Learn English with Movies Get Out

In the US, summer is for sand, sun, and blockbuster movies.

And this summer, we’re going to use those movies to learn English, and study how to sound American.

Every video this summer is going to be a Study English with Movies video.

We’ll pull scenes from the summer’s hottest movies, as well as favorite movies from years past.

It’s amazing what we can discover by studying even a small bit of English dialogue.

We’ll study how to understand movies, what makes Americans sound American, and of course,

any interesting vocabulary, phrasal verbs, or idioms that come up in the scenes we study.

I call this kind of exercise a Ben Franklin exercise. First, we’ll watch the scene.

Then we’ll do an in-depth analysis of what we hear together.

This is going to be so much fun. Be sure to tell your friends and spread the word that all summer long,

every Tuesday, we’re studying English with movies, here at Rachel’s English.

If you’re new to my channel, click Subscribe, and don’t forget the notification button.

Let’s get started. First, the scene.

Seizures create anxiety, which can trigger aggression.

Yeah, but like randomly attacking other people?

Uh, it’s not random.

You know, it was your flash, That’s what set him off.

Hey.
Well.

How’s he doing?

He’s much better.

I imagine that I owe you all an apology.

Now, the analysis.

Seizures create anxiety, which can trigger aggression.

Okay so there’s a little bit of a cymbal crash, a little bit of leftover music, or sound effect as he begins speaking.

But he says the word ‘seizures’ and then there’s a little bit, a little bit of a lift.

Seizures create anxiety, which can trigger aggression.

Seizures create anxiety– so I would maybe separate that into its own little thought group.

What’s the stressed syllable in the word ‘seizures’?

Seizures create anxiety–

Seizures– first syllable stress. Seizures. A little curve up, then a curve down, and the second unstressed syllable

just falls into that line. Seizures, zures, zures, zures.

Seizures.

That’s sort of a tricky word. We have the DJZ sound, which isn’t too common. So first syllable stressed,

sei– zures, zures, zures, then the DJZ sound right into the schwa R sound. Zures, zures, and a super light,

light Z at the end, you could even think of that as being a super light S, seizures, seizures.

Seizures.

Seizures create anxiety, which can trigger aggression.

Create anxiety, which can trigger aggression.

What are our stressed syllables here?

Create anxiety, which can trigger aggression.

We have a few stressed syllables. Create anxiety, which can trigger aggression.

Those are the four syllables that are a little bit longer, and have more of that up-down shape.

The other syllables are flatter, lower in pitch, and said more quickly.

Create anxiety, which can trigger aggression.

So a lot of those other syllables are actually unstressed syllables within the stressed word.

Like the first syllable crea– crea– crea– in the word ‘create’.

So even when we’re talking about stressed words, we only ever mean the stressed syllable

that has that up-down shape. Unstressed syllables in a stressed word are said quickly and more simply.

Create, create, create, create, create.

Create anxiety,

create anxiety,

create anxiety.

Now, here we have a T that links the two words together.

Create anxiety, create an– create an– And that is a flap T, to connect.

Create anxiety.

Create anxiety,

create anxiety,

create anxiety.

Another word that’s a little tricky, that you may not be sure how to pronounce by looking at the letters.

So we have AN, but actually, the letter N here makes the NG sound so we’re making that

with a back of the tongue: an– an–

Create anxiety.

Anxie– the stressed syllable, the letter X makes the Z sound here. Anxie–

And we have the AI as in buy diphthong. Anxi– iety, iety, iety, iety, and then two unstressed syllables.

IH vowel, flap T, which I write as the D because the flap T sounds like the American D between vowels,

and then an ending EE sound. Unstressed, and make a quick flap with your tongue there:

iety, iety, iety, iety, iety, anxiety.

Practice that word with me. Four syllables, second syllable stress:

An– xie– ety, anxiety, anxiety.

Create anxiety.

Create anxiety, which can trigger aggression.

So then we have two more unstressed words, which can, before our stressed word ‘trigger’.

So how are these two words pronounced?

Which can trigger–

which can trigger–

Which can– which can– which can– which can–

Very fast, low in pitch, flat, remember, we really need this contrast of this kind of word.

Which can– which can– which can– against words that have that up-down shape,

that stressed syllable like ‘anxiety’.

So ‘which can’, it’s a clean W sound, there’s no escape of air, but just: which, which, which,

with the IH vowel said very quickly, ending CH sound, which can– which can– which can–

goes right into the K sound of ‘can’ and you’re probably noticing that vowel is reduced,

it’s the schwa: can, can, can.

Which can– which can– which can–

When ‘can’ is a helping verb, meaning it’s not the only verb, it reduces.

Can trigger, trigger is the stressed word so it becomes: can– can trigger, can trigger, trigger is the main verb.

Which can trigger–

which can trigger–

The TR cluster can be a CHR and usually is, here, I think he is making a clean T sound:

trigger, trigger, trigger, trigger. Try that: trigger, trigger, trigger, instead of:

trigger, trigger, trigger, trigger, trigger, trigger.

Trigger,

This word is tough. We have two R sounds. Trr— if you’re having a hard time with the word, practice it

slowing down the R. Trrrrigger. Both times. Holding out the R will help you fine-tune the position,

your ear and your mouth can work together to make a sound that’s more accurate.

Trrriggerrr. Trigger.

Trigger

aggression–

Trigger aggression– trigger aggression– Two stressed words in a row, but again, it’s only the stressed syllable

that has that up-down shape. The other syllables said simply, quickly, unstressed.

So we have the ending schwa R sound, the schwa beginning the word aggression.

Tri– gger a– gger a– gger a– gression.

Trigger aggression–

trigger aggression–

Trigger aggression– So make sure that you really feel that change in intonation,

that up-down shape on your stressed syllables. Aggression–

Here, the double S is making the SH sound, schwa N is the ending: sion– sion– sion–

Aggression–

aggression–

Yeah, but like randomly attacking other people?

Okay, she’s feeling like hmmm… Aggression is one thing, but randomly attacking is another thing,

and can siezures really cause that? So in this thought group, what are her stressed words?

Yeah, but like randomly attacking other people?

A little bit of length on ‘yeah’ a little bit more height, yeah, but like, but like, much flatter, lower in pitch.

Yeah, but like randomly attacking other people?

Rand– and tack– are most stressed syllables there. Even though ‘other people’ could both be content words,

they’re not said with stress, I would say, they sound flatter, less energy.

Yeah, but like randomly attacking other people?

Listen to just ‘other people’. Listen to how quietly they’re said.

Other people–

There, at the end of the sentence, she’s lost her vocal energy, she’s not stressing these words.

The words that are most important are ‘randomly’ and ‘attacking’.

Yeah, but like randomly attacking other people?

Whoa, different day, different outfit, important announcement.

Did you know that with this video, I made a free audio lesson that you can download?

In fact, I’m going this for each one of the YouTube videos I’m making this summer,

all eleven of the Learn English with Movies videos.

So follow this link, or find the link in the video description to get your free downloadable audio lesson.

It’s where you’re going to train all of the things that you learned about pronunciation in this video.

Back to the lesson.

Yeah, but like randomly attacking other people?

As you imitate with the audio that goes with this video lesson, make sure that you’re really paying attention to

things like volume as well. One thing that I work with my students on sometimes is taking the energy and

volume out of the voice towards the end of a thought group.

That really helps bring an American feeling to what they’re saying.

Yeah, but like randomly attacking other people?

Let’s talk about a few other things. We have a stop T in ‘but’. Yeah but like, but like, but, but, but, but.

Because the next word begins with a constant, the L consonant. Then we also have a stop consonant,

the K sound, and it’s not released. She doesn’t say: like randomly– like randomly– like–

We do not hear that release, that’s also a stop. Like randomly, like, like, like.

The back of her tongue probably goes up into position for the K very quickly rather than releasing the air

and going into the R. She just goes right to the R. Like randomly– So we don’t hear that little escape of air.

It’s common to do this with stop consonants, to drop the release when the next word begins with a consonant.

But like randomly– but like randomly–

Yeah, but like randomly–

Yeah, but like randomly attacking other people?

Okay, let’s talk about our two stressed words here. Randomly attacking.

So first of all, I want to say, in the stressed syllable, ran–, we have the AA vowel followed by N. Ran–

We don’t say it like that, we put an UH sound in between even though you won’t see that in the dictionary.

Raauh– that’s what happens because the back of the tongue relaxes before the front of the tongue lifts,

so we get a UH sound in there. Raa– Raa– Ran– So not ‘ran’, not pure AH. Raa– Raa– Ran– ran– randomly.

Now, the D sound, a little hard to detect here. It’s followed by schwa M, dan-dmm–

and I don’t think she really lifts her tongue and brings it back down for a D sound.

Randomly, dom– dom– dom– dom– you want to go right into an M sound from that D.

Try to make that as fast of a transition as possible. And because it’s schwa M,

we don’t need to try to make a vowel here. We have four consonants that take over the schwa: RL, M, N,

and that means they’re called syllabic consonants, that means you don’t try to make a vowel,

they overtake the schwa. Whenever you see schwa M, just think M, random, dum-dum-dum-dum.

Randomly–

attacking other people?

Attacking– attacking– listen to how unstressed the first and last syllables are.

Attacking–

Ah-ttack-ing– Really focus on that as you practice this word. Actually, just practice it right now. Break it up.

Ah-ttack-ing– attacking– attacking– Here, the T is a true T because it begins a stressed syllable.

And a T that begins a true syllable is always a true T, unless it’s part of the TR cluster,

then you might make it a CH. Attacking– attacking– make sure that first syllable is a schwa, uh–

attacking–

Attacking–

attacking other people?

And again, we’ve already discussed it, but just make sure that this is low in volume,

simplify your mouth movements, these words are unstressed.

Attacking other people?

Other people– other people. And the pitch goes up a little bit at the end it’s a yes/no question.

Attacking other people?

Uh, it’s not random.

Okay then we have the word ‘uh’, just a little filler word as he’s thinking, and then a three word thought group.

Talk to me about the stress here. How do you feel the stress goes?

Repeat it, feel it, and find the most stressed syllable.

Uh, it’s not random.

I think ‘not’ is the most stressed word there. Not random. So here she’s saying

‘randomly’ and he’s saying it’s not random, not, contradicting that, so that’s gonna have the most stress.

It’s not random. Stop T after ‘not’ because the next word begins with a consonant. Not random.

And remember, just like with randomly, try not to make a vowel here: random– dom– dom– dom– random–

Random– random– random–

You know, it was your–

Okay, so the way that I’ve written it with the commas which makes sense grammatically is not actually how

he broke it up with his thought groups. He put a little break after ‘your’.

You know, it was your–

You know, it was your– you know– You know, it was your–

So ‘know’ the most stressed word in that thought group, and actually, ‘you’ is reduced, its yuh with the schwa,

not the OO vowel but ye– ye– you know– We say the word ‘you’ this way a lot.

In the phrase ‘you know’, it becomes: ye know, ye know.

The word ‘you’re’ also reduces: yer, yer, not: you’re, but yer.

You know, it was your–

Z sound in ‘was’, Y sound in ‘your ' or yer. They sound together a little bit like the DJZ.

It was your– was djz– But I probably wouldn’t tell my students to practice it this way.

In that case, it would probably end up sounding too heavy. Was your– was your– was your–

I would still concentrate on making a light Z sound connecting to the Y. Was your– was your–

Was your–

It was your– It was your– Stop T in ‘it’, was, I would write that with the schwa. Was, was, was.

Instead of was, less jaw drop, different kind of vowel. Was– it was your–

It was your–

flash–

Flash, then he puts another break here, so the word ‘flash’ is its own little thought group here,

it’s a single syllable, and it is stressed, has that up-down shape.

Flash by putting that stop before, and separating it into its own thought group,

we bring more emphasis to that word.

Flash,

That’s what set him off.

Okay, now in the rest of the thought here, the last thought group, what is our stressed word?

That’s what set him off.

I would say our stressed words are: That’s what set him off. ‘What’ has a little bit of length too.

But ‘that’s’ and ‘off ' are our most stressed, highest pitch, up-down shape.

That’s what set him off.

What set him– what set him– what set him– A little bit lower in pitch, a little bit flatter,

what set him– what set him– Stop T in ‘what’ because the next word begins with a consonant.

Now, you may think stop T in ‘set’ because the next word begins with a consonant, but actually,

he dropped the H sound that’s a really common reduction, so now the word ‘him’ begins with a vowel.

It’s um, um, um. So the T does come between two vowels, he does use it to link, and it’s a flap T.

Set him, set him, set him.

That’s what set him off.

Set him off– set him off– So two words that are flatter, lower in pitch, unstressed, compared to ‘off’.

Set him off– set him off– set him off–

Set him off–

set him off–

Hey.
Well.

Hey. Hey. Okay, so compared to ‘set him off– ' which is lower in pitch, hey, hey, is a lot higher in pitch, isn’t it?

It’s more friendly, he’s greeting the person who had an issue.

Bringing the pitch up, friendly tone. That’s a lot different than: hey. Hey! Hey!

More upbeat, more positive sounding.

Hey.

Hey.
Well.

Well. Well. Single word in a thought group, up-down shape. Well. Well.

The L isn’t too clear, that’s a dark L. She did not lift her tongue tip for that.

Well. Uhl, uhl, uhl, uhl.

That dark sound at the end of the dark L is made with a back of the tongue, tongue tip stays down.

If you bring your tongue tip up, you’re making too much of this L. Well, uhl, uhl. Well. Well. Well. Well.

Try that, practice it, tongue tip down.

Hey.
Well.

The back of the tongue, uhl, uhl, uhl, pushes down and back a little bit. That’s how we get the dark sound.

Hey.
Well.

How’s he doing?

Okay, now he speaks quietly, and the door is opening, so it’s a little bit harder to hear what’s going on.

But listen to it again and tell me what you think the stressed words are.

How’s he doing?

How’s– How’s he doing? ‘How’s’ and ‘do’ the most stressed syllables there. How’s he doing?

How’s he– how’s he– What’s happening in the word ‘he’? How’s he–

The H is dropped. So then it’s just the EE vowel, ending Z sound, links right into the EE. How’s he– how’s he–

How’s he doing?

And it’s a little hard to tell because the end of the word is really covered by the door,

but I think he is dropping the NG sound and making just an N sound.

Doin, doin, doin.

How’s he doing?

He’s much better.

And she responds, three words, stress on the middle syllable. He’s much better. Smoothly linked together.

The H here isn’t dropped, but it’s pretty light, so keep that in mind.

He’s much better.

And also keep in mind that ‘much’ is the peak of stress, and the word ‘he’s’ leads up to that peak,

and the word ‘better’ falls away from that peak. So it’s all smoothly connected.

And what are you hearing for the T’s in this word?

He’s much better.

Flap T. Double T, a single flap T, because the T sound comes between two vowels.

Now here, we have schwa R. Remember, R is a syllabic consonant, so you don’t need to try to make

a vowel sound, it’s just: rrrr. But even though the R takes over the vowel, in IPA it is written schwa R,

you do make a flap T, you do count that as a vowel when you’re thinking about is this a flap T or not?

T does come between vowels even though in practice the are absorbs the vowel.

Is that confusing enough for you? Better, better.

The thing with these rules is it can be useful to know them, but what’s ultimately the most useful

is to listen to how native speakers do it, and really imitate that.

He’s much better.

I imagine that I–

Imaa– maa– longer, more stressed, I imagine that I–

Now, the unstressed syllable at the end does continue to go up, I think. I imagine, imagine that I–

And then it comes back down, but the length is definitely on the stressed syllable ‘ma’ with the AA vowel.

I imagine that I–

Make sure you link ‘I’, the AI diphthong with the vowel IH: Ai-ih– Ai-ih– Ai-ih– smoothly.

Sometimes when it comes to linking a vowel or diphthong to another vowel or diphthong,

students don’t feel comfortable with that. Feels too sloppy, too connected, and they want to restart the voice:

I imagine– but don’t do that. Really try to link those together: Ai-ih– Ai-ih– Ai-ih– I imagine–

I imagine that–

I imagine that I–

What’s happening with ‘that’ and ‘I’? Can you hear that?

That I– that I– that I–

That I– that I– that I– Definitely a flap T linking those two words.

Also, the vowel AH, that, is reduced. It’s a schwa: that I– that I– that I–

So the word ‘that’ becomes: duh, duh, duh, duh, schwa flap: that I–

That I– that I– that I–

owe you all an apology.

Okay, let’s just listen to this final thought group a couple times on a loop. Listen to the music of it.

Owe you all an apology.

The more I listen to something like this, the more I hear the music, the more I just think life is an opera.

We sing everything we say.

Owe you all an apology. Da-da-da-da-da-da-da. Da-da-da-da-da-da-da.

You could dance to that, couldn’t you? Da-da-da-da-da-da-da.

Owe you all an apology.

I love exploring that, and that really helps us find the stress.

Owe you all an apology. When we listen on a loop, I think it really makes the stress super obvious.

‘Owe’ and ‘pol, our two stressed, longer up-down shape syllables there.

Owe you all an apology.

Owe you all an apology. Owe you all an a– Owe you all an a– Then these four syllables here, you all an–,

and the first unstressed syllable of the stressed word ‘apology’, flatter in pitch, you all an a–, you all an a–

And all really linked together, very smooth. Owe you all an a– Owe you all an a– Owe you all an a–

you all an a– you all an a– you all an a– Can you do that? Just imitate those four syllables.

You all an a– you all an a–

You all an a–

You all an a– Now, the word ‘all’ ends in a dark L, and you generally don’t need to lift your tongue tip for an–

a Dark L. However, when it links into a word that begins with a vowel, like here, we have the schwa

in the word: an, an, an, then I think it is useful to lift the tongue tip.

You all an a– you all an a– you all an a– It helps to find the dark L moving into a word that begins

with a vowel or diphthong. So you can lift your tongue tip here.

You all an a–

If it was the end of the thought group, or it linked in to a word that began with the consonant,

I probably wouldn’t lift the tongue tip. I owe you all. I really owe you all. Owe you all. Owe you all.

There, I’m making a dark sound, light, subtle at the end, but I’m not lifting my tongue tip.

But because we’re linking into a word that begins with a vowel, let’s do go ahead and lift the tongue tip there.

You all an a– you all an a– you all an apology.

Owe you all an apology.

The L in ‘apology’ is a dark L because it comes after the vowel in the syllable.

But again, it’s followed by another vowel here, another vowel sound, so I would lift the tongue tip.

Apol– llluh– apology. Apology.

Apology.

Mmm… I love that. I love listening to the music of the speech. This was a great little snippet of conversation,

just 15 seconds but so much to study.

Flap Ts, linking, difficult words, breaking them down by syllables, the music of speech.

Let’s listen to the whole conversation one more time.

Seizures create anxiety, which can trigger aggression.

Yeah, but like randomly attacking other people?

Uh, it’s not random.

You know, it was your flash, That’s what set him off.

Hey.
Well.

How’s he doing?

He’s much better.

I imagine that I owe you all an apology.

We’re going to be doing a lot more of this kind of analysis together.

What movie scenes would you like to see analyzed like this? Let me know in the comments.

And if you want to see all my Ben Franklin videos, click here.

You’ll also find the link in the video description.

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

在美国，夏天适合沙滩、阳光和大片。

今年夏天，我们将使用这些电影来学习英语，并研究如何听起来像美国人。

今年夏天的每个视频都将是一个学习英语的电影视频。

我们将从夏季最热门的电影以及过去几年最喜欢的电影中提取场景。

通过学习一点点英语对话，我们就能发现令人惊奇的东西。

我们将学习如何理解电影，是什么让美国人听起来像美国人，当然还有

在我们研究的场景中出现的任何有趣的词汇、短语动词或成语。

我把这种练习称为本富兰克林练习。首先，我们将观看现场。

然后我们将对我们一起听到的内容进行深入分析。

这将非常有趣。一定要告诉你的朋友并宣传整个夏天，

每个星期二，我们都在 Rachel’s English 看电影学习英语。

如果您是我频道的新手，请单击订阅，不要忘记通知按钮。

让我们开始吧。首先，场景。

癫痫发作会产生焦虑，从而引发攻击性。

是的，但是就像随意攻击其他人一样？

嗯，这不是随机的。

你知道，那是你的闪光，这就是他引爆的原因。

嘿。
嗯。

他好吗？

他好多了。

我想我欠你们所有人一个道歉。

现在，分析。

癫痫发作会产生焦虑，从而引发攻击性。

好的，所以当他开始说话时，有一点铙钹撞击声、一点剩余的音乐或音效。

但他说了“癫痫发作”这个词，然后有一点点，一点点的提升。

癫痫发作会产生焦虑，从而引发攻击性。

癫痫发作会产生焦虑——所以我可能会把它分成自己的小思想组。

“癫痫发作”这个词中的重读音节是什么？

癫痫发作产生焦虑——

癫痫发作——第一个音节重音。癫痫发作。稍微向上弯曲，然后向下弯曲，第二个非重读音节

正好落入那条线。癫痫发作，祖尔，祖尔，祖尔。

癫痫发作。

这是一个棘手的词。我们有 DJZ 声音，这并不常见。所以第一个音节重读，

sei- zures，zures，zures，然后 DJZ 声音直接变成 schwa R 声音。 Zures，zures，最后是一个超轻的，

轻的 Z，你甚至可以把它想象成一个超轻的 S，癫痫发作，癫痫发作。

癫痫发作。

癫痫发作会产生焦虑，从而引发攻击性。

制造焦虑，这会引发攻击性。

我们这里的重读音节是什么？

制造焦虑，这会引发攻击性。

我们有几个重读音节。制造焦虑，这会引发攻击性。

这四个音节稍长一些，并且具有更多的上下形状。

其他音节更平，音调更低，说得更快。

制造焦虑，这会引发攻击性。

因此，许多其他音节实际上是重读词中的非重读音节。

就像单词“create”中的第一个音节 crea–crea–crea-。

因此，即使我们在谈论重读词，我们也只

指具有上下形状的重读音节。重读单词中的非重读音节说得更快更简单。

创造，创造，创造，创造，创造。

制造焦虑，

制造焦虑。

现在，这里我们有一个 T 将这两个词连接在一起。

制造焦虑，制造一个–制造一个– 这是一个襟翼T，连接。

制造焦虑。

制造焦虑，

制造焦虑。

另一个有点棘手的词，您可能无法通过查看字母来确定如何发音。

所以我们有 AN，但实际上，这里的字母 N 发出 NG 的声音，所以我们

用舌头后部发出：an–an–

制造焦虑。

Anxie——重读音节，字母X在这里发Z音。

Anxie——我们有人工智能，就像买双元音一样。 Anxiiety，iety，iety，iety，然后是两个不重读的音节。

IH 元音，襟翼 T，我写为 D，因为襟翼 T 听起来像元音之间的美式 D，

然后是结尾的 EE 声音。放松，用你的舌头在那里快速拍打：

iety，iety，iety，iety，iety，焦虑。

跟我一起练习这个词。四个音节，第二个音节重音：

An– xie– ety，anxious，anxious。

制造焦虑。

制造焦虑，这会引发攻击性。

那么我们还有两个非重读词，可以在我们的重读词“触发”之前。

那么这两个词是怎么发音的呢？

哪个可以触发——

哪个可以触发的词。

哪个可以-哪个可以-哪个可以-反对具有上下形状的

单词，诸如“焦虑”之类的重读音节。

所以’which can’，它是一个干净的W音，没有漏气，只是：which，which，which，

用IH元音很快说出来，结束CH音，which can-which can-which can- -

直接进入’can’的K音，你可能注意到元音减少了，

这是schwa：can，can，can。

哪个可以——哪个可以——哪个

可以——当“可以”是助动词时，意味着它不是唯一的动词，它会减少。

可以触发，触发是重读词所以它变成：可以–可以触发，可以触发，触发是主要动词。

哪个可以触发–

哪个可以

触发- TR 集群可以是一个CHR，通常在这里，我认为他正在发出干净的T 音：

触发，触发，触发，触发。试试看：触发器，触发器，触发器，而不是：

触发器，触发器，触发器，触发器，触发器，触发器。

触发器，

这个词很难。我们有两个 R 音。 Trr—如果你对这个词有困难，练习它

放慢R. Trrrrigger。两次。伸出R可以帮助你微调位置，

你的耳朵和你的嘴可以协同工作，发出更准确的声音。

触发。扳机。

触发

攻击-

触发攻击-触发攻击-连续两个重读单词，但同样，只有重读

音节具有这种上下形状。其他音节简单，快速，不重读。

所以我们有结尾的 schwa R 声音， schwa 开始这个词的侵略。

触发–触发–触发–攻击。

触发攻击–

触发攻击– 所以确保你真的感觉到语调的变化，

你重读音节的上下形状。 Aggression–

这里，双 S 发出 SH 音，schwa N 是结尾： sion– sion– sion–

Aggression–

aggression–

agression– 是的，但就像随意攻击其他人一样？

好吧，她的感觉就像嗯…侵略是一回事，但随机攻击是另一回事

，发作真的会导致这种情况吗？那么在这个思想组中，她的重音词是什么？

是的，但是就像随意攻击其他人一样？

‘是的’有点长度，更高一点，是的，但是像，但是像，更平坦，音高更低。

是的，但是就像随意攻击其他人一样？

Rand——和tack——是那里重读最多的音节。尽管“其他人”都可以是满足的词，

但它们并不是带有压力的，我会说，它们听起来更平淡，更少能量。

是的，但是就像随意攻击其他人一样？

只听“其他人”。听听他们说得多么平静。

其他人——

在那里，在句子的结尾，她失去了她的声音能量，她没有强调这些词。

最重要的词是“随机”和“攻击”。

是的，但是就像随意攻击其他人一样？

哇，不同的日子，不同的服装，重要的公告。

你知道吗，通过这个视频，我制作了一个免费的音频课程，你可以下载？

事实上，我会为今年夏天制作的每一个 YouTube 视频，

所有 11 个通过电影学习英语的视频。

因此，请点击此链接，或在视频说明中找到该链接，以获取免费下载的音频课程。

在这里，您将训练您在此视频中学到的有关发音的所有内容。

回到课程。

是的，但是就像随意攻击其他人一样？

当您模仿本视频课程附带的音频时，请确保您也真正

注意音量等问题。有时我与学生一起做的一件事是在

思想组结束时消除声音的能量和音量。

这确实有助于为他们所说的带来一种美国人的感觉。

是的，但是就像随意攻击其他人一样？

让我们谈谈其他一些事情。我们在“但是”中有一个停止 T。是的，但是喜欢，但是，但是，但是，但是，但是，但是。

因为下一个单词以常量 L 辅音开头。然后我们还有一个停止辅音，

即K音，它没有被释放。她没有说：喜欢随意——喜欢随意——喜欢——

我们没有听到那个释放，那也是一个停止。随机喜欢，喜欢，喜欢，喜欢。

她的舌头后部可能很快就进入了 K 的位置，而不是释放空气

并进入 R。她只是直接进入 R。就像随机一样——所以我们听不到空气逸出的声音。

通常使用停止辅音来执行此操作，当下一个单词以辅音开头时放弃释放。

但是喜欢随机–但是喜欢随机–

是的，但是喜欢随机–

是的，但是喜欢随机攻击其他人？

好的，让我们在这里谈谈我们的两个重音词。随机攻击。

所以首先，我想说，在重读音节中，ran–，我们有 AA 元音后面跟着 N. Ran–

我们不是这样说的，我们在中间放了一个 UH 声音，即使你在字典里看不到。

Raauh——这是因为舌头的后部在舌头的前部抬起之前放松了，

所以我们在那里听到了 UH 的声音。 Raa– Raa– Ran– 所以不是“跑”，不是纯粹的啊。 Raa– Raa– Ran–随机运行。

现在，D 音在这里有点难以察觉。紧随其后的是 schwa M，dan-

dmm——我认为她并没有真正抬起她的舌头并把它放回 D 音。

随机地，dom– dom– dom– dom– 你想从那个 D 直接进入一个 M 音。

试着让它尽可能快地过渡。因为它是 schwa M，所以

我们不需要在这里尝试发元音。我们有四个接管 schwa 的辅音：RL、M、N

，这意味着它们被称为音节辅音，这意味着您不要尝试发出元音，

它们会超过 schwa。每当你看到 schwa M 时，就想 M，random，dum-dum-dum-dum。

随意——

攻击别人？

攻击–攻击–听听第一个和最后一个音节是多么轻。

攻击——

啊——攻击——当你练习这个词时，真的要专注于这一点。其实，现在就练习吧。分开来。

Ah-ttack-ing-attacking-attacking– 这里，T 是一个真正的 T，因为它开始一个重读音节。

以真音节开头的 T 始终是真 T，除非它是 TR 集群的一部分，

否则您可以将其设为 CH。攻击–攻击–确保第一个音节是schwa，呃–

攻击–

攻击其他人？

再一次，我们已经讨论过它，但只要确保它的音量很小，

简化你的嘴巴动作，这些词是不重音的。

攻击别人？

其他人——其他人。最后，音调上升了一点，这是一个是/否的问题。

攻击别人？

呃，这不是随机的。

好的，然后我们有“呃”这个词，只是他正在思考的一个小填充词，然后是一个三个词的思想组。

和我谈谈这里的压力。你觉得压力如何？

重复它，感受它，然后找到最重音的音节。

呃，这不是随机的。

我认为“不”是那里最强调的词。不是随机的。所以在这里她说

“随机”，而他说这不是随机的，不是，与此相矛盾，所以压力最大。

这不是随机的。在“not”之后停止 T，因为下一个单词以辅音开头。不是随机的。

记住，就像 random 一样，尽量不要在这里发元音： random– dom– dom– dom– random–

Random– random–

random– 你知道，那是你的 -

好吧，所以我用逗号写它的方式在语法上是有意义的，实际上并不是

他如何将它与他的思想群体分开。他在“你的”之后放了一点休息。

你知道，那是

你的——你知道，那是你的——你知道，那是你的——你知道，那是你的——你知道——你知道，那是你的——

所以“知道”最多在那个思想组中强调词，实际上，“你”是减少的，它的 yuh 带有 schwa，

不是 OO 元音，而是 ye——ye——你知道——我们经常这样说“你”这个词。

在“你知道”这个短语中，它变成：你知道，你知道。

‘you’re’这个词也减少了：yer，yer，not：you’re，but yer。

你知道，那是你的——

“was”中的 Z 音，“your”或 yer 中的 Y 音。它们听起来有点像 DJZ。

那是你的——是 djz——但我可能不会告诉我的学生这样练习。

在那种情况下，它可能最终听起来太沉重了。是你的 - 是你的 - 是你的 -

我仍然会专注于发出连接到 Y 的轻 Z 声。是你的 - 是你的 -

是

你的 - 是你的 - 是你的 - 停止 ‘it’ 中的 T 是，我会用 schwa 来写。曾经，曾经，曾经。

而不是是，更少的下巴，不同类型的元音。是——那是你的——

那是你的——

闪——

闪，然后他在这里又打断了，所以“闪”这个词在这里是它自己的小思想组，

它是一个音节，它是重读的，有那个上下的形状。

通过把那个停顿放在前面，然后把它分成自己的思想组，

我们更加强调这个词。

闪电侠，

这就是让他发火的原因。

好的，现在在剩下的思想中，最后一个思想组，我们的重读词是什么？

这就是让他发火的原因。

我想说我们强调的话是：这就是他的出发点。 “什么”也有一点长度。

但“that’s”和“off”是我们压力最大、音调最高、上下起伏的形状。

这就是让他发火的原因。

是什么让他 - 什么让他 - 什么让他 - 音调低一点，有点平坦，

是什么让他 - 是什么让他 - 在’what’中停止T，因为下一个单词以a开头辅音。

现在，您可能会认为在“set”中停止 T，因为下一个单词以辅音开头，但实际上，

他去掉了非常常见的 H 音，所以现在“他”这个词以元音开头。

是嗯嗯嗯所以T确实出现在两个元音之间，他确实用它来连接，它是一个襟翼T。

设置他，设置他，设置他。

这就是让他发火的原因。

让他离开——让他离开——所以两个词比“关”更平、音调更低、没有重读。

让他离开——让他离开——让他离开——

让他离开——

嘿。
嗯。

嘿。嘿。好吧，与’让他离开-‘相比，它的音调较低，嘿嘿，音调高很多，不是吗？

它更友好，他正在向有问题的人打招呼。

提高音调，友好的语气。这与：嘿。嘿！嘿！

更乐观，更积极的声音。

嘿。

嘿。
嗯。

好。好。思想组中的单个单词，上下形状。好。好。

L不太清楚，那是一个黑色的L。她没有为此抬起舌尖。

好。呃，呃，呃，呃。

那个暗L结尾的暗音是用舌背发出的，舌尖下垂。

如果你把你的舌尖抬起来，你就对这个 L 做的太多了。嗯，呃，呃。好。好。好。好。

试一试，练习一下，舌尖向下。

嘿。
嗯。

舌后部，uhl，uhl，uhl，向下和向后推一点。这就是我们如何获得黑暗的声音。

嘿。
嗯。

他好吗？

好吧，现在他轻声说话，门开了，所以听清发生了什么有点困难。

但是再听一遍，告诉我你认为重读的词是什么。

他好吗？

怎么样——他怎么样了？ ‘How’s’ 和 ‘do’ 那里的重读音节。他好吗？

他怎么样——他怎么样——“他”这个词是怎么回事？他怎么

样—— H 掉线了。因此，它只是 EE 元音，以 Z 音结尾，直接链接到 EE。

他怎么样——他怎么样——他怎么样了？

他好吗？

这有点难以分辨，因为这个词的结尾真的被门盖住了，

但我认为他正在放弃 NG 声音而只发出 N 声音。

做，做，做。

他好吗？

他好多了。

她回应，三个字，重读中间音节。他好多了。流畅地连接在一起。

这里的 H 没有掉线，但很轻，所以请记住这一点。

他好多了。

还要记住，“much”是压力的高峰，“he’s”这个词会达到那个高峰，

而“better”这个词会从那个高峰消失。所以这一切都顺利连接。

你听到这个词中的 T 是什么意思？

他好多了。

Flap T. Double T，单拍T，因为T音出现在两个元音之间。

现在在这里，我们有 schwa R。记住，R 是一个音节辅音，所以你不需要尝试

发出元音，它只是：rrrr。但是即使 R 接管了元音，在国际音标中它被写成 schwa R，

你确实会发出一个襟翼 T，当你考虑这是否是一个襟翼 T 时，你确实把它算作元音？

T 确实出现在元音之间，尽管实际上 are 吸收了元音。

这对你来说足够混乱吗？更好，更好。

这些规则的作用是了解它们可能很有用，但最终最有用的

是倾听母语人士的做法，并真正模仿。

他好多了。

我想象我——

我想象我

——Imaa——maa——更长，更重音，我想象我——

现在，最后的非重读音节确实继续上升，我想。我想象，想象我——

然后它又回来了，但长度肯定在带有 AA 元音的重读音节“ma”上。

我想象我——我想象

我——我想象

我——

我想象我——

确保你把“我”，人工智能双元音和元音 IH 联系起来：Ai-ih– Ai-ih– 哎—顺利。

有时，当将元音或双元音与另一个元音或双元音联系起来时，

学生们对此感到不舒服。感觉太草率，太联系，他们想重新开始声音：

我想——但不要那样做。真的试着把它们联系在一起：Ai-ih– Ai-ih– Ai-

ih–我想象–

我想象–

我想象–我想象我–

‘那个’和’发生了什么一世’？你能听到吗？

那个我——那个我——那个我——

那个我——那个我——那个我——绝对是一个连接这两个词的襟翼T。

此外，元音 AH that 也被减少了。这是一个 schwa：那个我——那个我——那个我——

所以“那个”这个词变成了：duh，duh，duh，duh，schwa 襟翼：那个我——

那个我——那个我——那个我—— -

欠大家一个道歉。

好的，让我们循环听听这个最终的思想组几次。听听它的音乐。

欠大家一个道歉。

这样的东西越听越听音乐，越觉得人生就是一出歌剧。

我们唱我们所说的一切。

欠大家一个道歉。达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达

你可以跟着那个跳舞，不是吗？达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达达

欠大家一个道歉。

我喜欢探索这一点，这真的有助于我们找到压力。

欠大家一个道歉。当我们在一个循环中听时，我认为它真的让压力非常明显。

‘Owe’ 和 ‘pol，我们的两个重读，更长的上下形状音节。

欠大家一个道歉。

欠大家一个道歉。 Owe you all a– Owe you all a– 然后这里的这四个音节，you all an-，

以及重读单词“apology”的第一个非重读音节，音高平缓，you all a–，你们一个个——

而且都真的联系在一起，很顺利。欠你们一个– 欠你们一个– 欠你们一个–

你们都一个– 你们都一个– 你们都一个– 你能做到吗？只要模仿这四个音节。

你们都是一个——你们都是一个——

你们都是一个——

你们都是一个——现在，“所有”这个词以一个黑色的L结尾，你通常不需要抬起你的舌尖来 an–

一个Dark L。但是，当它连接到一个以元音开头的单词时，就像这里一样，我们

在单词中有schwa：an，an，an，然后我认为抬起舌尖很有用。

You all an a– you all a– you all an a- 找到以元音或双元音开头的单词中的暗 L 会有所帮助

。所以你可以在这里抬起你的舌尖。

你们都是a–

如果它是思想组的结尾，或者它连接到一个以辅音开头的单词，

我可能不会抬起舌尖。我欠你们所有人。我真的欠你们所有人。欠你们所有人。欠你们所有人。

在那里，我发出了一个黑暗的声音，最后是轻的，微妙的，但我没有抬起我的舌尖。

但是因为我们要连接到一个以元音开头的单词，所以让我们继续并在那里抬起舌尖。

你们都一个——你们一个——你们都一个道歉。

欠大家一个道歉。

‘apology’ 中的 L 是一个暗 L，因为它出现在音节中的元音之后。

但同样，这里后面跟着另一个元音，另一个元音，所以我会抬起舌尖。

阿波—— llluh—— 道歉。道歉。

道歉。

嗯……我喜欢那个。我喜欢听演讲的音乐。这是一段很棒的谈话片段，

只有 15 秒，但要学习的东西太多了。

Flap Ts，连接，困难的单词，按音节分解它们，语音的音乐。

让我们再听一遍整个对话。

癫痫发作会产生焦虑，从而引发攻击性。

是的，但是就像随意攻击其他人一样？

呃，这不是随机的。

你知道，那是你的闪光，这就是他引爆的原因。

嘿。
嗯。

他好吗？

他好多了。

我想我欠你们所有人一个道歉。

我们将一起进行更多此类分析。

您希望看到这样分析的哪些电影场景？在评论中告诉我。

如果你想看我所有的本富兰克林视频，点击这里。

您还可以在视频说明中找到该链接。

就是这样，非常感谢您使用 Rachel 的英语。