How To LEARN AMERICAN ACCENT Placement in 23 Minutes

The one thing that makes the biggest difference
for my students speaking English is also the

hardest thing to teach and to learn, and that
makes it kind of frustrating.

But today, we’re talking about placement,
we’re taking it apart, we’re going there.

Today, I’m working with a student and you’re
going to see the tips and tricks that I give

her to lower her placement.

Now, I’ve been teaching pronunciation for
years, and in the past month, I’ve learned

something that’s totally new even to me, and
that’s another tip to help lower placement.

The other night, I was filming a video and
it reminded me of a live class that I taught

a couple months ago, and I went bam in my
mind, I realized it.

No, I wasn’t filming it, I was editing it,
and as I was right here focusing on the reduction

of the word was, I realized reductions help
lower placement.

So we’re going to see an excerpt from a live
class where I started to get it.

I’m teaching a woman named Karen, she’s Dutch,
she has very good English, but we’re working

on placement, and also on reductions.

If the word placement is completely new to
you, it basically means where in the body

the voice vibrates.

In American English, we have a low placement.

Aahhh.

And other languages have a higher placement
often more here, aaah, aaah, but our core

feeling uhhh is lower and that has to do with
the neck and the pitch.

-Okay, so you know what vocal cords, you’ve
heard that term?

-Yes, yes.

• Yes, okay, so we have these two mucousy
  membranes.

The air blows up, they vibrate, and that’s
what makes ah, a sound.

And we can’t change that; that’s involuntary.

But what we can change is the voice box around
it, and pushing it forward, pulling it back,

lifting it up, lifting it down, and then that
affects the shape of the inside of our neck.

And other languages, each language has its
own specific neck shape, how we hold our muscles

to produce the core sound.

And in American English, I think that most
students need to focus on opening and lowering,

and that changes the shape of the neck in
a way that brings the formants down which

makes everything sound placed lower.

If you’re watching this and you’re thinking,
I want to learn more about that, the anatomy

of the voice, what can affect placement, check
out my video, the number one accent trick.

We go so deep on anatomy and placement and
something called formants which can affect

the sound.

Our vocal cords and our voice box, if it starts
to lift up, or

push forward, or pull back, which it might
when we’re tense, or when we’re feeling nervous,

that that is going to negatively impact the
overall sound.

And, for some people, it makes it sound really
nasal and high, and for other people it’s

more subtle, like for you it makes it sound
more proper in a way that’s a little old fashioned.

Again, not negative, but just sort of different
than the way an American would probably present.

An American would speak
with a lower pitch, and they would have those

lower vibrations.

Okay, to sound more natural speaking English,
you want lower placement.

How do we get that?

Tip one is actually lower your pitch.

Hi, my name is Karen, hi, hi, and then try
lowering It, hi, hi, hi, hi, hi, my name is

Karen, and just See, with lowering the pitch,
What that feels like.

Probably the lower you go, hi, my name is
Karen, hi.

Obviously you’re not going to speak there,
but you should go there and practice to see

and sense what is changing in your throat.

And what you’ll find, the lower you go, is
that you have to really feel like your throat

is getting wide, and that’s sort of the feeling
that you want even when you’re not speaking

that low.

so you can pretend, you can play with speaking
really low, to sort of discover what that

does to your throat, and then try to keep
that open feeling as you bring your pitch

up to something that’s a little bit more natural.

One question I get asked a lot is when I practice
my throat starts to hurt, is that okay?

Someone is saying, “Does it hurt when you
lower your pitch?”

It doesn’t, and it shouldn’t, but if it hurts
when

you lower it really low, that’s okay, you’re
only going to do it for a second just to feel

what that is.

But definitely, as you play Karen, do sense
strain, because strain, I think, is a sign

of a lifting of the voice box, and we want
the opposite.

We want a lowering, opening, so if you ever
find, ah, my

Throat is getting really sore, or my neck,
or my tongue, you know, your tongue, the base

of your tongue, is attached here to your neck.

And if you’re ever feeling fatigued, that’s
a sign that, okay, stop, take a break, shake

it out.

So if you’re having neck pain, take a break,
try to think open and low, and relax a little

bit.

Now, let’s start working with Karen on reductions.

And I run a business that Helps people sell
more.

• Okay, so, and I run a business, beautiful,
  but a little bit of that formality, and.

Let’s try, well, let’s try to reduce that.

And I run a business, and I run, and I run,
so i’m going to have you Bring in that reduction,

and I run, and i’m going to have you bring
down the pitch, and I run a business.

And I run a business.

Right, let’s just see what happens if you
bring it lower.

And I run a business.

And I run a business.

Right, you know, so the one you just did before
that sounded pretty good, but the placement

still felt high and then when you brought
it down more, it didn’t seem like too much,

and then the feeling was that sort of American
chest feeling.

And I run a business.

And I run a business, and I run a business.

So we’re doing a reduction, we’re bringing
in a reduction that she wasn’t doing and we’re

also playing with lowering the pitch.

Right, and I love that, and I run a business.

Take it down way lower than you know it should
be.

And, actually, this is something that will
be fun for you to do.

Take one phrase like this, and then record
yourself doing all sorts of different things

with it.

And, when you’re going back and listening,
and be like, “ah, I love that one”, and then

play it, imitate it, play it, imitate it,
play it, imitate it.

And then these are just things that can help
unlock that feeling, and the thing about the

feeling is, once we find that, that affects everything that you say ever, you know, so like working on

placement can really just transform everything
about how you speak and for other people out

there who have more varied issues, finding
a better placement can often help sounds in

a way that working on just the sound doesn’t
even make sense, but working on the core concept

of the placement transforms the sound in a
way that, just working on the sound, you never

could’ve gotten there.

And so I always find that really interesting,
and I really ask my students do that.

So you lower your pitch, your fundamental
frequency, to find a lower placement.

You also relax and open up your neck and throat
and if you want more on that, watch my one

accent trick video.

Then also bringing in reductions is something
that can help with placement.

I found for my students thinking about lowering
placement and letting go of tension in the

neck can be pretty confusing and hard to actually
do.

But reductions, these are something concrete
that you can do instead of saying aaand, say

and.

Instead of saying thaaat, say that.

Now, if you don’t know that much about reductions,
I have a full playlist that goes over what

the reductions are in American English.

If you’re looking to train more, check out
my academy, I have hundreds of audio files

to go with each concept that you learn so
you’re not just learning it with your head

but you’re training it into your body.

And of course, my academy is also where I
have live classes once a month like when I

taught Karen.

In this next clip, I’m going to work with
Karen on the reduction of the word that.

It becomes that, with a schwa instead of the
AA vowel and a stop T depending on the sound

that comes next.

I’m gonna say that helps people, And then
you repeat it back That helps people.

• That helps people

• That helps people

• That helps people

• Okay, so one thing, Let’s do the reduction.

It’s not that, but it’s TH, that helps people.

• Yeah, okay, that helps people.

• Right, that helps people.

• That helps people.

• Yeah, loved that.

So, also for everyone else that’s listening
and noticing, so she had and, I made her do

that reduction.

We had that, I made her do that reduction.

You guys have probably noticed so many of
the reductions involved, changing something

to the schwa.

And the schwa has a lower feeling, and so
by also taking these words that aren’t reduced,

like to, and reducing them to ta, and this
kind of thing, we’re changing these things

to a sound that naturally feels lower too,
which will help with the overall placement

feeling lower.

And it’s not something I had really noticed
when you were talking, although it makes sense

now when I was sensing formality.

A lack of reductions also creates a sense
of formality, in sort of an old fashioned

way.

So that’s something, Karen, that you could
also do when you record yourself and you’re

listening to yourself, is be listening for,
am I doing reductions?

‘Cause your rhythm is fine, right?

And you were saying that, that, that, but
I actually wanted th, th, th, so that’s another

thing I would say.

I gotta say I was really excited to find this
new trick that reductions affect placement.

I’m always looking for new tips to give students
especially with something that’s as hard to

teach and understand as placement.

Here’s another student that I worked with
in that same live class, and placement came

up again.

And here, we’re talking about it as it relates
to a particular vowel, the UH as in butter

vowel, and you can only get the right quality
for that vowel if you do have a low placement.

You know there’s one sound I Wrote only down
only one word But I heard it a couple Times

that I wanted to tweak With you and this sound
Relates to placement so fully.

And it’s the uh as in butter sound.

And it was in this word…

• Bummed.

• Yeah, let me hear you say it longer like
  holding out the vowel, bu-mm-ed.

• Bu-mm-ed.

• Okay yeah, I actually I like that a lot.

When you were talking it was a little bit
higher, bum bum.

• I remember it.

• Yeah, bummed I’m so bummed.

That’s difference in placement.

The thing that makes that sound different
is placement bummed is a very low placement

things have to really open.

And if you have a good uh vowel, like it seems
like you do

When you’re imitating and thinking about it.

That’s a really good core place to go, when
you’re thinking about your placement u-uh

bummed.

I’m really bummed.

And then as you do it and you build a sentence
on it, you try to maintain

That connection that feeling.

Let me hear you say, u-uh.

• U-uh

• Right.

• U-uuh, do it again.

• U-uuh.

• Yeah, I like it at the end the quality changes
  a little bit.

Let me see if I can imitate it.

Uu-uuh, I don’t think I really did.

Uh, uh, uh, so it seemed felt to me like at
the end

It was a little bit more like uh, instead
of u-uh.

Uh, uh do you hear a difference?

• Yeah, I hear it.

• The one is like, it’s like

There’s this really deep lagoon or something.

U-uh, and the other one it’s much more shallow.

And the one that we want is the deep lagoon.

We want the feeling that there’s a lot of
space down here, not that it’s shallow or

gets cut off, Uhh, uhh, butter.

Bummed.

There’s this really deep lagoon or something.

Uhhh. And the other one, it’s much more shallow.

Uhh bummed.

-Bummed.

Right. Bummer.

Bummer.

Okay buhh.

-Buh
-Buh

• Right, that was a lot more buh, buh-uh,

• Bu-mm-er.

• Right, that was right.

That was a lot better.

Did everyone hear that, the difference between
buh.

Which is just really shallow.

It’s really narrow, buh-uh.

Like we’re opening up everything underneath
it.

And that’s one of the things in this placement
video that’s coming out in May.

I worked with some students and I imitated
them.

And basically every time I imitated them,
what I felt was, a compression of where the

sound lived.

It was here instead of here, or even really
more like that.

So yeah, I think that’s something to think
about

And you know, that’s a feeling that we can still have
variation

Of pitch with that.

So, we might use a low pitch to find that
feeling

Or you might use that vowel to find that feeling.

But then once you found, that you can do a
lot with it

And still maintain that feeling.

You can even shout!

You can even be angry!

And it still feels that connection.

I’m not angry at you.

My friend who’s living upstairs is probably
like,

What is going on in her class right now?

But that’s what I would say and that sort
of goes to

That other question is, finding your thing.

I think for you finding that uh could be what
helps.

So it could be a vowel or for other people

It could be a particular word that has that
vowel or whatever or it could be playing with

pitch, uh-uuh.

Until you find something and then,

As you’re practicing with a soundboard go
back to

That between each sentence even.

You’re like, hey what are you doing today,
uh-uuh.

Hey, what are you doing today, or whatever.

Find your core, that’s awesome.

I also had thought when you were speaking.

I had also thought, placement it feels very
cheeky, rather than chesty.

So now, I’m going to ask her to speak her
own native language, so I can compare the

placement of that to American English.

Listen to how different it is when I imitate
her placement, and I switch back and forth

between that and the American placement.

And that’s probably what your native language
is like.

Can I hear you just speak for a few seconds
seconds, tell me where you were born or whatever

in your native language.

• Yeah, it’s so different.

It’s so focused and small
Here, ta ta ta ta ta ta ta ta.

It has to me that kind of quality, ta-a.

And we have da da da da da da
Da da da da da da da da da da.

And that’s an example guys, my pitch was the
same, my vowel was the same like my articulators

were doing the same thing.

But it was the shape that changed to make
those two different sounds.

As you’re practicing, if you feel like you
find a placement that’s lower and sounds more

natural and American, what should you do with
that?

You should come up with words to describe
your experience and your feeling.

When you go bu-mm-ed.

Bu-uh, what would you say is happening

In like your neck, throat, chest area?

• I feel it’s relaxing.

• So–

• I feel it relaxing.

• Oh I like that, I feel it relaxing.

Let me ask you then, speak your own native
language again and tell me what you feel happening.

• I feel like there’s something that’s constraining.

Like everything is not relaxed.

I feel like I my muscles contract in here.

• Mm hmm.

• And not as much as–

• It’s so interesting to me that’s what you
  have to do to get the right sound of your

native language.

And, for English we have none of that for
American English.

And so I think that can be really useful for
everyone too.

Once you find something that feels like, oh

This feels right, go back to your native language

And see if you can describe what’s happening.

Because that’s what you have to fight to not
do every time you speak American English.

And when I say fight, it sounds like tension.

But of course, the way to not do it is to
let go of the tension.

I had a student once whose native language
is Hindi.

And I was imitating him and when I was going
back and forth between imitating him and not.

It’s like I felt I could almost feel my voice
box.

Like bending forward to imitate him, and then
dropping back to sound like myself.

So that’s great that you can identify it.

It sound like you identified here and also
stuff that was happening here.

So that is awesome.

That is your voice in your native language.

Totally different of course than American
English.

So I asked her to keep comparing English with
her native language.

And guess what we get to?

Reductions.

Let’s do something.

I want you to say a couple in your native
language

And then stop, think, let it all go and then
say something in English.

And try to be aware of, I’m using a totally
different voice in my body now.

• I’d like to eat.

• Pretty good, do another one.

• I have to…

• I liked that I liked I have,
  Then to the verb I have to

It sort of brought it up.

I’m sorry, not the verb but the particle.

And you know, that is the sound that we actually
probably should make a schwa.

I have to and if you had
let it stay a schwa, I bet i

have to, I bet it would have stayed lower.

I have to do that.

• I have to do that.

• Right, it’s a lot different than I have
  to.

I have to.

• I have to.

• I have to, right.

• I have to, yeah that’s a big difference.

• Big difference and when we were working
  with Karen, she

was doing the ah vowel in that.

Which is also has a bit of a higher feeling

and when we drop that and we switch into schwa,

what was the word th-a, th-a-t.

• Th-a, th-a
• Duh, duh, duh

Another great tip for you to do as you practice
is to speak your native language and then

purposely try to speak American English with
that placement.

And then also try to speak it with an American
placement.

Try to really establish the difference in
the feeling between those two placements.

Hopefully, you get to the point where speaking
American English with the placement of your

own native language starts to feel kind of
strange and funny.

I love that switching, keep that up.

The more you do that, the more you’re gonna
solidify the difference.

And then actually a great other thing to bring
in,

Is speak your native language and then bring
in your English and try to do it in that

native language voice.

And identify that as wrong and as unchanged.

And then do your native language again and
then try to do that total American voice.

I think that that would be a great way–

• Great.

• For you to uncover and play.

• Okay.

• It’s all about playing discovery.

I can’t do it for you, but I can listen and
give you feedback.

One major tip I want you to know before you
go start working on reductions is that simplification

goes hand in hand with reductions.

So you’re going to be simplifying your mouth
movements as a part of reducing words, being

able to say them more quickly.

Here’s that playlist on youtube of all of
the videos that I have on reductions, words

that reduce, and if you do sign up for my
academy, and you went ahead straight there

it’s the Stress three course.

Keep your learning going now with this video
and I really appreciate you being here watching

this.

I love teaching pronunciation and I learned
so much from teaching my students.

So massive thank you to my students who are
in my academy who sign up for my live classes

who let me teach them and learn from them.

That’s it and thanks so much for using Rachel’s
English.