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The Stepping (Gradually Descending Stepping) Head.
This head is a combination of:
a descending overall contour;
even pitch throughout a stress group;
diffuse (mixed) distribution of prominence.
Each fully stressed syllable beginning with the second one is lower in pitch than the preceding syllable. Unstressed and partially stressed syllables are pronounced at the same pitch level as the preceding stressed syllables.
eg. `Let’s have a `look at this` picture of our` sitting-room.
This type of head may be associated with any terminal tone in an utterance of any communicative type (commands, questions, statements etc.). This type of head is sometimes called the most typical, or normal, kind of head.
The Gr. D.S.H. is sometimes called norm in a very weak sense. In fact it is characteristic only of some kinds of English:
– written texts read aloud;
formal conversation;
lecturing or some other kind of didactic monologue.
Although it may be heard in any other variety of spoken English.
The High Head.
In this head all the syllables are said on the same rather high pitch. There is only one fully stressed syllable (one- peak of prominence) in the High head. The other semantic items are given a smaller degree of prominence indicated by a high partial stress.
The High head is commonly used in conversation.(more than the Gr.D.S.H.)
eg. He ’keeps ˙making the same mis̀take.
So, the High head has only one fully stressed syllable while Gr.D.S.H. has more.
In fact, the Stepping H. presents an intensification of the High head which is achieved through pitch contrasts between the successive stressed syllables.
When the head of an utterance contains only one notional word, the difference between the Stepping and the High head is neutralized.
Eg. ’Leave me a`lone.
The Broken Descending Stepping Head.
The Gr.D.S.H. may have a monotonous effect (esp. when the intonation- group contains more than three stressed syllable). The monotony can be avoided by making an upward break somewhere in the middle of the head, after which a downward movement of the pitch is resumed. In this case we deal with the Br.D.S.H.. A tune, containing such a head is called broken.
eg. I ’warned ’Mary a,bout it ’three or more`times.
The break generally occurs on any fully stressed syllable beginning with the 3rd (otherwise extra prominence would be given to the onset). The upward break is usually made on words of sufficient semantic prominence. These are frequently words that should be singled out on account of their emotional colouring. Or they express an unusual degree of some quality; very great or very small size, quantity, some extraordinarily, unexpected actions:
eg. nouns – crowds, hundreds, thousands etc
verbs – cry, push, and shout etc
adverbs – much, more, too, immediately, extremely, absolutely etc.
adjectives – terrifying, awful, fantastic, bewildering etc.
eg. He had ’never seen a ,city so in’credibly `strange.
The syllable on which a special rise is made can be symbolized in different ways:
a) by a high level tone mark, while the preceding stressed syllable is marked by mid (low) level tone.
eg. He’s been ’going in for ,chess since his ’early `childhood.
b) by a strait upward arrow beside a high level tone:
eg. He’s been ’going in for ’chess since his ↥’early `childhood.
c) by an emphatic high level tone mark after normal high level tones on the preceding syllables:
eg. He’s been ’going in for ’chess since his ’’early childhood.
The difference in the way of indication reflects the objective difference between the variants of Br.D.S.H.. The most important feature of the 1st variant: the lowed pitch of the stressed syllable before the upward break. The 2nd and 3rd variants involve a widening of the speakers voice range (eg. in the 3rd case).