voice
See this word as a collocate cloud
when this relatively objective adult | voice | controls it and others when |
d critical establishment d impersonal | voice | d objective voice d voice |
d impersonal voice d objective | voice | d voice dt duzna spik |
voice d objective voice d | voice | dt duzna spik aboot feelin |
voice the objective voice the | voice | that doesn t speak about |
the critical establishment the impersonal | voice | the objective voice the voice |
the impersonal voice the objective | voice | the voice that doesn t |
and write in my other | voice | i am immediately critical of |
and write in my other | voice | i am immediately critical of |
imposed by d academy d | voice | sanctioned by d critical establishment |
imposed by the academy the | voice | sanctioned by the critical establishment |
approaches alex ewan s croft | voice | after voice occurs as if |
ewan s croft voice after | voice | occurs as if warning little |
a high pitched voice the | voice | of the needle is heard |
the spoken voice particularly the | voice | of the peasant the worker |
power to represent the spoken | voice | particularly the voice of the |
stuck fast a high pitched | voice | the voice of the needle |
g nome needle a female | voice | hen wyfe gangril man hen |
sung by a young female | voice | in a more lively and |
need to assert a female | voice | in pa- in erm scotland |
wyfe green leaf a female | voice | pepper the g nome scene |
leaf with a pleasant female | voice | pompitie pompitie tak tent ti |
activated bedsprings and a female | voice | the walls of the pension |
the power of the speaking | voice | are qualities found also in |
overall predominance of the speaking | voice | at its most basic the |
speaking with a teacher s | voice | i just look at this |
the edge was a spanish | voice | speaking english kind concerned breaking |
programmes there would be this | voice | speaking in in luxemburgish it |
in beloved she finds a | voice | that is suitable for speaking |
the strength of the speaking | voice | the interaction of orality and |
speaking in a very strange | voice | we should be living together |
lermontov s in a low | voice | ah even look a wee |
fork an led them his | voice | as sweet an low as |
ye could hear his low | voice | at yer mither as they |
countenance in a low syrupy | voice | he said remember this face |
the bed in a low | voice | he told him who he |
a meinit in a low | voice | it s a secret but |
secret vershinin in a low | voice | the wyfe haes taen puzzin |
i catch aye sir the | voice | was wae an low like |
heard his almost familiar accented | voice | and my being surged with |
the watter an his ain | voice | bauldy hadna heard me comin |
shiverin and ah heard a | voice | far away in anither room |
turning up to make its | voice | heard 11 54 lord james |
hoo ye can mak yer | voice | heard contents scottish democracy in |
how you can make your | voice | heard contents scottish democracy in |
stane whan i heard a | voice | in front o me man |
just heard she hears a | voice | in her head and she |
to ensure that the nurses | voice | is heard at every possible |
desperately right and a pleasant | voice | is heard feather juist a |
door opens and shona s | voice | is heard from offstage shona |
role in ensuring scotland s | voice | is heard in the convention |
i heard my man s | voice | mr sanderson and mr welland |
trigger a heard a weeny | voice | nae bigger than gnat s |
proposals that ensure that the | voice | of the victim is heard |
have never heard a human | voice | they have never heard a |
ve heard her dear hoarse | voice | through the hatch way and |
11 and 18 years a | voice | which will be heard and |
could have a woman s | voice | a woman could be not |
is a modern woman s | voice | but as with the scots |
her a posh young woman | voice | i think you ll find |
calling her a woman s | voice | not him then he d |
afore the woman kent ma | voice | tee fae the radio an |
she wanted the woman s | voice | wanted whatever unknown promises the |
lunchtime the day your phone | voice | and how ye speak tae |
sometimes speak with the same | voice | i hope that that will |
speak aboot haein a telephone | voice | [laugh] f826: yeah m903: [throat] |
us to speak with one | voice | on this issue today the |
a poem or not the | voice | that shouldn t speak about |
tried to speak hae his | voice | was barely audible mitchel waited |
those ones that records your | voice | when you speak i- like |
and give more people a | voice | with which to speak directly |
speak at normal pitch his | voice | would crack if you didn |
hear her sobs and his | voice | again stop that jist fuckin |
she could hear joseph s | voice | against the hiss of the |
very nice to hear your | voice | but we somehow got cut |
the tray we hear her | voice | from the kitchen but i |
can hear it in her | voice | i m really sorry mummy |
purse i hear jakey s | voice | in my head he ll |
visitation eager to hear a | voice | that was not a bird |
on and on dropping his | voice | till i couldn t hear |
when i hear phimister s | voice | with its sardonic edge running |
tae ye could hear his | voice | yer faither that niver swure |
the horror in his own | voice | how could ye think thae |
few blouse buttons dod own | voice | i ken i watched her |
her own thoughts but her | voice | is getting stronger and she |
maybe it was her own | voice | it wouldn t be the |
important to discover your own | voice | than to translate other voices |
ward of your own own | voice | this nurse was that fat |
then we pitch our own | voice | towards that level depending on |
t her own for the | voice | was quite clearly coming from |
course ah wid lowers her | voice | ah hauf believe her at |
edge of doubt in her | voice | and i wondered what it |
find his or her individual | voice | and in the process developed |
she said in her bitchiest | voice | and posing like a half |
our our chemistry teacher her | voice | annoys me f832: oh [laugh] |
as far away from her | voice | as i can get without |
art alla has a good | voice | but her nerves showed through |
of it and when the | voice | came see if her lips |
mummy comforting her wee boy | voice | dinna worry my loon i |
of you she lowered her | voice | dramatically and waited a moment |
s fairm bessie smoothly her | voice | drops to a natural tone |
five floors by stair her | voice | echoed after us and the |
spoke from behind him her | voice | excited and highly pitched santa |
grampa why isn t her | voice | filling the church mellow today |
as it was her addy | voice | fit are they needin mair |
she uses a teacher s | voice | for the questions and her |
at home in a hoarse | voice | he asks her my imagination |
wee andy turns to her | voice | his face crumples he stretches |
says mummy in her firmest | voice | i wriggle and try to |
she demands in her eldritch | voice | if she disnae she ll |
who dared to raise her | voice | in a demand for some |
ken whit s happened her | voice | is edgy without her usual |
the scenery miss pat s | voice | is her fortune for she |
fit div i see her | voice | is hushed dramatic they are |
her hands are shaking her | voice | is strident peggy ma fit |
struggling to her feet her | voice | is strong and urgent that |
no self pity in her | voice | no moistening of the eye |
laughs and drops her sexy | voice | onything sexy or exciting or |
there who s there her | voice | quivered and could scarcely be |
sloppy i asks her sour | voice | search me i only serve |
her clear nice almost english | voice | she sits down arranges her |
she keeps talking raising her | voice | slightly so that toots can |
fur five meenutes but her | voice | tails off as she sees |
bigger you ll grow her | voice | tails off into silence and |
andy knows from her strict | voice | that she is going to |
maybe a roof windows her | voice | the tones of the unfamiliar |
he goes peggy raising her | voice | to call after him gladys |
she sang she bent her | voice | to her will she could |
she s in trouble her | voice | trails away georgie an is |
bloody crap she growled her | voice | was not unlike cold tea |
said suddenly out loud her | voice | was shrill in the empty |
dreamy reminiscent quality about her | voice | which suggests she s hardly |
singer with her wonderfully versatile | voice | who overcomes the tragedy of |
auld freins alarmed dropping her | voice | ye r weirin a green |
wi ma feet keep yer | voice | doon says she ye ve |
say an father keep yer | voice | doon wife ye maun ca |
upstairs pews the sort o | voice | that gaed roon yer hairt |
an through a loe yer | voice | yer face yer actions bit |
mother speaks the mother s | voice | and scottish phraseology keep the |
fuck s sake keep your | voice | doon margaret s got ears |
aw night shoosh keep your | voice | doon or he ll come |
you andrisusha keep you yeir | voice | doun ye l wauken sofochka |
m762: it s a different | voice | again and he d f963: |
a poem ur no d | voice | dt soodna spik aboot aboot |
feelin unshoor u yoursel d | voice | dt winna say whiider doo |
sound cuz hit s d | voice | imposed by d academy d |
dis introduction u d personal | voice | isna aesy jane writes i |
he d a lovely highland | voice | my wife and i we |
feared thought you d no | voice | pause hold it now boy |
spik in er fine shetland | voice | she thocht i d be |
ah mm he lowered his | voice | to a whisper i d |
surely understands the tone of | voice | and hunches his shoulders and |
t make him lower his | voice | any he bawled as though |
whan he did get his | voice | back i can tell ye |
jammed the doors shut his | voice | carried by intercom became the |
just trying to save his | voice | classes ii to vi would |
fig trees wi the green | voice | comes homer in his quaet |
old boy loses it his | voice | cracks great snottery sobs surge |
at da pitch o his | voice | dey re ida soond dey |
are aye writin reports his | voice | had a certain finality i |
as you like change of | voice | he s changed his mind |
of his former english touched | voice | he said are you come |
luiv awthing aboot him his | voice | his crack his mishanters his |
i m frightened of his | voice | his orders making me do |
s that andrey raising his | voice | hou hae ye cum sae |
at the echo of his | voice | i have to stare right |
there was something about his | voice | maybe he intended to betray |
laughing loudly in his deep | voice | my daddy shouldn t laugh |
at the tap o his | voice | number twae whaurabout s auld |
drabble in this smug new | voice | o his nae traces o |
turning away and raising his | voice | okay boys we re wanted |
an bide in t his | voice | raise fae a gurr tae |
up bye na sir the | voice | said at his side this |
jimmy couldn t ignore that | voice | scaling two octaves in his |
of his life when a | voice | shouted halt who goes there |
the cell s gloom his | voice | sounded as if it came |
there said gi joe his | voice | sounding cracked and hoarse as |
quo he he drappit his | voice | tae a fusper jenny gied |
aloud the bitterness in his | voice | taking him by surprise he |
his chair he dropped his | voice | the waiter carlos started life |
i the god spoke his | voice | was fluty and polite without |
use a nagging tone of | voice | when she finds his nappy |
never phoned each other his | voice | would sound alien down the |
at the top of his | voice | ya fuckan bitch ye kin |
puts on an exaggeratedly english | voice | for sarah oh ma she |
open it she adopts a | voice | for sarah rather english happy |
he asked in an english | voice | i raised a finger and |
french and tamil an english | voice | rings out as only english |
mcseveney contributes a strong new | voice | to english language poetry in |
voices a very standard english | voice | when he s and the |
old black instrument fiona s | voice | anwers from far far away |
language we take away their | voice | not so long ago children |
yir back son said a | voice | announcing that it was far |
in mum s tone of | voice | as she said my name |
it quite likely said another | voice | from the bench this time |
elvis is braw said another | voice | naebiddy dis the king like |
i help you and this | voice | said good morning audrey this |
jonsar eck shook a squeaky | voice | said it wis jonsar eck |
she hid affrontit me wee | voice | said take instead o tak |
too he blushed lost yir | voice | she said it s no |
syne said in a laigh | voice | weel miss smith it s |
oot the murraymeister said a | voice | whit a fuckin cut up |
as you she adopts the | voice | again throughout the sequence but |
lovely way she had a | voice | erm and was able to |
year she has a special | voice | for evelyn she was richt |
a bit of a male | voice | for this she laughs and |
with a sort of intimate | voice | it s as if she |
he speaks in a strained | voice | ronnie is she i never |
in a gravelly hercule poirot | voice | she proceeded to read the |
father says that s some | voice | she s got i pick |
window she sits up a | voice | shouting offstage ah dinna ken |
as she spoke the other | voice | vanished if it had ever |
fur coat using jean s | voice | weel she says i could |
first een pancake meg s | voice | wis affa squeaky as she |
round it wiz jinty s | voice | wiz she here an aw |
an exaggerated little old man | voice | are you there muriel angelica |
gettin soakin an the little | voice | fae the back pipes up |
little shocked by a raised | voice | from the undead you were |
little liar comes fiona s | voice | startled the mothers look round |
ooooh what a wonderful singin | voice | you ve got little girl |
be the collective national youth | voice | for all young people in |
young people s assembly young | voice | launched in june 2000 is |
is the welsh project young | voice | managed by the welsh youth |
it was a man s | voice | he was coming up the |
as the old man s | voice | rose he is with me |
toll man feather a male | voice | tea wyfe green leaf a |
it and it records your | voice | and comes up with an |
irritated at mistaking your gravelly | voice | for darling joe s who |
way the tone o your | voice | i can tell m1012: as |
to smoke or raise your | voice | in red square and as |
new life when your tinkling | voice | rings out like a tiny |
your ear it s a | voice | that i- it s a |
m762: the sound of your | voice | the song you re evincing |
flat the tremors in my | voice | are more than just senile |
1989 desayuno called a brisk | voice | breakfast my semi slumbering brain |
will put on my phone | voice | but in a f831: uh |
decide that my son s | voice | even in a half nightmare |
on my best uncle nelson | voice | for the occasion and i |
this was not daniel s | voice | i opened my eyes a |
he up to a paranoid | voice | inside my head was telling |
that it will help my | voice | margaret jamieson it will give |
suffering from a loss of | voice | my constituency carrick cumnock and |
say in my firmest princess | voice | oh yes you are brat |
a a lilt to their | voice | particularly and and my children |
assuming an unctuous minister s | voice | prepare yourself my dear for |
at the top of my | voice | that i love thee a |
i didn t know the | voice | that knew my name i |
wailed and barely recognised my | voice | that other fiona the one |
have noticed it in my | voice | when i phoned today unb |
minister ca ed him posh | voice | adam a the wye through |
important that we have a | voice | either through the committee or |
wi aw need that sweet | voice | tip toeing through oor herts |
not only through bessie s | voice | which has changed the shape |
f963: mm m762: develop the | voice | a bit you know erm |
says jinty in a strangulatet | voice | a couldny find a perr |
there s a lot o | voice | a lot o verses for |
to talk in a sad | voice | about what it was like |
demanded andy in a squeaky | voice | ach ye re jist routine |
morn rodé in a loud | voice | ah haed a guid lang |
shabby clothes with a monotonous | voice | and a bored expression as |
scale and had a loud | voice | and a commanding way with |
the driver revealed a bass | voice | and a determination that the |
in our society a proper | voice | and ensure that local services |
he had a big booming | voice | and he was very dark |
ower auld for it a | voice | answerit him frae the cellar |
have a quiet unobtrusive narrative | voice | apparently omniscient as we habitually |
made gaunnae dae somethin changes | voice | are you making a complaint |
soliony in a high pitched | voice | as if calling chickens chouk |
and in a gravelly guttural | voice | asked him to shift carrying |
sma it hardly wis a | voice | at aw haud off it |
yesterday i was a lone | voice | at the group you should |
this concept of the individual | voice | being valuable was quite a |
birdsong when a clear human | voice | blended with it catalina gathering |
o clock a stentorian russian | voice | boomed over the loudspeakers followed |
of it s a lyric | voice | but let it out with |
da bits o news da | voice | cam owre da radio a |
favour not yet a human | voice | carries a song from a |
clerk whispert in a lown | voice | close ti this lug you |
to be a a strong | voice | coming out of scotland er |
upstanding for the sheriff a | voice | cried crustily mr jones the |
helen troy and this the | voice | descending into a weak attempt |
here we gee um a | voice | dimps he s a fuckin |
nails rodé in a loud | voice | doctor juist hou auld ir |
in beloved shu fins a | voice | dt iz suitable fur spikin |
put a face to a | voice | ed still holds onto stew |
communities and give them a | voice | elaine thomson has talked about |
way i m a teacher | voice | except he can t hack |
the commissioner to be a | voice | for children and accessible to |
develop its role as a | voice | for scotland in its relationships |
feelin the heat bessie a | voice | from the darkness abody s |
a precentor matthew bruce s | voice | fulled the kirk frae the |
explained once in a kind | voice | geordie runs past the loiterers |
tum masha in a loud | voice | getting up tara tara tara |
called putting on a tremulous | voice | guid nicht we ll mak |
areddies rodé in a loud | voice | haein thair denner sae they |
moan in shouted a hoarse | voice | i didn t know the |
had an a well ordinary | voice | i was not merely a |
i am just one small | voice | in a vast wilderness but |
seem to have a significant | voice | in disability communities i hope |
important that scotland have a | voice | in europe as the motion |
people can be given a | voice | in society we have also |
their communities to have a | voice | in the services that they |
have not had a significant | voice | is because traditionally most disability |
ogre in a deep stern | voice | is this whaur pompitie the |
in a sad and trembly | voice | it is even sadder than |
s a war on teasing | voice | jist gie s a wee |
wirds he hid a pouerfu | voice | jock bit nae a sweet |
able to to let that | voice | kind of it s a |
in the choir got a | voice | like red hot fire but |
be from donegal with a | voice | like that on ye burred |
place pompitie in a pompous | voice | no lykelie ah l no |
s essay one is the | voice | of a critic who wants |
s essay one is the | voice | of a critic who wants |
monologues sometimes spoken in the | voice | of a person quite like |
epistemology the other is the | voice | of a person who wants |
epistemology the other is the | voice | of a person who wants |
m jist a sound a | voice | ok pause ed take mah |
hen wyfe in a pathetic | voice | on seeing pompitie see me |
local authorities have a strong | voice | on the new nhs boards |
james vi a fairly lonely | voice | raised in eloquent opposition to |
player a video recorder a | voice | recorder and a dictophone m944: |
back then a hears a | voice | sayin here mister he s |
to give those communities a | voice | so that they are not |
scots gave him a different | voice | so we re trying to |
give up a courteous accented | voice | sounded from the stairs above |
like damp earth weir s | voice | stronger now but with a |
image jist a great boomin | voice | telling what ah feel deep |
voices public school talking a | voice | that exuded confidence and boldness |
on the slatie in a | voice | that rang tae the riggin |
wee bunches then came a | voice | that the bear kent gie |
but they had a school | voice | that they used with their |
oxford or a public school | voice | that was correcting me i |
bear kent gie weel a | voice | that wis fair fu o |
yiv opened up wi a | voice | thit s pittin inti words |
in a sort of bleaty | voice | very apt given the context |
vext a sorry vyce n | voice | wad v would wae n |
the door wake up the | voice | was like part of a |
minnie jeloused piously a smaa | voice | wis nae eese ava fur |
in a fog and the | voice | wis shoutin naw naw naw |
with a strong and united | voice | with which to promote the |
wummin in the shop suspicious | voice | ye were talkin tae a |
ye ma dear andrey s | voice | offstage anfisa mimics him anfisa |
o desperation aboot derek s | voice | bit mind you he wis |
o them belted oot the | voice | an he used to sing |
of gi joe he shrugged | voice | glum dunno extra training he |
he used to say addy | voice | if i ever meet at |
wed when i hears da | voice | sae dear dere he staands |
the challenge in mitchel s | voice | there was another story he |
proceed in silence and its | voice | carried in the still night |
be able to dramatise that | voice | in all its local and |
told us in its clear | voice | in giving evidence particularly in |
to modify vowel sounds and | voice | production to accommodate its more |
its characters it is that | voice | that sets the novel in |
say using miss mccorkindale s | voice | apply yourselves boys and girls |
busy cranking up seth s | voice | break them break them take |
words in saint pate s | voice | cam tae hell wi you |
all this time dundas s | voice | controlled but with an edgy |
recognised particularly in mcdiarmid s | voice | eh ye know that that |
of that generation s er | voice | er f718: hmm m734: and |
it s the grandfather s | voice | erm m608: mmhm m078: er |
wi sympathy undertaker wifie s | voice | had i recovered sufficiently from |
of the voluntary sector s | voice | in scotland at long last |
thronged bazaar the widow s | voice | is angry girl for shame |
and mcseveney clanchy s confident | voice | is characteristic of much of |
of prey fiona finlay s | voice | is freaky but then of |
the next bed s posh | voice | no such problem for you |
the critic s persona and | voice | now in the final stanza |
how great oswald the ineffectual | voice | of mammon s conscience tries |
south of the border to | voice | scotland s opinions on such |
visitor chime in mum s | voice | there was none of that |
m afraid the officer s | voice | trailed off mr jones had |
passion busters jonsar eck s | voice | turned squeaky again fit wid |
be late wait fiona s | voice | was firm now commanding there |
off the throne andy s | voice | was high pitched and saw |
confusion mr scott s deep | voice | was reverberating down the corridor |
s up hen but ma | voice | wiz aw croaky an sumdy |
ah knew it wis ma | voice | we sat there ma mammy |
coalition is asking with one | voice | on personal care when 11 |
000 scots that raised their | voice | against any attack on the |
they put on their phone | voice | and ye change you re |
their hold music and this | voice | kept going please ensure you |
sort o lilt tae their | voice | m865: uh huh m952: but |
fuckin pinnochio sounds like the | voice | of authority their the yins |
so the twa wi equal | voice | proclaimed their love they had |
because communities cannot find their | voice | unless they feel confident to |
i must say that the | voice | of the parliament cannot and |
feeling unsure of oneself the | voice | that will not say whether |
here the toun has nae | voice | nae moo naethin sae forcey |
nae time tae waste the | voice | was youthful and excited and |
and soon they with one | voice | found the panel major weir |
those groups spoke with one | voice | funding voluntary sector independence the |
our parliament has been the | voice | of scotland today celebrating with |
goes in ees big daft | voice | heh stoap stoap somedae stoap |
older people and the elder | voice | in the borders which involves |
neither this nor that the | voice | in which i write about |
neither this nor that the | voice | in which i write about |
kind of writing in that | voice | those voices f963: mm mmhm |
father spoke in wrath no | voice | was raised in reply and |
goonery to record in fine | voice | well known arias such as |
in front o me the | voice | wis comin frae the faur |
this introduction of the personal | voice | is not easy tompkins writes |
that however we are the | voice | of our country if this |
dinna be ignorant jim posh | voice | this is evening head wear |
precise controlled and entirely false | voice | ye re kiddin no i |
yes yes it was the | voice | of authority or whatever yeah |
jean come awa nou the | voice | was soft but mocking it |
was back at the hospital | voice | which means that messy morag |
an auntie gladys accent and | voice | you re gettin richt dottled |
dimps dolly sounds like the | voice | o authority cammy telt yi |
murmur nothing like the singing | voice | the world knows so well |
like that angelica mae west | voice | you got any gum chum |
imposition o an officially sanctioned | voice | and so ir free t |
us oor business the nasal | voice | of lord kames issued from |
gree they tell me the | voice | o reason and foresight battling |
juist tell me strecht vershinin | voice | offstage tum tum tum masha |
the shifting point the caught | voice | anything which momentarily illumines the |
awaz newspaper which means the | voice | m608: mmhm mm okay m1174: |
of the owner of the | voice | above the silvered balustrade then |
it worked then chrissie dead | voice | aye it worked pause wi |
can forget the deep rich | voice | wi the old bog road |
lori sing oot lit yur | voice | float ower the top o |
of the chair came the | voice | again jean jean and now |
imposition of an officially sanctioned | voice | and so are free to |
silence mr anwar the leading | voice | for the chhokar family and |
meenit jonsar shouts meg the | voice | comin fae the lavvy somewye |
i have quite an original | voice | f963: mm yes i would |
an stuff m939: [laugh] f940: | voice | frae the past reachin oot |
sound because it is the | voice | imposed by the academy the |
names mountains have no such | voice | no one lives on them |
cubicles john recognised the harsh | voice | of tam the elder of |
that they represent the true | voice | of the people of scotland |
so really we were the | voice | of the the scottish asian |
the jeelin sea the tinny | voice | on the tannoy tells we |
flanks raked reid the tinny | voice | on the tannoy tells we |
the wind spulzie stealing steven | voice | sweirtie reluctance swuird sword thesaurer |
vext sorry virr energy vyce | voice | wad would waesum sad wae |