a lot of pictures in this room. - It!s my elder brother!s hobby. - I see' but what about youR I prefer boo s.

IV - O(&1 P(ESENT&TIONS (Pre!#red #nd E*te+!ore$ /uccessful presentations are designed to meet the needs and e,pectations of the audience. )he information and delivery should be relevant and presented in a way so that the audience will listen and eep listening. Aany presenters get caught up in the details of the topic and what they want to say' and lose sight of the audience and what they need to gain. )he emphasis should be on the listener' not the presenter. .naly6ing your audience will help you decide what to include in the presentation and how to best present the information. Iou will have determined what information will appeal to them and this will increase your persuasiveness. )here is no 8uestion about the importance of content. . presentation without good content will always fall flat. 9owever there are many s ills that must be applied to bring good content to life.

%ven with solid research' sub:ect e,pertise' good planning and e,cellent facilities' some presentations fail. If a presenter does not have a confident' enthusiastic delivery style' the audience 8uic ly loses interest and becomes bored. "esearch has shown that an audience!s opinion of a presentation is based PQ from the presentation content' >SQ from voice and MMQ from facial e,pressions and gestures. Presenters need to use their own personality while focusing on their delivery s ills to pro:ect the professional and confident style needed to create a successful presentation. ?tili6ing an interactive and lively presentation style uses nervous energy in a positive way instead of as an inhibitor. Belivery s ills are comprised of effective eye contact' volume' pacing' tone' body language' word choice' and appearance. P"%/%@).)I1@ 21@)%@) UDocus their attention U/tart with a clear' relevant purpose statement that shows the benefit to them U?se language that is clear and easily understood U/tart with the familiar U?se e,amples and analogies U/tay focused on your main ob:ective#s$ U?se concrete e,amples UAa e it memorable P9I/I2.L %@;I"1@A%@) ULeep room temperature on the cooler side UJive them a brea if they have been sitting more than = hour UIf a brea isn!t possible' as them to stand up and stretch U%liminate unnecessary noise distractions ULighting should be bright U;isuals should be easily viewed by all audience members )9% /P%.L%" U2reate an attention(getting introduction

UAa e a positive first impression U?se your voice' gestures' and facial e,pressions for emphasis to increase retention )he sound of your voice can be a ma:or detractor from the content of your presentation' or it can be one of your most effective tools. )he pitch' tone and volume of your voice is crucial for effective delivery. In our culture' we e,pect good' direct eye contact. In many presentations' spea ers loo at the walls' floor' their notes' anywhere but at the audience membersK 0e need to loo at individuals. %ye contact opens the channel of communication between people. 0hen you prepare for a presentation' you organi6e your thoughts and prepare your words. 0hen the moment arrives to present' your adrenaline starts pumping and produces e,tra energy. Aastering ey techni8ues allows you to channel your nervous energy in a way that brings life to your presentation. ?sing your body language properly will help your presentation become interesting and engaging. Leep your weight balanced e8ually over both feet. /tand facing the audience. Jestures add visual emphasis to your words and help your listeners remember the content. 0hen possible' chec your physical appearance in a full(length mirror prior to your presentation. Iour appearance affects the audience!s perception of you. %veryone e,periences nervousness before presentations. )he tric is to ma e your e,cess energy wor for you by fueling it into your presentation. Jood visuals help support and organi6e a presentation. )he best way to come across as sincere and interested is to be yourself. 9ow do you let your own personality shine through without compromising the structure and content of the presentationR /hare personal e,periences ?se humor #appropriately$' tell stories not :o es "ela, /pea in a natural' conversational style .void reading from a script ?se your visual aids as your notes rather than reading from them or a script &ecome involved and committed to your topic. )ips for 1vercoming @ervousness: Prepare. "esearch has shown that MOQ of nervousness is caused by lac of preparation. Lnowing your topic and that

your presentation is well organi6ed gives you confidence. #/ection M provides a guide for organi6ing your presentation.$ Practice. /tand up and practice your presentation. .s a few friends or family members to serve as your audience. Practice answers to 8uestions you anticipate from the audience. ;ideotape yourself if possible or stand in front of a full(length mirror while practicing. ;isuali6e. )hin positively. Aentally rehearse the entire presentation in vivid detail. /ee yourself as a dynamic' nowledgeable spea er' it will also help you focus on what you need to do to be successful. %at and drin right. %at a light meal beforehand. Brin fluids the previous day. /tay away from sugar' dairy' caffeine' and alcohol. &reathe: &reathing from your abdomen releases stress( producing to,ins. )he first thing to do is sit up' erect but rela,ed' and inhale deeply a number of times. /tretch: )o rela,' you need to release tension by allowing your muscles to fle,. ;isual .ids: People depend on what they see visually as their primary source of information. .dding visual aids to your presentation has a dramatic impact on how much your audience ta es away. In one study' a presentation that only delivered information verbally achieved a PQ comprehension rate; the addition of visuals raised comprehension to SPQ. )his shows that information seen and heard has a much better chance of being remembered than information :ust heard. Jood visuals help support and organi6e a presentation. )hey focus the audience!s attention and clarify and augment ideas. ;isuals enable you to get more content across in a shorter period of time' simplify comple, information' and eliminate misunderstanding. Impromptu or %,tempore Presentation: )here comes a time in any person!s life when he!ll have to give an impromptu presentation or speech. It may be for anything a teacher trying to get you to spea up in class' or even in a casual debate. It happens more often than most people would thin . Deel free to ac nowledge that you have not prepared for a speech. Bo this in a professional wayK )his should not be an attempt to garner pity' but rather a way to put yourself and your audience at ease. )hen' e,cuse yourself for a moment and ta e time to :ot down a 8uic outline. Vone out the audience. Hot down interesting or significant points about your topic' which

will be related in some way to the event you!re attending. If it is a homewor assignment you are addressing' for instance' write down your impression of the assignment or anecdotes about your time spent on it. &egin with your introductory sentence' elaborate' then start wor ing your way to your ending sentence. Dill in the middle space with as many points as you can' elaborating on each one as you go. Hust concentrate on the 6inger you!ve reserved for the end. .s you deliver your speech' concentrate on diction and tone. If you are thin ing about this' you are not thin ing about the eyes watching you. )his really wor sK Iour mind can!t thin about too many things at once' so thin about enunciating your words and controlling your tone' and you!ll maintain more control.

V - 45ust & 6inute7 Sessions (5&6$.

Hust a Ainute /essions are conducted to chec the

communication s ills of the students i.e' construction of sentences' se8uencing of thoughts ' putting forth ideas ' nowledge etc.' in a stipulated time frame. . )opic is put forth to the student ' the student is e,pected to ma e an oral presentation in a short period of time and spea within the stipulated time. VI 2 escri,ing O,/ects 8 Peo!le8Situ#tions Introduction: . paragraph to describe ob:ects consists of M parts as follows: 1. Dunction3 ?se 2. 2omponents3 Parts 3. 2haracteristics #material3shape3 figure 3dimensions 3property 3colour$ 4. Position 5. 2onnection between parts L a n g u a g e

D o c u s :

D u n c t i o n 3 ? s e

v . t o

b e

u s

e d

t o

; = v.to be W used for W ;ing . drum is used for ma ing music. . drum is used to ma e music. 2omponents3Parts 1.1 . hammer consists of a handle and a head. is made up of is composed of 1.2 . hammer includes a handle and a head.
. hammer has two parts: a handle and a head. sections: one is a handle' the other is a head. components: one is a handle' the other is a head. 2haracteristics Aaterial

. chair is made of wood. &read is made from wheat. )his ind of car is made by a big company in Hapan. /hape is shaped li e W n. .

o i n

i s

s h a p e d

l i

c i r c l e .

i s

. d : .

i n

s h a p e . .

c o i n

i s

c i r c

u l a r

i n

s h a p e .

i s

. d : . . coin is circular. @oun /8uare rectangle triangle ellipse semicircle circle .d:ective s8uare rectangular triangular elliptical semicircular circular

cube pyramid cone hemisphere cylinder 9eight 9e is tall. 9e is short.

cubic pyramidal conical hemispherical cylindrical

9e is normal height.

W 9e is very tall. 9e is 8uite short. 9e is relatively normal height. &uild /he is s inny. #negative$ /he is fat. #negative$

/he is underweight. #negative$ /he is overweight. #negative$ /he is thin. #negative$ /he is plump. #neutral$ /he is slim. #positive$ /he is slender. #positive$
/he is stoc y. #neutral$

/he is bonny. #positive$

if a man is fat #especially round the waist$ we often say he has a beer belly. 9air blonde3fair hair brown hair blonde %yes grey eyes green eyes )ype of hair /he has long hair. h a /he s hair. blue eyes brown eyes dar eyes brunette redhead red hair ( ( blac hair grey hair

short hair. /he has short hair.

9 e

h as

no

hair. F

9e is

bald.

/he has medium

lengt h

W /he has long' blac hair. /he has short' blac hair. ( /he has medium length ' blonde hair. /he has medium length' red hair. /he has short' blonde hair. /he has long' straight' blac WW hair. /he has short' straight' blac hair. ( /he hai has medium length' straight' blonde r. /he has medium length' wavy' red

hair. or and red. W

/he has short' curly' blonde hair. 9er hair is long' straight and blac . 9er hair is medium length' straight and blonde. 9er hair is short' curly and blonde. /he wears glasses. 9e is asian. 9e has light(brown s in. 9er hair is short' straight and blac . ( 9er hair is medium length' wavy

/he is blac . /he has dar s in. 9e is white. 9e has fair s in. /he is white. /he has lightly tanned s in. /he is white. /he has very pale s in. 1ther features moustache eyebrows bear d chee s chi n lip s forehead teeth nostri ls

bald' blac ' blonde' blue' brown' curly' fat' grey' long ' medium' overweight' pale' plump' red' short' s inny' slim' stoc y' straight' tall' tanned' thin' wavy and white are all ad:ectives they describe things very' 8uite and slightly are all modifiers they change #modify$ the ad:ectives &uild People are built in all shapes and si6es. )here are those who are fat and overweight. /ome people are e,tremely overweight and are obese. 1ther people are naturally slim' but others loo have absolutely no fat on them and are thin' or s inny. Personally' I am stoc y small' but well(built. Ay father is tall and lean with very little fat. Ay sister is short' but wiry she is 8uite thin' but muscular. &oth my brothers are athletic and well(proportioned. Ay mother loo s li e a =T-Os film star. /he is curvaceous' with an hour(glass figure.Ay grandfather is fit for his age and ta es plenty of e,ercise. 9e doesn!t want all his muscles to get flabby. 2olouring Ay sister she has fair hair and fair s in. /he doesn!t tan easily and has to be careful in the sun. Ay mother is blonde' also with a fair comple,ion. I am a red(head with red hair. Li e many other people with a pale comple,ion' I get frec les from the sun small brown dots on my face and arms. In contrast' my father has dar (brown hair and he is 8uite dar ( s inned. Iou are born with a colour white or 2aucasian'

blac or .sian. People whose parents are of different ethnic origin are mi,ed(race. /outhern %uropeans are sometimes described as Aediterranean. Dace Daces' li e build' vary a lot. /ome people have oval faces their foreheads are much wider than their chins. 1ther people have heart(shaped' s8uare or round faces. Deatures also vary. Ay grandfather has bushy eyebrows #he has lots of hairK$' a hoo ed nose and high chee bones. 9is eyes are large and set 8uite far apart. Ay mother has a broad nose' which she hates' as she prefers narrow noses. &ut she is luc y to have even or regular teeth. Ay sister corrected her croo ed teeth by wearing a brace which straightened them. /he has rosy chee s' small ears and a snub nose' which goes up at the end. I have long' curly hair' though my sister is the opposite' with short' straight hair. 9er hair is fine and doesn!t weigh very much' but mine is thic and heavy. Ay mother!s hair is wavy in between straight and curly. Ay father is losing his hair in fact he is going bald' which ma es him very sad. Ay brother loo s li e he is going to lose his hair too. Bescribing %motions )here are hundreds of words that are used to describe or identify emotional states: happy down an,ious shoc ed flustered cheerful elated angry bored nervous 8uiet bold sad peeved content scared shy passive gloomy embarrassed unsatisfied frightened demure offensive depressed e,cite satisfied over(whelmed moody aggressive

VII 2 IN.O(6&TION T(&NS.E( Information transfer or presenting verbal accounts of facts and processes in pictorial form body of material in different ways. It is an important s ill that you will need at the college and university levels as well as in your professional and personal lives' both to e,plain a map' graph or table in speech or writing and to represent a verbal te,t in graphic form. Information transfer is used specifically in the conte,ts of narration' physical and process description' listing and classifying' comparison and contrast' showing cause and effect relationship' and generali6ing from numerical data. )ransferring information from verbal to graphic form' and vice versa is thus a very useful s ill that will help you in study and at wor . )echnology in every field of information means the macro information is being transferred as much as micro is being' which we have on our finger tips. )he information can be shown through te,ts' tables' maps tree diagrams bar graphs' pie charts' flow charts and so on. Information in verbal form can be made clearer and easier to understand by presenting it in graphic or pictorial form. Pictorial representation has many advantages: .llows 8uic and easy viewing of a large amount of data Xuic er to locate re8uired information in a graphic than in a written te,t Bata relating to a long period of time or to large number of people can be effectively summari6ed 2onvenient to use in ma ing comparisons involving amounts of data: )he different types of graphic representation you could use to supplement your writing are: tables' bar charts' maps' graphs' pie charts' tree diagrams' flow charts and pictograms. 0hen you need to use a graphic form of communication' choose a form that will present your data clearly' accurately and in an interesting manner. 0hen information is personated graphically' you should be able to interpret or analyse it. )ransferring information from te,tual to graphic form and' conversely' from pictorial to verbal form are both important and useful s ills. )he above e,ample ma es the advantages of pictorial representation clear: Xuic viewing of a large amount of data possible

Dinding information in a table or a map 8uic er than it is in a written te,t 2an efficiently summari6e data pertaining to a long period of time or to a large number of people 2onvenient in ma ing comparisons involving large amounts of data )here are different inds of graphic representation: maps and plans' tables' graphs' diagrams' bar charts' flow charts' pie charts' tree charts and pictograms. )hese have different uses. )hus bar charts ma e comparisons' pie chart show how something is divided' and line graphs show variations in data. 0hen you use graphs to present your data' choose the ind that will serve your purpose best and depict your analysis clearly and accurately. Dor e,ample' difference in 8uality or number cannot be shown on a flow chart' and a trend cannot be represented by a table. ).&L%/ . simple form of graphic representation is the table' in which data are arranged in hori6ontal rows and vertical columns that carry labels to identify what they represent. &." 29.")/ . second ind of graphic representation is the bar chart' or bar graph. It is a very common ind of graph used to depict levels of a 8ualitative' independent variable using individual bars. It consists of an a,is and a series of labeled hori6ontal or vertical bars with different values. )he numbers along one side of the bar graph is the scale. LI@% J".P9/ . line graph is a way of depicting graphically how two 8uantities are related' and how they vary in relation to one another. PI% 29.")/ .nother ind of chart is the circle chart or pie chart. It consists of a circle divided into sections' each showing the si6e of some related piece of information.

DL10 29.")/ .nother form of representation that is widely used today is the flow chart' also nown as a flow diagram. It is used to represent a process that ta es place in successive stages' as in a production process from raw material to finished product. )"%% BI.J".A/ )ree diagrams are two types: organi6ation chart' which is used to show the structure and lines of responsibility within a company or an institution' and the genealogical tree or family tree' which is used to represent the structure of a ma:or group such as mineral roc s or the structure of sentences in boo s on grammar or relationships within a large family. PI2)1J".A/ . pictogram is another very interesting way of presenting data. It uses' as its name suggests' pictures in place of bars or figures. Dor e,ample' the flowers growing in different places in a state or a country can be presented by tiny pictures. A.P/ .@B PL.@/ Aaps are representations' usually on a plane surface' of a part of the earth(continents' countries' cities' villages' small areas and even buildings. )hey show outlines and boundaries' names or codes of areas within them and features such as roads' coastlines' rivers' buildings and rooms.

VIII 2 E9&TE
Bebate or debating is a formal method of interactive and representational argument. In a formal debating contest' there are rules for people to discuss and decide on differences' within a framewor defining how they will interact. Informal debate is a common occurrence' but the 8uality and depth of a debate improves with nowledge and s ill of its participants as debaters. Beliberative bodies such as parliaments' legislative assemblies' and meetings of all sorts engage in debates. )he outcome of a debate may be decided by audience vote or by :udges. . debate is a structured argument. It is one way of communication where our analytical and logical thin ing comes into play. It is an art of nitting arguments and putting them forth in a constructive way. Bebate ma es us thin about the two opposite sides of a sub:ect and helps us decide as to which way to follow. .s the topic of debate is already decided' sometimes you may find your self supporting a move which you normally oppose or vice(versa. Bebate can be in argumentative through letters' debates E essays. 0e can put forth points for and points against a particular through direct debates as well as essay writing. Bebates are conducted in colleges and ?niversity. Bebates are in state legislative E parliament. Bebate is a contest between two spea ers or two groups of spea ers to e,hibit their capacity and de,terity in arguing' there should always be one or more spea ers for

proposition and oppositions. ?sually' in a debate' a topic is thrown between two teams or two individuals. 1ne team decides to go for the topics and the other' goes against it. )he topics are suitable selected as to having both pros and cons as the debate begins; the teams declare their stand and get into arguments and counter(arguments. .t the end' an evaluation is made on the basis of the arguments put forth by both the teams and decision is ta en on who is the winner. Bebate is the ultimate mind e,ercise. Dour types of debate: =.Parliamentary Bebate. )his is the debating that goes on in colleges and universities. *.;alue debate : In this debate two contestants will debate topics centered around moral issues or propositions of value or preference. 9ere are some e,amples of topics appropriate for value debate: capital punishment; abortion; etc. >.2ross %,amination Bebate #also called policy debate or team debate$. In this type of debate two teams ' one representing the affirmative position and one representing the negative position' will debate topics of public or government policy. -..cademic Bebate. )hese are debates of a purely academic nature. .n e,ample of this type of debate would be creation3evolution debates. )here are two things you will have to study if you want to participate in debate: )he principles of debateYlogic' evidence' case construction' proof' refuting arguments' rebuttal' the brief' etc. 1bserve as many debates as you can. )his will be difficult for some' but you might loo into attending some college debates. )he more you observe and study the more familiar you will become with the procedures and terminology of debate. Participants should follow these four steps: "ead for bac ground information about the sub:ect. Prepare a comprehensive bibliography. 2ollect as much material as you can find. "ead and study the material discovered. "ead and study the material discovered: .fter you have secured all of the material available' you will

then read and study carefully the boo s and articles you have found. )ry to learn as much as you can about the sub:ect and to get the points of view of as many different authorities as possible. &e on the loo out for new ideas and new suggestions for arguments' arguments on both sides of the topic. Loo for specific items of evidence' which might be used as proof. )opics for Bebate 9ere are a few topics to discuss with a friend or group. Practise agreeing and disagreeing even if you have to argue against something you actually believe in. 1ne way to have fun with this is to ma e up a bunch of cards that say agree or disagree. )ry to continue each discussion for at least five minutes. ?se the e,pressions that you learned' including agreeing' disagreeing' as ing for opinions' interrupting' etc. .lcohol should be illegal. /tudying grammar is more important than practicing conversation s ills. )elevision is the leading cause of violence in today!s society. Bogs ma e better companions. /mo ing should be permitted in public places. Demales are better students than males. . parent shouldn!t pierce a baby!s ears. 0omen should be empowered. %veryone should plan their own funeral. "eading %nglish is more difficult than writing %nglish. /ummer is the best season of the year. %ngineering students should wear uniforms. *= should be the legal marriage age around the world. )he government should pay for post secondary education.

:- Tele!honing S-ills
Learning how to communicate well on the telephone is one of the top priorities for many students who need to use %nglish at wor . Learning the common phrases that are used on the telephone helps students now what to e,pect. 9owever' what students often need most is practice' practice' and more practice. 0hile helpful' practicing a role(play in the classroom is not always the best way to improve telephoning s ills. )elephoning re8uires special s ills as there are a number of

difficulties that arise when telephoning that are specific to telephoning. )he first and foremost difficulty is not being able to see the person you are communicating with. )his lac of visual communication often ma es students' who can communicate 8uite successfully in other situations' nervous and thereby hinders their communicative abilities. .dd to this the typical hectic pace of business communication' and you have a particularly difficult situation. &reathe: &efore you pic up the phone' ta e a deep breath. Aost of us are what they call shallow breathers. 0e ta e small breathes in and out and therefore' sound tired when we answer the phone. )he goal is to sound li e you li e your :ob and you are glad they called. Practice ta ing a very big breath and answering the phone at the top of that breathe. Iou will continue spea ing on the e,hale of that breath and the caller will hear energy in your voiceK Iou can also practice it when you are ma ing a call and start your breath as the phone is ringing on the other end. Iou!ll be surprised how you feel when you use this techni8ue. Identify yourself: Jive your full name and function and or the name of your company. /ince they have ta en the time to call you' you may answer the phone this way; &e /incere: If we are honest with ourselves' we are all problem solvers in some way. People call us on the phone to have a problem answered. 0hether it is to get driving directions' or hours of operation or 8uestions about our merchandise' they have a 8uestion and want it answered 8uic ly' intelligently and politely. Listen attentively: Put everything down when you answer the phoneK %asier said than done' isn!tR 9ow many times have you been in your office answering email' tal ing on the phone' listening to your ipod and sippingR 2allers don!t li e to be ignored and by multitas ing' we are not focused on the caller!s wants and needs. ;isuali6e the person' even if you don!t now them so that you remind yourself you are engaged in a two(way conversation. If you still have trouble listening' start ta ing notes on what they are saying. ?se a headset if possible' to eep your hands free. &y ta ing notes you can verify with them as well as yourself' the important points of the conversation and the action items that needed attention. 1utcome. If the phone call has been successful' the first >O seconds established a positive perception about you through

voice' and tone and focus. )he last >O seconds will be when the caller finali6es their opinion about you. Iou can ma e that a positive e,perience by than ing them for calling' reviewing the problem you were able to solve and then most importantly' than ing them for their continued business. )hese s ills include: /miling /miles and gestures can easily be heard over the phone' so eeping that smile on your face helps to create a positive engagement with caller every time you tal to them. %mpathy If you can!t put yourself in a caller!s shoes especially when you now they are wrong' how can you understand why they have the feelings they do about the issues they have called in aboutR If you cannot come to an understanding of why a caller is calling' it!s practically impossible to help them in any positive way. Problem /olving / ills Jenerally' the company you wor for will offer the tools to solve any problem a caller may have' but it is your :ob to learn how to use them effectively. )elephone %nglish )he Phrases Introducing yourself )his is Aoses. Prince spea ing .s ing for /omeone 2an I have e,tension >*=R #e,tensions are internal numbers at a company$ 2ould I spea toNR #2an I more informal 3 Aay I more formal$ Is Hac inR #informal idiom meaning: Is Hac in the officeR 9ow to reply when someone is not available I!m afraid N is not available at the moment )he line is busyN #when the e,tension re8uested is being used$ Ar Hac son isn!t inN Ar Hac son is out at the momentN .s ing who is on the telephone %,cuse me' who is thisR 2an I as who is calling' pleaseR 2onnecting /omeone I!ll put you through #put through phrasal verb meaning Gconnect!$ 2an you hold the lineR 2an you hold on a momentR

)a ing a Aessage 2ould #2an' Aay$ I ta e a messageR 2ould #2an' Aay$ I tell him who is callingR 0ould you li e to leave a messageR

%,ercises for Practicing /pea ing on the )elephone )he most important thing about practicing telephone conversations is that you shouldn!t be able to see the person you are spea ing to on the phone. Iou may as ' G9ow can I do that if I am practicing with a friend or another classmateR! 9ere are a few suggestions for practicing phone calls without loo ing at your partner: If you are in the same room Put your chairs bac to bac and practice spea ing on the phone' you will only hear the other person!s voice which will appro,imate a telephone situation. ?se the telephone )his is pretty obvious' but really not used that often. Jive your friend a call and practice various conversations #role plays$. ?se internal office phones at wor )his is one of my favorites and great for business classes. If your class is on site #at the office$ go to different offices and call one another practicing conversations. .nother variation is for the students to go into another office and have the teacher telephone them pretending to be a native spea er in a hurry. It!s then up to the students to ma e sure they have communicated what they need' or understood what the caller wants. )his e,ercise is always a lot of fun depending on how good your teacher is at actingK )ape yourself If you are practicing alone' tape standard answers and then practice using the tape recorder stopping and starting to simulate a conversation. "eal life situations &usinesses are always interested in telling you about their products. Dind a product you are interested in and research it over the telephone. Iou can N - call a store to find out the prices and specifications. - ring the company representative to find out details on how the product wor s. - telephone a consumer agency to find out if the product has any defects. - call customer service to find out about replacement parts' etc.

1; . <i)ing irections
Introduction% @ot everyone nows where they are going and may need help with directions from time to time. Birections may be needed to get to a nearby town' or directions to the newest mall in town or directions to the nearest rest room in a large building. 0here ever you are going the e,pression below can be used when as ing for directions. /uggestions for giving directions Jiving street directions is really very easy when you remember to follow these points. 0hen giving directions you are actually giving two sets of instructions. In the first set( Jo )o you are telling the listener what street to go to or how far to go. In the second set( )hen' you are telling the listener what to do when they get there. #turn right3left' go straight' on the left' etc.$ Jiving even very complicated directions is :ust a repetition of these two basic steps. .nother good idea is to use easily identifiable landmar s; instead of the amount of time to get someplace #time is relative' after all$. %asily identifiable landmar s are street lights' stop signs' par s' tall building standing alone' etc. Prepositions of location most commonly used when giving directions: go straight go to turn right turn left

cross ne,t to

on your right behind

on your left across from

beside in front of

caddy corner on the corner of #to be very specific @%' /%' @0' /0 corners$ @ote the e,pressions used in the dialogue and the progression of the conversation: 0ally: %,cuse me' could you tell me how to get to the city hospitalR /ally: /ure' the hospital is on )enth /treet' about *O minutes away by foot. Jo south on this street two bloc s until you come to the stop light. 0ally: Jo south two bloc s to the stop light. /ally: 2orrect' then' turn left and go three more bloc s' until you come to the end of the road. . par will be in front of you. 0ally: )urn left and go for three bloc s to the par . /ally: "ight' then turn right again and go seven bloc s' to Lipton .venue. 0ally: )urn right and go seven bloc s to Lipton .venue. /ally: @e,t' turn left on Lipton .venue and go two bloc s. )he hospital is on your left' across from the baseball stadium. 0ally: 1L' let me see if I!ve got this straight. Jo south on this street for two bloc s to the stop light. )urn left at the light and go three bloc s to the par . )urn right at the par and go seven bloc s to Lipton .venue. .t Lipton .venue turn right andN /ally: @o' turn left on Lipton .venue. 0ally: 1L' turn left on Lipton .venue' the hospital is two bloc s down' on my left. /ally: Iou got it. 0ally: )han s. 0hen Jiving Birections in %nglish' Jiving directions usually consists of to sets of instructions. In the first set: /ay Jo to and tell the listener what street' building' office number' etc or how far they need to go. In the second set: /ay )hen and tell the listener what to do when they get there. #turn left' turn right' it!s on the left' etc.$ C Bon!t forget to say )han you after someone has given you assistance

Jiving Birections for Locations: )he :ewelry store #on Dirst .venue at the corner of 9ill .venue3ne,t to the women!s wear3behind the Italian restaurant$ )he bar #on Aain /treet' at the corner of Pine3across from the furniture store3across from the men!s store$ )he police station #on Aain3Aemorial3Dirst .venue3ne,t to the Dire Bepartment3across from the boo store$ )he toy store #on Dorest /treet3Aain /treet3across from the 2hinese restaurant$ )he movie theater #on 1a /treet across from the &oo store$ )he sporting goods store #on Dirst .venue3ne,t to women!s wear$ .s ing for Birections %,cuse me . . . CC )his is always the most polite way to begin your re8uest for directionsCC 0ould32ould you tell me how to get to . . . .nderson 2onstructionR 9ow do I find . . . suite >OMR 0hat is the best way to get to . . . business officeR

0hich way do I go to get to . . . the @obunaga &uildingR Jiving Birections Jo straight Aa e a ? turn )urn left )urn right

2ontinue on # eep going$ )a e the elevator

Dollow this hall . . . road . . . path

It!s about =MO meters

It!s ne,t to . . . across from . . . opposite . . . beside . . . between #two things$ 2ross the . . . street . . . road . . . par . . . lobby . . . intersection . . . Jo past the . . . It!s on . . . the left . . . the right . . . the third floor . . . the corner Prepositions to use with Birections Jo "ig Jo straight to ht left 1n your right 1n your 2ross left

besi de

@e,t &ehi to nd .cross from In front of 0ould32ould you direct me to . . . As. /umidata!s officeR

1n the corner of /hort Xuestions with Birections: =. %,cuse me. Is there a grocery store around hereR Ieah. )here!s one right across the street *. 2an you tell me how to get to Phoeni,R /orry. I don!t live around here. >. 0here!s )anner!s Leather /hopR It!s on the corner of 9olly and ;ine. @e,t to the library. -. 9ow do you get to the ban R Jo straight down this street for two bloc s. )urn left when you get to Aaple /treet. /tay on Aaple for half a bloc . It!s on the left hand side. Important Phrases 9ow do I get to NR

0hat!s the best way to NR 0here is NR Jo straight on #until you come to N$. )urn bac .3Jo bac . )urn left3right #into N(street$. Jo along N 2ross N )a e the first3second road on the left3right I t ! s

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b e h i n d in front of # : u s t $

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Birections I: %,cuse me. Is there a ban near hereR Ies. )here!s a ban on the corner. )han you. Iou!re welcome. Birections II %,cuse me. Is there a supermar et near hereR Ies. )here!s one near here. 9ow do I get thereR .t the traffic lights' ta e the first left and go straight on. It!s on the left. Is it farR @ot really. )han you. Bon!t mention it. %,cuse me. Is there a supermar et near hereR Ies. )here!s one near here. 9ow do I get thereR .t the traffic lights' ta e the first left and go straight on. It!s on the left. Is it farR @ot really. )han you. Bon!t mention it. Is there a ZZZZZZZ near hereR on the corne r' on the left' on

the right straig ht on' straig ht ahead t r a f f i c

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pagdipalli@gmail.com

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