English Suprasegmentals

1. Stress
2. Pitch Levels
3. Juncture
4. Terminal Contours
5. Intonation
Stress is actually determined by the amplitude
of the vocal cords during the production of
speech sounds. When the vocal cords are
opened wider, the speech sounds will be
heard more prominent or louder. A stressed
syllable in a word will certainly be heard more
prominent than the unstressed one.
STRESS
Based on the types of utterances on
which the stress occurs, the English
stress is classified as:
1. Simple Word Stress
2. Compound Word Stress
3. Sentence Stress.
Types of stress in simple words are
classified as follows:

1. Primary Stress
2. Secondary Stress
3. Weak Stress
Word Syllable Structure and Stress
A syllable is a typically-structured unit of
sounds uttered within a certain degrees of
prominence, which is paused apart from the
other syllable(s) in a word. The syllables of
English words are typically structured and
based on the phonotactic structure of the
English words. The prominence is mainly
detemined by the loudness, pitch, length, and
quality of the sounds.
A stressed syllable is certainly heard more
prominent than the unstressed syllable; a syllable
that contains a long/open vowel is actually
heard more prominent than that containing a
short/high vowel; a syllable that is uttered with a
high pitch is also heard more prominent than
that uttered with a low pitch; a syllable that
contains a distinctively different quality of sound
is also heard more prominent than that
containing the same sort of vowel.
Primary Stress
The stress usually determines the loudness or
prominence of an utterance. Primary stress is
the one that results in the most prominent
syllable. One-syllable words, two-syllable
words, and three syllable words generally
have the primary stress only. The transcription
of the primary stress is usually marked by a
small vertical line ( ' ) put at the upper part
before the syllable it relates to. Content words
are usually stressed, but function
(grammatical) words are not.
One-Syllable Words

Words British American

aim / 'eɪm / / ‘em /
ant / 'ɑ:nt / / 'ænt /
arm / 'ɑ:m / / ‘ɑrm /
art / 'ɑ:t / / ‘ɑrt /
ask / 'ɑ:sk / / 'æsk /
aunt / 'ɑ:nt / / 'ænt /
back / 'bæk / / 'bæk /
bad / 'bæd / / 'bæd /
bag / 'bæɡ / / 'bæɡ /
bake / 'beɪk / / 'bek /
ball / 'bɔ:l / / 'bɔl /
Two-Syllable Words

Words British American

absent / 'æbsənt / / 'æbsənt /
accent / 'æksənt / / 'æksənt /
acid / 'æsId / / 'æsId /
action / 'ækʃn / / 'ækʃn /
actor / 'æktə(r) / / 'æktɚ /
alter / ' ɔ:ltə / / ' ɔltɚ /
always / ' ɔ:lweIz / / ' ɔlwez /
Three-Syllable Words

Words British American

accident / 'æksIdənt / / 'æksIdənt /
accurate / 'ækjərət / / 'ækjərət /
agency / 'eIʤənsI / / ‘eʤənsI /
alchohol / 'ælkəhɒl / / 'ælkəhɔl /
alphabet / 'ælfəbet / / 'ælfəbɛt /
attitude / 'ætItju:d / / 'ætItud /
character / 'kærəktə / / 'kærəktɚ /
document / 'dɒkjUmənt / / 'dɑkjUmənt /
Four-Syllable Words
Words British American
advertising / 'ædvətaIzIŋ / / 'ædvɚtaIzIŋ /
ability / ə'bIlətI / / ə'bIlətI /
acceptable / ək'septəbl / / ək'sɛptəbl /
accompany / ə'kɅmpənI / / ə'kɅmpənI /
activity / æk'tIvətI / / æk'tIvətI /
alternative / ɔ:l'tз:nətIv / / ɔl‘tɝnətIv /
anticipate / æn'tIsIpeIt / / æn'tIsIpet /
apologize / ə'pɒləʤaIz / / ə'pɑləʤaIz /
apparently / ə'pærəntlI / / ə'pærəntlI /
Secondary Stress is the one that results in the
second most prominent syllable. Secondary stress
commonly occurs in polysyllabic words.
The secondary stress is marked by a small vertical
line (ˌ) put at the lower part before the syllable it
relates to. When the peak of the first syllable is
more prominent than that of the second syllable,
four-syllable words usually have both the primary
and secondary stress. The primary stress of four-
syllable words of this type is usually put on the
third syllable and the secondary stress is put on
the first syllable. Weak Stress is the one that
results in the least prominent syllable, and weak
stress is not marked.
Words British American
adolescence /ˌædə'lesns / / ˌædə‘lɛsns /
alphabetic / ˌ ælfə'betIk / / ˌælfə‘bɛtIk /
altogether / ˌɔ:ltə'ɡeδə / / ˌɔltə‘ɡɛδɚ /
artificial / ˌɑ:tI'fIʃl / / ˌɑrtI'fIʃl /
automatic / ˌɔ:tə'mætIk / / ˌɔtə'mætIk /
disagreement / ˌdIsə'ɡri:mənt / / ˌdIsə'ɡrimənt /
disappointing / ˌdIsə'pɔIntIŋ / / ˌdIsə'pɔIntIŋ /
economic / ˌi:kə'nɒmIk / / ˌikə'nɑmIk /
engineering / ˌenʤI'nIərIŋ / / ˌɛnʤI'nIrIŋ /
entertainer / ˌentə'teInər / / ˌɛntə'tenɚ /
Five-Syllable Words
Words British American
abnormality /ˌæbnɔ:'mælətI / / ˌæbnɔr'mælətI /
accidentally / ˌæksI'dentəlI / / ˌæksI‘dɛntəlI /
accommodation / əˌkɒmə'deIʃn / / əˌkɑmə'deʃn /
alphabetical / ˌælfə'betIkl / / ˌælfə‘bɛtIkl /
alternatively / ˌɔ:l'tз:nətIvlI / / ˌɔl‘tɝnətIvlI /
artificially / ˌɑ:tI'fIʃəlI / / ˌɑrtI'fIʃəlI /
characteristicly / ˌkærəktə'rIstIklI / /ˌkærəktə'rIstIklI /
determination / dIˌtз:mI'neIʃn / / dIˌtɝmI'neʃn /
enthusiastic / Inˌθju:zI'æstIk / / InˌθjuzI'æstIk /
environmental / InˌvaIrən'mentl / / InˌvaIrən‘mɛntl /
Six-Syllable Words

Words British American

administratively / əd'mInIstrətIvlI / / əd'mInIstrətIvlI /
anti-inflammatory /ˌæntI In'flæmətrI / /ˌæntI In'flæmətrI /
characterization / ˌkærəktəraI'zeIʃn / /kærəktəraɪ'zeʃn /
enthusiastically / ˌInθju:zɪ 'æstIklI / / ˌInθjuzɪ 'æstɪklɪ /
familiarity / fəˌmIlI'ærətI / / fəˌmIlI'ærətI /
irregularity / Iˌreɡjə'lærətI / / Iˌreɡjə'lærətI /
intellectuality / ˌIntIlektjU'ælItI / / ˌIntIlɛktjU'ælItI /
particularity / pəˌtIkjU'lærətI / / pəˌtIkjU'lærətI /
respectability / rIˌspektə'bIlətI / / rI ˌspektə'bIlətI /
responsibility / rIˌspɒnsə'bIlətI / / rIˌspɒnsə'bIlətI /
DISTINCTIVE ENGLISH STRESS
Words Noun/Adjective Verb
absent / 'æbsənt / / æb'sɛnt /
combine / 'kɒmbaɪn / / kəm'baɪn /
conduct / 'kɒndʌkt / / kən‘dʌkt /
conflict / 'kɒnflɪkt / / kən'flɪkt /
content / 'kɒntent / / kən‘tɛnt /
contest / 'kɒntest / / kən‘tɛst /
contract / 'kɒntrækt / / kən'trækt /
contrast / 'kɒntrɑ:st / / kən'trɑst /
converse / 'kɒnvз:s / / kən‘vɝs /
convert / 'kɒnvз:rt / / kən‘vɝt /
Words Noun/Adjective Verb
convict / 'kɒnvɪkt / / kən‘vɪkt /
decrease / 'di:kri:s / / dɪ'kris /
defile / 'di:faɪl / / dɪ'faɪl /
desert / 'dezət / / dI‘zɝt /
dictate / ‘dɪkteɪt / / dIk'tet /
discount / ‘dɪskaυnt / / dɪs'kaυnt /
discourse / ‘dɪskɔ:s / / dɪs'kɔrs /
entrance / 'entrəns / / ɪn'trɑns /
envelop / 'envələυp / / ɪn‘vɛləp /
escort / 'eskɔ:t / / ɪ'skɔrt /
Words Noun/Adjective Verb
exploit / 'eksplɔɪt / / ɪk'splɔɪt /
export / 'ekspɔ:t / / ɪk'spɔrt /
extract / 'ekstrækt / / ɪk'strækt /
frequent / 'fri:kwənt / / frɪ'kwɛnt /
import / ‘ɪmpɔ:t / / ɪm'pɔrt /
incline / ‘ɪnklaɪn / / ɪn'klaɪn /
increase / ‘ɪŋkri:s / / ɪn'kris /
insult / ‘ɪnsʌlt / / ɪn‘sʌlt /
object / 'ɒbʤɪkt / / əb‘ʤɛkt /
perfect / 'pз:fɪkt / / pə‘fɛkt /
Words Noun/Adjective Verb
perfume / 'pз:fju:m / / pɚ'fjum /
permit / 'pз:mɪt / / pɚ‘mɪt /
present / 'preznt / / prɪ‘zɛnt /
produce / 'prɒdju:s / / prə'dus /
progress / 'prəυɡres / / prə'ɡrɛs /
project / 'prɒʤekt / / prə' ʤɛkt /
protest / 'prəυtest / / prə‘tɛst /
record / 'rekɔ:d / / rɪ'kɔrd /
retail / 'ri:teɪl / / rɪ'tel /
DISTINCTIVE BRITISH AND AMERICAN
ENGLISH WORD STRESS PATTERNS
Words British American
adventist / 'ædventɪst / / əd‘vɛntɪst /
advertisement / əd'vз:tɪsmənt / / ˌædvər'taɪsmənt /
altimeter / 'æltɪmi:tə / / æl‘tɪmətɚ /
appliqué / æ'pli:keɪ / / ˌæplɪ'ke /
aristocrat / 'ærɪstəkræt / / ə‘rɪstəkræt /
attaché / ə'tæʃeɪ / / ˌætə'ʃe /
automobile / 'ɔ:təməbi:l / / ˌɔtəmə'bil /
barrage / 'bærɑ:ʒ / / bə'rɑʒ /
Words British American
baton / 'bætən / / bə'tɒn /
beret / 'bereɪ / / bə're /
brassiere / 'bræsɪə / / brə‘zɪr /
brevit / 'brevɪt / / brɪ‘vɛt /
brochure / 'brəυʃə / / bro‘ʃυr /
buffet / ‘bυfeɪ / / bə'fe /
Cabaret / 'kæbəreɪ / / ˌkæbə're /
Cachet / 'kæʃeɪ / / kæ'ʃe /
café / 'kæfeɪ / / kæ'fe /
cliché / 'kli:ʃeɪ / / kli'ʃe /
Words British American
customarily / 'kʌstəmərəlɪ / / ˌkʌstə'merəlɪ /
décor / 'deɪkɔ: / / 'dekɔr /
detail / 'di:teɪl / / dɪ'tel /
fiancé / fɪ'ɑ:nseɪ / / ˌfɪɑn'se /
finance / 'faɪnæns / / fɪ'næns /
financier / faɪ'nænsɪə / / ˌfɪnən‘sɪr /
frontier / 'frʌntɪə / / frʌn‘tɪr /
glace / 'ɡlæseɪ / / ɡlæ'se /
harass / 'hærəs / / hə'ræs /
illustrative / ‘ɪləstrətɪv / / ɪ‘lʌstrətɪv /
Words British American
matinee / 'mætneɪ / / ˌmætn‘e /
mirage / ‘mɪrɑ:ʒ / / mɪ'rɑ:ʒ /
momentarily / 'məUməntrəlɪ / /
ˌmomən‘tɛrəlɪ /
Paprika / 'pæprɪkə / / pə'prikə /
pastel / 'pæstl / / pæ'stɛl /
pastille / 'pæstɪl / / pæ'stɪl /
premature / 'preməʧυə / / ˌprimə‘tυr /
premiere / 'premɪeə / / prɪ ‘mɪɚ /
Words British American

primarily / 'praɪmərəlɪ / / praɪ‘mɛrəlɪ /

prolix / 'prəυlɪks / / pro‘lɪks /
quintuplet / 'kwɪntju:plet / / kwɪn'tuplɪt /
sachet / 'sæʃeɪ / / sæ'ʃe /
stalactite / 'stæləktaɪt / / stə'læktaɪt /
stalagmite / 'stæləɡmaɪt / / stə'læɡmaɪt /
supine / 'su:paɪn / / su'paɪn /
Compound Word Stress
Compound word is a word made up of two words, or it
is a combination of two lexical categories written in
conventional spelling as one with or without a hyphen.
The combination of two words may either denote a
single new idea or the combination of two ideas
suggested by the original words (Jones, 1979: 258). The
meaning of a compound word is sometimes restricted
by the meaning of the first or the second element.
Based on the form or the interpretation of the meaning
of a compound word, a word may be considered more
dominant than the other, i.e., the word which plays a
more important role in determining the meaning of the
compound word is called as a head word. A head word
also determines the category of the entire word, for
example: greenhouse is a noun, and the head word is
house.
1. Noun-Noun Compound Word Stress
armband / 'ɑ:mbænd / ‘a cloth band worn
around the arm as
sign of sth’
armcandy / 'ɑ:mkændɪ / ‘a beautiful woman
taken in order to
impress other
people’
armchair / 'ɑ:mʧeə(r) / ‘a comfortable chair
with two arms on
its sides’
babysitter / 'beɪbɪsɪtə(r) / ‘a person who takes
care of babies’
2. Adjective-Noun Compound Word Stress
blackboard /'blækbɔ:d / ‘a black or darkgreen bord that
teachers write on’
blackhead / 'blækhed / ‘a very small dark spot on the
skin’

blackguard / 'blækɡɑ:d/ ‘a man who is not honest’

blackfoot /blæk'fu:t / ‘a member of native American

people’
blackgold /blæk'ɡəUld /‘oil’
blackhole /blæk'həUld /‘an area in space that nothing
can escape because gravity’
blackice /blæk'aɪs / ‘ice in a thin layer on the
surface of a road’
3. Verb-Noun Compound Word Stress

bargainhunter / 'bɑ:ɡɪnhʌntər/’a person who is looking for

goods with lower price’
breakneck / 'breɪknek / ‘very past and dangerous’
brushwood / 'brʌʃwυd / ‘small broken branches of trees used
to make fires’
helpline / 'helplaɪn / ‘a telephone service that provides
service and information’
helpmate / 'helpmeɪt / ‘a helpful partner, especially a wife’
jumpball / ‘ʤʌmpbɔ:l / ‘a ball thrown by the refree between
two opposing players’
kickback / ‘kɪkbæk / ‘money paid illegally to sb in return for
work or help’
kickboxing / ‘kɪkbɒksɪŋ / ‘a form of boxing where kicking and
punching is allowed’
4. Preposition-Noun Compound Word Stress

aftereffect / 'ɑ:ftəɪfekt / ‘an illness experienced after taking a

drug’
afterimage / 'ɑ:ftərɪmɪʤ / ‘an image that is seen after a thing is no
longer there’
afterthought / 'ɑ:ftəθɔ:t / ‘a thing that is thought of, said or added
later’
aftermath / 'ɑ:ftəmæθ / ‘the situation that exixts as a result of an
event, war, etc.’

aftersun / 'ɑ:ftəsʌn / ‘cream put on the skin after having been

out in the sun’
downlighter / 'daυnlaɪtə(r) / ‘a light on a wall which shines
downwards’
downhome / daυn'həυm / ‘typical of the country, not the town’
downmarket /daυn'mɑ:kɪt / ‘cheap and of poor quality’
downpayment /daυn'peɪmənt /‘money given as the first part of a
larger payment’
5. Noun-Verb Compound Word Stress

babysit / 'beɪbɪsɪt / ‘v. to take care of babies for a short

time’
bodycheck / 'bɒdɪʧek / ‘n. an attempt to prevent a player’s
movement with the hip’
brainwash / 'breɪnwɒʃ / ‘v. to force sombody to accept one’s
ideas or beliefs’
eyewash / ‘aɪwɒʃ / ‘n. words or promises that are not
true or sincere’
footfall / ‘fυtfɔ:l / ‘n. number of people that visit
a particular shop, etc.’
footloose / ‘fυtlu:s / ‘adj. free to go or do smth as you like’
footprint / ‘fυtprint / ‘n. a mark left on the surface by a
person’s foot or shoe’
footstep / ‘fυtstep / ‘n. the sound made each time the foot
touches the ground’
6. Adjective-Verb Compound Word Stress
deadlock / 'dedlɒk / ‘a complete failure to reach agreement
dryclean / draɪ'kli:n / ‘to clean cloth using chemicals instead
of water’
dryrun / ˌ draɪ‘rʌn / ‘a complete practice of a performance
before the real one’
harddrive / 'hɑ:ddraɪv / ‘a part of computer that reads data on a
hard disk’
Hardsell / 'hɑ:dsel / ‘a method of selling that urge the
costumer to buy’
Highrise / 'haɪraɪz / ‘very tall and having a lot of floors’
shortchange / 'ʃɒtʧeɪnʤ / ‘to give back less than the correct
amount of money’
softsell / 'sɒftsel / ‘a method of selling by persuading the
costumer to buy’
sweettalk / 'swi:ttɔ:k / ‘to persuade somebody to do
something’
7.Preposition-Verb Compound Word Stress
outdo / ˌaυt'du: / ‘to do more or better than sombody
else’
outgrow / ˌ aυt'ɡrəυ / ‘to grow too big’
overact / ˌəυvər'ækt / ‘to behave in a way that is
exaggerated’
overeat / ˌəυvər'i:t / ‘eat too much’
overbook / ˌəυvər‘b υ k /‘to reserve more than someone
requires’
overcharge / ˌəυvər'ʧɑ:ʤ / ‘to make somebody pay too much for
something’
overcome / ˌ əυvər‘kʌm / ‘to succeed in dealing with a problem’
overcook / ˌ əυvər‘kυk / ‘cooking food for too long’
overdo / ˌ əυvər'du: / ‘to do something too much’
overdraw / ˌ əυvər'drɔ: / ‘to take out more money from a bank
account’
Overestimate/ ˌ əυvər'estɪmeɪt / ’to estimate something sth to be
larger, better, etc.’
8. Verb-Verb Compound Word Stress
breakdance / ‘breɪkdæns / ‘to dance with an acrobatic
movement’
breakbeat / 'breɪkbi:t / ‘a series of drum beats in a dance
music’
ceasefire / 'si:sfaɪə(r) / ‘a time when enemies agree to stop
fighting’
crashdive / 'kræʃdaɪv / ‘to go steeply downwards and then
crash’
crossbreed / 'krɒsbri:d / ‘to make an animal or plant breed
with a different breed’

crosscheck / ˌkrɒs'ʧek / ‘to make sure that something is

factually correct’
crossexamine / krɒsɪɡ'zæmɪn /’to question somebody carefully’
crosshatch / 'krɒshæʧ / ‘to mark sth with two parallel lines
crossing each other’
9. Noun-Adjective Compound Word Stress
airsick / 'eəsɪk / ‘feel sick when traveling on an
aircraft’
airtight / 'eətaɪt / ‘not allowing air to get in or out’
bloodthirsty / 'blʌdθз:stɪ / ‘wanting to kill or wound’
cardsharp / 'kɑ:dʃɑ:p / ‘a person who cheats in games of
cards’
clockwise / 'klɒkwaɪz / ‘Moving around like a clock’
coalblack / 'kəυlblæk / ‘very dark in colour’
countrywide /ˌ kʌntrɪ'waɪd / ‘over the whole country’
daylong / 'deɪlɒŋ / ‘lasting for a whole day’
handsfull / 'hændzfl / ‘to be very busy doing something’
headstrong / 'hedstrɒŋ / ‘like doing things the way one
likes’
10. Adjective- Adjective Compound Word Stress
brightblue / ˌbraɪt'blu: / ‘blue which is bright in colour’
brightyellow/ ˌbraɪt'jeləυ /‘yellow which is bright in
colour’
brightred / ˌbraɪt'red / ‘red which is bright in colour’
darkblue / ˌdɑ:k'blu: / ‘blue which is dark in colour’
darkbrown / ˌ dɑ:k'braυn / ‘brown which is dark in colour’
darkgreen / ˌdɑ:k'ɡri:n / ‘green which is dark in colour’
lightbrown / ˌ laɪt'braυn /‘brown which is light or thin in
colour’
lightgreen / ˌlaIt'ɡri:n / ‘green which is light or thin in
colour’
paleblue / ˌpeɪl'blu: / ‘blue which is pale in colour’
redhot / ˌred'hɒt / ‘so hot that it looks red’
11. Preposition-Adjective Compound Word Stress

nearsighted / nIə'saItId / ‘able to see in a shart

distance’
offwhite / ˌɒv'waIt / ‘very pale yellowish-
white in clour’
overripe / ˌəυvə'raIp / ‘too ripe’
overconfident/ ˌəυvə'kɒnfIpdənt / ‘too confident’
overcritical / ˌ əυvə'krItIkl / ‘too critical’
overcrowded/ ˌ əυvə'kraυdId / ‘with too many people or
things in it’
overdressed / ˌəυvə'drest / ‘wearing clothes that are
too formal or elegant’
Sentence Stress
Sentences are generally classified by the types
and number of predications found in the
sentences. Based on the types, sentences are
classified into declarative sentences
(statements), interrogative sentences
(questions), imperative sentences (commands
and requests), and exclamatory sentences
(exclamations).
Words and Sentence Stress
The words that are usually stressed are the
content words such as nouns, verbs,
adjectives, adverbs, interrogative pronouns
and demonstratives. Function words such as
prepositions, conjunctions, personal pronouns,
articles, and auxiliary verbs are usually not
stressed. The more content words are used in
a sentence, the slower the sentence is to be
uttered since each of the content words
usually receives a strong stress. But as matter
of fact a stronger stress is usually given to the
last content word called as special stress.
PITCH LEVELS
The pitch level determines the tone of an
Utterance. The pitch used in daily communication is
normally limited in types such as: low, middle, high, and
very high. The middle pitch is the condition in which a
speech is uttered in a neutral or normal tone. The middle
pitch is drawn with a horizontal line precisely below a word
or a group of words in a sentence that is marked as number
2 in the examples shown below. The low pitch is the
condition in which the speech is faded to lowest tone. The
low pitch is drawn with a horizontal line a bit lower than
the normal or middle pitch is marked as number 1. The
high pitch is normally used when a certain word or
expression is given a special stress in a sentence. The tone
of the stressed word is higher than the normal or middle
pitch. This pitch is drawn with a horizontal line precisely
above a word or a group of words in a sentence, and it is
marked as number 3.
Pitch and Meaning
Pitch in speech can affect the meaning of an
utterance. A descending pitch used in an
affirmative sentence will be understood as a
statement, but it will be regarded as a question
when an ascending pitch is used. Further more, a
pitch change may also reveal a sincere or
sarcastic expression. Even the emotional
condition of a speaker can be reflected by the
pitch type, and it is intuitively understood if the
speaker is happy or sad, angry or pleased,
dynamic or listless, tense or relax, interested or
bored. The pitch seems to be easily interpreted,
and it is regarded as a natural characteristic of
languages in general.
Extra High Pitch : 4
High Pitch : 3
Middle Pitch : 2
Low Pitch : 1
PITCH LEVELS
A pitch always keeps on changing as it is heard
in a normal daily speech, and a pitch change
always takes place in a stressed syllable, either
between the syllables or within a syllable.
When the pitch change takes place between
the syllables, it is classified as a sift, but when
it takes place within a syllable it is classified as
a slide. The sift is drawn with a vertical line,
and the slide is drawn with a slanting line.
PITCH CHANGE
When the pitch moves from the normal level to
the high level and it occurs between the syllables,
it is drawn with a vertical line that goes upwards.
When the pitch moves from the high level to the
low level and it occurs between the syllables, it is
drawn with a vertical line that goes downwards.
When the pitch moves from the low or normal
level to the high level and it occurs within a
syllable, it is drawn with a slanting line that goes
upwards. When the pitch moves from the high
level to the low level and it occurs within a
syllable, it is drawn with a slanting line that goes
downwards.
TONE UNITS
The pitch levels usually used in an utterance of
a word restricted to the mid, high, and low.
The initial unstressed syllable is usually
uttered with mid pitch level marked with
number 2, and it is called as proclitic segment.
The stressed syllable is uttered with high pitch
level marked with number 3, and it is called as
the tonic segment. The last unstressed
syllable is uttered with a low pitch level
marked with number 1, and it is called as
enclitic segment.
PATTERNS OF PITCH CHANGE
In British English, it is distinctively perceivable that the
first function word in the initial of an utterance is
uttered with a normal pitch, and the first content word
with a high pitch, and the sounds then go down to the
next content words, but the final content word is even
uttered a bit higher than the previous content word.
The stress given to the final stressed content word is
called special stress. In American English the words
before the final content word are normally uttered
with a normal pitch, but the final content word is given
a special stress and the tone is then perceivably a bit
higher than that of the previous words. Pertaining to
pitch and tempo, American speak more slowly and
with less variety of tone. In fact American speech is a
bit more monotonous, and is uttered with less variety
in the intonation than that of Britain (Baugh and Cable,
1997: 369).
JUNCTURE= jender

The juncture determines the pause between words, phrases,

clauses or sentences. Juncture is one of the suprasegmentals which
shows the pause between sounds or syllables in a word, phrases, or
clauses in a sentence. The juncture in a sentence usually occurs in
series of words, phrases,or clauses. The juncture that occurs in
series of words and phrases is usually marked with a comma, and
the juncture that occurs between sentences usually marked with a
period or full stop. In other words, the juncture is known as the
normal pause which is represented by a comma or a period. The
juncture is also one of the aspects that determines the type of the
intonation of an utterance or sentence, and this is simultaneously
followed by the changes of the pitch in an utterance.

night rate / naIt-reIt /

nitrate /naI-treIt /
TERMINAL CONTOUR
Terminal Contour determines the shift of pitch
by the end of a phrase, a clause or a sentence.
The sift of the pitch may occur either between
syllables or within a syllable. When it occurs
between syllables is called as a sift since the
pitch change is clearly takes place between the
weak and the stressed syllable. But when the
sift of the pitch takes place within a syllable, it
is called as a slide since it goes up or down
slowly within the stressed syllable.
INTONATION
Intonation refers to the use of suprasegmental
phonetic features that conveys a postlexical or
sentence-level pragmatic meanings in a
linguistically structured way (Ladd, 1996:6-8).
Based on this definition, it is clearly
understood that the intonation consists of
various phonetic features such as stress, pitch,
pause or juncture, terminal contour or clause
terminal found in a linguistically structured
expression, which contains a definite
meaning.
Intonation of Positive Statements
The intonation pattern of a positive statement
is commonly ended with a falling terminal
contour, and it is believed that it contains a
definite or reliable information. This type of
intonation pattern comprehensively contains a
sense of completion and finality. But if this is
changed into rising terminal contour, the
meaning will be changed as well, and it is
considered to have less definite information or
doubtful remarks, and it substantially reveals
vagueness, uncertainty, or an afterthought.
They 'live in a 'very 'large `house.
3
δeɪ lɪv In ə verI lɑ:ʤ haUs British
2 1

3
δeɪ lIv In ə verI lɑ:ʤ haUs American
2 1

The 'apple is 'ripe, and it 'tastes `sweet.

3 3
δə æpl Iz raIp ænd It teɪst swi:t British
2 2 1

3 3
δə æpl ɪz raɪp ænd It teɪst swi:t American
2 2 1
PRONUNCIATION OF SUBORDINATE CLAUSE
When a main clause is followed by a subordinate
clause, no comma is used. But when the main
clause is preceded by the subordinate clause,
there is a juncture marked with a comma
between the two clauses, and this construction
will certainly result in a different and more
complicated stress pattern as well. The comma in
this construction is to be pronounced either with
a sustain or rising terminal contour.
When the 'rain 'came, I was on my 'way `home.
3 3

wen δə reIn keIm aI wəz In maI weI həUm Br.

2 2 1

3 3

wen δə reIn keIm aI wəz In maI weI həUm Am.

2 2 1
I was on my 'way `home when the 'rain 'came.

3 3

aI wəz In maI weI həUm wen δə reIn keIm Br.

2 1

aI wəz In maI weI həUm wen δə reIn keIm Am.

2 1
I’ll 'ask him myself, if `necessary.
3 3

aIl ɑ:sk Im maIself Iv ne səsərI Defenite remark

2 1 2 1

3 3

aIl ɑ:sk Im maIself Iv ne səsərI Indefenite remark

2 1 2
Intonation of Negative Statements
A negative statement has the same intonation pattern
with the positive statement, which is uttered with a
falling terminal contour. Auxiliaries are not given stress
in a positive statement, but it is stressed in a negative
statement. A negative statement is believed to have a
definite or reliable information when it is uttered with
a falling terminal contour, but the meaning will be
changed and considered to have less definite
information, or reveal uncertainty when it is uttered
with a rising terminal contour. When a main clause is
followed by a qualifying phrase or clause in a negative
statement, which is uttered with a rising terminal
contour, this type of intonation pattern particularly
shows a condition of a hesitant manner. The addition
of the qualifying phrase or clause actually makes the
main clause less definite.
Intonation of Question-Word Questions
A question-word question generally has a falling
terminal contour, and it is believed as a casual way of
asking an information. But if this is changed into rising
intonation, the meaning will be changed as well, and it
is considered to have a friendly or intimate question. In
other words, a question-word question with a falling
terminal contour is regarded as a normal or strict
question, but the one with a rising terminal contour is
comprehensively regarded as an intimate or friendly
question. Instead of asking the other speaker to clarify
his answer, a question word question may also be given
a rising intonation. A question-word question is usually
stressed in British, and it’s therefore uttered with a
high pitch. But in American it is usually uttered with
mid pitch, and the last content word is uttered with a
high pitch and falling terminal contour.
 Do they live in a very large house?
3 3

du δeI lIv In ə verI lɑ:ʤ haυs ? British

du δeI lIv In ə verI lɑ:ʤ haυs ? American

2
Intonation of Commands
A command generally has a falling terminal
contour, and it is believed as an authoritative
way of asking someone to do something. But
if the terminal contour is raising, the meaning
will be changed as well, and it is considered as
a friendly way of asking someone to do
something. A command is usually ended with
a period in a written sentence, and it is
uttered with a falling terminal contour.
Open the door !
3

Əυpən δə dɔ: British (strong command)

1

opən δə dɔr American (strong command)

2 1
Open the door !
3 3

Əυpən δə dɔ: British (friendly command)

opən δə dɔr American (friendly command)

2
 Intonation of Requests
A request generally has a rising terminal
contour, and it is believed as a polite or formal
way of asking someone to do something. But
if the terminal contour is falling, the meaning
will be changed as well, and it is considered as
a sarcastic question. The word please is
usually added in order to make the question
more polite, but yet it still has the imperative
mood.
Intonation of Tag questions
The intonation of a tag question may be either
falling or rising. When a tag question is given a
falling intonation, it is regarded as a
statement. The speaker simply wants to
express his opinion about something, and the
listeners are all expected to agree about it. But
when a tag question is given a rising
intonation, it is regarded as a question.
He’s at home, isn’t he ?
3 3

hɪz ət həυm ɪz ənt hɪ statement

2 1 1

3 3 3

hɪz ət həυm ɪz ənt hɪ question

2 1 1 1
Intonation of Exclamations
The intonation of an exclamation is usually
ended with a falling terminal contour. The
exclamation is used to express one’s
admiration or opinion on something. The
exclamation is formed by means of what a for
the countable singular noun, and what for the
plural and uncountable noun. When the
exclamation is started with the word how, no
article is used. An exclamation is usually
ended with an exclamation mark.
SPEECH PERCEPTION
Words of high frequency are easier to perceive
rather than the words of low frequency;
simple sentences are easier to perceive than
the more complex ones; grammatical
sentences are easier to perceive than the
anomalous ones; and the anomalous
sentences are easier to perceive than the
ungrammatical ones (Gleason and Ratner,
1998: 136-140).
TEACHING SUPRASEGMENTALS
In fact, auditory skill is closely linked with the
oral skill in normal speech situation (Heaton,
1988: 64). Based on this theory, it is believed
that students are required to listen carefully
before they are asked to pronounce the
words. The teacher is therefore required to
pronounce every words clearly and correctly
so that the students can perceive and
pronounce the words well, or it can possibly
be done by using an electronic pronouncing
dictionary.