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  • Today, you're studying fast English by looking at the reductions , the linking, the stress, patterns,

  • that native speakers do when speaking American English.

  • We're using the scene Book Smart.

  • When you study American English this way, and not the way you learned it in school, or

  • maybe the way you learned it from a book,

  • your listening comprehension and your ability to sound natural speaking English

  • is going to improve dramatically.

  • We're doing an in-depth analysis, studying the rhythmic contrast that gives American English its character.

  • And we're going to do an audio training section at the end

  • so that you can fully understand and start building that habit of speaking natural English.

  • We don't want them to feel insecure.

  • We're doing this all summer. We started in June, and we're going through August.

  • Stick with me every Tuesday. They're all great scenes and there's going to be so much to learn

  • that can transform the way you understand and speak English.

  • And as always, if you like this video or you learned something , please like and subscribe with notifications.

  • You're going to watch the clip, then we're going to do a full pronunciation analysis together.

  • This is going to help so much with your listening comprehension

  • when it comes to watching English movies in TV.

  • But there's going to be a training section.

  • You're going to take what you've just learned and practice repeating it, doing a reduction, flapping a T,

  • just like you learned in the analysis.

  • Okay here's the scene.

  • Our class's official policy is to not discuss where anyone is attending next year.

  • We don't want them to feel insecure.

  • Very thoughtful.

  • Anyway, I need to go over the end of the year budget numbers we have.

  • Oh. Gosh. Really? Like now?

  • What, I mean, why don't you do it with Nick? You know? Please?

  • And now, the analysis.

  • Our class's official policy is to not discuss where anyone is attending next year.

  • We don't want them to feel insecure.

  • So this is a very long opening thought group.

  • She does a little pause here before the last two words,

  • and so that has its own separate thought group. Feel insecure, feel insecure, with feel and cure being longer.

  • But in the opening phrase is just very long, it will help to know your anchors, your stressed words,

  • to help you figure out how to organize the rhythm.

  • Our class's official policy is to not discuss where anyone is attending next year.

  • We don't want them to feel insecure.

  • Our class's official policy is to not discuss where anyone is attending next year.

  • We don't want them to feel insecure.

  • Our class's official policy is to not discuss where anyone is attending next year.

  • We don't want them to feel insecure.

  • Let's break it up into smaller chunks.

  • Our class's official policy

  • Our class's official policy

  • Our class's official policy

  • Our class's official policy

  • So I would say AH, IH, and AW here are our most stressed syllables. Our class's—

  • the word our is not fully pronounced, it's pronounced: ar, ar, ar, our class's.

  • Our class's, our class's, our class's.

  • So rather than thinking our, it's more like ar, ar, said very quickly. Our class's— our class's—

  • Now here, we have a noun that ends in an S and the possessive: class's.

  • So we have K, L, AH, class,

  • and the apostrophe S will add another syllable, IH as in Sit, Z.

  • Our class's uh--

  • and that Z will link right into the schwa of official because everything links together in a thought group.

  • We don't want any breaks or separation between words.

  • This smoothness is important in American English.

  • It can be really tough if you come from a language where each word needs to feel more separate.

  • Our class's official policy.

  • Practice the sentence and move your arm in a circle and let the top of the circle be that peak, that peak of pitch.

  • Our class's official policy.

  • Our class's official policy.

  • Our class's official policy.

  • Our class's official policy.

  • Don't make this an OH sound, it's a schwa. Uh, uh.

  • Basically no jaw drop, lips are parted,

  • just a relaxed jaw. Uh uh uh Official, official, it's not official, oh oh oh, uh uh uh official.

  • And the letter C here makes the SH sound. Official, cial, cial.

  • This letter I just tells us to make the C an SH, so there's no pronunciation itself of this letter.

  • And then the letter A is again just a schwa. Schwa L, a little quick dark sound. Official uhl uhl uhl.

  • So the schwa and L combined, you don't need to try to make a separate schwa sound, and then an L.

  • This is actually going to be a dark L. What does that mean?

  • That means it comes after the vowel or diphthong in the syllable,

  • and if the next word begins with a consonant, you do not need to lift your tongue tip.

  • Official uhl, you just make that dark sound with your tongue tip down, uhl, policy, and go right into the P.

  • Do not lift your tongue tip. That will definitely make the sound feel more forward.

  • We want it to feel more in the back. Uhl. That dark sound is made by

  • pressing down and back a little bit the back of the tongue. Uhl, uhl, official.

  • Official, official, official policy.

  • Official policy.

  • Now here, for this L, you can lift your tongue tip. But for this L, do not lift your tongue tip.

  • Official policy. Our class's official policy. Uhhhhh. Feel that rhythm.

  • Our class's official policy

  • Our class's official policy

  • Our class's official policy is to not discuss where anyone is attending.

  • Is to not discuss where anyone is attending.

  • So we have that uh feeling of stress on: is to not discuss where any, a little bit there on the EH vowel.

  • Letter A, but the vowel is EH. Where anyone is attending.

  • So rather than drawing it as an up down shape, which is the normal shape of stress, I'm drawing it as a scoop up,

  • because her pitch is on the way up. And when we're making the intonation of the sentence go up,

  • then the scoop of the voice will be down up, attending.

  • Is to not discuss where anyone is attending

  • Is to not discuss where anyone is attending

  • Is to not discuss where anyone is attending

  • So even though I've broken it up into two pieces here while we discuss the stress,

  • it's actually not a break, is it?

  • Policy is, policy is,

  • continues right on with no break in sound.

  • This is all part of the same thought group.

  • policy is to--

  • Policy is to not-- did you notice the word to?

  • Policy is to to, to, that was a true T and a schwa. To, to, to, just like here in official,

  • oh, it's not oh, it's uh, uh, official. And here, to, it's not to, it's to, to, a schwa, it's a reduction here.

  • Here, in official, it's actually just the regular pronunciation of the word.

  • Here, the word to, it's a reduction from the OO vowel to the schwa. To, to. Policy is to.

  • Why do we do that? Why do we change the vowel? It lets us say it more quickly.

  • And we want to say it really quickly. We want these words to be flatter, lower in pitch,

  • so that there's contrast with the up down shape, longer stressed syllable. Policy is to.

  • So actually, in the word policy, it's three syllables with first syllable stress,

  • so the second two syllables are also unstressed. So we have four unstressed syllables here in a row.

  • Li-cy is to-- policy is to-- policy is to--

  • And we definitely want it to feel different than our stressed syllables. Policy is to not

  • Policy is to not

  • Policy is to not

  • Policy is to not discuss

  • Not discuss, not discuss, do you notice there's no release of that T?

  • That T is a stop T because the next word begins with the consonant, the D consonant, not discuss.

  • Not discuss--

  • where anyone is attending.

  • Not discuss where anyone, where anyone. As I said there's just a little bit of an up down shape on EH,

  • but really, where anyone is uh. This is all flatter and lower in pitch.

  • The first syllable of attending, also a schwa. The schwa creeps up everywhere in American English.

  • Not discuss where anyone is attending

  • Not discuss where anyone is attending

  • Not discuss where anyone is attending

  • Where anyone is a, where anyone is atten--, this double T here is a true T because it starts a stressed syllable.

  • T will always be a true T when it starts a stressed syllable,

  • unless it's part of the TR cluster, then it might sound more like CH.

  • Where anyone is attending

  • Where anyone is attending

  • Where anyone is attending next year

  • Attending next year, next year, this is all on the way up

  • because she's about to say why.

  • So she's pairing these two phrases together by making one go up.

  • Attending next year. And then the next one will go down in pitch.

  • Attending next year

  • Attending next year

  • Attending next year

  • Now something is interesting. It's happening here with the T in next.

  • Next year.

  • It's not a ttt sound it's more of a CH sound, next, ch, ch, ch, so the letter X makes KS in this word

  • and the T is combining with the Y. The Y is influencing the T. The Y in year changes it to a CH.

  • next year.

  • Have you ever noticed this? In a phrase like: what are you doing?

  • It's fairly common to drop R in a nice, casual reduction, and say: what cha, what cha doing?

  • What ch ch ch-- that's taking the ending T of what and the y of you and making it into a CH.

  • You'll definitely notice that if you pay attention to casual conversational English.

  • Next year. Ch ch ch ch. Not: next year, next year, but: next year.

  • next year.

  • we don't want them to--

  • We don't want them toso then in the last part of this thought group, we really just have the one swell of pitch,

  • the one stressed syllable. We don't want them to.

  • We don't want them to. So the energy is building up towards that and then falling away from it.

  • We don't want them to.

  • We have a stop T in want, it's not want them, but want them, them.

  • Oh are you noticing that reduction? I'm not saying them, am I?

  • I'm changing the EH vowel to the schwa,

  • the schwa comes up yet again. Want them, want them to.

  • To, that's another schwa. Want them to, want them to, want them to, to, to, to, them to, them to, them to.

  • We don't want them to--

  • And as far as the T in don't, I'm not really hearing it. We don't want, don't www--

  • Right from N into W. So N apostrophe T contractions can be pronounced three ways:

  • with a true T, don't want, with a stop T, don't want, or with no T, don't want.

  • And I'm hearing this one as a dropped T altogether, no T whatsoever. Don't want, we don't want.

  • We don't want--

  • to feel insecure.

  • Feel insecure. We already talked about the up down shape, the stress, the rhythm of this, the melody as well.

  • Duuuhhhh--- feel inse-- that L is going to link right into the IH vowel of insecure.

  • We want to connect them. Feel inse

  • So this is a dark L, you do want to make a dark sound after the EE vowel.

  • Otherwise, it would be feel. We want feeuhll, uhl. We definitely want that to be a part of it.

  • But you can lift your tongue tip here because the next word begins with a vowel.

  • Feel insecure. But make sure you make that dark sound first. Slow it down if you need to.

  • Feel insecure, cure, cure. And the pitch goes down.

  • Feel insecure--

  • Very thoughtful.

  • So the principal responds: very thoughtful.

  • What do you think are those up down shape? Those most stressed syllables?

  • Very thoughtful.

  • Very thoughtful. So each word is two syllables, and in each word, it's the first syllable that's stressed.

  • Uuuhhhh. Very thoughtful. This is a stop T because the next sound is a consonant.

  • Very thyth, yth, connected, no break in sound between the EE and the unvoiced TH.

  • For this sound, your tongue tip does have to lightly come through the teeth. Very thoughtful.

  • Very thoughtful.

  • Very thoughtful.

  • Very thoughtful.

  • Now this L is another dark L.

  • It comes at the end of the word, so we know it's at the end of the vowel in the syllable.

  • And because he's not going on, because there's no next sound, no vowel or diphthong,

  • you can just avoid lifting your tongue tip.

  • Thoughtful. Uhl, uhl, uhl, uhl, uhl.

  • It's just a really quick dark sound. If you lift your tongue tip, it's going to bring the sound more forward.

  • We actually want this sound to be further back in the mouth. Uhl, uhl, uhl, uhl, thoughtful.

  • Thoughtful.

  • Anyway, I need to go over the end of the year budget numbers we have.

  • Okay so what are her longer syllables?

  • Anyway, I need to go over the end of the year budget numbers we have.

  • Anyway, I need to go over the end of the year budget numbers we have.

  • Anyway, I need to go over the end of the year budget numbers we have.

  • Anyway-- a little bit there on that stressed syllable, that first syllable.

  • Remember, that is the EH vowel like in bed, even though it's the letter A. Anyway. Anyway.

  • Anyway. Anyway. Anyway, I need to go over the end of the year budget numbers we have.

  • Okay, need is very obvious. She holds that out even longer than

  • what would be the most normal conversational English.

  • I need to go over. I need to, I need to go over. Really stressing that, holding out the vowel

  • makes it clear this is important to her.

  • I need to go--

  • Look, we have another word to, what do you think, will it reduce? Will we again have a schwa?

  • I need to go. To, to, yes, we do.

  • We reduce that vowel. I need to go.

  • I need to go--

  • over the end of the year budget numbers we have.

  • I need to go over the end of the— I really feel like that's our next stressed syllable.

  • Again, it's the EH vowel. So, to go over the, all less stressed, flatter in pitch.

  • To go over the, to go over the, to go over the, to go over the.

  • To go over the--

  • If we said everything that way, it would be incredibly unclear.

  • I need to go over the, I need to go over the end of the year numbers we have.

  • I need to go over the end of the year budget numbers we have.

  • I need to go over the end of the year budget numbers we have.

  • I need to go over the end of the year budget numbers we have.

  • I need to go over the end of the year budget numbers we have.

  • Come on, that's impossible. That's why we have the contrast. We bring out our longer stressed syllables.

  • I need to go over the, I need, and that's what's important in American English conversation, in spoken English,

  • is that we have the contrast of the long and the short. So it may feel very odd to take a phrase like: to go over the,

  • and pronounce it: to go over the, to go over the, to go over the, but we actually want that.

  • The contrast is more clear than if every word was clear. Believe it or not.

  • That's how important the contrast is in American English.

  • The word the here is the EE vowel because the next word begins with a vowel,

  • otherwise, it would be: the, the, the.

  • So the rule is, if the next word begins with a vowel or a diphthong, we make this the EE vowel.

  • However I have noticed that in practice, Americans don't follow this rule all that well, but she did here.

  • I need to go over the end

  • I need to go over the end

  • I need to go over the end of the year budget numbers we have.

  • End of the year budget numbers we have.

  • Budge, have, also having more length. And the other words, more simplified. End of the year.

  • All three of these are flatter in pitch.

  • The end of the year budget numbers we have.

  • The end of the year budget numbers we have.

  • The end of the year budget numbers we have.

  • End of theSo I think we can just reduce this word of completely to the schwa.

  • Sounds like that's what she's doing. She's not putting a V sound at the end.

  • End of the. Now here, it is a schwa, because the next word begins with the consonant, the Y consonant.

  • End of the year. End of the. The D links right into the schwa, the schwa links right into the TH,

  • the schwa here links right into the J consonant. So everything links together smoothly.

  • End of the year budget. End of the year budget.

  • The end of the year budget.

  • Now if you have a hard time with the word year,

  • I know some people have a hard time comparing that with the word ear.

  • I do have a video on that here on YouTube. So just Google Rachel's English year, ear,

  • and I'm sure you'll find it.

  • The end of the year, the end of the year, the end of the year budget numbers we have.

  • So our final four words: budget numbers we have, begin with a stressed syllable, and end with a stressed syllable.

  • And all the syllables in between are flatter in pitch.

  • dget numbers we-- dget numbers we-- dget numbers wedget, dget, dget.

  • Stop T there, not released because the next word begins with the consonant.

  • Dget numbers we-- dget numbers we-- dget numbers we have. Budget numbers we have.

  • Budget numbers we have.

  • Budget numbers we have.

  • Budget numbers we have.

  • Budget numbers we have.

  • Can you imitate that when you're doing it? Really think about you have,

  • you know, your anchor at the beginning, your anchor at the end, and other syllables in between

  • are all said really quickly and simply.

  • Now this is the end of her phrase, and her volume has really gone down, hasn't it?

  • Budget numbers we have.

  • Budget numbers we have.

  • Budget numbers we have.

  • Some of her vocal energy is gone. Compare it to: I need.

  • I need--

  • Budget numbers we have.

  • Budget numbers we have.

  • Budget numbers we have.

  • So the overall phrasing of American English is louder,

  • higher in pitch, a little bit more vocal energy at the beginning,

  • and then all of that diminishes as we go towards the end of a phrase.

  • So pay attention to that when you're practicing the phrasing. In the audio that goes with it,

  • I'm going to break up in one of the sections longer phrases like this into smaller phrases to practice with.

  • So if it's one towards the end of a phrase, make sure that you're imitating the volume and the pitch as well,

  • not just the rhythm. Stress really has to do with all of the vocal qualities.

  • And in order to have the correct stress and feeling of overall sentence,

  • then it needs to come down towards the end.

  • Budget numbers we have.

  • Budget numbers we have.

  • Budget numbers we have.

  • Oh. Gosh.

  • Oh. Gosh. Sort of fun to imitate that when people do totally different things with their voice.

  • Oh. Gosh. And he really draws that out gosh, there with the AH as in father vowel.

  • Oh. Gosh.

  • Oh. Gosh.

  • Oh. Gosh.

  • Really?

  • Really? Really? High pitch. Really? So if you look this word up in the dictionary, you'll see

  • two different pronunciations: re-uh-lly, three syllables, and rea-lly, two syllables.

  • Definitely the two syllable pronunciation is way more common. Rea-lly, but you know what?

  • This first vowel, you'll often hear it as the IH vowel instead more relaxed, really, really, instead of really, really,

  • and that's what he does, he does the IH vowel.

  • So if you're pronouncing this word as three syllables, stop now.

  • Really, or really. Really, really. It's more natural, more Americans would do that. Two syllables.

  • Really?

  • Really?

  • Really?

  • Like now?

  • Like now? So he's just so defeated. This is the last thing he feels like doing. Like now? Like now?

  • The word like, said so quickly. Like, Like, Like, Like, Like.

  • I wouldn't even really understand it if it was by itself. But in the context of the whole sentence, I get it.

  • Like now? Like now? Pitch goes up, it's a question.

  • Like now?

  • What, I mean, why don't you do it with Nick?

  • What-- So he kind of just makes a really quick reduction of what, and then an H sound

  • while he's thinking about what to say, how can he avoid doing this?

  • What-- What--

  • What, I mean, why don't you do it with Nick?

  • Now let's just listen to the phrase: I mean, why don't you do it with Nick?

  • And just listen to how unclear some of those words are.

  • What, I mean, why don't you do it with Nick?

  • What, I mean, why don't you do it with Nick?

  • What, I mean, why don't you do it with Nick?

  • Really mumbled, but we do want that contrast between less clear and more clear, stressed syllables.

  • What, I mean, why don't you do it with Nick?

  • What, I mean, why don't you do it with Nick?

  • What, I mean, why don't you do it with Nick?

  • I mean, this is so mumbled.

  • I mean--

  • I mean, I mean, I mean, I mean, I mean, I mean. It's like a vowel: uh uh uh uh, and then M, N, maybe.

  • Uh uh uh uh. I guess I'll write it like this. Uhm uhm uhm uhm. Very unclear.

  • That doesn't have to be that unclear, for the record.

  • I mean rhythmic contrast is important, but it's not like every time you hear this phrase, it's going to be like that.

  • I mean, why-- I mean, why--

  • I mean, why don't you do it with Nick?

  • And then he has a longer stressed syllable: Why don't you do it with Nick?

  • And then nick is the peak of stress, the energy sort of goes towards that.

  • I mean, why don't you do it with Nick?

  • I mean, why don't you do it with Nick?

  • I mean, why don't you do it with Nick?

  • Goes down in pitch. Don't you do it with.

  • All that flat, low gliding together, less clear.

  • Why don't you do it with Nick?

  • Why don't you do it with Nick?

  • Why don't you do it with Nick?

  • And we have another case where the T is blending with the Y to make a CH.

  • Why don't you? Why don't? Don't you, don't you, don't you?

  • Why don't you do, why don't you do, why don't you do.

  • DON, I mean, even this part of the word, said really quickly.

  • Why don't you, n't you, n't you, it's almost like there's no vowel there.

  • Why don't you, why don't you, why don't you, why don't you.

  • Why don't you do--

  • it with Nick?

  • Why don't you do it with, do it, do it. Linking together, we have an ending OO vowel.

  • When that's linking into another vowel or diphthong, you can think of going through the glide consonant W. Do it.

  • That might help you link them more smoothly.

  • We have a stop T at the end of it. Do it with, do it with, do it with, do it with Nick?

  • Do it with Nick? Do it with Nick? Do it with Nick?

  • You know? Please?

  • You know? Please? You know? You know? What's happening to the word you?

  • It's not you, you know, you know, it's reduced to the schwa.

  • You know? Please?

  • Please?

  • Okay, let's listen to this whole conversation one more time.

  • Our class's official policy is to not discuss where anyone is attending next year.

  • We don't want them to feel insecure.

  • Very thoughtful.

  • Anyway, I need to go over the end of the year budget numbers we have.

  • Oh. Gosh. Really? Like now?

  • What, I mean, why don't you do it with Nick? You know? Please?

  • Now for the fun part, you'll look at the notes we took together

  • and you'll hear a part of the conversation on a loop three times. Then there's a space for you to repeat.

  • For example, you'll hear this:

  • Maybe so, sir.

  • Then you'll repeat it: maybe so, sir. Try to imitate everything about this exactly.

  • So when you see this, then you'll repeat it. Maybe so, sir.

  • That's from Top Gun: Maverick which was the first movie we studied in this summer series.

  • You'll also have the opportunity to listen and repeat in slow motion.

  • This will be important for you if you're more of a beginner, or if you're having a hard time

  • focusing on linking or the melody.

  • Maybe you'll want to do it both ways, but the important thing is here is your opportunity

  • to take what you learned and put it into your body and your own habit.

  • That's what's going to transform your speaking.

  • You might do well to work with the audio section of this video every day for a week.

  • Imitating the rhythm and the simplifications will get easier each time you do it.

  • If you can't keep up with the native speaker, do the slow-motion imitation.

  • Okay, here's our audio training section.

  • Don't forget to come back and do this audio again tomorrow and the next day.

  • You want to build habits here so you don't need to think about it so much when you're speaking in conversation.

  • You can focus on the words and not the expression or pronunciation.

  • Don't forget this is part of a series all summer long, 13 videos, 13 scenes for movies check out each one,

  • learn something new each time.

  • I make new videos on the English language every Tuesday and I'd love to have you back here again

  • please subscribe with notifications and continue your studies right now with this video

  • and if you love this video share it with a friend.

  • That's it guys and thanks so much for using Rachel's English.

Today, you're studying fast English by looking at the reductions , the linking, the stress, patterns,

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FAST ENGLISH! アメリカ英語を早く話すには?| アメリカ英語を早く話す方法をご紹介します。 (FAST ENGLISH! Here’s exactly how to speak American English…FAST! | Guide to speaking fast English)

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    Summer に公開 2021 年 01 月 14 日
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