First, tones pronounced in isolation behave differently from those pronounced in connected speech. In connected speech they go through perturbation. This is usually governed by the position they occupy in the phrase or by the tonal environment. It may also be governed by grammatical structure, though this does not form part of my present inquiry. Second, besides the four naming tones in the Chengtu dialect, I found six other tones which, together with those naming tones, could be grouped into four tonemes. It is the interchange of these tones which formed the study of the tonal behaviour in the first part of this thesis. Third, intonation does exist in the Chengtu dialect. It is superimposed on the whole sentence. And it is this superimposed intonation that modifies the individual tones and not the individual tones that decide the intonation of the sentence. My purpose in undertaking this study has been twofold. On one hand, it is my hope that the work may serve as a teaching manual for intonation in the Chengtu dialect. In the process of acquiring the right intonation, the advanced student may find the numerous examples useful. Though they are taken only from the speech of two people (the informant and myself), they more or less represent the main speech characteristics of the Chengtu dialect. Oh the other hand, the material I assembled and particularly the conclusions I reached may be of some value to students of other dialects. Tone sandhi has already been studied in many Chinese dialects , though without the help of the more modern instruments. It would be desirable for similar work to be done on A eresting question is whether in other dialects intonation is also indicated by the perturbation of one particular syllable, which in the case of the Chengtu dialect is the final syllable. It would also be interesting to know if the resulting tunes could be divided neatly into two or more patterns. If a number of other dialects could be studied along lines similar to the present inquiry, we could then perhaps come to a more general explanation of tonal behaviour and intonation in the Chinese dialects.