In our daily interaction, some aspects of the speech take part in it, such as STRESS -ACCENT, RHYTH and

INT!NATI!N" All of them almost different to each other #ut $orkin% as a team on the #asis of the e&istence of $hat 'ra(il called C! !N )R!*N+, the area of con,er%ence #et$een speakers and hearers, $here they share each other e&periences, attitudes and emotions" So, let-s start $ith Stress, $hich means that a phonolo%ical element is sin%led out $ithin another lon%er phonolo%ical element" .!R+ STRESS--/ $hen pickin% out one syll $ithin% a $ord, and SENTENCE ACCENT--/ $hen pickin% out one $ord or phrase $ithin a sentence" .ord stress in En%lish usually occurs in 0 +E)REES1 2RI ARY, SEC!N+ARY and .EA3" The sort of transcription that indicates stress, accent and pitch is called INTER4INEAR N!TATI!N" Here, 2RI ARY STRESS is marked as a lar%e tail dot, SEC!N+ARY STRESS is marked as lar%e filled dot, 2R! INENT SY44A'4ES are marked as a lar%e empty dot and .eak or N!N-2R! INENT, as a small dot" 2henolo%ically $e can set SEC!N+ARY STRESS #y applyin% 0 R*4ES, if there is one sylla#le #efore the main stress, no secondary stress" If there are 5 sylla#les #efore the main stress, the first one takes secondary stress" If there is a stron% sylla#le or a $eak sylla#le t$o sylla#les #ack from the main stress, the S or . takes the secondary stress" .e can predict $ord stress from morpholo%y, mainly from A66I7ATI!N, #ecause the additional S*66I7ES and 2RE6I7ES $ill determine STRESS 24ACE ENT" In the case of Suffi&es $e may find 8 cate%ories, 9STRESS NE*TRA4 those attached to free-forms lea,e the stress pattern unchan%ed, 5A*T!STRESSE+ those attractin% the main stressed onto themsel,es" 02RESTRESSE+ 9 in $hich stress falls on the 9st sylla#le precedin% the one containin% the suffi&, 2RESTRESSE+ 5 in $hich the stress falls 5 sylla#les #efore the syll containin% the suffi&", and 8 I7E+ ,er#-formin% -ATE is autostressed in 5 -sylla#le $ords, and prestressed5 in 0or more syll $ords" In the case of 2refi&es, $e may find 0 types1 9STRESS NE*TRA4 these prefi&es cannot #e stressed, #ut may recei,e primary stress in contrasti,e situations, 5STRESS RE2E44ENT stress falls on the syll to the ri%ht N! 4E6T unless they are in contrasti,eness, and 0 I7E+ attached to free-forms they are stress neutral and to #ound forms they are stress repellent" )rammatically, stress placement in $ords $ith identical spellin% or identical phonemic pattern take stress on the 9st sylla#le if they are N!*NS and A+:ECTI;ES, and on the last sylla#le if they are ;ER'S" .hen NEI)H'!*RIN) 2R! INENCES causes the redistri#ution of stresses, $e are facin% STRESS SHI6T" This one affects #oth SI 24E AN+ C! 2!*N+ .!R+S <if their citation pattern consists of a Secondary stress follo$ed #y a 2rimary stress= It can happened ATTRI'*TI;E4Y $hen the ad>ecti,e pre-modifies the Head of the Noun 2hrase, or 2RE+ICATI;E4Y $hen the $ord is part of the 2redicati,e"

Althou%h there are many lan%ua%es that ha,e SY44A'4E-TI E+ RHYTH , such as Spanish, that is sylla#le pulses are isochronous in proportion to the num#er of stress sylla#les? En%lish, instead, is characteri(ed for #ein% a STRESS-TI E+ RHYTH , that implies that stressed sylla#les tend to occur at re%ular inter,als, separated #y unstressed sylla#les" Here, a lar%er unit than the sylla#le occurs, the 6!!T, $hich includes a STRESSE+ SY44 and $hate,er it follo$s it up to '*T N!T INC4*+IN) the ne&t stress" Some phoneticians call them RHYTH IC *NITS" There are 0 3IN+S !6 RHYTH IC *NITS1 9 !N!'EATS--/ in $hich THERE AREN-T RE+*CE+ SY44s, 5TR!CHEES--/ determined #y the A4TERNATI!N of 6*44 and RE+*CE+ SY44s, and 0+ACTY4S--/ T.! RE+*CE+ SY44s after a 2!TENCIA4 ACCENT" In rhythm, TE 2! is a ,ery important factor too, and is defined as the A;ERA)E !6 S2EE++E4I;ERY of any sentence" 5 stron% syll to%ether--/4!. S2EE+, and 5 or more $eak syll to%ether--/ 6AST S2EE+" Althou%h $e need to connect our speech, $e also need to kno$ $here is appropriate to 2A*SE, $hich is ,ery important for effecti,e communication" 2ausin% delimits RHYTH IC )R!*2S and SENSE )R!*2S, those structures or%ani(ed accordin% to the meanin% the S2EA3ER $ants to C!N;EY"

The RISIN) and 6A44IN) of our 2ITCH $hile $e speak is commonly kno$n as INT!NATI!N" 6or CRYSTA4, is a C! 24E7 6EAT*RE #elon%in% to +I66ERENT 2R!S!+IC SYSTE S1 9" 2ITCH !;E ENT 5" 2ITCH RAN)E 0" 4!*+NESS 8" RHYTH ICA4ITY and TE 2! Closely related to $hat SINC4AIR and 'RA@I4 stated, that Intonation is a comple& set of chan%es in S!*N+ C!NTIN** , and 2ITCH ;ARIATI!N is >ust a re%ular in%redient" To R!)ER 3IN)+!N the 2ERCEI;E+ 2ITCH, can #e related to freAuency of ,i#rations of the ,ocal cords" 2ITCH RAN)E is common in speech for speakin% purposes and is di,ided into *22ER E !TI!NA4 RAN)E, *22ER E 2HATIC RAN)E, N!R A4 *NE 2HATIC RAN)E, 4!.ER E 2HATIC RAN)E 4!.ER E !TI!NA4 RAN)E" 'ut is S*66ICIENT to distin%uish no more than these 51 .I+E and NARR!." S N!R A4 ;!ICE RAN)E B C BC 2ITCH !;E ENT is characteri(ed #y 5 main T!NES1 9STATIC tones--/ produced #y keepin% the ;!CA4 C!R+S at constant TENSI!N, %i,in% 2R! INENCE in the sentence" 53INETIC tones--/ produced #y the 4EN)TH and TENSI!N of the ;!CA4 C!R+S, mo,in% *2.AR+S and +!.N.AR+S, they can #e di,ided into 6A44IN) B --/it starts hi%h and mo,es do$n$ards, e,ery$here from I+ to 4!. RISIN) C --/it starts lo$ and mo,es up$ards, e,ery$here from 4!. to I+C I+ to HI)H 6A44IN- RISIN) BC --/starts HI)H an then mo,es do$n$ards and then up$ards a%ain RISIN)-6A44IN) CB --/starts lo$ an then mo,es up$ards and then do$n$ards a%ain 6allin% tones--/ HI)H 6A44IN), 4!. 6A44,RISE-6A44

Non-6allin% tones--/ HI)H RISE, 4!. RISE, 6A44-RISE"

2ITCH HEI)HT is descri#ed in terms of 1HI)H, I+, and 4!. Then, $e could say that a T!NE is a com#ination of1 2ITCH !;E ENT, RAN)E and HEI)HT"