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See the intended meaning, choose a pitch shape, say the sentence, then hear the model and compare.
Microphone optional · recordings stay in this tab
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Keep the beginning natural. Make the pitch movement on {{ pitchFocus }}.
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Record yourself using this movement. The model stays hidden until you finish.
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Listen once. Notice where your voice moved differently.
Pick the single change you will make on the next try. One change is enough — more than one is hard to hear.
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Say the whole sentence aloud again, keeping the words and the strong words the same and changing only that one thing. Listen to your own ending as it happens.
Think back to the first try, then the one you have just said. Only you can hear the difference — nothing here measures it.
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Record the same words with the new meaning. The model stays hidden until you finish.
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Compare the model with the way you just said it.
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Record the new sentence using this movement. The model stays hidden until you finish.
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Notice where your voice moved differently from the model.
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{{ s.note }}Choose one pitch pattern, then open a complete situation-based exercise. Similar patterns stay together so you can hear and practise the family before moving on.
30 exercises · 10 falling · 10 rising · 10 fall–rise{{ e.context }}
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Intonation is the pitch movement across a phrase. It is not which word is loudest — that is sentence stress, and it lives on its own page.
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More than one melody can be fluent for the same words. That is why every reveal on this page names the situation first and says one suitable contour, never the only one.
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It is the way pitch moves across a phrase — up, down, or down then up. That movement carries meaning: whether you sound finished or unfinished, certain or checking, closed or open to a reply.
Sentence stress is about which word is strongest. Intonation is about the pitch movement across the phrase, especially at the end. You can keep the same strongest word and change the meaning entirely by changing the ending movement.
No. Yes–no questions often rise, but wh-questions such as “Where's the key?” usually fall. And a statement said with a rise can work as a question. The movement follows what you are doing, not the punctuation.
The voice drops on the last stressed part and then lifts again before stopping. It is how English says “yes, but…” without the “but”: agreement with a reservation, a polite disagreement, or something left unsaid.
Usually not. Several contours can be fluent for the same words, and they mean different things. That is why each exercise fixes the situation and the intended meaning first, then shows one contour that suits it.
The microphone is optional. If you record, the clip stays in this browser tab so you can compare it with the model; it is not uploaded, analysed or scored. You can continue without recording if microphone access is unavailable.
Often the pitch has already dropped before the end of the phrase, so there is nowhere left to move. Keeping the middle level and saving the movement for the ending is usually the one change that helps most.
The broad functions — finished, checking, unfinished — are shared widely, but the details differ between varieties and communities. Copy the shape and its purpose rather than a particular speaker's pitch height.
Each control drives the live card above into that state. Only one is ever visible to a learner. Switch the model-audio tweak to see the pending and unavailable variants of the reveal. Turn this section off before publishing.
Built at 390px from the same item data as the live card, so the two cannot drift apart. Mobile is the primary layout: one state fills the screen, the dominant action is a full-width button at the bottom, and nothing scrolls sideways.