FAST ENGLISH Heres Exactly How To Speak American EnglishFAST Guide To Speaking Fast English

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—

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.

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 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—

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 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

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 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

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 to— so 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 th—yth, 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.

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– 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.

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 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.

End of the— So 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 we—dget, 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.

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.

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

I need–

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.

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.

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?

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?

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?

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?

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?

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.

今天，您正在通过查看以英语为母语的人在说美式英语时所做的简化、链接、压力、模式来学习快速

英语。

我们正在使用场景 Book Smart。

当你以这种方式学习美式英语，而不是你在学校学习的方式，

或者你从书本上学习的方式时，

你的听力理解和发音自然的英语

能力将会显着提高。

我们正在进行深入分析，研究赋予美式英语特征的节奏对比。

我们将在最后进行音频培训部分，

以便您可以完全理解并开始养成说自然英语的习惯。

我们不希望他们感到不安全。

我们整个夏天都在这样做。我们从六月开始，我们正在经历八月。

每个星期二和我在一起。它们都是很棒的场景，有很多东西要学

，可以改变你理解和说英语的方式。

和往常一样，如果你喜欢这个视频或者你学到了一些东西，请喜欢并订阅通知。

您将观看剪辑，然后我们将一起进行完整的发音分析。

当您在电视上观看英语电影时，这将对您的听力理解有很大帮助。

但是会有一个培训部分。

你将把你刚刚学到的东西拿来练习重复，做一个减少，拍一个T，

就像你在分析中学到的一样。

好了，现场来了。

我们班的官方政策是不讨论任何人明年参加的地方。

我们不希望他们感到不安全。

很周到。

无论如何，我需要回顾一下我们拥有的年终预算数字。

哦。天哪。真的吗？像现在？

什么，我的意思是，你为什么不和尼克一起做呢？你懂？请？

现在，分析。

我们班的官方政策是不讨论任何人明年参加的地方。

我们不希望他们感到不安全。

所以这是一个很长的开放思想小组。

在最后两个词之前，她稍微停顿了一下

，这样就有了自己独立的思想组。感到不安全，感到不安全，感觉和治愈时间更长。

但是在开头的短语中很长，它会帮助你了解你的锚，你的重读词

，帮助你弄清楚如何组织节奏。

我们班的官方政策是不讨论任何人明年参加的地方。

我们不希望他们感到不安全。

我们班的官方政策是不讨论任何人明年参加的地方。

我们不希望他们感到不安全。

我们班的官方政策是不讨论任何人明年参加的地方。

我们不希望他们感到不安全。

让我们把它分成更小的块。

我们班的官方政策——

所以我想说AH、IH和AW是我们重读最多的音节。我们班

的——我们的这个词没有完全发音，它的发音是：ar，ar，ar，我们班的。

我们班的，我们班的，我们班的。

所以与其想我们的，更像是 ar，ar，说得很快。我们的班级——我们的班级——

现在，我们有一个以 S 和所有格结尾的名词：class’s。

所以我们有 K、L、AH、class

，撇号 S 将添加另一个音节 IH，如 Sit, Z。

我们的班级是

uh– Z 将直接链接到官方的 schwa，因为所有内容都在一个想法中链接在一起团体。

我们不希望单词之间有任何中断或分离。

这种流畅性在美式英语中很重要。

如果您来自一种每个单词都需要感觉更加独立的语言，那可能真的很难。

我们班的官方政策。

练习句子并移动你的手臂一圈，让圆圈的顶部成为那个顶点，那个音高的顶点。

我们班的官方政策。

不要让它成为一个 OH 声音，它是一个 schwa。呃，呃。

基本上没有下巴下垂，嘴唇分开，

只是一个放松的下巴。呃呃呃官方，官方，这不是官方，哦哦哦，呃呃呃官方。

这里的字母 C 发出 SH 音。官方的，社会的，社会的。

这封信我只是告诉我们把C变成SH，所以这封信本身没有发音。

然后字母 A 又只是一个 schwa。 Schwa L，有点快的暗音。官方呃呃呃呃。

所以 schwa 和 L 结合起来，你不需要尝试发出单独的 schwa 声音，然后是 L。

这实际上是一个暗 L。这是什么意思？

这意味着它出现在音节中的元音或双元音之后

，如果下一个单词以辅音开头，则无需抬起舌尖。

正式的呃，你只是用你的舌尖向下发出那个黑暗的声音，呃，策略，然后直接进入P。

不要抬起你的舌尖。这肯定会让声音感觉更前卫。

我们希望它在后面有更多的感觉。呃。那种黑暗的声音是通过

将舌头的后部向下和向后按压一点来发出的。呃呃，官方的。

官方，官方，官方政策。

官方政策。

现在在这里，对于这个 L，你可以抬起你的舌尖。但是对于这个L，不要抬起你的舌尖。

官方政策。我们班的官方政策。嗯。感受那个节奏。

我们班的官方政策——

我们班的官方政策是不讨论任何人在哪里上课。

是不讨论任何人参加的地方。

所以我们有那种呃压力的感觉：就是不讨论在哪里，在EH元音上有点。

字母 A，但元音是 EH。有人参加的地方。

所以我没有把它画成一个向上向下的形状，这是压力的正常形状，我把它画成一个勺子，

因为她的音高正在上升。当我们使句子的语调上升时

，声音的勺子就会下降，参与。

是不讨论任何人在哪里参加 -

是不讨论任何人参加的地方 -

所以即使我在讨论压力时把它分成两部分，

它实际上不是休息，是吗？

政策是，政策是，

继续前进，没有声音中断。

这都是同一个思想组的一部分。

政策是——

政策是不——你注意到这个词了吗？

政策是对，对，那是一个真正的 T 和一个 schwa。到，到，到，就像这里的官方一样，

哦，不是哦，是呃，呃，官方。在这里，到，不是到，是到，到，施瓦，这是一个减少。

在这里，在官方上，它实际上只是这个词的常规发音。

在这里，to 这个词是从 OO 元音到 schwa 的减法。到，到。政策是。

我们为什么要这样做？为什么我们要改变元音？它让我们说得更快。

我们想很快说出来。我们希望这些词更平坦，音调更低，

以便与上下形状形成对比，更长的重读音节。政策是。

所以实际上，在policy这个词中，它是第一个音节重读的三个音节，

所以后两个音节也是不重读的。所以我们在这里连续有四个非重读音节。

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

to- 我们绝对希望它与我们的重读音节感觉不同。 Policy is to

not—— Policy is to not—— Policy is to not—— Policy is to not Discussion——

不讨论，不讨论，你有没有注意到那个 T 没有发布？

那个 T 是一个停止 T，因为下一个词以辅音 D 开头，而不是讨论。

不讨论——

有人参加的地方。

不讨论在哪里任何人，在哪里任何人。正如我所说，在 EH 上只有一点点向上向下的形状，

但实际上，在任何人都在的地方。这一切都更平坦，音调更低。

参加的第一个音节，也是一个schwa。 schwa 在美式英语中无处不在。

不讨论任何人参加的地点

不讨论任何人参加的

地点任何人在哪里，任何人在哪里–，这里的双 T 是一个真正的 T，因为它以重读音节开头。

当它开始一个重读音节时，T总是一个真正的T，

除非它是TR集群的一部分，那么它可能听起来更像CH。

任何人参加的

地方任何人参加的

地方明年

参加的地方明年参加，明年，这一切都在上升，

因为她即将说出原因。

所以她将这两个短语组合在一起，使一个上升。

明年参加。然后下一个将下降。

明年参加明年

参加明年参加

现在有些事情很有趣。它发生在这里，下一个是 T。

明年。

这不是 ttt 音，它更像是 CH 音，next, ch, ch, ch，所以字母 X 在这个词中构成 KS

，T 与 Y 结合。Y 影响 T。Y 在年变化它到一个 CH。

明年。

你有没有注意到这一点？一句话：你在做什么？

很常见的做法是把 R 放到一个不错的、随意的缩减中，然后说：what cha，what cha做什么？

What ch ch ch- 将what的结尾T和你的y变成CH。

如果您注意随意的会话英语，您肯定会注意到这一点。

明年。 ch ch ch。不是：明年，明年，而是：明年。

明年。

我们不希望他们——

我们不希望他们——所以在这个思想组的最后一部分，我们真的只有一个音高

，一个重读音节。我们不希望他们这样做。

我们不希望他们这样做。所以能量正朝着那个方向积累，然后又远离它。

我们不希望他们这样做。

我们在需要中有一个停止T，不是想要他们，而是想要他们，他们。

哦，你注意到减少了吗？我不是在说他们，是吗？

我正在将 EH 元音更改为 schwa

，schwa 又出现了。想要他们，想要他们。

到，那是另一个施瓦。要他们，要他们，要他们，要，要，要，要，要，要，要。

我们不希望他们——

而且就 T in don’t 而言，我并没有真正听到它。 We don’t want, don’t

www– 从 N 到 W。所以 N 撇号 T 收缩可以用三种方式发音：

带真 T，不想要，带停顿 T，不想要，或没有T，不想要。

而且我听到这个完全是一个下降的T，没有任何T。不想要，我们不想要。

我们不想

——感到不安全。

感到不安全。我们已经讨论了上下形状、压力、节奏和旋律。

Duuuhhhh——感觉不安全——L 将直接链接到不安全的 IH 元音。

我们想把它们联系起来。 Feel inse——

所以这是一个暗 L，你确实想在 EE 元音之后发出一个暗音。

不然会有感觉的。我们想要feeuhll，呃。我们绝对希望它成为其中的一部分。

但是您可以在这里抬起舌尖，因为下一个单词以元音开头。

感到不安全。但要确保你先发出那种黑暗的声音。如果需要，请放慢速度。

感到不安全，治愈，治愈。并且音调下降。

感到不安全——

非常周到。

所以校长回应：很周到。

你认为那些向上向下的形状是什么？那些最重音的音节？

很周到。

很周到。所以每个单词都是两个音节，在每个单词中，重读的是第一个音节。

嗯嗯。很周到。这是一个停止 T，因为下一个声音是辅音。

非常 th—yth，yth，连接，EE 和清音 TH 之间没有声音中断。

对于这种声音，您的舌尖必须轻轻地从牙齿中发出。很周到。

很周到。

现在这个 L 是另一个暗 L。

它出现在单词的末尾，所以我们知道它位于音节中元音的末尾。

而且因为他没有继续，因为没有下一个声音，没有元音或双元音，

你可以避免抬起你的舌尖。

周到。呃，呃，呃，呃，呃。

这只是一个非常快速的黑暗声音。如果你抬起你的舌尖，它会使声音更靠前。

我们实际上希望这种声音在嘴里更靠后。呃，呃，呃，呃，周到。

周到。

无论如何，我需要回顾一下我们拥有的年终预算数字。

好的，那么她更长的音节是什么？

无论如何，我需要回顾一下我们拥有的年终预算数字。

不管怎样——在那个重读音节，那个第一个音节上有一点点。

请记住，那是像在床上一样的 EH 元音，即使它是字母 A。无论如何。反正。

反正。反正。无论如何，我需要回顾一下我们拥有的年终预算数字。

好的，需求很明显。她坚持这一点的时间甚至比

最正常的会话英语还要长。

我需要过去。我需要，我需要过去。真正强调这一点，伸出元音

清楚地表明这对她很重要。

我得走了——

看，我们还有话要说，你觉得呢，会减少吗？我们还会再来一个 schwa 吗？

我需要去。到，到，是的，我们做到了。

我们减少那个元音。我需要去。

我需要检查

一下我们拥有的年终预算数字。

我需要复习一下结尾——我真的觉得那是我们的下一个重读音节。

同样，它是 EH 元音。所以，要复习一下，压力更小，音高更平坦。

越过，越过，越过，越过。

回顾一下——

如果我们都这样说，那将是非常不清楚的。

我需要回顾一下，我需要回顾一下我们拥有的年终数字。

我需要回顾一下我们拥有的年终预算数字。

来吧，那是不可能的。这就是为什么我们有对比。我们带出更长的重读音节。

我需要复习一下，我需要，这在美式英语对话中很重要，在口语

中，我们有长短的对比。因此，使用类似这样的短语可能会感觉很奇怪：to go over the，

然后发音为：to go over the、to go over the、to over the，但我们实际上想要这样。

对比比每个字都清楚的情况更清楚。信不信由你。

这就是对比在美式英语中的重要性。

这里的单词 the 是 EE 元音，因为下一个单词以元音开头，

否则，它将是：the, the, the。

所以规则是，如果下一个单词以元音或双元音开头，我们将其设为 EE 元音。

但是我注意到，在实践中，美国人并没有很好地遵守这条规则，但她在这里做到了。

我需要回顾

一下——我需要回顾一下——我需要回顾

一下我们拥有的年终预算数字。

我们拥有的年终预算数字。

Budge，有，也有更多的长度。换句话说，更加简化。年底。

这三者的音高都比较平。

我们拥有的年终预算数字。

结束——所以我认为我们可以将这个词完全简化为 schwa。

听起来这就是她正在做的事情。她没有在最后放一个V音。

结束。现在在这里，它是一个 schwa，因为下一个单词以辅音 Y 开头。

年底。结束。 D 直接连接到 schwa，schwa 直接连接到 TH，

这里的 schwa 直接连接到 J 辅音。所以一切都顺利地联系在一起。

年终预算。年终预算。

年终预算。

现在，如果您对年这个词感到困难，

我知道有些人很难将其与耳朵一词进行比较。

我在 YouTube 上确实有一个视频。所以只要谷歌瑞秋的英语年，耳朵

，我相信你会找到的。

年终、年终、年终预算数字。

所以我们的最后四个词：我们拥有的预算数字，以重读音节开头，以重读音节结尾。

介于两者之间的所有音节的音调都更平。

dget numbers we-dget numbers we-dget numbers we-dget, dget, dget.

Stop T 在那里，没有释放，因为下一个单词以辅音开头。

Dget numbers we - dget numbers we - dget numbers we have。我们有预算数字。

我们有预算数字。

你做的时候能模仿吗？真的想想你有，

你知道，你的开头的锚，你的结尾的锚，以及介于两者之间的其他音节，

都说得很快，很简单。

现在这句话已经结束了，她的音量真的下降了，不是吗？

我们有预算数字。

她的一些声音能量消失了。比较它：我需要。

我需要–

我们有预算数字。

因此，美式英语的整体短语更响亮

，音高更高，开头的声音能量更多一些，

然后随着我们接近一个短语的结尾，所有这些都减少了。

因此，在练习分句时要注意这一点。在随之而来的音频中，

我将把像这样的较长短语分解成更小的短语来练习。

因此，如果它接近乐句的结尾，请确保您也在模仿音量和音高，

而不仅仅是节奏。压力确实与所有的声音品质有关。

并且为了使整个句子有正确的重音和感觉，

则需要将其降到最后。

我们有预算数字。

哦。天哪。

哦。天哪。当人们用他们的声音做完全不同的事情时，模仿这一点很有趣。

哦。天哪。他真的把那个画出来了，天哪，那里有父元音中的AH。

哦。天哪。

真的吗？

真的吗？真的吗？高音。真的吗？所以如果你在字典里查这个词，你会看到

两个不同的发音：re-uh-lly，三个音节，re-uh-lly，两个音节。

绝对两个音节的发音更常见。真的，但你知道吗？

第一个元音，你会经常听到它作为 IH 元音，而不是更轻松，真的，真的，而不是真的，真的

，这就是他所做的，他做 IH 元音。

因此，如果您将这个词发音为三个音节，请立即停止。

真的，或者真的。真的真的。这更自然，更多的美国人会这样做。两个音节。

真的吗？

像现在？

像现在？所以他就这么败了。这是他想做的最后一件事。像现在？像现在？

喜欢这个词，说的那么快。喜欢，喜欢，喜欢，喜欢，喜欢。

如果它是单独的，我什至不会真正理解它。但在整个句子的上下文中，我明白了。

像现在？像现在？音调上升，这是一个问题。

像现在？

什么，我的意思是，你为什么不和尼克一起做呢？

什么——所以他只是快速减少什么，然后

在他考虑要说什么的时候发出H音，他怎么能避免这样做呢？

什么——什么——什么，我的意思是，你为什么不和尼克一起做呢？

现在让我们听听这句话：我的意思是，你为什么不和尼克一起做呢？

听听其中一些词有多不清楚。

什么，我的意思是，你为什么不和尼克一起做呢？

真的喃喃自语，但我们确实希望在不太清晰和更清晰、重读的音节之间形成对比。

什么，我的意思是，你为什么不和尼克一起做呢？

我的意思是，这太含糊了。

我的

意思是——我的意思是，我的意思是，我的意思是，我的意思是，我的意思是，我的意思是。这就像一个元音：uh uh uh uh，然后是 M，N，也许。

呃呃呃呃。我想我会这样写。嗯嗯嗯嗯嗯。很不清楚。

为了记录，这不必那么不清楚。

我的意思是节奏对比很重要，但并不是每次你听到这句话时都会这样。

我的意思

是，为什么——我的意思是，为什么——我的意思是，你为什么不和尼克一起做呢？

然后他有一个更长的重读音节：你为什么不和尼克一起做呢？

然后尼克是压力的顶峰，能量有点朝那个方向发展。

我的意思是，你为什么不和尼克一起做呢？

在球场上下降。你不要这样做。

所有这些平坦的、低矮的滑行在一起，不太清晰。

你为什么不和尼克一起做呢？

我们还有另一种情况，T 与 Y 混合形成 CH。

你为什么不呢？为什么不呢？你不，你不，不是吗？

你为什么不做，你为什么不做，你为什么不做。

唐，我的意思是，即使是这部分词，也说得很快。

你为什么不，不是你，不是你，这几乎就像那里没有元音一样。

你为什么不，你为什么不，你为什么不，你为什么不。

你为什么

不和尼克一起做呢？

你为什么不这样做，这样做，这样做。连接在一起，我们有一个结尾的OO元音。

当它连接到另一个元音或双元音时，您可以考虑通过滑音辅音 W。这样做。

这可能会帮助您更顺畅地链接它们。

我们在它的末尾有一个停止 T。和尼克一起做，和尼克一起做，和尼克一起做？

和尼克一起做吗？和尼克一起做吗？和尼克一起做吗？

你懂？请？

你懂？请？你懂？你懂？
你这个词怎么了？

不是你，你知道，你知道，它被简化为 schwa。

你懂？请？

请？

好的，让我们再听一遍整个对话。

我们班的官方政策是不讨论任何人明年参加的地方。

我们不希望他们感到不安全。

很周到。

无论如何，我需要回顾一下我们拥有的年终预算数字。

哦。天哪。真的吗？像现在？

什么，我的意思是，你为什么不和尼克一起做呢？
你懂？请？

现在对于有趣的部分，您将查看我们一起记下的笔记

，您将听到对话的一部分循环播放三遍。然后有一个空间让你重复。

例如，您会听到：

也许是这样，先生。

然后你会重复一遍：也许是这样，先生。试着准确地模仿这一切。

所以当你看到这个时，你会重复它。也许是这样，先生。

那是从壮志凌云：特立独行这是我们在这个夏季系列中学习的第一部电影。

您还将有机会聆听并以慢动作重复。

如果您是初学者，或者很难

专注于链接或旋律，这对您来说很重要。

也许你会想两种方式都做，但重要的是你

有机会把你学到的东西应用到你的身体和你自己的习惯中。

这将改变你的演讲方式。

您可能会在一周内每天使用此视频的音频部分。

每次模仿节奏和简化都会变得更容易。

如果您跟不上母语人士的步伐，请进行慢动作模仿。

好的，这是我们的音频培训部分。

别忘了明天和后天再回来做这个音频。

你想在这里建立习惯，这样你在谈话时就不需要考虑太多。

您可以专注于单词而不是表达或发音。

别忘了这是整个夏天系列的一部分，13 个视频，13 个电影场景，每一个都可以查看，每次都能

学到新东西。

我每周二都会制作新的英语视频，希望您能再次回到这里，

请订阅通知并立即通过此视频继续学习

，如果您喜欢此视频，请与朋友分享。

就是这样，非常感谢您使用 Rachel 的英语。