Module 1-Speaking and Listening

INTERMEDIATE ENGLISH1
INTERMEDIATE ENGLISH
MODULE 1. EFFECTIVE SPEAKING AND LISTENING
ORAL COMMUNICATION
Speech is a peculiarly human function. It is a complex behavior which involves

thought, attitudes, use of language, sound, and action. It is a social process and interaction
among people whose purpose is to effect commonality of understanding. These all the
more illustrate that speech is peculiarly a human function, and being such, disorders that
emanate from it reflect all the complex troubles of humanity.
While every normal person is born with basic equipment for speech, he must train
himself to use the equipment effectively. Proper training in speaking improves one’s
personal speech habits. It develops attitudes of confidence and security toward all types of
oral communication situations.
As a student, you may earn the respect and admiration of your classmates and
teachers if you articulate your thoughts clearly. Aside from getting high grades, you also
avoid being misinterpreted or ridiculed by other people at school.
When you graduate, you have the edge over other job applicants if you have effective
speech. The want ads in the papers usually specify that applicants should have “excellent
communication skills.” And as a professional, you can earn a promotion and,
correspondingly, a pay increase, through effective oral communication. If you are into
sales or marketing, you can easily clinch a deal if you have excellent oral communication
skills.
In summary, the ability to speak well can enhance your career, clinch a sale, sell a
point-of-view and increase an executive’s productivity. These are just some of the perks
available to you once you have developed effective oral communication skills.
Aspects of Oral Communication
Oral communication involves several elements: (1) the speaker, (2) the speech, with
its ideas, their organization, and the language in which they are presented, (3) the
communicative act itself (voice, articulation of sound and bodily actions), (4) the audience
(listeners and observers), and (5) the speaking situation (location in time and place).
1. The Speaker
As a speaker, you demonstrate your abilities both in thinking out your ideas and in
adjusting to your listeners. You reveal your mental and emotional processes and
something of your personality. Your talk conveys your attitudes, motives, the results of
your education in school and out, and your experience and association as well as your
purposes in the immediate communication situation.
2. The Speech
The speech itself is made up of ideas, which are organized and embodied in
language. A speech of serious intent deserves careful attention to the thought and the way
it is supported by illustrations, facts and details. These ideas must be organized; they must
have order, unity and coherence in order to be clear to the audience.
The language of speech is the collection of word symbols by mean of which

thoughts and purposes are communicated. It it’s the vehicle through which you must
achieve clarity and persuasiveness and keep the interest of your audience.
3. The Communicative Act
Delivery is the means by which you will effectively transmit your speech to others.
It is the exercise of your voice and the physical activity accompanying the use of your
voice. Language symbols are shaped orally by the muscular activity of your tongue, teeth,
lips, vocal chords, and breathing apparatus; facial and other bodily gestures, physical
movements and posture also help to convey your meaning. This projection from you to
your audience in a face-to-face situation (as opposed, for example, to telephoning) is thus
accomplished by sound (vocal pitch, loudness, rate, etc.) and light waves (which transmit
your physical behavior as you talk).
4. The Audience
Communication is basically a social process and involves a speaker and a listener.

The speaker, in the formulation and selection of his message, takes his listener into
account, the better the speaker knows his listeners and adjusts his communication to them,
the more effective the communication.
The ultimate goal or purpose of most speeches is to get a response from the listener.
The test of the effectiveness of speech is the extent to which the listener responds, as the
speaker desires. This response may, however, be either immediate or delayed. The process
of communication is thus a two-way affair. The communicatee in turn becomes the
communicator and the original speaker the listener, as is illustrated again and again each
day in conversational groups.
5. The Speaking Situation

Speech making takes place at a given time and place. The manuscript you may have
prepared beforehand is not your speech; the speech occurs only during the moments when
you deliver it. Because it is oral communication, it is more than the manuscripts on which
you may have written the words or the tape on which you may have recorded it. It is the
total impact of the situation in which the speech occurs. These elements can never be
exactly recaptured or repeated.
The character and attitudes of the audience, their immediate purpose in being
present and the social, physical, and other conditions in which the communicative
situation occurs mark the speaking situation. Thus, the speaker or speakers, their speeches,
and the audience, combine to create a set of influences that stamp the time and place. It is
important that you as a speaker take due account of the physical surroundings in which
you talk, of your own character and that of your audience as affected by the events,
customs and other factors that may relate closely to what you have to say.
EFFECTIVE SPEAKING
Delivering an effective presentation to 20 or to 200 people is difficult. Because

listeners have better access to information since the internet became commonplace,
audiences expect more content from speakers today. In addition, because of the
entertainment slant of most media today, audiences want a presentation delivered with
animation, humor, and pizzazz. Here are some tips given by Boyd (2004):
Get attention
Begin with something to get the attention of the audience. This might be a startling
statement, statistic, or your own story. Listeners pay close attention when a person begins
with, “Two weeks ago as I was driving to work a car pulled out in front of me….” You
could begin with a current event: “You might have read in the paper this morning about
the flood that….” A question is another way to make people listen. “How many of you feel
our society spends too much on medical care?” might be a way to begin a presentation
about curbing costs.
Whatever technique you use, when you grab the attention of the audience you are
on your way to a successful speech.
Be energetic
Second, be energetic in delivery. Speak with variety in your voice. Slow down for a
dramatic point and speed up to show excitement. Pause occasionally for effect. Don’t just
stand behind the lectern, but move a step away to make a point. When you are
encouraging your audience, take a step toward them. Gesture to show how big or wide or
tall or small an object is that you are describing. Demonstrate how something works or
looks or moves as you tell about it. Show facial expression as you speak. Smile when
talking about something pleasant and let your face show other emotions as you tell about
an event or activity. Whatever your movements, they should have purpose.
Structure your speech
Don’t have more than two or three main points, and preview in the beginning what
those points will be. With each point, have two or three pieces of support, such as
examples, definitions, testimony, or statistics. Visual aids are important when you want
your audience to understand a process or concept or understand a financial goal. Line
graphs are best for trends. Bar graphs are best for comparisons and pie graphs are best for
showing distribution of percentages.
Use transitions
Tie your points together with transitions. These could be signposts such as “First,”
“Second,” or "Finally." Use an internal summary by simply including the point you just
made and telling what you plan to talk about next. “Now that we have talked about
structure, let’s move on to the use of stories,” would be an example. When you have an
introduction, two or three main points with support for each, appropriate transitions, and
a conclusion, you will have your speech organized in a way that the audience can follow
you easily.
Tell story
Tell your own story somewhere in the presentation--especially in a technical

presentation. Include a personal experience that connects to your speech content, and the
audience will connect with you. You want to help the audience link emotionally with what
you are talking about, and the personal experience does that. With almost any topic you
might choose, you have at least one “war story” to relate to the topic. When you tell the
story, simply start at the beginning and move chronologically through the narrative,
including answers to the "W" questions: Who, What, When, Why, and Where.
Include visual aid
To add interest and understanding to your speech, include a visual aid. A visual aid
could be an object, a flip chart, a PowerPoint presentation, overhead projector slides, or a
dry erase board. Whatever visual you are using, make sure everyone can see it. The best
way to insure this is to put the visual where you will be speaking, and then find the seat
farthest from it and determine if you can read the visual from that seat.
Introduce the visual properly rather than simply throwing it at your audience; explain
what the visual will do before you unveil it. Don’t allow the visual to become a silent
demonstration. Keep talking as you show the visual. You are still the main event and your
visual is an aid. Look at your audience, not your visual. When the visual is not in use, hide
it from the audience. Humans are a curious lot, tending to keep looking at the object and
losing track of the speaker—you!
In a persuasive speech
If you are delivering a persuasive speech, in addition to your own stories include
testimony of experts whom the audience respects and whose views reinforce your points.
Add a key statistic when possible to show the seriousness of what you are discussing. For
example, if I were discussing the need for improved listening to better serve your
customers, I might add that although we spend half of our communication time in
listening, our listening efficiency is only about 25%. By using stories, testimony, and
statistics in your persuasive talk, you add depth to your evidence.
Delivery
There are other factors in your delivery.
1. Eye contact
Look at the audience as you speak. If it is a small audience, you can look at each
person in a short period of time. If it is a large audience, look at the audience in small
“clumps” and move from one clump to another. One way to insure good eye contact is to
look at your audience before you start to speak. Go to the lectern and pause, smile, look at
the audience, and then speak. This will help you maintain good eye contact throughout
your presentation as well as commanding immediate attention.
One of the ways to have consistently good eye contact is not to read your speech.
Use note cards that have key words on them. The word or phrase should trigger the
thought in your mind and then you can speak it. If you are including a quotation or
complex statistics, reading from your note card actually lends credibility. If you write out
your speech you will tend to read it and lose eye contact with the audience, as well as not
being as enthusiastic in delivery as when you speak from note cards.
2. “Wow” factor
Include a “wow” factor in your speech. Something in your speech should make
your audience think, “Wow!” It could be a story, a dramatic point, an unusual statistic, or
an effective visual that helps the audience understand immediately. With a “wow” factor,
you then have something to look forward to in the speech that you know will have an
impact on your audience. You’ll become a more enthusiastic speaker because the “wow”
factor will get you as well as your audience pumped for the speech.
3. Humor
Consider using a touch of humor in your speech. Don’t panic at this suggestion;
you are not becoming a comedian but rather lightening up a serious speech so that people
will be more accepting and interested in your ideas. Humor will help you to be perceived
as an amiable person, and it is hard for people to disagree or be bored if they are smiling at
you. Until you have lots of experience, keep your humor short. Perhaps inject a one-liner
or a quotation. Yogi Berra said a lot of funny things. “You can observe a lot just by
watching” for example.
Tell a short embarrassing moment in your life that you might have thought not
funny at the time. Now that you can laugh at the experience, you understand the old
adage, “Humor is simply tragedy separated by time and space.” Don’t poke fun at your
audience; you should be the object of any shortcoming, showing that you can laugh at
yourself.
Avoid long stories or jokes. Even seasoned speakers know that funny stories soon
become unfunny if they go on too long. Probably the least risky use of humor is a cartoon.
The cartoon is separate from you and if people don’t laugh, you don’t feel responsible. (Be
sure to secure permission to use it.)
Something to think about
Finally, leave the audience with something to think about. People remember best
what you say last. You might summarize your main points, or you might complete the
statement, “What I want you to do as a result of this presentation is....” But beyond that,
make your last words a thought to ponder. For example, I might end a speech on
becoming a better speaker with "As Cicero said centuries ago, 'The skill to do come with
the doing.'"
Remember, one never becomes a “perfect” speaker; developing public speaking

skills is a life-long experience. But the points discussed here will get you started in
becoming the speaker you want to be and the speaker your audience wants to hear.
Fundamentals of Effective Speaking
1. Acquiring the Basic Skills

 Take heart from the experience of others
 Keep your goal before you
 Predetermine your mind to success
 Seize every opportunity to practice
2. Developing Confidence
 Get the facts about fear of speaking in public
 Prepare in the proper way
 Predetermine your mind to success
 Act confident
3. Speaking Effectively the Quick and Easy Way

 Speaking about something you have earned the right to talk about through
experience or study
 Be sure you are excited about your subject
 Be eager to share your talk with your listeners
4. Earning the Right to Talk

 Limit your subject
 Develop reserve power
 Fill your talk with illustrations and examples
 Use concrete, familiar words that create pictures
5. Vitalizing the Talk

 Choose subjects you are earnest about
 Relive the Feelings you have about your topic
 Act in earnest
6. Sharing the Talk with the Audience

 Talk in terms of your listeners' interests
 Give honest, sincere appreciation
 Identify yourself with the audience
 Make your audience a partner in your talk
 Play yourself down
7. Making the Short Talk to Get Action

 Give your example, an incident from your life
 State your point, what you want the audience to do
 Give the reason or benefit the audience may expect
8. Making the Talk to Inform

 Restrict your subject to fit the time at your disposal
 Arrange your ideas in sequence
 Enumerate your points as you make them
 Compare the strange with the familiar
 Use visual aids
9. Making the Talk to Convince

 Win confidence by deserving it
 Get a Yes-response
 Speaking with contagious enthusiasm
 Show respect and affection for your audience
 Begin in a friendly way
10. Making Impromptu Talks

 Practice impromptu speaking
 Be mentally ready to speak impromptu
 Get into an example immediately
 Speak with animation and force
 Use the principle of the Here and the Now
 Don't talk impromptu--Give an impromptu talk
11. Delivering the Talk

 Crash through your shell of self-consciousness
 Don't try to imitate others--Be yourself
 Converse with your audience
 Put your heart into your speaking
 Practice making your voice strong and flexible
12. Introducing Speakers, Presenting and Accepting Awards

 Thoroughly prepare what you are going to say
 Follow the T-I-S Formula
 Be enthusiastic
 Thoroughly prepare the talk of presentation
 Express your sincere feelings in the talk of acceptance
13. Organizing the Longer Talk

 Get attention immediately
 Avoid getting unfavorable attention
 Support your main ideas
 Appeal for action
14. Applying What You Have Learned

 Use specific detail in everyday conversation
 Use effective speaking techniques in your job
 Seek Opportunities to speak in public
 You must persist
 Keep the certainty of reward before you
THE SOUNDS OF ENGLISH
The International Phonetic Alphabet (IPA) is a set of symbols by means of

which the important sounds of a word are represented. It is almost universally
used today.
 The IPA is used in dictionaries to indicate the pronunciation of words.

 The IPA has often been used as a basis for creating new writing systems for
previously unwritten languages.
 The IPA is used in some foreign language textbooks and phrase books to transcribe
the sounds of languages which are written with non-latin alphabets. It is also used
by non-native speakers of English when learning to speak English.
The Vowel Triangle
The American English has sixteen vowel sounds presented below in a triangle. The
Vowel Triangle represents the different places in the mouth where the different vowel
sounds of the American English are placed.
Front Roof Back
beat [ i ] [ u ] boot
[З]
bit [ I ] [ U ] book
[∂] [∂ ]
bait [ e ] [ o ] boat
[ ]
bet [ ε ] [ ] bought
bat [ æ ] [ ] pot
ask [ a ] [ α ] bargain
Relationship of the Sixteen Vowels of the American English

Front Vowels
/ i / as in beat
eat even each she agree tea

feet green sleep we seed feel
legal niece key amoeba Caesar visa
/ I / as in bit
ill inch film kiss nickel his

mix disc in big myth business
women courted climate captain courage biscuit
/ e / as in debris
age ate aim day stay play

made paper baby same tale rake
rain rate bait steak weight flame
/ ε / as in bet
end egg exit met best pen

men mess sell den net breath
any said leopard friend bury cleanliness
/ æ / as in bat
am add act can dance land

bag hat pat sand an cat
cram plan plaid plaque cabin wagon
/ a / as in ask
on odd onset hot calm rock

rod not pot want tot fond
cop far knot process mask grass
Mid Vowels
/ ∂ / (neutral vowel “schwa”) as in ago

This sound is found only in unstressed position and is said lightly and quickly.
aborigine betrayal camera electrolyte formula notable

occur satiety stirrup today about Asia
of capital alone attain enliven stricken
/ / as in cup
up us under come rough above

ton mud puddle uncle duck luck
must bus but blood bungalow cut
/ ∂ / (schwar-unstressed) as in actor
beggar computer collar hamburger letter micrometer

orator perspire sugar whisper altar pillar
liar blunder thunder chopper debtor murmur
/ З / (schwar-stressed) as in world
earth attorney burden circle furnish hurt

learn perfect turbine urge bird turkey
work spurn purge pearl birth purse
Back Vowels
/ u / as in boot
ooze oolong oodles blue true sue

moon food group pool stewed wound
loose rude brew rue juice shoe
/ U / as in put
book could shook full cookie look

should bull good woman bullet sure
cook pull bosom butcher foot mistook
/ o / as in obey
go old owe omit know show

throw don’t vote told goat pole
sold stole boat flow code mauve
/ / as in ball
all off also raw law flaw

call gone wrong dog or bought
jaw bald audience orange alter corn
/ / as in not
bomb office stolid block optician aplomb

crop bondage document politics nominal heartthrob
dross frock shock stomp doctor colony
/ α / as in bar
psalm almond argue bazaar collage envoy

entourage façade lingerie macabre rendezvous arch
star architect garbage memoir repertoire shark
The Diphthongs
A diphthong is a combination of two vowels successively blended in a single

syllable.
/ aI / as in bite
I ice iron my tie why

life drive child hide dine buy
night fight sight bite aisle die
/ aU / as in scout
out hour ounce now how plow

found doubt about vowed couch eyebrow
joust clown frown drowsy foundation hound
/ I / as in boy
oil oyster ointment toy enjoy point

choice boil foil soil goiter hoist
loiter moisture toilet voyage voice boisterous
The Consonants
There are twenty-five consonants in the American English, fifteen are voiced and
ten are voiceless.
Voiceless Voiced
[p] - pat [ s ] – saw [ b ] - boy [ z ] – zero [ n] - nine

[t ] - tea [∫ ] – ship [ d ] - den [ ] – azure [ ŋ ] - bring
[k] - come [t∫] – chin [ g ] - go [d ] – joy [ r ] – rose
[f ] - fill [ h ] – her [ v ] - vote [ l ] – lap [ j ] – yet
[θ] - thin [hw] – while [ð ] - then [m ] – man [w] - wise
Troublesome Consonants
Labio-Dental or Lip-Teeth Consonants
/ f / as in feel
fast food beef if knife afford

often profit half free fine lift
fall fan fill fought fur volkswagon
/ v / as vow
vote voice very above live believe

every vent seven private review van
rave veer view vane vouch void
Lengua-Dental or Tongue-Teeth Consonants
/ θ / as in thigh
thank thin thunder both month tooth

healthy bathroom nothing thirst thread ether
think Thor Thursday path cathode Catholic
/ ð / as in then
the this their breathe smoothe bathe

bother mother together that teethe lather
father seethe scythe writhe therefore worthy
Tongue-Blade or Gum-Ridge Consonants
/ ∫ / as in shout
she shoe sugar fish rush wash

machine shell flashlight cushion wish shade
sheer shin shop motion nation chamois
/ / as in seizure
beige massage prestige pleasure Asia version

azure composure measure leisure garage entourage
rouge allusion negligee décolletage genre visual
Alveo-palatal Affricates
/ t∫ / as in chew
chain children chest each lunch watch

kitchen picture future coach chair cheap
chill chant choke pitcher literature speech
/ d / as in jeep
job giant juice age college edge

budget agent soldier gym Joe jet
jeer gin jam jute George judge
Word Ending Rules
1. ends with
t d
d + ed = “ ed ”
Sound
If “d” or “ed” is added to a word and creates another syllable, the added syllable
has the sound of [Id].
e. g. wait need invite add divide

waited needed invited added divided
2. ends with
p
k
s d
sh + ed =“t”
ch
f
Voiceless
e. g. bake shop wash laugh press

baked shopped washed laughed pressed
3. ends with
e
ai d
n + ed =“d”
Voiced
If “d” or “ed” is added to a verb ending in a voiced consonant or a vowel sound, it

is pronounced as [d].
e. g. agree cry open telephone widow

agreed cried opened telephoned widowed
4. ends with
s
z
s
+ es = “ iz ”
sh zh
ch j
If the addition of “s” or “es” to a word creates another syllable, the added syllable
has the sound of [Iz].
e. g. cross match niece buzz nurse

crosses matches nieces buzzes nurses
5. ends with
p
t
f s
k + es =“s”
th
Voiceless
e. g. laugh bath shop treat lake

laughs baths shops treats lakes
6. ends with
m
e s
d + es =“z”
Sound
e. g. roam bee dad mime road

roams bees dad’s mimes roads
ENGLISH RHYTHM
Stress
Strong stresses are one of the distinguishing features of the English language. Stress
is the accent given to a syllable to give it more importance than the other syllables and to
make it stand out among them. For instance, the first syllable is stressed in comfortable
while the second syllable is accented in determine.
The words may be illustrated as follows:

COM TER
for de
table mine
The three kinds of stress in English are: 1) the primary stress / ' / which is very
strong and long; 2) the secondary stress / ^ / which is strong and long, and 3) the tertiary
stress / ` / which is weak and short.
In English, we consider two types of stress:

1. syllable stress – stress on a syllable
2. sense/sentence stress – stress or prominence given to a word due to its
meaning
Syllable Stress
In every word in English, there is one main emphasized syllable. The vowel sound
in this syllable sounds higher in pitch, longer, and louder, and this is called syllable stress.
This helps create the rhythm of the language, and knowing how to recognize the stressed
syllable will help you with comprehension. Placing the stress where it should be when
you’re speaking helps native speakers understand you better as well.
English word stress is not always on the same syllable like in some languages.
Many times, though, it is one of the last three syllables in the word. Here are some
examples of stress in different syllables of the word:
Column A Column B Column C

PHOtograph phoTOgraphy photoGRAphic
PENcil comMITtee volunTEER
MARyland soCIety inforMAtion
Could you hear a difference in tone, length, and loudness between the stressed and
unstressed syllables?
Sometimes you can predict the stress placement because of the type of word or the
ending you put on it. Here are some general rules:
Word type Where is the Examples

stress?
center
on the first
Nouns object
syllable
flower
Two syllables
release
on the last
Verbs admit
syllable
arrange
Compound desktop
Nouns
pencil case
(N + N) on the first part
bookshelf
(Adj. + N)
greenhouse
Adjectives on the last part well-meant
(Adj. + P.P.) (the verb part) hard-headed
old-fashioned
understand
Verbs
overlook
(prep. + verb)
outperform
turn off
Phrasal Verbs on the particle buckle up
hand out
thirty
on the first
ending with -ty sixty
syllable
ninety
Numbers
thirteen
ending with on the last
sixteen
-teen syllable
nineteen
increase
on the first
Noun survey
Word which may syllable
permit
either be used as
noun or verb increase
on the second
Verb survey
syllable
permit
myself
on the last
Intensive-reflexive pronouns themselves
syllable
ourselves
economic
geometric
technician
-tion, -cian, -sion, the syllable before
graduation
-ic, -ical, -ity the ending
cohesion
biological
Word with added nationality
ending
photography
-phy, -gy, -try, -cy,
biology
-fy, -al
the third from the geometry
last syllable parameter
-meter thermometer
barometer
Below are words which we, Filipinos, often mispronounce. Study them and note how
they are accented.
Words Accented on the First Syllable

accuracy allergy amicable Aristotle
ancestor argue attribute(n.) Arabic
candidacy ceremony charitable category

delicacy eligible February favorable
formidable govern honorable infamous
interview irritable memorable menu
Words Accented on the Second Syllable

alleviate appreciate associate bamboo
cashier champagne Chinese committee
condolence considerable depreciate dessert
distinguish duet distribute enamel
judiciary naïve negotiate percentage
professor semester tribunal utensil
Words Accented on Either the First or Second Syllable

adult adverse affluent arsenic
colleague decadent kilometer preparatory
Words Accented on the Third Syllable
adolescent antecedent beneficiary cigarette

continuity debonair documentary democratic
differentiate education elementary guarantee
hospitality parliamentary penicillin premature
reminiscent trigonometry supervisory therapeutic
Words Accented on the Fourth Syllable
abbreviation administration alleviation appreciation

appropriation assimilation association communication
congratulations disciplinarian enunciation enthusiastic
environmentalist evacuation fertilization interpretation
preliminary perpetuation pronunciation realization
*Words which may be used either as nouns or verbs are accented differently to show the
distinction in usage. Nouns are accented on the first syllable while verbs are accented on
the second.
NOUN VERB NOUN VERB
address address comment comment

present present conduct conduct
progress progress conflict conflict
project project content content
protest protest contest contest

rebel rebel digest digest
record record subject subject
insult insult suspect suspect
Sentence Stress
Sense or sentence stress is the stress that falls on certain words in a sentence. It is
the emphasis given to word or words within a phrase that most effectively bring out the
thought of the phrase. Each sentence that has more than one phrase in it has its most
stressed word in the last phrase. When we give that word the most stress, we are not only
showing that this word is important, but also that the sentence is ending. We use
sentence-final intonation patterns with sentence stress. If we emphasize another word in
the sentence, however, this may change the phrasal or sentence stress.
To achieve effective English rhythm, you should stress only some of the words in a
sentence. Other words receive only the secondary or the tertiary stress.
What Words To Be Stressed
In general, content words are stressed, while function words are unstressed, unless
the speaker wishes to call special attention to them.
Content words are those that have meaning in themselves like mother, good, forget. It
includes:
1. nouns – Joaquin, school, radio, baby, university
2. verbs – (except linking and auxiliary verbs) visit, jump, write, construct,
study
3. adjectives – beautiful, dark, dirty, famous, interesting
4. adverbs – fast, slowly, very, lazily, often, carefully
5. demonstratives: this, that, these, those
6. interrogatives: who, when, why, etc.
Function words are those that have little or no meaning in themselves as words but
perform grammatical functions in relation to other words in a sentence. It includes:
1. articles: a, an, the
2. prepositions: to, of, in, etc.
3. personal pronouns: I, me, it, they, etc.
4. possessive adjectives: my, his, your, etc.
5. relative pronouns: who, what, etc.
6. common conjunctions: and, but, as, if, while, etc.
7. the word one as a noun-substitute (as in: “the red pencil and the blue one”)
8. auxiliary verbs and linking verbs except when:
a) they come at the end of the sentence
(“She is wiser than he is.”)

b) they are used in reiterative formulas
(“Aren’t they?” “Isn’t it?”)
9. determiners: some, a few
Notice the shift of stress when content words are followed by other content words.
When you are speaking English the words you stress can change the underlying
meaning a sentence. Let’s take a look at the following sentence:
I don't think he should get the job.
This simple sentence can have many levels of meaning based on the word you
stress. Consider the meaning of the following sentences with the stressed word in bold.
Read each sentence aloud and give a strong stress to the word in bold:
Meaning: Somebody else thinks he should get the job.
Meaning: It's not true that I think he should get the job.
I don't think he should get that job.
Meaning: That's not really what I mean. OR I'm not sure he get that job.
Meaning: Somebody else should get that job.
Meaning: In my opinion it's wrong that he's going to get that job.
Meaning: He should have to earn (be worthy of, work hard for) that job.
Meaning: He should get another job.
Meaning: Maybe he should get something else instead.
As you can see, there are many different ways this sentence can be understood. The
important point to remember is that the true meaning of the sentence is also expressed
through the stressed word or words.
Phrasing
Phrase is the basic unit of speaking and of interpretation. It is the grouping together
of words that convey a thought. This is done to bring out the relative importance of each
thought in relation to other thoughts being said. Thus meaning is expressed more clearly.
Phrases are separated from each other by pauses which are longer than those
ordinarily found between words. We can think of pauses as oral punctuation. When one
pauses, the tone as well as articulation is stopped momentarily. It is during this time that
the person generally inhales. Within the phrase, the sounds are continuous.
Pauses are made in a sentence for the following reasons:
a. to make the meaning clear

You can’t be a good speaker / unless you have a good voice. //
b. to emphasize a particular idea

The term / intelligibility / means distinct articulation.//
c. for a special effect such as suspense

And then they heard a strange sound / which seemed to come closer / closer
/and closer. //
As I turned the doorknob / I heard footsteps approaching from behind the

door // then stop.
d. Occasionally, to enable the speaker to catch his breath when saying a long
sentence. In this case, the pause must not come between words closely connected together
grammatically.
Breathe for the next phrase / while you pause after the last one.//
He forgot about the quiz / and there was no more time to study / so he
decided to be absent.//
Once he has learned to group his words correctly, the student may vary the length
of his pauses. Pauses may be long or short depending on (a) intention of the speaker (b) the
size and nature of the audience.
General Guides in the Grouping of Words in Sentences
1. The article is attached to a noun.

e.g. a family the university an umbrella
2. Adjectives are joined to nouns, adverbs to verbs.

e.g. excellent work frequent encounter done peacefully
3. A prepositional phrase as well as conjunctive and disjunctive phrases are said

without a break or pause.
e.g. in a moment at a garage wear and tear touch and go
4. Idiomatic noun phrases are grouped together in one breath stream.

e.g. a fish out of water the pros and cons
Blending
English has a rather smooth sentence rhythm. There is no perceptible break in the
flow of tone between words that make up a thought group. The sounds are connected
from one word to another within a phrase in the same way that they are connected from
one syllable to another in a long word. The words in the sentence “I’m tired of it” should
sound connected together in the same way that the syllables in the word “mathematical”
are connected.
In the vernaculars, we tend to pronounce each syllable separately with a more or

even less accent. This results in somewhat staccato rhythm. Compare “Ako ay aalis” with
“She is an actress.” Students very often insert what is known as the glottal attack (very
much like the maragsa accent of Tagalog) before words beginning with a vowel. This is
considered a voice production fault in English. In order to avoid the glottal attack, we
must blend.
More specifically, within a thought group words should be connected together,

especially words beginning with a vowel. These in particular should be blended to the
previous word. In this way, the smooth rhythm of English can be achieved.
Some Guides to Blending
1. Personal pronouns it, he, him, her, them are generally linked to preceding verbs in
rapid speech, and except for it, undergo sound reduction.
is it [IzIt] does he [d∂zI]

tell him [t lIm] show her [∫o∂ ]
give them [gIv∂m] did it [dIdIt]
2. A preposition used in a context of measurement is linked with the preceding word.
glass of water [glæs∂vw t∂ ] ton of sugar [t n∂v∫ug∂ ]

cup of tea [k p∂vti] pint of ice cream [paInt∂vaIskrim]
pound of flesh [paUnd∂vflε ] kilo of rice [kIlo∂vraIs]
3. The definite article the is linked with the word that follows if it begins with a vowel.
the apple [ðIæpl] the architect [ðIαrkIt∂kt]

the earth [ðIЗθ] the orchard [ðI rt∫∂rd]
the insect [ðIIns kt] the institute [ðIInstitjut]
the oracle [ðI r∂kl] the umbrella [ðI∂mbr l∂]
the entity [ðI ntItI] the unknown[ðI nnoUn]
4. “And” is reduced to [n] in the following phrases:

rice and fish touch and go cream and sugar fast and loose
hot and cold bread and butter boys and girls men and women
come and go
5. “Or” is reduced to [∂ ] or [r] in these phrases:
do or die one or two blue or green

tea or coffee swim or sink drunk or sober
Intonation
Intonation is the music of the language. It is the tune of what we say. It is the
melody pattern of a syllable, word, phrase or sentence.
In English, we use tone to signal emotion, questioning, and parts of the sentence
among many other things. It is important to recognize the meaning behind the tones used
in everyday speech, and to be able to use them so that there are no misunderstandings
between the speaker and the listener. It is generally true that mistakes in pronunciation of
sounds can be overlooked, but mistakes in intonation make a lasting impression.
Filipino students find intonation one of the most difficult characteristics of English
to imitate. They have to be conscientiously drilled to produce the end intonation in order
to approximate American intonation. Through constant practice, the students can develop
intonation habits which can be produced unconsciously and comfortably. The very first
trials may sound awkward or unnatural but constant repetition will result in natural and
comfortable speech.
The basic intonation pattern of English sentences is the rising-falling intonation. At

the end of a sentence, the voice rises above normal, then falls to low.
Example:
stu
She is a
dent.
The high note coincides with the last sentence stress. The unstressed syllable dent
receives the low note. In some cases, however, the last sentence stress and its high note
may come on the very last syllable, leaving no unstressed syllable for the low note. Then,
the voice makes an inflection, which is a slide from high to low note within the syllable.
Example:
The dinner is cold.

The vowel of the last syllable will be held for a comparatively longer time.
Four Levels of Pitch
In English, we generally use four levels of pitch:
a. Average or normal pitch (pitch level 2)
This pitch is generally used with unstressed words and syllables.

It is indicated by a line drawn at the base of the accented syllable.
I believe there is a God.
b. Above average (pitch level 3)
This pitch is generally used with stressed syllables.
It is indicated by a line above the stressed syllable.
I believe there is a God.
c. Below average pitch (pitch level 1)
This pitch is generally used at the end of a sentence with a downward intonation.
It is indicated by a line far below the syllable.
Just sit down and relax.
d. High pitch (pitch level 4)
This pitch generally indicates great emotion like suspense and fear. It is indicated
by a line that is some distance above the syllable that receives the sense stress.
What a catastrophe!
Basic Intonation Patterns
The intonation you have when you speak your native tongue is different from the
intonation you ought to have when you speak English. Basically, the English intonation is
either rising-falling or rising.
1. The rising-falling pattern or the 2-3-1 tune is used at the end of:
a) a simple statement of fact
Donna likes to sing and dance.
We need to improve our English.
The dinner is cold.
Students should learn to speak effectively.
b) a simple request or command
Turn on the fan.
Stop acting like a kid.
Kindly settle all your accounts.
Come here.
c) an information question
Why are you late again?
Whose work is this?
Where do you spend your vacation?
Why can’t you come with me?
2. The rising pattern or 2-3-3+ tune is used for:
a) a yes-or-no question
Are you all right?
Have you heard about the latest buzz?
Did you study your lesson?
Will you come to the movies with me?
3. The choice intonation pattern or 2-3, 2-3-1 tune is used to state choices or alternatives.
Do you want medium or rare?
You may have either a breakthrough or a breakdown.
Are you in or out?
Was it easy or difficult?
4. Series Intonation Pattern or the 2-3-3+, 2-3-3+, 2-3-1 tune is used to say words or phrases
in a series.
Gay speaks Filipino, French, and English.
I need some sugar, butter, and milk.
The small boat rocked, heaved, and then rolled.
He closed his eyes, took a deep breath, and cried.
5. The Non-Final Intonation
English has many types of non-final intonation patterns, which the beginner may
study later on. This is the intonation of that part of the sentence which precedes the last
important word. It varies widely from speaker to speaker; it depends on the attitude of the
speaker and also on the purpose of the utterance. It is used:
a) when we want to call special attention of the listener
What do you know about politics?
You can’t have everything you want.
b) when making a comparison and contrast
The new house is bigger than the old one.
Joshua sings better than I do.
c) when making a direct address or nominative of address
Mr. Leynes, how’s your life?
Jillian, I am glad to see you.

d) when we call special attention to the demonstratives and interrogative words
I think that is a good idea.
You have to tell me why you failed to come.
In tag questions or reiterative formulas, you may use either the rising-falling, or the
rising intonation pattern.
When your tag question is actually statement of fact, i.e., you are certain about the reply
you will get, you use the rising-falling pattern or the 2-3-1, 3-1 tune.
You’re an MSEUF student, aren’t you?
We need to do our assignment, don’t we?
However, when your tag question is a genuine question, i.e., you are not sure about
the answer you will get, you use the rising pattern or the 2-3-1, 2-3-3+ tune.
Carlos isn’t graduating this term, is he?
You have done your part, haven’t you?
EFFECTIVE LISTENING
Have you ever asked anyone to repeat what he/she has just said? Have you lost
your way to a place because you have been confused about the directions given to you?
Have you failed in a test because you have not done things as directed? Have you done
any homework incorrectly while all the rest have done it rightly? Have you been
embarrassed because you have asked a question that has already been answered? Have
you missed a date because you have gone to the wrong place or you have gone to your
rendezvous at the wrong time? Have you heard somebody talk but have not remembered
a single word said?
If you reply “yes” to any or to all of the questions above, perhaps, you should
evaluate your listening skills. Maybe, you have not really listened the way you ought to.
Perhaps, you have not fully realized the value of effective listening to your life as a
student, and as a future professional.
You may not be aware of it, but of your day-to-day activities, listening is probably
what you do most. In fact, much of the information you pick up is gathered through
listening. At school, for instance, the bulk of your knowledge is gained by listening to
lectures, discussions, and other forms of oral presentation. If you are already working, you
probably spend more time listening than talking.
Studies show that people devote more than 50% of their waking time to listening,
and that they can listen to more words than they can utter in a minute.
There are many variables that make listening more demanding than speaking. For
one thing, there are times when you can rehearse what you are to say, while you cannot
predict what you are to listen to. For another thing, listening is a total activity, i.e., it
involves not just your ears but your other senses as well. Furthermore, there may be
variables that prevent you from listening effectively.
Whatever problem you may have with listening, just remember that listening is a
skill, and as such, it can be learned and developed. You should, however, understand
some factors that prevent you from listening efficiently.
Types of Listening
There are a thousand and one reasons why we listen. However, the purpose of a
psychiatrist listening to his patient is different from the purpose of a client listening to a
sales agent.
As a student, you may engage in the following major types of listening (Montesa,
1999):
1. Informative Listening
In this type of listening, you listen for facts and ideas; you listen for information.
Here, it is important that you identify the speaker’s ideas and supporting points, and form
a mental outline of the message. You will find the talk more meaningful and more
interesting if you are able to relate the speaker’s points to what you already know.
2. Critical or Evaluative Listening
There are times when we address our attention directly to what the speaker is
saying. For instance, wherever you listen to a political candidate’s campaign speech or to a
television ad, you are not merely listening for information. You evaluate whether the
candidate really means what he says or whether the advertised product will, indeed,
deliver what it promises.
When you do not accept everything said as gospel truth, when you think twice
buying a product or accepting a friend’s invitation, you engage in critical listening.
In evaluating the veracity or validity of the speaker’s ideas, you have to determine
his/her motives and “chew over” what he/she says before you swallow it. You should
also distinguish facts from opinions and question the speaker’s ideas without being
prejudiced or prejudgmental.
3. Reflective or Empathic Listening
In emphatic listening, we listen to understand the feelings and emotions of others.

This means giving attention to the sentiments of the person or listening for feelings or
empathy. For instance, you listen to a friend who is crying over her breakup with her
boyfriend. By simply listening to her, you can make her feel better.
Listening for feelings may be done effectively through reflective listening, i.e.,
trying to understand what the other person sees or feels from his/her viewpoint, and
reflecting these back. You have to set aside your own feelings and put yourself in your
friend’s shoes. Aside from listening sympathetically to his/her story, you help your friend
identify the emotion(s) involved, and the problem, and you let him/her work out the
problem for the other person might only need a shoulder to cry on.
4. Listening for Pleasure or for Entertainment
When you were small, you probably enjoyed listening to bedtime stories. Now, you
probably enjoy listening to your favorite FM station, or watching your favorite soap opera
or sitcom.
In listening for enjoyment, the material you listen to is usually light. Your main
purpose is to be entertained. But there are times, however, when listening for enjoyment
demands more than just sitting back and relaxing. For example, your literature professor
might ask you to listen to an oral rendition of a poem which you find complicated. This
means you need to do some critical and reflective listening as well.
Characteristics of Listening
According to Hibbs, et al., effective listening is characterized by the following:
1. It should be done selectively. Since “listening” is definitely more than

“hearing,” one should select and concentrate on relevant sounds, not any, of the noises
that distract. A neighbor’s stereo set playing in full blast is not music anymore; it becomes
noise.
2. It should be done purposefully. Selective and conscious listening has a specific

purpose. Despite all kinds of noises, one should listen for something. If a baby cries in the
middle of the night, the mother attends to it for she grasps the message – the baby is hungry,
wet or is bitten by some insects.
3. It should be done attentively. Listening selectively and purposefully becomes

active if the listener is affected by the words he hears and reacts accordingly to their
meaning in his own distinctive way. Because communication is a two-way process, it
needs an intelligible speaker and an attentive listener.
Listening is a skill which involves understanding, interpreting, evaluating, and

applying what one hears. One must remember that listening may have either or all of the
following aims: 1) to obtain information, 2) to achieve understanding, 3) to secure
pleasure.
If a person seriously believes in the beauty of effective human relations, he has as

much responsibility as the speaker does in the speaking situation.
Listening Effectively
No matter what your purpose for listening is, it always pays to listen effectively.
Although it is impossible for your speech instructor or anybody else to access and monitor
your listening process, he/she can help you analyze your weaknesses as well as your
listening ability to help you enhance your skills.
The following are some strategies for effective listening, which you can use to
develop your listening ability (Montesa, 1999).
1. Get ready to listen. Listening demands a high degree of concentration. When you
notice that the other person is about to speak, set your mind on what he/she has to tell
you. If you are to listen to a public speaker, choose a place where you can adequately see
and hear the speaker. Do not slouch listlessly while listening. Sit erect and focus your eyes,
most of the time, on the speaker.
2. Be alert and relaxed. Listening should be a relating of the speaker’s thoughts to

your own store of knowledge. Be alert for things you may not know, and relate them to
your knowledge. Predict also what the speaker will say next. If you hear new ideas, take
note of them so that you can study them later.
3. Listen willingly and actively. Take the listening task as an opportunity for you to
increase your knowledge. Once the speaker opens his mouth, start concentrating on the
message.
4. Be inquisitive. Ask questions tacitly or aloud. If the situation allows, ask the
speaker clarifying questions. However, effective listening should also check the accuracy
of the speaker’s statements.
5. Temper your emotions and attitudes. It entails courtesy on the part of both
speaker and listener. Respect for other people’s ideas and feelings are imperative. Do not
react emotionally and prematurely to the message. Exercise self-control when you feel the
urge to leave the hall because your views get between you and the speaker. Judge the
speech, not the delivery or the speaker.
6. Do mental calisthenics. Listening requires clear logic of events and ideas and
their sequences; it also calls upon the listener to remember the most important ideas and
the supporting ones. Try do decode the message by constructing a mental outline of the
major points and the supporting details mentioned by the speaker. Be on the lookout for
transitions which indicate changes in ideas and topics.
7. React accordingly. Watch out for non-verbal cues that can help you decipher
what the speaker means. Remember, listening summons the listener to give the speaker
full visual for better appreciation. It is the grasping of feelings and attitudes through the
speaker’s tone and melody of the voice, rhythm, rate and volume of utterance.
8. Formulate and convey a relevant response. Do not laugh when what the speaker
says is not funny at all. Do not keep nodding your head when you do not always agree
with the speaker.
9. Marshall information and stimuli. Distinguish fact from opinion and weed out
insignificant or irrelevant information. Your attention may be deflected from the speaker’s
message by somebody’s entering or leaving the room, or by your neighbors’ whispers and
giggles. If this happens, get back on track immediately.
10. Record the message. If you wish to record a lecture, you may use a tape recorder
or a video camera. Before doing this, however, you must get the informed consent of the
speaker. In the absence of a cassette or video recorder, take down notes. Recording allows
you to review and evaluate the message later.
Roadblocks to Effective Listening
In spite of our efforts to listen effectively, certain variables influence our ability to
listen fairly. Hence, we need to understand how these factors affect our listening. Montesa
(1999) identified the following roadblocks to effective listening.
1. Internal Interference
Sometimes, you feel upset or worried about a problem that you have a hard time
concentrating on what is being said. In some instances, you are too preoccupied to listen to
your professor or classmate because you daydream a lot about your crush. At other times,
you feel too tired or too sleepy to listen.
All these forms of internal interference are psychological and take place within you.
If you do not do something about them, chances are, you will miss the speaker’s message.
2. External Interference
There are times when, no matter what you do, you cannot understand your
teacher’s lecture because of the noise emanating from the corridors, or from the adjacent
rooms. There are also instances when you want to listen attentively but cannot do so
because your seatmates are making a lot of fuss. In these instances, you are contending
with external interference.
3. Language and Cultural Barriers
When an Englishman asks you if there is any lift in the building, you may not get
what he means. Consequently, you do not know what answer to give him. On the other
hand, if you tell a foreigner that the place where you are standing used to be a “salvage
area,” he will certainly not understand you. In these situations, communication
breakdown happens because of cultural and linguistic differences between the listener and
speaker.
4. Speaker-Generated Variables
If the speaker frequently stutters or stammers, “eats his/her words,” fails to project
his voice, uses unfamiliar terms, or exhibits distracting behaviors, he/she may turn you off
and induce you to tune him/her out. If the speaker fails to present his/her ideas in an
organized manner, he/she may confuse you and prevent you from sorting out and
processing the intended message. It is, thus, quite important, that the speaker is conscious
of the variables involving himself/herself. Otherwise, speaking may just be an exercise in
futility.
THIS IS THE END OF MODULE 1.
References:
Agravante, J. (2002). Speech communication. Quezon City: UP Press.

Aquino, F. O. (2002). Effective speech communication. Quezon City: Katha.
Ayala, C. O. J. (2011). Communicare: A manual on speech and oral communication. Lucena
City: Lucena Quality Printers.
Ballesteros, T. F. (2006). Towards a better communication in modern times: Speech and public
speaking. Manila: Mindshapers.
Boyd, S. D. (2004, 17 July). A short guide to effective public speaking. Retrieved from
http://www.school-for-champions.com/speaking/boyd_short_guide.htm
Brantley, C. P. (2005). Effective communication for colleges. Australia: Thomson.
Carnegie, D. S. (n.d.). A quick and effective way to public speaking. Retrieved from
http://www.westegg.com/unmaintained/carnegie/easy-speaking.html
Diaz, R. H. (2005). Speech and oral communication. Mandaluyong City: National Book Store.
Flores, C. S., & Lopez, E. B. (2006). Effective speech communication (4th ed.). Mandaluyong
City: National Book Store.
Flormata-Ballesteros, T. M. (2003). Speech and oral communication. Quezon City: Katha.
German, K. (2000). Principles of public speaking. New York: Longman.
Manalo, P. E. (2006). Fundamentals of speech communication for Filipinos. Mandaluyong City:
National Book Store.
Martinez, N. D. (2002). Responsible speech communication. Mandaluyong City: National Book
Store.
Mata, L. S., & Soriano, I. S. (1998). Pronunciation for the Filipino college students. Quezon
City: Ken.
Montesa, E. D. (1999). Practical speech for Filipinos. Manila: MK Imprint.

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INTERMEDIATE ENGLISH1

MODULE 1. EFFECTIVE SPEAKING AND LISTENING

Speech is a peculiarly human function. It is a complex behavior which involves

Aspects of Oral Communication

The language of speech is the collection of word symbols by mean of which

3. The Communicative Act

Communication is basically a social process and involves a speaker and a listener.

5. The Speaking Situation

Delivering an effective presentation to 20 or to 200 people is difficult. Because

Structure your speech

Tell your own story somewhere in the presentation--especially in a technical

Include visual aid

There are other factors in your delivery.

Something to think about

Remember, one never becomes a “perfect” speaker; developing public speaking

Fundamentals of Effective Speaking

1. Acquiring the Basic Skills

3. Speaking Effectively the Quick and Easy Way

4. Earning the Right to Talk

5. Vitalizing the Talk

6. Sharing the Talk with the Audience

7. Making the Short Talk to Get Action

8. Making the Talk to Inform

9. Making the Talk to Convince

10. Making Impromptu Talks

11. Delivering the Talk

12. Introducing Speakers, Presenting and Accepting Awards

13. Organizing the Longer Talk

14. Applying What You Have Learned

THE SOUNDS OF ENGLISH

The International Phonetic Alphabet (IPA) is a set of symbols by means of

 The IPA is used in dictionaries to indicate the pronunciation of words.

The Vowel Triangle

Front Roof Back

Relationship of the Sixteen Vowels of the American English

eat even each she agree tea

ill inch film kiss nickel his

age ate aim day stay play

end egg exit met best pen

am add act can dance land

on odd onset hot calm rock

/ ∂ / (neutral vowel “schwa”) as in ago

aborigine betrayal camera electrolyte formula notable

up us under come rough above

beggar computer collar hamburger letter micrometer

earth attorney burden circle furnish hurt

ooze oolong oodles blue true sue

book could shook full cookie look

go old owe omit know show

all off also raw law flaw

bomb office stolid block optician aplomb

psalm almond argue bazaar collage envoy

A diphthong is a combination of two vowels successively blended in a single

I ice iron my tie why

out hour ounce now how plow

oil oyster ointment toy enjoy point

[p] - pat [ s ] – saw [ b ] - boy [ z ] – zero [ n] - nine

Labio-Dental or Lip-Teeth Consonants

fast food beef if knife afford

vote voice very above live believe

Lengua-Dental or Tongue-Teeth Consonants

thank thin thunder both month tooth