Eng 103

SPEECH AND ORAL
COMMUNICATION
ENG 103
The Nature & Importance of Speech
• Speech is basically the very first thing we learn to do that is
taught to us at a young age. It is the means in which we
communicate what we want to communicate. It is so
important that you can’t even imagine a world without it.
Through it, we are able to articulate our ideas and thoughts,
develop our personalities, and get to influence others.
• Speech is how we produce words.
Retrieved from Speech and Oral Communication for College Students, Rafaela H. Diaz
Christian Bulkner’s Speech Credo
I believe that of all human functions, the gift of speech is the
most miraculous.
I believe that the ability to articulate is essential to inner
harmony, to emotional maturity, and to mental balance. If all
people could be completely articulate at all times, human
relations might improve to the point where there would be no
more wars and no more jails, more stable homes and more
happy people.
I believe that speech is essential to the growth of the human
personality and that it provides a way for self-discovery and
self-renewal. For many, it is a way of self-expression without
brush or pen.
I believe that the act of speech is a total process, that when it
reaches optimum effectiveness, the whole man communicates.
What one is, is always a part of what one says.
I believe that there is no substitute for content in the
speaking process. Material or intellectual worth provides
the essence of eloquence. Speech skills have their
importance, but they no more make the speech than clothes
make the man. the center of gravity in all speech
communications is thought and idea.
I believe that every student should develop a concern for

truthful and responsible speech, exhibiting sense—not
nonsense, sincerity—not cleverness, forthrightness—not
superficiality, and should never be a party to plagiarized or
dishonest work.
I believe that speech has no absolutes, that a completely

perfect speech has not yet been made. I believe that speech
offers a lifetime challenge in which there is never a final
summit of achievement beyond which one cannot climb.
I believe that the individuality of the speaker is a valuable
asset in the speaking process, and that any person with
normal intelligence, normal emotional balance, and normal
speech mechanisms has at his command the resources
enabling him to make certain speeches that can be equaled
by no other person. Every student has the potential to
speak superbly at some time.
Communication and Language
Communication is the “dual or two-way process of
transmitting messages from one person to another. It is the
symbolic interaction between two or more people that
influence each other’s behavior. With it, not only does one
make his/her own self understood, he/she also gets to
understand them.”
Communication and Language
Language is “our most effective medium of
communication.” Its sole purpose is to “serve as the code
for the transmission of messages between and among
people.” It is basically a tool in which we get to convey our
ideas and articulate our thoughts.
Characteristics of Language
1. It is systematic.
2. It is arbitrary.
3. It is rule-governed.
4. It has a dual structure.
5. It is generative.
6. It is a socially-learned behavior.
7. It is a social interactive tool.
Relationship of Speech, Language, and
Communication
• Communication – broad term for the two-way dynamic
process of transmitting a message
• Language – medium through which messages are sent
and received
• Speech – process of shaping into words the sound of the
voice and the energy of the breath, by means of speech
organs; verbal means of communicating
Aspects of Communication
1. VERBAL OR LINGUISTIC ASPECT – makes use of

words; may be oral or written, formal or informal
2. NONVERBAL OR EXTRALINGUISTIC ASPECT –
does not make use of words but may enhance or change
the linguistic code
Elements of Nonverbal Aspect of
Communication
1. Nonlinguistic elements – devices used to convey messages
without entirely relying on speech or language.
a) Kinesics – language of the body
b) Proxemics – language of space
c) Chronemics – language of time
d) Haptics – language of touch
e) Artefactual – language of objects
f) Physical appearance
Communication
2. Paralinguistic elements – include the following
attributes of voice that accompany the words we say
a) Vocal quality
b) Pitch
c) Tempo
d) Volume
e) Juncture
Communication
3. Metalinguistic elements – abstract element that takes
place in the mind of communicators—their awareness of
the component units of language—sound, words,
phrases, and sentences. This enables the language user
to think about language independently of his/her
comprehension and production abilities, talk about it,
analyze it, and judge it as to correctness or
appropriateness.
Types of Communication
1. Intrapersonal – communication within oneself
2. Interpersonal – communication among a relatively
small number of people
a) Dyadic – between two people
b) Triadic – involving three people
c) Small group – more than three people involved
Types of Communication
3. Public Communication – communication between one
and several other people
4. Mass Communication – covers other forms of
communication (e.g. printed form, radio, television,
movies, etc.)
5. Organizational Communication – in the organization
Elements of Communication
1. Sender – speaker or communicator
2. Message – idea being transmitted by sender to listener
3. Channel – medium or vehicle through which message is
sent
4. Receiver – target of communication
5. Feedback – reaction given by the listener
The Communication Process
SENDER MESSAGE CHANNEL RECEIVER
FEEDBACK
Stages of Communication Process
1. Stimulus/Stimuli – triggering event
2. Ideation – formulation of ideas
3. Encoding – ideas are put into code ready for transmission
4. Transmission – encoded message is transmitted
5. Reception – the message reaches the receiver
6. Decoding – conversion of codes or symbols to ideas
7. Understanding – interpretation of message
8. Action – the receiver’s response
STIMULUS
FEEDBACK IDEATION
UNDERSTANDING ENCODING
DECODING TRANSMISSION
RECEPTION
Barriers of Communication
Barriers are the obstacles concerning language

use, the people involved, the environment,
and those of the immediate situation that can
obstruct the flow of meaning and cause
communication breakdown.
Barriers of Communication
Such barriers, which may be classified as personal,
interpersonal, perceptual, environmental, physical,
organizational, temporal, semantic, channel, media-
related, or geographical in nature, may lurk in any steps of
the communication way. That is why the communicator
must be aware of these obstructions so that s/he may know
what to avoid, control, eliminate, or minimize.
How to Improve Communication
1. Plan your communication. Consult with others where
appropriate.
2. Seek to clarify ideas before communicating.
3. Examine the true purpose of each communication.
Language, tone, and total approach must be adapted to
serve the specific objective.
4. Consider the total physical and human setting when
communicating. Observe proper timing, the circumstances,
and the social climate that pervades the communication
situation.
5. Be mindful of the overtones as well as the basic content of
the message.
6. Consider the receiver’s frame of reference.
7. Make your message simple, clear, concise, concrete,
complete, correct, and consistent.
8. Show interest in your listener.
9. Do not do most of the talking.
10. Be polite; do not interrupt the speaker.
11. Be a good listener. Give the speaker your undivided
attention.
12. Ask questions when necessary. Use repetition to
reinforce key ideas.
13. Take the opportunity, when it arises, to convey
something of help or value to the receiver.
14. Follow up communication by soliciting feedback.
Encourage and induce feedback.
15. Communicate for tomorrow as well as for

today.
16. Be sure actions support communications.
17. Seek not only to be understood but to
understand.
Listening in Communication
Listening – active intellectual process of decoding,

interpreting, understanding, and evaluating
messages. It is a mode of communication just as
important as the other modes like speaking,
reading, and writing.
Best Kind of Listening
1. Voluntary – good listening begins with a willingness to
participate completely in communicative situation.
2. Purposeful – you choose to listen because of some very
good reason.
3. Motivated – when you have good reasons for listening,
you are all keyed up for the activity and nothing can stop
you.
Best Kind of Listening
4. Cooperative – you keep quiet and give your
wholehearted cooperation when you listen because you
hope for nothing but only the best from the speaker.
5. Critical – you follow the speaker’s ideas carefully and get
things clear so that in the end, you may be able to make
intellectual judgments when you evaluate his ideas
before responding.
Why Listen?
1. It stimulates better communication between the
parties involved. An attentive listener encourages
the speaker to say more. It builds respect and
loyalty and makes people feel important.
2. It contributes to and promotes better responses
among the members of the group. It facilitates the
meeting of minds.
Why Listen?
3. It makes you appreciate and enjoy what you hear. It
increases and expands the range of one’s enjoyment of
life. It gives pleasure and even comfort.
4. It assists you in understanding what is being said. With
a listener’s full attention.
5. It helps you make better decisions. It provides inputs
as bases for decision-making.
Why Listen?
6. It enables you to react to what is said. You are

able to or disagree, to add something, if not
ask questions about what is being said.
7. It enlarges one’s experience. Listening
broadens and enriches the mind.
Why Listen?
8. It enables you to correct your own problems of

vocalization. Listening to your voice gives you
the opportunity to realize your faults and
defects which in time offers you chances to
improve.
9. It decreases the tensions of life.
Purposes of Listening
1. To obtain information and gain knowledge. You
listen to learn and benefit from the experience of
others. Understanding and retention are the
primary goals.
2. To appreciate and enjoy what is said. You are
pleased with what you hear.
Purposes of Listening
3. To be clarified and make intellectual judgments,

fair criticisms, and to evaluate ideas.
4. To draw inspiration.
5. To improve oneself.
The Listening Process
1. Physical or Attention Stage

2. Logical or Auditory Discrimination Stage
3. Semantic or Comprehension Stage
4. Retention Stage
Types of Listening
1. Active listening as contrasted to passive

listening.
2. Serious listening requires concentration of
thought.
Levels of Listening
1. Ignoring
2. Pretending
3. Selective listening
4. Attentive listening
5. Sympathetic listening
6. Emphatic listening
Roadblocks to Listening
1. Hostility to the speaker
2. Daydreaming
3. Prejudging
4. Selective listening
5. Close-mindedness
6. Listener’s background
7. Distractions
MECHANICS OF SPEECH
ORGANS OF SPEECH
1. Respiratory or Breathing Parts

a. Lungs
b. Trachea
c. Diaphragm
d. Abdominal and Rib Muscles
ORGANS OF SPEECH
2. Phonating or Vocalizing Parts

a. Larynx
b. Vocal Cords
c. Laryngeal Muscles
ORGANS OF SPEECH
3. Resonating Parts
a. Mouth
b. Jaw
c. Uvula
d. Nasal Cavity
ORGANS OF SPEECH
4. Articulatory Parts
a. Articulators
i. Tongue
ii. Lower lip
iii. jaw
ORGANS OF SPEECH
a. Points of Articulation
i. Upper lip
ii. Upper teeth
iii. Alveolar ridge or teethridge
iv. Palate (hard and soft)
v. Uvula
FUNCTIONS OF SPEECH ORGANS
(Respiratory)
• Exhalation and inhalation are the two processes involved in
breathing.
• Lungs – the first organ necessary for speech
• Diaphragm – an important part of the inhaling process; a
muscle that separates the ribs from the abdomen
(Vocalizing Parts)
The air forced out from the lungs by the pressure of muscles
in the abdomen finds its way through the windpipe, or
trachea and into the larynx which houses the voice box. This
sets the vocal cords, the second important speech organ, at
the tip of the larynx, to vibration sending upward sound
waves, which produce rather unpleasant muffled sounds.
(Resonating Parts)
Weak sounds issuing from the vocal cords are altered,
amplified, and made fuller and richer by the oral cavity, nasal
cavity, and pharyngeal cavity. Different kinds of sound can be
produced in these sounding boards by the modification of the
size and shape of the mouth. Thus, tones from the vocal folds
and the glottis, which at first were hardly audible become
louder when modified into specific sounds, syllables, and
words.
(Articulatory Parts)
Chief articulators: tongue, lower lip, jaw
Points of Articulation: upper lip, upper teeth, alveolar ridge,
hard palate, velum or soft palate, uvula
Three sections of the tongue: tip (apex), blade, root
Three parts of the blade: front, center, and back.
PRODUCTION OF SPEECH SOUNDS
1. Respiration – physiological process of respiration

2. Phonation
3. Resonation
4. Articulation – the stage wherein the speech is
made recognizable and intelligible
EFFECTIVE SPEAKING
VOICE
DESIRABLE SPEAKING VOICE
1. Audibility. The voice should be loud enough.
2. Pleasantness. Should be pleasing to the ears.
3. Clarity. It is clear and distinct enough to be
understood.
4. Flexibility. Be ready and capable for modification.
5. Fluency. Articulate and effortless.
FACTORS AIDING VOICE
PRODUCTION
1. Ease
2. Posture
3. Breath Control
EASE
Learn to relax. A relaxed throat and jaw make for effortless smooth
speech. Relaxation fosters calmer spirit, improves voice, and augurs
better thinking. When you are relaxed, good tones result. Fear,
fatigue, and undue strain are to be avoided; they affect the voice. If
you are tense, your breathing will be inhibited. Tension in the throat
impedes the easy flow of sound. It may tire your throat or make your
voice hoarse.
How to work at relaxation
1. Open your mouth wide. Yawn and stretch. Then, shake
on your chair.
2. Roll your head slowly in a wide lazy circle. Left to right,
then right to left. This lessens tightened neck muscles.
Shrug your shoulders until they feel at ease.
3. Take a deep breath. Inhale through the nose, exhale
through the mouth.
How to work at relaxation
4. Stretch your lips, articulate, and warm up on vowel
sounds.
5. Kick your feet, touch your toes, wiggle your arms, move
your hands like an octopus, gyrate to relax your body.
6. Observe correct posture.
POSTURE
Bad posture poses an uncomfortable sight to the listeners and
interferes with voice placement. Like tension, it inhibits proper
breath control. This happens when you make your spine sway in
at the center and thrust your neck forward to keep your balance.
This tightens the muscles of your throat. Good posture is the
arrangement of the bones and muscles which puts the body in
perfect alignment so that the other parts of the body will fall
naturally in place.
Five Advantages of Good Posture
1. It suggests health.
2. It makes you look great.
3. It conditions a pleasing voice.
4. It is one of the finest exercises you can do.
5. It eases fatigue and tension.
Right Way to Stand
1. Head high, chin parallel to the floor
2. Shoulders relaxed to make your neck look as long as
possible.
3. Tummy tucked in, midriff lifted up into the rib cage.
4. Front foot pointed straight forward; back foot at an angle
of around 45 degree behind it.
BREATH CONTROL
1. Ease in voice production

2. Increased vocal energy
3. Proper voice projection
4. Sustained tones for speech
Principles Related to Breathing that
Aid in Voice Production
1. The breath should come easily with no apparent
effort. There should be no strain, either in taking
its full breath or in consciously controlling its
outlet.
2. The rhythm of breathing must conform to the
rhythm of speech.
3. Both the mouth and the nasal passages are made
use of in breathing during speech.
4. Frequent sips of air should be taken when pausing
between phrases so that the breathing does not
become obtrusive and shortness of breath does
not occur.
5. There must be proper control of exhalation so that
tones have sufficient support.
6. Loud tones are given considerable pressure in
exhalation; soft low tones are allowed very little
pressure.
7. Proper posture, characterized by ease contributes
much to effective voice production.
How to Make Your Voice an Asset
1. Relax. Only with total freedom from tension can
your voice be full and pleasing.
2. Develop good breathing habits.
3. Watch your posture.
4. Train your ears.
5. Use enough volume to be effective.
How to Make Your Voice an Asset
6. Develop resonance in your voice.

7. Work for a pleasant quality.
8. Don’t talk through your nose.
9. Keep your speaking voice pleasingly low.
10.Don’t speak in a deadly monotone.
VOICE PROJECTION
Depends on three things:

1. Force of your breath
2. Clarity of articulation
3. Muscular energy with which you form your
words
Factors for Effective Voice Projection
• Direct your voice with controlled vocal force through proper
breath management. Proper breathing gives vocal energy.
• Make your voice sound as if you are sincerely alert of your
thoughts and feelings. Show your genuine desire and interest
to communicate with your listener. It is not merely speaking
for the heck of it. Speaking because you simply have to say
something is different from speaking because there is
something you have to say.
• Use your body, especially your face to show interest in
communicating with your listener. Facial expressions,
meaningful gestures and movements, an alert posture, and
eye-to-eye contact, are extremely useful even in projecting
the thoughts and feelings of your speech.
• Develop greater precision, sharpness and clarity of
articulation through an active use of your articulators in
conjunction with the points of articulation.
• Expand fully the stressed vowel sounds of your speech by

using the three elements of stress: intensity, pitch, and
duration.
• Take care not to fall into the tendency to push up the pitch of
your voice when you want to increase its volume.
EXERCISE FOR VOICE PROJECTION
Count aloud from one to ten, starting at a low

volume and getting progressively louder.
Don’t raise your pitch. Make sure your pitch
always remains even and unchanging.
EXERCISE FOR VOICE PROJECTION
Say “hey”:
• To someone beside you
• To someone seven feet away from you
• To someone at a disco
• To someone across a narrow street
VOICE VARIETY
COMMON FAULTS:
• You use the same pitch with only a slight variation
of one or two notes.
• You employ the same tempo or note from
beginning to end.
VOICE VARIETY
• You use a uniform degree of force or volume

regardless of the different meanings your message
conveys.
• You utilize only one voice quality to express all
shades of meaning and mood.
Effective Approaches for Voice Variety
• Change your attitude. Overcome and banish all

thoughts of inferiority and shyness. Wake up. Be
sensitive to stimuli. Respond. Emotional repression
due to a general timidity of character makes your
speech and personality dull, lifeless, and
expressionless.
• Think and feel with keenness and discrimination.

Communicate the real meaning of your utterances.
If your response to stimuli is genuine, your tone
will have color. Say what you mean and mean what
you say.
• Develop your vocal mechanism. Have control of

your voice. Make it express varied moods and
feelings. This can best be achieved through rigid
drills and exercises.
VOCAL QUALITY
• Refers to the predominant timbre or tone color of

your voice
• The distinctive characteristic of the tone of the
voice that makes it pleasant or unpleasant and by
which your friends identify you
• Brought about by the complexity of vibrations
generated by breathing, phonation, and resonance
PITCH
• Relative position of a tone in a scale

• Refers to the highness or lowness of the voice when
you speak
• Determined by the length and thickness of the
vocal cords
• Depends on the frequency at which your local
cords vibrate
PITCH
To improve your own use of pitch, you first have to

find it, identify, and adapt it. Finding it may be done
with the use of the piano or by intoning. Your
natural pitch is that low comfortable note from
which you can move four or five notes up and down
the scale. Take note, a moderate lilt makes an
interesting.
Exercise to Correct Pitch Range
Practice using pitch to reflect the emotional content

of your speech. Say the following with feelings:
• Happy Birthday!
• Congratulations! You deserve the promotion!
• Oh, I’m sorry. I didn’t mean to do it.
• Please don’t go away.
Exercise to Correct Pitch Range
• That’s alright. I don’t mind your smoking.

• Shut up! That’s nonsense!
• Oh, no! That battery again!
• Let’s go. Hurry up!
• Will you help me, please.
• I will not talk to you again. Never!
TEMPO
• The rate by which we speak

• Refers to the number of words uttered within a
given time
• Another indicator of the speaker’s mood
• Depends on the thought being expressed
Common Errors in Vocal Tempo
• You speak too fast to be understood. There is no
reason for racing. Nobody is running after you.
• You continue speaking until the breath is
exhausted causing the speaker to break the phrases
or the thought units in the middle to gasp for air.
Pause only in the right places, where there are
commas or at the end of the thought units.
Common Errors in Vocal Tempo
• You rush to get to the end of a long sentence on a
single breath. Don’t try to cover more than you can.
Otherwise you will gasp for breath.
VOICE INTENSITY
• Refers to the volume of the voice or the loudness
with which we speak
• This tone amplification is done not by the
constriction or tightening of the throat but by the
force of the expiratory air stream and the efficient
use of the resonators.
VOICE INTENSITY
• Varying degrees of vocal force are necessary to

convey changing thoughts and feelings. Differences
in vocal force enables the listeners to recognize
differences in meaning, thus making them interpret
and understand the speaker’s message better.
Exercise to Practice Voice Intensity
• I’m going with you.

• That’s not true.
• I made it.
• Come and get it.
• I hate you.
JUNCTURES OR PAUSES
• Junctures are pauses in the flow of speech while

pauses are intervals of silence between or within
words, phrases, or sentences. This silence is an
effective communication tool is used sparingly. In
speech, such pauses express feelings and convey
meaning more forcefully than words do.
JUNCTURES OR PAUSES
• Pauses help create suspense, put emphasis on the

word or words that follow, give listeners a time to
absorb what has been said for dramatic effect, and
best of all, enable the speaker to catch up with his
breath.
Activity
• The president, said the secretary, is busy.

The president said, the secretary is busy.
• Who is calling, Jinky?
Who is calling Jinky?
• Are you leaving my child?
Are you leaving, my child?
Activity
Say “what’s the matter” using changes in pitch,

tempo, force, pauses, and voice quality:
• A friend is found crying
• There is commotion in the classroom
• A colleague stubbornly insists on a proposal you
strongly dislike
• Somebody finds faults with you
Activity
Say “yes” to mean the following:

• Happy about it
• Excited about it
• Not sure of it
• Forced into it
• Afraid of it
• Angry at it
The Tone of the Voice
It’s not so much what you say, as the manner in
which you say it;
It’s not so much the language you use, as the tone in
which you convey it;
“Come here!” I sharply said, and the child cowered
and wept.
“Come here!” I said softly, he looked and smiled and
straight to my lap he crept
Words may be mild and fair and the tone may pierce
like a dart;
Words may be soft as the summer air but the tone
may break a heart;
For words come from the mind grow by study and
art;
But tone leaps from the inner self revealing the state
of the art.
Whether you know it or not,
Whether you mean or care,
Gentleness, kindness, love and hate, envy, anger are
there.
Then, would you quarrels avoid, and peace and love
rejoice?
Keep anger not only out of your words, keep it out of
our voice.
Questions
• Analyze your own voice and speech. What
distinctive qualities make the way you speak
unique to you?
• Improving your speech lies largely within your
own power. Do you agree? What does this imply?
SOUNDS OF ENGLISH
Sounds of General American English
• Vowels
• Diphthongs
• Consonants
English Vowels
• is a permanent element in a syllable
• formed by allowing the passage of air from the
lungs through the mouth acting as a resonator
without any obstruction. This passing air causes
the opening of the vocal bands, called the glottis,
to vibrate.
• sounds produced with vibration of air in the oral
cavity
The relationship of the vowels to one another is shown by the
device known as the Vietor Triangle. The purpose of this
vowel triangle is to show the differences among the vowel
sounds in English and their relative positions on the tongue.
The phonetic system of transcription used here is that of the

Philippine Center for Language Study (PCLS) which is based
on the Trager-Smith system. Because of its simplicity and
similarity of symbolization to Filipino and English spelling,
learning English pronunciation for the Filipino student is
made easy.
VOWEL SOUND PRODUCTION
1. Tongue Position or Advancement

2. Tongue and jaw height
3. Lip position
4. Tension
5. Length
[iy] beat me key seed chief
[i] sit give rid pick live
[ey] ate ray face weigh great
[e] met let head less tell
[ae] cat am bag land class
[a] pot block got cop lost
[] ball talk saw draw dawn
[ow] hope go wrote home soak
[u] look good would sure bush
[uw] moon blue rule chew suit
[] luck must touch gone cup
ACTIVITY
Students get into teams of 3 students per team.
Each team will choose one page without saying the
word. One group chooses their word. They have 1
minute with their group to decide on the following:
• How many syllables it has
• Where the stress is
• How to pronounce the word
• Give another adjective that has the same pattern of
pronunciation in terms of stress.
Retrieved from http://elt-connect.com/fun-with-word-stress/

MASTERING THE VOWEL
[iy] AND [i] SOUNDS
To make the sound of [iy], take a smile position
with the lips, keeping them slightly apart. Point
the tongue forward towards the upper from
teeth. The muscles of the lips and tongue are
tense. The jaw is almost closed. To change the
sound of [iy] to [i], relax the lips and the tongue
slightly.
[iy]
even mean knee
easy leave free
equal season tea
evil people me
eastern seed see
evening bead key
eatery least bee
eagle reason agree
[i]
in will chip
it wind quick
live six Jill
did fill list
give ring
big lid
him sit
[iy] [i]
eat it
seat sit
beat bit
least list
bead bid
keen kin
leave live
meal mill
eel ill
1. Heat the lean meat and eat it.
2. Our east room is clean and neat.
3. She is a speech teacher.
4. A treaty of peace will please us all.
5. He can at least show me the list.
6. The dog beat the man who bit him.
7. My kid sister gets ill at the sight of an eel.
8. I will dip my hand into the deep water.
9. Shall we have a drink of milk?
10. He mountain climber left his pick at the peak.
DISTINCTION BETWEEN
[ey] AND [e]
[ey] is a mid-front tense vowel that is produced
by raising the tongue blade in a high front
position and, in so doing, the lips become
unround. The tip of the tongue is near the
cutting edge of the lower middle front teeth.
This change in the position of the tongue, from
the high front to the mid-front, causes the vowel
to be diphthongized as the tongue moves from
the [e] and the [i] to produce the [ey] sound.
[e] is a mid-front lax unround vowel that is
produced by putting the tongue blade lower in
position that the [ey] sound. The tongue is
flatter farther back and lower than the [ey] or [i]
sounds.
[ey]
aim ace bake
aid amiable face
able ache mate
age eight chain
ace angel name
amiable shame may
ache face today
eight wave bay
angel paper ray
[e]
end met let
egg get shed
bet yes den
red led head
well wed tell
pen debt send
[ey] [e]
mate met
raid red
wade wed
bail bell
wave web
late let
bait bet
sail sell
pain pen
[ey] [e]
lace less
tale tell
gate get
hail hell
main men
raised rest
1. The rain in Spain stays mainly on the plain.
2. Kate learned to bake a cake.
3. Daisy Grace is eight years of age.
4. A plate of bacon, bread, and eggs is on the table.
5. Eddie, Mary, and Emily are best friends.
6. Daily mail is usually carried by train or by
plane.
7. You should be able to find a seat for me even it
is late.
8. My favorite teacher came in April, I very well
remember.
9. Many men and women are not ready to
maintain a big family.
10. What a day may bring, a day may take away.
PRONUNCIATION OF
[ae] AND [a]
[ae] is a low front usually lax unround vowel.
This vowel sound is pronounced with the
tongue in a lower position than for [e]. The
tongue tip is close to the lower middle front
teeth and the lips are unrounded when the
sound is produced.
[a] is a low back vowel. The tongue lies low with
the back slightly raised and the lips are slightly
rounded when producing the sound.
[ae]
add actually example
answer annual happy
apple animal banner
accent and matter
anger band bamboo
after black passive
asset family imagine
aspirin hammer taboo
[a]
on olive rock
odd often dollar
orange college knowledge
other clock follow
[ae] [e]
pat pet
am em
bad bed
bat bet
mass mess
bag beg
past pest
mat met
land lend
[ae] [e]
tan ten
rack wreck
capped kept
lag leg
pan pen
sat set
sand send
[ae] [a]
cab cob
pat pot
lack lock
add odd
band bond
knack knock
black block
tap top
1. Pat the black cat at the back.
2. Sam and Max are lanky and tan.
3. The mad man sat on the mat.
4. The accident happened shortly after her arrival.
5. The magician made the hat vanish into the air.
6. The avenue was lighted by a series of old-
fashioned lamps.
7. Men prefer coffee to chocolate.
8. Horror stories about dogs are often shocking to
children.
9. The caps of the traffic cops attracted the
motorists’ attention.
10. John did a lot of odd jobs when he was stationed
at the factory.
PRONUNCIATION OF
[ow] AND [ɔ]
[ow] is a mid-back vowel. To produce this
sound, the tongue is raised to the high back
position, the lips are rounded and protruded
and the muscles are tense. Make a long voiced
sound with the lips coming together to a point.
[ɔ] is a low-back vowel which is a combination
of the sounds of [o] and [a]. The lips are less
rounded and protruded than for [ow].
[ow]
owe ocean choke
oak roses known
own pony diploma
only home hello
over holy blow
open photo toe
opal bowl go
oval broken radio
[ɔ ]
all ball jaw
ought strong flaw
always applause straw
almost dawning claw
author law draw
awful saw
audience raw
[ɔ] [a]
caught cot
taught tot
wrought rot
sought sot
naught not
brought broth
[ow] [a]
pope pop
cloak clock
cope cop
goat got
ode odd
node nod
bloat blot
[ow] [ɔ]
low law
coal call
goal gall
tote taught
pose pause
joe jaw
hole hall
flow flaw
[ow] [ɔ]
woke walk
loan lawn
boat bought
cold called
wrote wrought
choke chalk
1. The hopeful coach smoked and choked.
2. She soaked all her clothes in cold soapy water.
3. She always opens and closes the door with her
toes.
4. The athlete went home with a broken jaw.
5. Do you know how to bowl with a large ball?
6. He wrote a letter and walked away.
7. I don’t know what he saw there that made him
turn so pale.
8. “Betty Botta bough a bit of butter,” said an
author I cannot recall.
9. He thought he needed some kind of sauce for
that sort of food.
10. Yawning is good exercise for the jaw, but it’s
awful to yawn openly at the ball.
MASTERING THE SOUNDS
OF [uw] AND [u]
[uw] is a often confused with [u]. [uw] is a high
back tense vowel. It is produced by arching the
back of the tongue as close as possible to the soft
plane. In pronouncing the vowel, the lips are
rounded and the muscles of the tongue and throat
are tense. On the other hand, in pronouncing the
vowel [u], the tongue position is high back; the lips
are slightly rounded and the muscles are relaxed.
In [uw], the arch of the tongue is flatter and
somewhat lower than [u].
[uw]
move boot doom
pool hoot moon
boon noon rule
cool suit shooed
moor tool fruit
soon root prove
tomb soup brood
luke room goose
[uw]
stool blue you
school through bamboo
stewed slew accrue
group true tattoo
do glue menu
too crew igloo
moo flew waterloo
woo brew kangaroo
[u]
cook brook push
book shook wood
look good put
hook hood bull
took would poor
nook could tomb
rook should bush
crook foot woman
[uw] [u]
pool pull
fool full
luke look
suit soot
cooed could
wooed wood
shooed should
stewed stood
1. Luke walked through the cool room.
2. I pulled him out of the swimming pool.
3. There is a good recipe for noodle soup and
broiled goose in the cookbook.
4. Should the wolf pull the wool over your eyes,
look out!
5. Shall we put the blue flowers in the bamboo
bookcase in our school room?
6. In the loose pile of wood were found the silver
spoons that the crook had taken.
7. The police found June’s footprints by the bushes
near the brook at around noontime.
8. He wooed her and wooed her; she cooed and
she cooed. He would not propose and she could
not. Poor dear.
9. A sack of sugar, a package of prunes, several
cookies, and a plate of pudding were found near
the zoo area.
10. I had the blues because I had no shoes, until
upon the street, I met a man who had no feet.
There comes a time in the life of every student /
when he becomes fed up with school. // From early
morning until noon / and from noon until night, /
he studies nothing but rules and moods. // He
becomes moody and broods, / disapproves of
everything, / paces his room which has taken on the
cheerfulness of a tomb. // What a fool I am! // What
a goose! // Wasting my life away foolishly /
booming away such grammatical booze as /
“I loose, / you loose, / he looses. // This nonsense
cannot end too soon. // This is what I presume to do
and that right soon. // I’ll buy a canoe, / big enough
for two, / stock it with food, not forgetting to
include prunes, / spoons, / anything I can loot. //
People will hoot at me, / but I won’t care. // Let
them do it. // I will paddle away towards the setting
sun, / crooning the while / “Give me my boots and
my saddle.” //
THE SCHWA OR WEAK
VOWEL
The schwa is a mid-central lax vowel. To make the
sound of schwa, open your lips without lowering
the jaw. Rest the middle of the tongue low in the
mouth and make a voiced sound. The lips, tongue,
and cheeks are relaxed. This is the same sound
which is heard in the unstressed syllable. It is
represented by the same symbol.
love gut enough
none shut ugly
tough cup cousin
done nut trouble
touch gull courage
us must butter
up young country
luck other become
cut under blood
[a] schwa
lock luck
hot hut
not nut
cop cup
won one
shot shut
doll dull
dock duck
[a] schwa
bot but
sock suck
fond fund
calm come
psalm some
don done
1. The boy came into the room.
2. He and I came about the same time.
3. The cinema is about a mile from here.
4. Take it or leave it.
5. Do you want to hear about it?
6. I want to go to school on time.
7. The cot in the nipa hut was locked in the closet.
8. What has Don done with the cup of hot codfish?
9. The hungry chums ate the food to the last crumb.
10. When the sun is not up; dusk comes with a gush
of wind.
DISTINCTION BETWEEN
[th] & [dh], AND [t] & [d]
To make the sound of [th], place the tip of the
tongue between the upper and the lower teeth and
blow. Make [dh] in the same way, but add a voice.
To make the sound of [t], strike the tip of the
tongue against the upper teeth-ridge. [t] is
aspirated only at the beginning of a stressed
syllable. Make [d] in the same way. Add a voice,
but do not aspirate.
[th] [t] [dh] [d]
theme team they day
thought taught there dare
thin tin those dose
thank tank though doe
three tree thine dine
thrust trust then den
through true thy die
[th] [t] [dh] [d]
ruth root seethe seed
tooth toot breathe bread
booth boot bathe breed
sooth soot writhe read
RHYTHM OF ENGLISH
OBJECTIVE:
Fully understand the importance of applying
proper intonation, enunciation, and stress in the
English language.
The rhythm of English is brought about by the
recurrence of stressed and unstressed syllables
in a word.
Stress is that mark or sound we put on or give a

word or syllable to make it stand out in the
group.
ELEMENTS OF STRESS
• Force or intensity (loudness)

• Pitch (tune)
• Duration (length of the vowel sound)
GENERALIZATIONS ABOUT STRESS
IN CERTAIN WORDS
Most words with two syllables are stressed on
the first syllable.
lesson better
always river
holy service
SOME WORDS HAVE DEFINITE RULES
OF STRESS
Compound nouns have primary stress on the
first component and a secondary stress on the
second.
peacock blackboard lampshade
sunflower lighthouse milkfish
floodlight armchair raindrop
OF STRESS
Compound verbs have a primary stress on the
second component and a secondary stress on the
first component (the adverb).
understand overflow interact
outdo undergo overdose
OF STRESS
Intensive-reflexive pronouns receive a stronger
stress on the second syllable.
yourself ourselves herself
myself itself themselves
OF STRESS
Numbers ending in -teen show a rhythmic shift
in stress from the first syllable to the last to
distinguish clearly between
thirty – thirteen sixty – sixteen
forty – fourteen seventy – seventeen
fifty – fifteen eighty – eighteen
OF STRESS
Many words show a functional shift in stress to
indicate their use either as a noun or as a verb.
As nouns, they are stressed on the first syllable;
as verbs, they are stressed on the second
syllable.
present permit subject record rebel
OF STRESS
Generally, when a suffix is added to a word, the
new form retains the stress on the same syllable
as the word from which it was derived.
happy – happiness interest – interesting
assign – assignment cloudy – cloudiness
merry – merriment careless – carelessness
OF STRESS
Words ending in -tion, -sion, -ic, -ical, and -ity
always have primary stress on the syllable
preceding the ending.
logical extension perfection
examination historic dedication
economic simplicity possibility
celebrate – celebration biology – biological
contribute – contribution electric – electricity
negotiate – negotiation economy – economic
method – methodical national – nationality
material – materialistic continue – continuity
system – systematic progress – progression
permit – permission experiment – experimental
magic – magician communicate – communication
Comfortable Impious Deficit
Orchestra Category Circumstance
Ceremony Vegetable Cemetery
Applicable Orator Miserable
Catholic Intimacy Theatre
Ancestor Pedestal Monastery
Honorable Practicable Naval
Melancholy Operator Senator
Preferable Characteristic Delicacy
Protestant Charitable Dysentery
Literature Eligible Legislature
Beefsteak Kilometer Interesting
Laboratory Testimony Decade
Hospitable Participle Inventory
Certainly Maintenance Cucumber
Heroism Temperament Seminar
Adventure Associate Establish
Committee Innumerable Condolence
Inevitable Napoleon Irrevocable
Appropriate Appreciate Illiteracy
Utensil Inhospitable Incognito
Abbreviate Admonish Inestimable
Lieutenant Contribute Commander
Opponent Ancestral Incorrigible
Semester Professor Incomparable
Antecedent Inadmissible Indefatigable
Satisfactory Inaccessible Indistinguishable
Convalescent Ambiguity Ingenuity
Adolescent Contradictory Indescribable
Inappropriate Continuity Interference
Cafeteria Cigarette Jamboree
Operation Supplementary Reproduction
Contributing Comprehensive Opportunity
Realization Representation Pronunciation
Appreciation Assimilation Fortification
Interpretation Fertilization Enthronization
Extemporaneous Materialistic Communication
NOUN VERB
Accent Accent
Addict Addict
Address Address
Annex Annex
Combat Combat
Combat Combat
Compound Compound
Conduct Conduct
NOUN VERB
Conflict Conflict
Consent Consent
Content Content
Contest Contest
Contract Contract
Contrast Contrast
Control Control
Converse Converse
NOUN VERB
Convert Convert
Convict Convict
Desert Desert
Digest Digest
Escort Escort
Increase Increase
Insult Insult
Object Object
NOUN VERB
Permit Permit
Present Present
Project Project
Protest Protest
Rebel Rebel
Record Record
Reject Reject
Subject Subject
Suspect Suspect
Transport Transport
UNSTRESSED VOWEL
Present Opinion Government
Vowel Memory History
About Separate Responsible
Around Beautiful Grammatical
Abolish Citizen
Opera Successful
Society Decision
Family Confidence
Nation Major Community
College Principal Enthusiasm
Occur Enterprise Development
Social Systematic Interesting
Drama Performance Celebrating
Region University Ordinary
Manila Subtraction
Salmon Municipal
Generally, the use of this neutral or weak vowel
is unknown to Filipino. It has no counterpart in
the Philippine vernaculars. The habit of giving
full value to every word and every syllable is
what is characteristic of Philippine native
vernaculars. When carried over into English,
this habit destroys characteristic English rhythm
and obscures meaning.
The sound heard in the unstressed vowel is
weak and indefinite. It is called the SCHWA. It
is never found in accented syllables. All vowel
sounds in unaccented or unstressed syllables
tend to this vowel enunciation. it is made with
the tongue relaxed and at rest with the tip of the
tongue behind the lower teeth. It is one of the
most important elements in securing correct
rhythm and appropriate rate.
Monday February October
Tuesday March November
Wednesday April December
Thursday May Spring
Friday June Summer
Saturday July Winter
Sunday August Autumn
January September
Nation Musical Subtraction
College Language Municipal
Occur Business Community
Social Different Enthusiasm
Drama Religious Development
Region Principal Interesting
Manila Enterprise Celebration
Salmon Systematic Ordinary
Major Performance
General University
INTONATION OF
ENGLISH
PITCH
is the musical tone with which we pronounce
the stressed syllable. It is an element of stress.
The combination of these musical tones with
which we pronounce the utterance or sentence
results in a tune or melody of speech. The
technical term for this is intonation.
RISING-FALLING INTONATION
The way our voice goes up and down at the end
of a sentence constitutes a meaning signal.
When our voice goes up and then down at the
end of a sentence, we signal statement of fact,
command, or special questions not answerable
by YES or NO.
RISING INTONATION
This intonation is used when the tone moves
from normal to high. Often, we use a very high
pitch to emphasize what we say when we are
under emotional stress: excitement, anger, fear,
etc.
This is my school. What can I do for you?
I’d like some water. How did you like it?
She’s coming. Where are you going?
That’s a problem. What’s the matter?
Come in. Why are you sad?
Close the door. Are you all right?
Look here. May I help you?
Call the doctor. Will you join us?
Take your seat. Is it time for class?
Kristine: Would you care for some juice?
Marlo: Yes, please. Thank you. Are you going
out today?
Kristine: Yes, I’m attending a reunion.
Marlo: You’re going to a class reunion?
Kristine: I’m meeting my classmates at the
Peninsula tonight, remember?
Marlo: Great! That would be wonderful!
Kristine: Are you joining us?
Marlo: I’d love to, but I have a conference to
attend to late this afternoon.
Kristine: Will it last ‘til seven?
Marlo: I’m afraid so and I don’t think I’d be free
until eight o’clock.
Kristine: I still wish you could be with us.
Marlo: Don’t you worry. I’ll find time to catch
up with you anyway.
Kristine: That would be very kind of you. Will I
give you a call when it’s time to leave?
Marlo: By all means. See you later.
1. I go to school everyday.
2. You can call her up by phone.
3. We harvest our rice during summer.
4. Did you send for a plumber?
5. Kuratsa is the most popular dance in
Northern Samar.
6. What’s your name?
7. Where do you live?
8. Rica gets up at five o’clock in the morning.
9. May I ask you a favor?
10. Do you eat out on Sunday evenings?
11. How are you?
12. I beg your pardon.
13. Happy birthday.
14. I’m sorry.
15. I’m glad to meet you.
16. What’s the matter?
17. We’re students.
18. He’s at the canteen.
19. Where are you from?
20. It is nine o’clock.
21. Dinner is ready.
22. How do you do?
23. I’d like some ice cream.
24. Let’s go.
25. What are you doing?
PHRASING
Utterances may be broken down into phrases or
thought units. Each unit contains words that
belong together because they are closely related
and are set off from the rest by a pause. Words
and syllables in such phrases are blended into
one another.
has its own music to acquire it
and if an adult in and out
it is as if look alike
not as well read it aloud
cup of tea result in unfortunate
think it over drill and practical
work it out it is almost impossible
trial and error take it away
Each language / has its own music / with
characteristic cadence / rhythm / and
inflection // and if an adult is to learn to speak a
new language correctly / he must give full value
to these peculiar qualities. // It is as if he were
learning to play / a musical instrument. //
English is a formidable language / filled with
tongue-twisting combinations of vowels and
consonants / that may be pronounced quite
differently / as they occur in various words /
that look alike.
Foreigners, / well-educated in their own language /
and sensitive to its beauty and grace, / have a natural
desire to speak the language of their adopted country /
not only with grammatical correctness and precision /
but also with proper pronunciation, / accent, / and
intonation. // Others not so well-educated / need to
know how to speak clearly / for their own protection
and comfort. // Too often / embarrassing mistakes in
pronunciation / result in unfortunate
misunderstandings and setbacks. //
DICTION
Definition
Diction can be defined as a style of speaking or

writing, determined by the choice of words by
a speaker or a writer. Diction, or choice of
words, often separates good writing from bad
writing. It depends on a number of factors.
Retrieved from https://literarydevices.net/diction/

Definition
These factors are:

• The word has to be right and accurate.
• Words should be appropriate to the context
in which they are used.
• The choice of words should be such that the
listener or reader understands easily.
Definition
A speaker or a writer chooses words to create and

convey a typical mood, tone, and atmosphere to
reader or listeners. A writer/speaker’s choice of
words and his/her selection of graphic words not
only affects the audience’s attitude but also conveys
the writer/speaker’s feelings toward the literary
work.
Types of Diction
• Formal diction – formal words are used in

formal situations, such as press conferences
and presentations
• Informal diction – uses informal words and
conversation, such as writing or talking to
friends
Types of Diction
• Colloquial diction – uses words common in

everyday speech, which may be different in
specific regions or communities (e.g. anyhow,
gotcha, gramps, stats, info, kid)
• Slang diction – the use of words that are
newly coined or even impolite
Types of Diction
• Popular diction – is a more casual form of word choice. It
is used in magazines, newspapers, and personal
conversations. Some characteristics are as follows:
• The first person or the second person may be used
• Tends to use shorter and less varied sentences and shorter,
simpler words
• May use contractions
• Has a more conversational and personal tone
Retrieved from a document from The Writing Center entitled Diction by Barbara Mugavero
Types of Diction
• Vulgarity – language deficient in taste and

refinement; coarse, base (any swear word)
• Jargon – consists of words and expressions
characterizing a particular profession or
pursuit (e.g. gigabyte, logic board, CPU,
LCD)
Retrieved from https://www.slideshare.net/mobile/jobartolata7/levels-of-diction
Types of Diction
• Dialect – a nonstandard subgroup of a language

with its own vocabulary and grammatical features
(Philippine English as dialect of English language)
• Cliché – figurative language used so often that it
has lost its freshness and originality
Beauty is useless but character is the best.
Honesty is the best policy.

Types of Diction
• Abstract – refers to language that denotes ideas,

emotions, conditions, or concepts that are
intangible (e.g. love, success, freedom, good, moral,
democracy, chauvinism, Communism, feminism,
racism, sexism)

Types of Diction
• Denotation – the exact, literal definition of a word
independent of any emotional association or
secondary meaning.
• Connotation – implicit rather than explicit meaning
of a word and consists of the suggestions,
associations, and emotional overtones attached to a
word as in snake connoting evil.

Types of Diction
• Literal – accurate language; without embellishment;
means straightforward or factual
• Figurative – used for a pictorial effect; imaginative;
conveys not just facts but an idea. It encourages us to
use our imaginations.

Examples
FORMAL INFORMAL
“Could you be so kind to pass “Give me that!”
me the milk?”
“I regret to inform you that that “You’re wrong!”

is not the case.”
“It is a pleasure to see you again! “Hey, what’s up?”

How are you today?”
Examples
FORMAL INFORMAL
“I’m a bit upset.” “I’m so pissed off!”
“I would be delighted!” “Sure, why not?”
“I’ll do it right away, sir.” “Yeah, just a sec.”

Formal Writing Voice
Do not use first-person pronouns.
(“I,” “me,” “my,” “we,” “us,”)
Using these expressions in analytical and persuasive essays
can make the writing wordy, can make the writer seem less
confident of his/her ideas, and can give the essay an
informal tone. The use of first-person pronouns is
unnecessary in the kinds of essays you are writing. Readers
will know that they are reading your thoughts, beliefs, or
opinions so you do not need to state, “I think that,” “I
believe that,” or “in my opinion.”
Retrieved from www2.ivcc.edu/eng1002/tip_formal_writing_voice.htm

Do not use first-person pronouns.
(“I,” “me,” “my,” “we,” “us,”)
“One,” “the reader,” “readers,” “the viewer,” or something
similar can sometimes be used effectively in place of first-person
pronouns in formal papers. But be careful not to overuse these
expressions. You want to sound formal, not awkward and stiff.
Wordy: I think that this character is confused.

Less wordy/formal: Readers can sense the character’s
confusion.

Avoid addressing readers as “you.”
Addressing readers using second-person pronouns (you and
your) can make an essay sound informal and can bring
assumptions into an essay that are not true. A student once
wrote in her essay, “If you every were a tube top, guys might
think that you are easy.” I wondered why the student would
think that I, a male, would wear a tube top. As with first-
person pronouns, second-person pronouns can be replaced by
words such as one, the reader, readers, and the viewer.

Avoid the use of contractions.
Contractions are shortened versions of words that use apostrophes in
place of letters, such as can’t, isn’t, she’s, and wouldn’t. The more
formal, non-contracted versions are cannot, is not, she is, and would
not. You might be surprised by how much better a sentence can sound
if non-contracted versions of the words replace the contractions.
The character isn’t aware that he’s surrounded by people he can’t trust.
The character is not aware that he is surrounded by people he cannot
trust.

Avoid colloquialism and slang
expressions.
Colloquial diction is informal language used in everyday speech and
includes such words as guys, yeah, stuff, kind of, okay, and big deal.
Highly informal diction, such as “freak out” and “dissing,” falls into the
category of slang. While slang words are often vivid and expressive, slang
comes and goes quickly; another reason why slang should be avoided in
formal writing. Both colloquialism and slang expressions convey an
informal tone and should be avoided in formal writing.
The guy was nailed for ripping off a liquor store.
The man was convicted of robbing a liquor store.

Avoid colloquialism and slang
expressions.
As you avoid informal language, be careful not to use words that
suggest ideas that you may not intend. “The gentleman was convicted
of robbing a liquor store” would probably leave readers wondering
why the man who robbed the store is considered to be a “gentleman.”
Likewise, “The lady was convicted of robbing a liquor store” would
probably cause readers to wonder why a woman who robs a liquor
store is considered to be a “lady.”

Avoid nonstandard diction.
Nonstandard diction refers to expressions that are not considered

legitimate words according to the rules of Standard English usage.
Nonstandard diction includes ain’t, theirselves, hisself, anyways, alot
(the accepted version is “a lot”), and alright (the accepted version is
“all right”). Most good dictionaries will identify such expressions with
the word “nonstandard.” Because nonstandard expressions are
generally not regarded as legitimate words, these can be classified as
examples of “inaccurate word choice.”

Avoid abbreviated versions of words.
For example, instead of writing “photo,” “phone,”

and “TV,” write photograph, telephone, and
television.

Avoid the overuse of short and simple
sentences.
While the writer might use formal diction in such sentences,
too many short and simple sentences can make an essay
sound informal, as if the writer is not recognizing that the
audience is capable of reading and understanding more
complex and longer sentences. Short and simple sentences
can be used effectively in formal writing, but heavy reliance
on such sentences reflects poorly on the writer and gives the
writing an informal tone.

Confused words and
Inappropriate Word Choice
Confused words and Inappropriate
Word Choice
• Homonym error: The two most common homonym
errors are the it’s/its confusion and the
their/they’re/there confusion. If you take a moment
to check the context when you use any of those
words, you will avoid the words that account for
ninety percent of homonym errors.
Retrieved from www.penandpage.com/EngMenu/gramdict.htm

Word Choice
it’s vs. its
It’s beginning to look a lot like Christmas.

Its fur tickles me.

Word Choice
they’re vs. their vs. there
They’re already here to collect taxes.

Their job is to fix the cabinet.
There are lots of people outside.

Word Choice
• Ignorance error: The misuse of anxious and eager
in a sentence.
anxious means being fearful

eager means being desirous or excited

Word Choice
• “Despite its frequent misuse, it’s still wrong”
error:
irregardless vs. regardless
Irregardless is not a word. If it were ever a word, it
would mean without without regard.
Regardless means without regard or in spite of.

Word Choice
• Similar form error:
all ready vs. already
Already means by this or a specific time.
“The cats were already fed.”
“Enough already!”
“Are the passengers all ready?”

Word Choice
different than vs. different from
Although the first one is common, the second one is the
standard form. The word than is a conjunction that should
be reserved to introduce a comparative clause as in “Joe is
taller than Fred is.” From is a preposition that demands a
noun as its object. That makes it appropriate in this context:
“An apple is different from a pear.”

Word Choice
a lot (or alot) vs. lots of
A lot means a number of associated people or things as in “He
faced a lot of anxious students.” However, in everyday use, lot has
come to mean very or many. In standard writing, avoid this
colloquial use:
Fred liked Margie a lot should be Fred liked Margie very much.
Lots of people eat cereal should be Many people eat cereal.

Word Choice
reason is because
Since both reason and because speak to cause, their use in
this construction is redundant.
The reason is because I like you should be The reason is

that I like you.

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Eng 103

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SPEECH AND ORAL

I believe that every student should develop a concern for

I believe that speech has no absolutes, that a completely

1. VERBAL OR LINGUISTIC ASPECT – makes use of

SENDER MESSAGE CHANNEL RECEIVER

Barriers are the obstacles concerning language

15. Communicate for tomorrow as well as for

Listening – active intellectual process of decoding,

6. It enables you to react to what is said. You are

8. It enables you to correct your own problems of

3. To be clarified and make intellectual judgments,

1. Physical or Attention Stage

1. Active listening as contrasted to passive

1. Respiratory or Breathing Parts

2. Phonating or Vocalizing Parts

1. Respiration – physiological process of respiration

1. Ease in voice production

6. Develop resonance in your voice.

Depends on three things:

• Expand fully the stressed vowel sounds of your speech by

Count aloud from one to ten, starting at a low

• You use a uniform degree of force or volume

• Change your attitude. Overcome and banish all

• Think and feel with keenness and discrimination.

• Develop your vocal mechanism. Have control of

• Refers to the predominant timbre or tone color of

• Relative position of a tone in a scale

To improve your own use of pitch, you first have to

Practice using pitch to reflect the emotional content

• That’s alright. I don’t mind your smoking.

• The rate by which we speak

• Varying degrees of vocal force are necessary to

• I’m going with you.

• Junctures are pauses in the flow of speech while

• Pauses help create suspense, put emphasis on the

• The president, said the secretary, is busy.

Say “what’s the matter” using changes in pitch,

Say “yes” to mean the following:

The phonetic system of transcription used here is that of the

1. Tongue Position or Advancement

Retrieved from http://elt-connect.com/fun-with-word-stress/

Stress is that mark or sound we put on or give a

• Force or intensity (loudness)

Diction can be defined as a style of speaking or

Retrieved from https://literarydevices.net/diction/

These factors are:

A speaker or a writer chooses words to create and

• Formal diction – formal words are used in

• Colloquial diction – uses words common in

• Vulgarity – language deficient in taste and

• Dialect – a nonstandard subgroup of a language

Retrieved from https://www.slideshare.net/mobile/jobartolata7/levels-of-diction

• Abstract – refers to language that denotes ideas,

Retrieved from https://www.slideshare.net/mobile/jobartolata7/levels-of-diction

Retrieved from https://www.slideshare.net/mobile/jobartolata7/levels-of-diction

Retrieved from https://www.slideshare.net/mobile/jobartolata7/levels-of-diction

“I regret to inform you that that “You’re wrong!”

“It is a pleasure to see you again! “Hey, what’s up?”

“I would be delighted!” “Sure, why not?”

“I’ll do it right away, sir.” “Yeah, just a sec.”

Retrieved from https://literarydevices.net/diction/

Retrieved from www2.ivcc.edu/eng1002/tip_formal_writing_voice.htm